25 research outputs found
Collaboration as individual learning event: collective consciousness and shared practice in the development of pedagogical content knowledge in visual arts pre-service teachers
No full textThis chapter shares a suite of collaborative artmaking projects, designed to use Arts-based inquiry through an a/r/tographical lens to enable deep learning and the development of pedagogical content knowledge. These projects are underpinned by a desire to provide authentic and engaging learning experiences for Visual Arts pre-service teachers in a studio setting, appropriate to the contexts and complex demands they will face in such environments in their teaching careers. The projects are linked by notions of visual performance where the pre-service teachers, motivated by discussion, stimuli and feedback engage in several phases of critical, reflective and creative thinking through the material practice of painting. The paintings become palimpsests, revealing and concealing levels of contemplation, experience, negotiation and subjectivity as Art, research and education connect and disconnect through action and thought. In this way, pre-service teachers engage in mapping the networks of interactions, dialogues, group dynamics and learnings whilst their emergent identities as Visual Arts teachers are entwined with their developing understandings. The purposes of this rehearsal are varied and multifaceted. Collaboration in this context is an ergonomic modality in the development of teacher identity and proficiency because it occurs in emplaced and authentic settings. In this way, pre-service teachers draw upon communal affect and live performance to critique and analyse the layered actions and experiences that materialize; the learnings become at once, collaborative and individuated
Pentimento: an ethnic identity revealed, concealed, revealed
No full textThis chapter takes as its metaphorical lens the painterly concept of pentimento, which operates materially, conceptually and aesthetically in and through the ‘writing’. The pentimento functions as a means to explore visual modalities of portrayal of the theoretical dispositions as well as of the theoretical dispositions themselves. The dispositions are framed by an arts-based educational inquiry that utilised a complex poetic in order to represent and interrogate notions of self and other as they pertain to ethnic identity in the second-generation. The processes of belonging are a journey of impermanent moments and interactions and as such, the conditions and spaces of belonging are not singular constructs, rather they are ecological, transitional, collaborative – and contingent on time, movement and language. However, pentimento is also symbolic of a language conceptuality in flux, a tension between the concealing and revealing of the written word in dialogue with visual imagery. It is posited that the potential of the visual as languages of theory and criticality are not singular constructs but rather like Wittgenstein’s concept of family resemblances. Image and word may operate conditionally or separately or in synergy. It is this very architecture of engagement that is at the heart of the expression of the theoretical discursives of belonging as exposed in the inquiry
Producing the Academic Apparatus of the Early Career Researcher-Musician-Educator
No full textIn this chapter the notion of ‘assemblage’ is put to work in order to understand how the early career researcher-musician-educator comes to be formed from the milieu. An analysis of the relationship between research as knowledge production and the artistic desire for aesthetics and affectivity is undertaken to trouble the boundaries that separate education research and arts practice. The complexities of working both as an artist and a beginning academic in the enterprise university are examined and an argument made for using music as a concept for research-creation, experimenting with possible points of dissonance and consonance, in order to shift thought and practice
...But I am not a performer : the poetic possibilities of pecha kucha for the visual artist
No full textObjectives This presentation will combine poetry, voice, image and sound in the pecha kucha presentation style, in order to engage the audience in an accessible and artful representation of a suite of collaborative artmaking works. Theoretical Framework This presentation will draw from the literature regarding the synergies between form and content inherent in the arts-as-research. The embodied artist/researcher/teacher and her varying identities can be expressed artfully through an ever expanding rhizomatic relationship with form and content (Irwin et al., 2006). In this presentation, the visual artist thus takes on the persona of [inexperienced] performer, pushing her form through the challenges and pedagogies of performance. In this way, we are reminded of Leavy (2009), who argues for more accessible and democratic access to research and posits ways to support scholars in poetic descriptions of research evidence and narrative translations. This presentation will privilege notions of representation and re-presentation, particularly as they align with the conference theme of public scholarship and democratic access to inquiry. Modes of Inquiry This pecha kucha presentation, seeks to yield several ‘gifts’. Audience engagement through the form of the representation, as well as the content of the performance, creates a multilayered performance that attends to issues of reception and intertextuality. The texts work synergistically, but also at odds with one another, embedded and transcendent in the moment of the performance. The presentation of artful inquiry at conferences is a vexing proposition, and one which continues to challenge scholars who create research through modalities such as painting, installation, music or dance. Such modalities continue to defy and confront research re-presentation mediums such as the traditional conference format, since these modes do not ‘fit’ such conventions. The pecha kucha form seeks to push forms of dissemination and allows for myriad interpretations of its own constraints, as will happen in this symposium. Data Sources From the perspective of a visual artist, the pecha kucha form forces an artful performance, by virtue of its materiality – that of rolling image-based slides and time-based commentary. By virtue of its participatory nature, this pecha kucha draws on myriad ‘data sources’: the inquiry itself, the performance of the scholar, the performance of the images and the intertextual representations inherent in the audience’s engagement. In this way, this presentation both extends and accommodates artful inquiry. Results and/or Conclusions A significant feature of the art event is that it relies on the direct encounter with an audience. It is this necessary dynamic that enables the potentialities of the inquiry to appear, necessarily after the encounter. In this way, the theoretical frameworks undergo a process of becoming in their enactment (Atkinson, 2014). Scholarly Significance Such stretching of conference form is utterly aligned with this year’s theme, in its aggravating, succinct and accessible modality. The pecha kucha has the potential to engage as well as inform, to entertain as well as enlighten. It is these things which are essential to the democratic access to scholarship
Arts-research-education: connections and directions
No full textDrawing from an international authorship and having global appeal, this book scrutinizes, suggests and aggravates the relationships, boundaries and connections between arts, research and education in various contexts. Building upon existing publications in the field of arts-based educational research, it deliberately connects and disconnects the terms in order to expose and broaden the scope of this field thereby encouraging fresh perspectives. This book portrays both contemporary theoretical prospects as well as contemporary examples of practice. It also presents work of emerging scholars, thereby ‘growing the field’. The book includes academic text-based chapters, as well as poetry, narrative fiction, visual essays, and combinations of text-image-sound/video that demonstrate performance of music, theatre, exhibition and dance. This book provides and provokes critical dialogue about the forms, representations, dissemination and intersections of the arts, research and education. This is a focused collection and resource for scholars and students with an international authorship, perspective and audience
Walkings-through paint: A c/a/r/tography of slow scholarship
No full textThis visual essay portrays a walkings-through of experience, journeys, and engagements positioned as a c/a/r/tography. The assemblage of this c/a/r/tography draws upon Deleuzoguattarian notions of affect and the carte, the methodology of a/r/tography, and contemporary art and research ambulatory practices. The walkings-through are staged in the event of painting, which itself draws upon notions of movement, journey, and affect. Positioning this work is a project entitled the “Peripatetic Inquiry,” which seeks to document collaborative walking individually and collectively in observation of the practices of writing, artmaking, reading, documenting, and thinking in movement, both in place and displaced, through the events and vagaries of the temporal. The wanderings of this inquiry are entwined in both the embodiments of walking as well as the expressions of engagement as a moving-through, a performance, a creative and participatory event, and documenting of walk. Moving gently, meditatively, and thoughtfully in the spirit of slow scholarship and the subsequent spaces for wonder, we engage with and through a restorative encounter with place, displacements, and roaming
Figure 1.1 Untitled, detail
No full textOne of a series of collaborative paintings portraying a walkings-through of experience, journeys and engagements, positioned as c/a/r/tography. The assemblage of this c/a/r/tography drawn upon Deleuzoguattarian notions of affect and the walkings-through are staged in the event of painting, which itself draws upon notions of movement, journey and affect. Positioning this work is a project entitled The Peripatetic Inquiry, which seeks to document collaborative walking individually and collectively in observation of the practices of writing, artmaking, reading, documenting and thinking in movement, both in place and displaced, through the events and vagaries of the temporal
