Developmental patterns of individiuals within a sensory-based learning environment in art education : insights emerging from a case study /

My research permitted me to reexamine my recent evaluations of the Leaf Project given to the Foundation Year students during the fall semester of 1997. My personal description of the drawing curriculum formed part of the matrix of the Foundation Core Studies at the Ontario College of Art and Design. Research was based on the random selection of 1 8 students distributed over six of my teaching groups. The entire process included a representation of all grade levels. The intent of the research was to provide a pattern of alternative insights that could provide a more meaningful method of evaluation for visual learners in an art education setting. Visual methods of learning are indeed complex and involve the interplay of many sensory modalities of input. Using a qualitative method of research analysis, a series of queries were proposed into a structured matrix grid for seeking out possible and emerging patterns of learning. The grid provided for interrelated visual and linguistic analysis with emphasis in reflection and interconnectedness. Sensory-based modes of learning are currently being studied and discussed amongst educators as alternative approaches to learning. As patterns emerged from the research, it became apparent that a paradigm for evaluation would have to be a progressive profile of the learning that would take into account many of the different and evolving learning processes of the individual. A broader review of the student's entire development within the Foundation Year Program would have to have a shared evaluation through a cross section of representative faculty in the program. The results from the research were never intended to be conclusive. We realized from the start that sensory-based learning is a difficult process to evaluate from traditional standards used in education. The potential of such a process of inquiry permits the researcher to ask for a set of queries that might provide for a deeper form of evaluation unique to the students and their related learning environment. Only in this context can qualitative methods be used to profile their learning experiences in an expressive and meaningful manner.

Making it "click": collaborative perceptions of creative practice in art education /

Making it "Click": Collaborative Perceptions ofCreative Practice in Art Education examined the teaching practice of 6 art educators who conducted their work through the Niagara Falls Art Gallery's (NFAG) in-schools and Children's Museum programmes. These community resources service the elementary levels of participatory Public, Catholic and French schools in the Niagara Peninsula. The goal of this research was to find ways in which these teachers could explore their creative potential as art educators. The "click," a term introduced by participants indicating the coming together of all positive factors towards creativity, became the central theme behind this study. Research revealed that the effective creative process was not merely a singular phase, but rather a series of 4 processes: 1 , gathering knowledge; 2, intuitive and experiential; 3, the informal presentation of information in which creativity as a process was explored; and 4, formal presentation that took the analysis of information to a deeper, holistic level. To examine the ways in which experience and knowledge could be shared and brought together through a collaborative process, this study employed data collection that used literature research, interviews, focus group discussions, and personal journal entries. Follow-up discussions that assessed the effectiveness of action research, took place VA months after the initial meetings. It is hoped that this study might assist in creative educational practices, for myself as a member of the NFAG teaching team, for colleagues in the art programmes, art educators, and other teachers in the broader disciplines of education.

Continental margin architecture : the palynological signature of glacioeustasy /

Palynomorphs from two siliciclastic margins were examined to gain insights into continental margin architecture. Sea level change is thought to be one of the primary controls on continental margin architecture. Because Late Neogene glacioeustasy has been well studied marine sediments deposited during the Late Neogene were examined to test this concept. Cores from the outer shelf and upper slope were taken from the New Jersey margin in the western North Atlantic Ocean and from the Sunda Shelf margin in the South China Sea. Continental margin architecture is often described in a sequence stratigraphic context. One of the main goals of both coring projects was to test the theoretical sequence stratigraphic models developed by a research group at Exxon (e.g. Wilgus et al., 1988). Palynomorphs provide one of the few methods of inferring continental margin architecture in monotonous, siliciclastic marine sediments where calcareous sediments are rare (e.g. New Jersey margin). In this study theoretical models of the palynological signature expected in sediment packages deposited during the various increments of a glacioeustatic cycle were designed. These models were based on the modem palynomorph trends and taphonomic factors thought to control palynomorph distribution. Both terrestrial (pollen and spores) and marine (dinocysts) palynomorphs were examined. The palynological model was then compared with New Jersey margin and Sunda Shelf margin sediments. The predicted palynological trends provided a means of identifying a complete cycle of glacioeustatic change (Oxygen Isotope Stage 5e to present) in the uppermost 80 meters of sediment on the slope at the New Jersey margin. Sediment availability, not sea meters of sediment on the slope at the New Jersey margin. Sediment availability, not sea level change, is thought to be the major factor controlling margin architecture during the late Pleistocene here at the upper slope. This is likely a function of the glacial scouring of the continents which significantly increases sediment availability during glacial stages. The subaerially exposed continental shelf during the lowstand periods would have been subject to significant amounts of erosion fi:om the proglacial rivers flowing fi-om the southern regions of the ice-sheet. The slope site is non-depositional today and was also non-depositional during the last full interglacial period. The palynomorph data obtained fi-om the South China Sea indicate that the major difference between the New Jersey Margin sites and the Sunda Shelf margin sites is the variation in sediment supply and the rate of sediment accumulation. There was significantly less variation in sediment supply between glacial and interglacial periods and less overall sediment accumulation at the Sunda Shelf margin. The data presented here indicate that under certain conditions the theoretical palynological models allow the identification of individual sequence stratigraphic units and therefore, allow inferences regarding continental margin architecture. The major condition required in this approach is that a complete and reliable database of the contemporaneous palynomorphs be available.