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.

The use of lichens as indicators of ambient air quality in Southern Ontario

The inverse relationship between arboreal lichen species richness and sulphur dioxide in ambient air has been thoroughly documented in the literature. Previous work in southern Ontario has shown that lichen bioindication can identify areas of potential concern regarding air quality. The EMAN suite of l i chens was applied in the City of Samia by surveying 458 Sugar Maple trees, in order to test the applicability of lichen bioindication under conditions of high mean S02 levels and high species richness values. The results of the survey were explored using Geographic Information Systems. A spatial relationship between lichen community variables, the Bluewater Bridge and the highway was identified. Lichen species richness, lichen percent cover and Index of Atmospheric Purity values were higher along the bridge and highway. No strong gradients were found between other known pollution sources and no lichen deserts were identified. The most common community grouping consisted of Physcia millegrana Degel, Candelaria concolor (Dicks) B. Stein, Physcia aipolia (Ehrh ex Humb.) Furnrohr; all of which are known nitrophytes. The relationship between substrate pH and lichen species richness was examined. Sites with a known source of anthropogenic chemical contamination were found to have a correlation of l=0.8 between lichen species richness and pH. The inverse was found for sites with no known source of contamination with a correlation of r 2 =-0.72. The findings suggest that species richness may be influenced by altering substrate pH which promotes the growth of nitrophytic species capable of tolerating high S02 levels.

Photograph - Man on Tennis Court

A photograph of a man on a tennis court holding a tennis racket. A house can be seen in the distance with large trees in front. See reverse for handwritten note.