Personally significant learning: The challenge

The article explores the importance for young individuals to have a powerful disposition to be self-managing learners after completing their schooling. It presents several propositions which aim to unlearn the best educational experience a school principal can give for young people and their teachers. The use of digital technologies is mentioned.

Re/membering Pedagogical Spaces

Educational spaces across the world largely continue to be designed with little variance from the traditional industrial classroom model, and pedagogies seem stuck somewhere between the Sage-on-the-Stage, lecture-dominated paradigm, and the Guide-on-the-Side, in which the instructor acts primarily as an aide watching, encouraging, and monitoring students working on projects individually or in groups. Rather than “reinventing the wheel,” the authors argue for an academic environment based on the British coffee house or French café of the 18th and 19th centuries. Not only should this 21st-century classroom offer an innovative melding of space and technology but also introduce a new pedagogical model. The Meddler-in-the-Middle model repositions the teacher and students as co-facilitators in the creation and use of knowledge in an environment where bodies move seamlessly in and out of collegial collaborations filled with free-to-fail open debate.

Light-n:doubt

Light-n:doubt is an exhibition exploring the changing landscape between light and sculpture at 65 Hindley Street, Adelaide in 2003. The exhibition references research through the notion of 'otherness'. This show of work foregrounds the play between the materiality and idea of the object and what it 'speaks', the symbolic resonance of the object within space, and the role of the viewer in constructing language through form. Light-n:doubt at 64 Hindley Street, Adelaide. 20th-28th November, 2003. 11am-7pm.

The ripple effect

The images from The Ripple Effect appear like they are advertising images but have a deeper social message. They are deliberately confronting, humorous, and thought provoking to create debate on true-life experiences of hospital treatments, recovery and support available in our community. The works in this exhibition carry the hopes and aspirations of a community that is bonded together by its collective experiences, and shares a vision of the resources needed for a productive and healthy recovery.

Sing for Fukushima

The Fukushima Response Bay Area (FRBA) in collaboration with the Berkeley Fellowship of Unitarian Universalists (BFUU) Poetry Committee and the BFUU Social Justice Committee developed the Fukushima Poetry Anthology project to highlight the ongoing disaster at Fukushima Daiichi, Japan. All works in the Anthology are in response to the nuclear disaster in Fukushima and the ongoing impacts, including this work. Japanese anti-nuclear protest songs first surfaced in the 1980s after the Chernobyl disaster. Since this time there have been numerous anti-nuclear songs, with some still being produced. Research was required to search for such songs along with understanding who sang them. A process of listening to the songs, reading the English sub-titles and sharing the music with others took place. The most popular in the sharing being the song titled You Can't See It, And You Can't Smell It Either by Rankin & Dub Ainu Band (2011).This song and others, includes a mixture of music styles from pop, punk, rap, rock, storytelling, dance hall reggae and traditional Indigenous Japanese music (Tonkori, Ainu). You Can't See It, And You Can't Smell It Either is a catchy song with a rhythmic beat that remains in one’s head long after the song has finished. This music and the people who sang it became the basis for this poem that attempts to capture the style and backgrounds of protest songs within one creative work. It is hoped that the work encourages people to continue singing for Fukushima.

“I understand. I am a participant”: Navigating the ‘fuzzy’ boundaries of visual methods in qualitative longitudinal research

In this chapter we discuss how utilising the participatory visual methodology, photovoice, in an aged care context with its unique communal setting raised several ‘fuzzy boundary’ ethical dilemmas. To illustrate these challenges, we draw on immersive field notes from an ongoing qualitative longitudinal research (QLR) exploring the lived experience of aged care from the perspective of older residents, and focus on interactions with one participant, 81 year old Cassie. We explore how the camera, which is integral to the photovoice method, altered the researcher/participant ethical dynamics by becoming a continual ‘connector’ to the researcher. The camera took on a distinct agency, acting as a non-threatening ‘portal’ that lengthened contact, provided informal opportunities to alter the relationship dynamics and enabled unplanned participant revelation.

Intergenerational collaborative drawing: A research method for researching with/about young children

This paper focuses on the methodological effectiveness of intergenerational collaborative drawing (ICD). A group of eight researchers trialled this particular approach to drawing, most of them for the first time. Each researcher drew with young children, peers and tertiary students, with drawings created over a period of six months. The eight researchers came together in a 'community of scholars' approach to this project because of two shared interests: (i) issues of social justice, access and equity; and (ii) arts-based education research methods. The researchers were curious how ICD might methodologically support their respective research processes. As knowledge and theory about young children becomes more complex, researchers need responsive methodological tools to ask new questions and conduct rigorous, ethical research. This partial account describes how drawing together might perform methodologically. The data reported here draws from the detailed field notes, drawings and reflections of the researchers. Conclusions arise from the analysis of these reflections, with the authors suggesting ways in which ICD might benefit research with young children.

Author-Illustrator

This essay investigates the concept author-illustrator by drawing on two influential essays – ‘Death of the Author’ by Roland Barthes and ‘What is an Author?’ by Michel Foucault. By engaging with the key points of debate that emerge from these positions, this essay argues that the notion of author-illustrator is part of a wider discursive field that is embedded in a complex, commodified, multimedia public sphere where the author is paradoxically reinscribed and erased. This environment is changing the nature of the text, authorship, and reader-text interaction, but until now the concept author-illustrator has been largely absent from these discussions.

headspace Digital Art Exhibition

headspace Digital Art Exhibition is a curated collection of artwork created during a youth arts project and research in which young people’s improved mental health wellbeing and mental health literacy were the focused outcomes for the project. The project aimed to improve mental health literacy, and offer greater opportunities for creative expression supporting young people facing mental health challenges. The Inside project aimed to build dialogue related to youth, arts, mental illness and recovery, through a partnership approach. The partnership approach involved artists and health workers in two separate headspace youth mental health services and aimed to provide opportunities to explore the potential of an arts and health framework. The project ran over ten weeks at both centres, incorporating themed activities such as unleashing inner selfie (sketching, photography and digital manipulation); creating dioramas (found object, three dimensional modelling); creating avatars (sculptural and digital animation); and digital narrating and poster creation (visual, written and spoken texts). Two professional artists facilitated the project, one in each location alongside headspace health workers at weekly workshops. A research component explored the appreciation of how artsbased workshops can be used alongside more traditional responses in youth specific mental health services. Both headspace centres had previously provided unstructured art activities as a way to showcase their services to young people, increase access, and to create a welcoming ‘safe’ youth friendly environment. However, these activities were generally extemporaneous and not specifically evaluated. The digital art exhibition collectively shares the artwork created by the young people and reveals the inter-relationships between risk and resilience and overcoming the odds. Inside unleashed possibilities for a sense of well-being and even happiness into the future.

Are We The One?

A collaborative, performative and relational experience for two people, woven together by a custom digital phone App. Two walkers, who have never met, simultaneously use a phone App to record a personalised walk around their locality, crafting a series of special moments and surprises for each other. The App then allows participants to continue their two walks, but now directed by what the other person has just created for them. Finally, at the end of the experience they can then choose whether they would like to actually meet in person. Based loosely on the idea of a date, each participant is initially asked to give a little bit of personal information, and then actually speak volumes about themselves through how they choose to care for their 'date's future experience. After walking in parallel universes, but never far away from each other, both daters can ultimately choose to then meet in person -- if what they have experienced tells them that maybe "We Are The One".

Dissenting Exhibitions by Artists (1968-1998). Reframing Marxist Exhibition Legacy.

The goal of this thesis is to look at the critical and dissenting value of exhibitions through the examination of four cases studies, based on six exhibitions taking place between 1968 and 1998 in Latin and North America. The exhibitions belong to the history of modern and contemporary exhibitions and curating, a field of research and study that has only started to be written about in the last two decades. This investigation contributes to it, in its creation of new genealogies by connecting previously overlooked antecedents, or by proposing new relations within established lineages, at the intersection of a specific historiography; to address exhibitions, a tradition of artists acting as curators and an emerging history of curating. The examined exhibitions were put together by artists or artist collectives and were placed in a liminal position between artistic and curatorial practice. All the cases presented a distinct proposal in relation to art and social change, a fact that connects them, in their aims and modus operandi, to a Marxist and neo-Marxist critical and transformative legacy. The cases address the following connections: exhibition as political site (Tucumán Arde, 1968); exhibition as social space (The People’s Choice (Arroz con Mango), 1981); exhibition as encounter (Rooms with a view, We the People, Art/Artifact, 1987-88); and exhibition as an exchange situation (El Museo de la Calle, 1998-2001). Key to their analysis is the concept of dissensus, as put forward by Jacques Rancière. Within this theoretical framework, these exhibitions put into practice particular cases of dissensus in a given distribution of the sensible. All of them tried to deal with their thematic concerns by performing them as a praxis. They dissent with the way in which reality was formatted in their historical moment and challenge the exhibition medium itself opening new ways of doing and making in the exhibition field. Therefore, in this thesis the dissenting value of exhibitions is closely related to its main features as a medium, namely their temporality, heterogeneity and flexibility, which contribute to their potential for creative analysis and propositioning. In the case of these exhibitions, this capability is brought into play for institutional interrogation, for offering alternative cultural narratives and also for inspiring new imaginary realms.

The Pedagogical Practice of Locative Experience

We work collectively with varied locative-type projects and look to integrate our students into contemporary experience design culture. Students experience the ‘how and what’ of locative by becoming participant users, being exposed to contemporary works, and placing themselves in the role of the designer producing their own located works.

Models of the user: designers’ perspectives on influencing sustainable behaviour

Influencing more environmentally friendly and sustainable behaviour is a current focus of many projects, ranging from government social marketing campaigns, education and tax structures to designers’ work on interactive products, services and environments. There is a wide variety of techniques and methods used, intended to work via different sets of cognitive and environmental principles. These approaches make different assumptions about ‘what people are like’: how users will respond to behavioural interventions, and why, and in the process reveal some of the assumptions that designers and other stakeholders, such as clients commissioning a project, make about human nature. This paper discusses three simple models of user behaviour – the pinball, the shortcut and the thoughtful – which emerge from user experience designers’ statements about users while focused on designing for behaviour change. The models are characterised using systems terminology and the application of each model to design for sustainable behaviour is examined via a series of examples.