Learning 'through' or learning 'about'? The ridiculous and extravagant medium of opera: Gardner's multiple intelligences in pre-service teacher education

In recent years, pre-service teacher education has attempted to incorporate into programs an understanding of Gardner's theory of multiple intelligences as it applies to schools. In this paper the tension between 'learning about' multiple intelligences and 'learning through' multiple intelligences supports Gardner's (1993) distinction between 'understanding' and 'coverage'. This paper examines the use of the performing arts in the professional studies component of our teacher education program. During 2002 at The University of Melbourne, a group of primary and secondary students were offered the opportunity to develop an opera in order to learn about assessment and curriculum. Thirty-seven of the students volunteered to be involved and over a period of six months met this challenge. Our action research study asked two critical questions. To what extent is the understanding of multiple intelligences by pre-service teachers improved by 'learning through'? Can pre-service teachers address fundamental issues in curriculum and assessment through the development of a performance? This experience would be of value to other teacher educators.

The second curriculum opera : Arias, assessment and methodological traces

Drawing on contemporary forms of qualitative research such as performance ethnography (McCall, 2000), autoethnography (Ellis & Bochner, 2000; Ellis & Flaherty, 1992) and using narrative and writing as forms of inquiry (Richardson, 1990; 1992; 1995a; 1995b; 1997; 1999; 2000), this research project constructs a 'learning through' (Gardner, 1983; 1993; 1995; 1999; 2003a; 2003b) approach to curriculum within pre-service teacher education. During 2002 we initiated the first curriculum opera (Dixon & White, 2003; Dixon, White, & Smerdon, 2003) in our Faculty of Education with thirty-seven students. In 2003 we developed this learning and teaching approach with twice as many students. We also reconsidered assessment of students involved in the opera for overall theoretical consistency. As students increasingly took control, they 'imagined curriculum' (Doll & Gough, 2002) and transformed their exploration of identity in the 'process of becoming' teachers (Britzman, 2003). In this paper, we outline the project and the learning involved. We also indicate future directions for learning and teaching in preservice teacher education as well as the potential uses and misuses of teacher assessment through portfolio.

Beg op co-op : beggars opera co-operative

Website design. Development and identity roll out for the Beggars Opera Co-Operative

A dish-rack full of crockery : social significance and the Sydney Opera House

The sculptural roof forms of the Sydney Opera House regularly attract visual analogies in the public mind. Although they are mostly referred to as a??sailsa?? or a??shellsa?? they have also been described through humorous metaphors like a??a dishrack full of crockerya??. This particular visual pun, is a reference to a linocut by Eric Thake, produced in 1972, the year before the official opening of the Sydney Opera House. This analogy and its continued popularity to date evidences the social and cultural life of this building. Much of the scholarly on the Sydney Opera House investigates the architecture and the circumstances of its realisation, whilst its reception and social significance, has received little systematic attention. Through Thakea??s linocut, the paper discusses the current limitations in evaluating social significance in an Australian heritage context and proposes an alternative perspective to this problem through two scholars who bring a??subjective experiencea?? to bear on the production of meaning. For Gillian Rose, visual artefacts become significant through their embodied experience, whilst Ann Game argues for the inclusion of such usually-excluded subjects like desire, memory, time and the body in the construction of meaning. By bringing these theories to bear on a specific example - Eric Thakea??s visual metaphor for the Sydney Opera House - the paper investigates a new approach to social significance.

Tourist snapshot : the mediating gaze of the Sydney Opera House

There has already been much scholarly work produced about the Sydney Opera House, discussing the production of its architecture, historical and political context, and its symbolic meaning to Sydney. However little scholarly attention has been paid to the way this building is represented through tourist practices of photography. The essay attempts to bring an architectural perspective to the study of this tourist practice, which is usually addressed from the disciplines of cultural geography, sociology and anthropology. The essay considers the above questions by the analysis of some 300 images sourced from the photo sharing website Flickr (www.flickr.com). It draws on John Urry's notion of the 'tourist gaze' which describes how places are structured and regulated by the visual. The essay then uses Jonas Larsen's work, which position tourist photography as a performance of social relations to argue that the activity of photographing the Sydney Opera House is more than a ritual of consumption, and can be seen as an embodied performance located at the intersection of space, experience and image.

Souveniring the Sydney Opera House

The Sydney Opera House attracts over four million visitors each year to experience its architecture, events and cultural narratives. This experience consciously engages tourists in a constructed spatial encounter, in which the tourist has the opportunity to experience the architecture of this canonical modernist building. This experience often culminates with the purchase of a souvenir, a seemingly innocuous act, but one that is highly revealing of the interrelation between the tourist's experience, the architecture and the souvenir. There has already been much scholarly work on the Sydney Opera House, discussing its architecture, the historical and political context of its commission and its symbolic meaning within the City of Sydney. Less attention however has been paid to the relationship between architecture, experience and memory, as embodied by the souvenir. The tea towels, snow domes, table lights and key rings which depict the Sydney Opera House are, as Celeste Olalquiaga states "static and idealized blueprint... of an experience." This raises debate over what exactly is souvenired; is it the building? The experience? Cultural cachet? What can be revealed about the architecture of the Sydney Opera House, through its souvenirs? Architecture, like souvenirs is party to questions of representation, abstraction and scale. By drawing upon the work of Stewart and Olalquiaga, on the experience of souvenirs, the essay takes an architectural position from which to discuss the way models as objects of architecture and souvenir miniatures are the material representations which commemorate and facilitate a dynamic and ephemeral experience of this building. In this way revealing souvenirs as more than markers of travel, but as Stewart asserts, containers of the cultural narratives, desires and myths, which surround such an iconic architectural destination

Seduction and demise in East Berlin: Digital prototype for an immersive opera

‘Seduction and Demise in East Berlin – a digital prototype for an immersive opera’ is a reflective case study of how digital technologies can be successfully applied to facilitate dynamic mediated partnerships and collaborations resulting in cutting-edge industry standard outcomes in the fields of design, performance and digital media. The ongoing use of online interaction throughout the development of the prototype facilitated a grammar of participation, collaboration and output between third year tertiary design students from Deakin University and independent Opera Company the Beggars Opera Co-Operative (BegOpCoOp), resulting in the achievement of positive professional outcomes for both project partners. Through this process, students at Deakin University Visual Communication Design department developed a normative working model that enabled a swift engagement with and response to the creative and strategic challenges that come with applying contemporary design practice in a current industry context. BegOpCop, as the industry partner, were able to use the digital collaborative process as a springboard to interrogate and innovate their own practice as producers of contemporary operatic repertoire and to develop exciting new digital and design-savvy creative collateral with which to seek further production partners, taking them to the next professional level as a growing arts organisation.

Resistir e criar : os compossíveis para um devir-professor : um estudo sobre os efeitos que a violência opera nos processos de subjetivação dos docentes

Sabe-se que a violência se propaga no mundo como um verdadeiro flagelo social e provoca impactos em todos os campos, sobremaneira, em instituições como a educação. O embate com a violência não é prerrogativa da escola pública brasileira. Entretanto, considero que esta, além de configurar-se como um espaço privilegiado de escolarização para todos, é um dos campos do socius que fica atravessado pela violência como uma contra-força. Em função deste atributo que lhe é peculiar e deste lugar no qual atuo como pedagoga, pergunto sobre como entender os sujeitos do processo educativo. Este estudo, cujo foco são os processos de subjetivação docente a par dos efeitos da violência que se manifesta em ambiente escolar, advém da necessidade de compreender a complexidade do que se passa no interior da escola, mais especificamente com os professores. É fruto também da proposição utópica de corroborar a promoção das formas de superação disto, que se conforma como algo impeditivo das relações entre o ensinar e o aprender e da realização do que de mais importante podem os homens viver: a sua humanização. Diante do desafio de examinar os efeitos que a violência suscita e provoca nos processos de subjetivação dos professores na escola de educação básica, empreendi este trabalho tendo como referência basicamente as obras de Bernard Charlot, Gilles Deleuze e Félix Guattari. Busquei nestes intercessores teóricos, bem como em outros, as ferramentas epistemológicas para compor o estudo e consolidar a aprendizagem da pesquisa nos domínios da Psicologia Social e Institucional Deparei-me com uma matéria tão incorpórea e densa, que comporta os princípios da multiplicidade, da heterogeneidade, da insubordinação, que, para apreendê-la, adotei a cartografia como um recurso do método empírico-especulativo, a fim de desvelar a natureza de um corpo coletivo que concentra a reciprocidade entre sujeitos e objetos, individualidades e organização, forças e fluxos.

La matematica fuzzy nell'ingegneria dei materiali. Applicazioni alla durevolezza e alla conservazione dei materiali in opera nei siti archeologici

La ricerca presentata è un’ampia esplorazione delle possibili applicazioni di concetti, metodi e procedure della Fuzzy Logic all’Ingegneria dei Materiali. Tale nuovo approccio è giustificato dalla inadeguatezza dei risultati conseguiti con i soli metodi tradizionali riguardo alla reologia ed alla durabilità, all’utilizzo di dati di laboratorio nella progettazione e alla necessità di usare un linguaggio (informatizzabile) che consenta una valutazione congiunta degli aspetti tecnici, culturali, economici, paesaggistici della progettazione. – In particolare, la Fuzzy Logic permette di affrontare in modo razionale l’aleatorietà delle variabili e dei dati che, nel settore specifico dei materiali in opera nel costruito dei Beni Culturali, non possono essere trattati con i metodi statistici ordinari. – La scelta di concentrare l’attenzione su materiali e strutture in opera in siti archeologici discende non solo dall’interesse culturale ed economico connesso ai sempre più numerosi interventi in questo nuovo settore di pertinenza dell’Ingegneria dei Materiali, ma anche dal fatto che, in tali contesti, i termini della rappresentatività dei campionamenti, della complessità delle interazioni tra le variabili (fisiche e non), del tempo e quindi della durabilità sono evidenti ed esasperati. – Nell’ambito di questa ricerca si è anche condotto un ampio lavoro sperimentale di laboratorio per l’acquisizione dei dati utilizzati nelle procedure di modellazione fuzzy (fuzzy modeling). In tali situazioni si è operato secondo protocolli sperimentali standard: acquisizione della composizione mineralogica tramite diffrazione di raggi X (XRD), definizione della tessitura microstrutturale con osservazioni microscopiche (OM, SEM) e porosimetria tramite intrusione forzata di mercurio (MIP), determinazioni fisiche quali la velocità di propagazione degli ultrasuoni e rotoviscosimetria, misure tecnologiche di resistenza meccanica a compressione uniassiale, lavorabilità, ecc. – Nell’elaborazione dei dati e nella modellazione in termini fuzzy, la ricerca è articolata su tre livelli: a. quello dei singoli fenomeni chimico-fisici, di natura complessa, che non hanno trovato, a tutt’oggi, una trattazione soddisfacente e di generale consenso; le applicazioni riguardano la reologia delle dispersioni ad alto tenore di solido in acqua (calci, cementi, malte, calcestruzzi SCC), la correlazione della resistenza a compressione, la gelività dei materiali porosi ed alcuni aspetti della durabilità del calcestruzzo armato; b. quello della modellazione della durabilità dei materiali alla scala del sito archeologico; le applicazioni presentate riguardano i centri di cultura nuragica di Su Monte-Sorradile, GennaMaria-Villanovaforru e Is Paras-Isili; c. quello della scelta strategica costituita dalla selezione del miglior progetto di conservazione considerando gli aspetti connessi all’Ingegneria dei Materiali congiuntamente a quelli culturali, paesaggistici ed economici; le applicazioni hanno riguardato due importanti monumenti (Anfiteatro e Terme a Mare) del sito Romano di Nora-Pula.