Frontier thinking : fear of the frock?

Stylish women, Dr Gertrude Langer, Margaret Cilento, and Joy Roggenkamp, didn't fit the mythology of modern art in Brisbane, typified by rugged artists like Ian Fairweather and Jon Molvig. Courtney Pedersen considers the place of fashion, urbanity, and women in the mid-century avant-garde.

Estéticas periféricas: cotidiano e cultura visual no ensino da arte

Admitindo a produção estética como uma importante condição da existência humana, não é difícil entender a importância de se dar voz à juventude que tem uma produção poética rica, ainda desconhecida e pouco explorada à seu favor. Dar voz, aqui, sobretudo às suas imagens visuais, criar oportunidades de explorar a eloquência e as significações dessa literacia visual específica (Gil, 2011) e dar ouvidos ao que nos gritam tais imagens. A pagada aqui defendida se estende aos gadgets, às telas de celular, computadores, videoclipes, games, mangás, entre tantas outras fontes visuais e comportamentais. Assim, no permanente processo de ressignificação da escola, nos parece promissor o máximo aproveitamento das imagens que constituem a cultura visual que envolve o cotidiano dos estudantes. Esperamos que esta pesquisa mostre um pouco da riqueza, força ou energia cultural que existe no universo da pichação e a pertinência de sua reflexão em sala de aula como um caminho de elucidação não apenas dos seus aspectos estéticos e plásticos mas, também redefinir o papel político da afirmação de padrões estético-culturais e assim fortalecer o diálogo com os jovens estudantes periferizados

Screening for success in a visual arts program.

Abstract: Little research has been directed towards determining means of predicting success in visual arts programs. Therefore, this study attemps to profile a typical successful student in a visual arts program, namely the Illustration & Design program at Dawson College. To this end, questionnaires, designed by the researcher, served to investigate the students' reasons for choosing the program as well as provide demographic data. In addition, students' personality types were investigated by means of the online Sternberg & Wagner Thinking Styles Inventory (SWTSI) questionnaire. Using the SPSS statistical software, an analysis was done to determine whether students who offer intrinsically motivated reasons for applying to the Illustration & Design program are those who also demonstrate greater academic success. Furthermore, grounding this study in Sternberg's theory of mental self governance, students' college grades were correlated to their personality type to determine if Type I personality types perform better academically than Type II or Type III (Zhang, 2005), The participants consisted of three cohorts (128 students form semester 1, 3 and 5) of the Illustration & Design program, as well as two comparison groups, one from the Fine Arts program (24 students), and another from the Business Administration program, a non-visual arts program at Dawson College (20 students).||Résumé: Les recherches portant sur l'identification de moyens qui permettent de prédire la réussite dans les programmes d'arts plastiques sont très rares. Par conséquent, cette étude tente de dresser le profil de l'élève type qui réussit dans un programme d'arts visuels, à savoir le programme Illustration & Design au Collège Dawson. À cette fin, des questionnaires conçus par le chercheur ont servi à déterminer les raisons pour lesquelles l'élève a choisi ce programme et ont permis de fournir des données démographiques. En outre, les étudiants ont été catégorisés par type de personnalité au moyen du questionnaire Sternberg & Wagner Thinking Styles Inventory (SWTSI). Grâce au logiciel statistique SPSS, une analyse a été effectuée afin de déterminer si les élèves dont la motivation comptait beaucoup dans leur choix du programme Illustration & Design étaient aussi ceux qui affichaient un taux de réussite plus élevé. En outre, en s'appuyant sur la Théorie d'autonomie de gestion mentale de Sternberg, cette étude avait pour but de corréler les résultats scolaires des élèves à leur personnalité afin de déterminer si les étudiants du Type de personnalité I avaient de meilleurs résultats scolaires que ceux de Type II et de Type III (Zhang, 2005). Les participants étaient composés de trois cohortes (128 étudiants des 1er, 3e et 5e semestres) du programme Illustration et Design ainsi que de deux groupes témoins, un groupe de 24 élèves du programme de Techniques de l'Administration, programme en dehors des arts visuels.

Visual Literacy Standards in Higher Education: New Opportunities for Libraries and Student Learning

Visual literacy is essential for 21st century learners. Across the higher education curriculum, students are being asked to use and produce images and visual media in their academic work, and they must be prepared to do so. The Association of College and Research Libraries has published the Visual Literacy Competency Standards for Higher Education, which for the first time, outline specific visual literacy learning outcomes. These Standards present new opportunities for libraries to expand their role in student learning through standards-based teaching and assessment, and to contribute to campus-wide collaborative efforts to develop students’ skills and critical thinking with regard to visual materials.

The nature of the highly artistic student in visual arts at secondary school /

This qualitative investigation examined the nature of 7 highly artistic visual arts students at 2 secondary schools in southcentral Ontario. Through interviews, questionnaires, observations, and artwork documents, this study attempted to understand these highly artistic students in terms of creativity, motivation, social and emotional perspectives, and cognitive processes. Data collection occuned over a 3-monlh period. and the data analysis program NVivo 7 was used for coding to develop themes and categories for organizing data. The findings of this study illustrate the significant place that \ isual arts can lake in the growth and development for the youth of today. Participants idcniificd dcxclopnig critical thinking and problem-solving skills, taking risks, and meeting challenges ilirouuh their engagement in the creative process. The transferability of these skills \\ as referenced to numerous aspects of their lives. By enhancing individual perspectives through the study of visual arts, their local and world connections were extended, and environmental and societal concerns evolved. In addition, the communicative opportunities that visual arts provided for these students in terms of personal expression provided emotional health and paths of personal discovery. Through the participants' production of artwork with the many stages this involves, combined with insight into their needs, the participants relayed miportant suggestions for programming enhancements and educational settmgs lor \ isiial arts classrooms. These suggestions are meaningful for educators and curriculum developers of the future.

Making meaning : learning through logovisual thinking.

Es la culminación de cuarenta años de trabajo en el aprendizaje y en el pensamiento, por parte de un equipo de jóvenes licenciados que buscaba formas más eficaces de construcción de significados a través de un enfoque llamado de comunicación estructural. Después de años de desarrollo, primero en ambientes educativos y luego en los negocios y en la gestión, su propuesta ha dado lugar al método y las herramientas del pensamiento logovisual y este texto es el primer intento para documentar su aplicación en las escuelas. Los beneficios de este método de pensamiento logovisual son múltiples tanto para los alumnos como para los profesores y los administradores educativos.

Explaining history to children: Otto and Marie Neurath’s work on the ‘Visual history of mankind’

This essay traces the development of Otto Neurath’s ideas that led to the publication of one of the first series of children’s books produced by the Isotype Institute in the late 1940s, the Visual History of Mankind. Described in its publicity material as ‘new in content’ and ‘new in method’, it embodied much of Otto Neurath’s thinking about visual education, and also coincided with other educational ideas in the UK in the 1930s and 1940s. It exemplified the Isotype Institute’s approach: teamwork, thinking about the needs of younger readers, clear explanation, and accessible content. Further, drawing on correspondence, notes and drawings from the Otto and Marie Neurath Isotype Collection at the University of Reading, the essay presents insights to the making of the books and the people involved, the costs of production and the influence of this on design decisions, and how the books were received by teachers and children.

Beyond words: Visual metaphors that can demonstrate comprehension of KM as a paradoxical activity system

Following criticism that, in business and management, metaphor is largely verbal and primarily used to convey similarity, this paper explores how visual metaphors can communicate the anomalous and the paradoxical aspects of KM more concisely than words, whilst simultaneously presenting more tacit associations to stimulate creative thinking. It considers a series of 30 assessed posters that aimed to re-present six basic KM paradoxes through imagery that captures both the analogous and the anomalous. We found six categories of radial metaphors able to convey paradoxical complexity in a concise way. This has implications for organizations thinking about how to engage people with both the familiar and the strange. Copyright © 2011 John Wiley & Sons, Ltd.

Epic Sea Battle at Night: a Revolutionary Play with the Economic Thinking of Milton Friedman

The play Epic Sea Battle at Night was originally staged in 1967, to commemorate two of China’s People’s Liberation Army’s military triumphs over the Taiwanese navy two years previously. Produced at the height of the Chinese Cultural Revolution, the play is an example of the exploitation of the arts as an ideological instrument, celebrating military heroism and political conviction. Stills from the play were included in, China Pictorial 11, an English language propaganda pamphlet that was distributed to Western Imperialists in order to educate them in Maoist policy. Today, these images are clear representations of ideology. More than forty years after the Cultural Revolution, the ideology under which we live, neo-liberal late-capitalism, deliberately shirks from such blatant displays of propaganda. We have supposedly the freedom to believe whatever we like in a post-ideological age, and yet core beliefs about meritocracy, individualism and competitiveness frequently go unchallenged. By juxtaposing the visual language of ideology with the text of the capitalist manifesto, the re-enactment of a scene from Epic Sea Battle at Night harnesses the aesthetics of the past so as to allow us to reconsider the alleged neutrality of the present. The design of the stage, the positioning of the actors, costumes and props of the current production closely resembled those documented in China Pictorial 11, yet the actors’ monologues belong to a completely different context. No less heroic and utopian in tone than the speech given by the political instructor of gunboat 874 in the original play, the capitalist manifesto was an attempt to give a concrete language to the shapeless ideology of the present, and to force the invisible currents that govern life today, in China as in the West, to the surface. Neither a lecture on neo-liberal economics, nor a theatrical performance of a narrative, the piece appropriated the format of the propaganda play to re-evaluate the relationship between art and politics now.

Ampliação de movimentos na dança circular com pessoas com deficiência visual

This paper aims at studying how circular dance can afford to sight-disabled peoples movement and how they can learn to cope with the deep movement of relation, consciousness, appropriation and communion with the world. Inside circular dance, a cosmic metaphor, is inscribed the movement of the world, which tells and changes amorously the human history. In the works of Paulo Freire and Maurice Merleau-Ponty one can find the necessary support to discuss, as long as possible, movement and existence. Research-action is used as a methodological approach whose empirical center is placed on the Institute of Education and Rehabilitation of Blind, in Natal, which shelters eight sightdisabled adults. The research s data reveal that the practice of circular dance concurs to enlarge the movement of the research s subjects, to develop a more accurate perception of their selves and of their own capacities, as well as improve the relations Me/Others, Me/World, which require a context of differences. The study has revealed that the practice of dance develops a better perception of the limits and surpasses as a human condition and, in consequence, the discovery of one s own body and the other s body as a resource of lessons and representations of the self and of the world. It lets out the development of a new way of thinking and coping with discrimination surrounding the disabled persons. In movement, in circular dance, the barrier between sight disablement and vision loses force.

Integrating Visual and Verbal Literacies in the Early Childhood Classroom

Young children have the strong desire to use all of the communicative tools their cultures and families offer them. They want to be able to do all of the things that the powerful people they admire can do, including talking, writing, drawing, using the computer, and otherwise creating and sharing ideas, memories, solutions, even jokes and feelings. Today, we live in a time when the communicative tools are changing rapidly, practically exploding before our eyes in terms of the formats and media available to us in complex combinations not seen before. What do these technological changes mean for how we can support children's development toward literacy? An integrated arts curriculum has long been favored by many educators, but today there are more reasons than ever to implement such a philosophy. From communications theory comes a new understanding of how modern technologies demand that children learn to "read" and "write" messages involving complex combinations and integrations of visual and verbal formats. From psychology come insights about intelligence being multiple not unitary, as well as ecological perception theory offering a well-accepted framework for analyzing the affordances and expressive possibilities of different media. From education come fresh approaches to integrated curriculum, including a philosophy and pedagogy from Reggio Emilia, Italy, that combines well with current thinking by North Americans. Altogether, we have many rationales and exciting strategies at hand for launching young children toward an integrated visual and verbal literacy that involves substance, challenge, and discipline, as well as innovation, creativity, and freedom.

Core networks for visual-concrete and abstract thought content: a brain electric microstate analysis

Commonality of activation of spontaneously forming and stimulus-induced mental representations is an often made but rarely tested assumption in neuroscience. In a conjunction analysis of two earlier studies, brain electric activity during visual-concrete and abstract thoughts was studied. The conditions were: in study 1, spontaneous stimulus-independent thinking (post-hoc, visual imagery or abstract thought were identified); in study 2, reading of single nouns ranking high or low on a visual imagery scale. In both studies, subjects' tasks were similar: when prompted, they had to recall the last thought (study 1) or the last word (study 2). In both studies, subjects had no instruction to classify or to visually imagine their thoughts, and accordingly were not aware of the studies' aim. Brain electric data were analyzed into functional topographic brain images (using LORETA) of the last microstate before the prompt (study 1) and of the word-type discriminating event-related microstate after word onset (study 2). Conjunction analysis across the two studies yielded commonality of activation of core networks for abstract thought content in left anterior superior regions, and for visual-concrete thought content in right temporal-posterior inferior regions. The results suggest that two different core networks are automatedly activated when abstract or visual-concrete information, respectively, enters working memory, without a subject task or instruction about the two classes of information, and regardless of internal or external origin, and of input modality. These core machineries of working memory thus are invariant to source or modality of input when treating the two types of information.

The functional significance of EEG microstates-Associations with modalities of thinking

The momentary, global functional state of the brain is reflected by its electric field configuration. Cluster analytical approaches consistently extracted four head-surface brain electric field configurations that optimally explain the variance of their changes across time in spontaneous EEG recordings. These four configurations are referred to as EEG microstate classes A, B, C, and D and have been associated with verbal/phonological, visual, attention reorientation, and subjective interoceptive-autonomic processing, respectively. The present study tested these associations via an intra-individual and inter-individual analysis approach. The intra-individual approach tested the effect of task-induced increased modality-specific processing on EEG microstate parameters. The inter-individual approach tested the effect of personal modality-specific parameters on EEG microstate parameters. We obtained multichannel EEG from 61 healthy, right-handed, male students during four eyes-closed conditions: object-visualization, spatial-visualization, verbalization (6 runs each), and resting (7 runs). After each run, we assessed participants' degrees of object-visual, spatial-visual, and verbal thinking using subjective reports. Before and after the recording, we assessed modality-specific cognitive abilities and styles using nine cognitive tests and two questionnaires. The EEG of all participants, conditions, and runs was clustered into four classes of EEG microstates (A, B, C, and D). RMANOVAs, ANOVAs and post-hoc paired t-tests compared microstate parameters between conditions. TANOVAs compared microstate class topographies between conditions. Differences were localized using eLORETA. Pearson correlations assessed interrelationships between personal modality-specific parameters and EEG microstate parameters during no-task resting. As hypothesized, verbal as opposed to visual conditions consistently affected the duration, occurrence, and coverage of microstate classes A and B. Contrary to associations suggested by previous reports, parameters were increased for class A during visualization, and class B during verbalization. In line with previous reports, microstate D parameters were increased during no-task resting compared to the three internal, goal-directed tasks. Topographic differences between conditions concerned particular sub-regions of components of the metabolic default mode network. Modality-specific personal parameters did not consistently correlate with microstate parameters except verbal cognitive style which correlated negatively with microstate class A duration and positively with class C occurrence. This is the first study that aimed to induce EEG microstate class parameter changes based on their hypothesized functional significance. Beyond, the associations of microstate classes A and B with visual and verbal processing, respectively and microstate class D with interoceptive-autonomic processing, our results suggest that a finely-tuned interplay between all four EEG microstate classes is necessary for the continuous formation of visual and verbal thoughts, as well as interoceptive-autonomic processing. Our results point to the possibility that the EEG microstate classes may represent the head-surface measured activity of intra-cortical sources primarily exhibiting inhibitory functions. However, additional studies are needed to verify and elaborate on this hypothesis.

La metáfora visual corporeizada: bases cognitivas del discurso audiovisual

Las teorías cognitivas han demostrado que el pensamiento humano se encuentra corporeizado; es decir, que accedemos a la realidad mediante nuestros sentidos y no podemos huir de ellos. Para entender y manejar conceptos abstractos utilizamos proyecciones metafóricas basadas en sensaciones corporales. De ahí la ubicuidad de la metáfora en el lenguaje cotidiano. Aunque esta afirmación ha sido ampliamente probada con el análisis del corpus verbal en distintas lenguas, apenas existen investigaciones en el corpus audiovisual. Si las metáforas primarias forman parte de nuestro inconsciente cognitivo, son inherentes al ser humano y consecuencia de la naturaleza del cerebro, deben generar también metáforas visuales. En este artículo, se analizan y discuten una serie de ejemplos para comprobarlo.

Representational modes of thinking employed by children aged thirteen and fourteen, and their relationship to performance in standardised tests of ability, measures of creativity and personality

This thesis proposes that despite many experimental studies of thinking, and the development of models of thinking, such as Bruner's (1966) enactive, iconic and symbolic developmental modes, the imagery and inner verbal strategies used by children need further investigation to establish a coherent, theoretical basis from which to create experimental curricula for direct improvement of those strategies. Five hundred and twenty-three first, second and third year comprehensive school children were tested on 'recall' imagery, using a modified Betts Imagery Test; and a test of dual-coding processes (Paivio, 1971, p.179), by the P/W Visual/Verbal Questionnaire, measuring 'applied imagery' and inner verbalising. Three lines of investigation were pursued: 1. An investigation a. of hypothetical representational strategy differences between boys and girls; and b. the extent to which strategies change with increasing age. 2. The second and third year children's use of representational processes, were taken separately and compared with performance measures of perception, field independence, creativity, self-sufficiency and self-concept. 3. The second and third year children were categorised into four dual-coding strategy groups: a. High Visual/High Verbal b. Low Visual/High Verbal c. High Visual/Low Verbal d. Low Visual/Low Verbal These groups were compared on the same performance measures. The main result indicates that: 1. A hierarchy of dual-coding strategy use can be identified that is significantly related (.01, Binomial Test) to success or failure in the performance measures: the High Visual/High Verbal group registering the highest scores, the Low Visual/High Verbal and High Visual/Low Verbal groups registering intermediate scores, and the Low Visual/Low Verbal group registering the lowest scores on the performance measures. Subsidiary results indicate that: 2. Boys' use of visual strategies declines, and of verbal strategies increases, with age; girls' recall imagery strategy increases with age. Educational implications from the main result are discussed, the establishment of experimental curricula proposed, and further research suggested.