Ogorody kolkhoza imeni Molotova v poselke "Gortenshtadt"

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Karta Kryma s naneseniem evreǐskikh pereselencheskikh otvodov

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Proekt tipovogo zdanii︠a︡ dli︠a︡ pereselencheskikh uchastkov, obsluzhivaemykh Agrodzhoĭntom

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Proekt tipovoĭ kooperativnoĭ lavki dli︠a︡ evreĭskikh pereselencheskikh poselkov, obsluzhivaemykh Agrodzhoĭntom

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Proekt syrovarni dli︠a︡ pereselencheskikh uchastkov obsluzhivaemykh Agro-dzhoĭntom

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Proekt zdanii︠a︡ mashinogo sarai︠a︡

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Tipovoĭ proekt inkubatorii︠a︡

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Proekt tipovoĭ shkoly dli︠a︡ pereselencheskikh uchastkov obsluzhivaemykh Agrodzhoĭntom

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Letter of thanks to Joseph Rosen

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Letter of thanks to Joseph Rosen from the Ekaterinoslav community

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Letter of thanks to Joseph Rosen from the Ukrainian Jewish community, Kharkiv

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Zapys zemelʹnyĭ Na pravo korystovanni︠a︡ zemli︠u︡, shcho znakhoditʹsi︠a︡ v Odeskoï guberni Peryletravenʹsʹkyĭ okruzi Kantakuzenʹsʹy raʹoni pid nazvoi︠u︡ Trudovyshyĭ artilʹ Slava

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Zapys zemelʹnyĭ Na pravo korystovanni︠a︡ zemli︠u︡, shcho znakhoditʹsi︠a︡ v Odeskoï guberni Peryletravenʹsʹkyĭ okruzi Kantakuzenʹsʹy raʹoni pid nazvoi︠u︡ Trudovyshyĭ artilʹ Slava

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Ticket to an exhibition

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The radical in arts education research

Arts education research, as an interdisciplinary field, has developed in the shadows of a number of research traditions. However amid all the methodological innovation, I believe there is one particular, distinctive and radical research strategy which arts educators have created to research the practice of arts education: namely arts-based research. For many, and Elliot Eisner from Stanford University was among the first, arts education needed a research approach which could deal with the complex dynamics of arts education in the classroom. What was needed was ‘an approach to the conduct of educational research that was rooted in the arts and that used aesthetically crafted forms to reveal aspects of practice that mattered educationally’ (Eisner 2006: 11). While arts education researchers were crafting the principles and practices of arts-based research, fellow artist/researchers in the creative arts were addressing similar needs and fashioning their own exacting research strategies. This chapter aligns arts-based research with the complementary research practices established in creative arts studios and identifies the shared and truly radical nature of these moves. Finally, and in a contemporary turn many will find surprising, I will discuss how the radical aspects of these methodologies are now being held up as core elements of what is being called the fourth paradigm of scientific research, known as eScience. Could it be that the radical dynamics of arts-based research pre-figured the needs of eScience researchers who are currently struggling to manage the ‘deluge of Big Data’ which is disrupting their well-established scientific methods?