Appearing pedagogy : from embodied learning and teaching to embodied pedagogy

In this paper images are used to support the conceptualisation and recognition of embodied pedagogy. Analysis of data gathered during an arts-based teaching project in pre-service teacher education revealed the presence of an embodied pedagogy and supports the further deployment of embodied teaching and learning in teacher education. Embodied pedagogy includes embodied teaching and embodied learning but is conceptualised through ‘pedagogy as relational’ – between teaching and learning and between teacher and learner. Through image this paper presents traces of embodied pedagogy from the classroom. These tracings of embodied pedagogy in classrooms defy baseline certainty and instead assert Benjamin’s thesis that knowledge can only ‘stand up’ through multiplicity, through all acts of knowing.

Orbiting data: inciting centrifugal questions about embodied learning in science

In this paper we explore how reanimating a video data sequence with editing and creative software provided an opportunity for the data to speak and to demand new and surprising responses from us. Our data-ing brought new lines and spaces to the fore, through a process of refraction and re-animation which forced a focus on embodied inter-relationships and impeded precipitous analytical thought on the part of the researcher. We note how the aesthetic of the new images evoked awareness of our own part in the production of the object of our research. In particular, our own collegial interchange, punctuated by time and distance due to our respective locations on opposite sides of the globe, opened up a space for data-lingering in the intervening silences and pauses. Our choice of images engenders and reflects our sense of movement between the `I’ and the `we’ in their depiction of students’ learning about space.

Viewpoints, creativity and embodied learning : developing perceptual and kinaesthetic skills in non-dancers studying undergraduate university drama

Viewpoints are a structural approach to training and directing for theatre. Originating from the innovative, inventive and exploratory approach of Mary Overlie and the self- confessed scavenger approach of Anne Bogart, Viewpoints offers a practical philosophy of working. As a training approach it begins with a disciplined engagement  of the body in space and time. The tangible elements of the Viewpoints provide a set of tasks on which the student can focus, thus freeing the imagination and spirit to  create. Yet at the same time the systematic logic of Viewpoints supports novice practitioners to begin to question their perception, invest in creative practice that demands action and exploration, and to deconstruct, re-organise and rebuild scores and sequences in the pursuit of theatre that is visceral and visual. This essay reports on undergraduate student experiences of learning Viewpoints. It interrogates the demands of embodied learning of the movement/structural system on non- ancers and examines student-actor experiences of embodied learning from multiple of subject positions – observer/participant/creator/reflector/actor.  

Teaching an Old Robot New Tricks: Learning Novel Tasks via Interaction with People and Things

As AI has begun to reach out beyond its symbolic, objectivist roots into the embodied, experientialist realm, many projects are exploring different aspects of creating machines which interact with and respond to the world as humans do. Techniques for visual processing, object recognition, emotional response, gesture production and recognition, etc., are necessary components of a complete humanoid robot. However, most projects invariably concentrate on developing a few of these individual components, neglecting the issue of how all of these pieces would eventually fit together. The focus of the work in this dissertation is on creating a framework into which such specific competencies can be embedded, in a way that they can interact with each other and build layers of new functionality. To be of any practical value, such a framework must satisfy the real-world constraints of functioning in real-time with noisy sensors and actuators. The humanoid robot Cog provides an unapologetically adequate platform from which to take on such a challenge. This work makes three contributions to embodied AI. First, it offers a general-purpose architecture for developing behavior-based systems distributed over networks of PC's. Second, it provides a motor-control system that simulates several biological features which impact the development of motor behavior. Third, it develops a framework for a system which enables a robot to learn new behaviors via interacting with itself and the outside world. A few basic functional modules are built into this framework, enough to demonstrate the robot learning some very simple behaviors taught by a human trainer. A primary motivation for this project is the notion that it is practically impossible to build an "intelligent" machine unless it is designed partly to build itself. This work is a proof-of-concept of such an approach to integrating multiple perceptual and motor systems into a complete learning agent.

The pedagogy of activism : learning to change the world

Much of the theorisation regarding radical adult education in Australia has concentrated on activists' pedagogy in the context of critical learning. Learning in social action is largely seen as taking place informally; it is tacit and implied and not always identified or articulated as knowledge or learning. This paper argues how activists' learning is embodied; the whole person is central to how meaning is made. A person's learning is embedded in significant identity change as they 'learn to be and become an activist'. Activists use their emotions, cognition and their physical body to make meaning. The symbolic use of the body is particularly important in the processes of direct action. Activists' learning is mainly informal, social and situated in practice, and they learn from one another by socialisation in a community of practice. Central to the paper is there is much to be learned from the important pedagogy of these activists, I argue that learning in radical adult education should be more prominent in the current discourses of lifelong learning and adult education in general.

Knowmore (House of Commons)

Knowmore (House of Commons) is a large scale generative interactive installation that incorporates embodied interaction, dynamic image creation, new furniture forms, touch sensitivity, innovative collaborative processes and multichannel generative sound creation. A large circular table spun by hand and a computer-controlled video projection falls on its top, creating an uncanny blend of physical object and virtual media. Participants’ presence around the table and how they touch it is registered, allowing up to five people to collaboratively ‘play’ this deeply immersive audiovisual work. Set within an ecological context, the work subtly asks what kind of resources and knowledges might be necessary to move us past simply knowing what needs to be changed to instead actually embodying that change, whilst hinting at other deeply relational ways of understanding and knowing the world. The work has successfully operated in two high traffic public environments, generating a subtle form of interactivity that allows different people to interact at different paces and speeds and with differing intentions, each contributing towards dramatic public outcomes. The research field involved developing new interaction and engagement strategies for eco-political media arts practice. The context was the creation of improved embodied, performative and improvisational experiences for participants; further informed by ‘Sustainment’ theory. The central question was, what ontological shifts may be necessary to better envision and align our everyday life choices in ways that respect that which is shared by all - 'The Commons'. The methodology was primarily practice-led and in concert with underlying theories. The work’s knowledge contribution was to question how new media interactive experience and embodied interaction might prompt participants to reflect upon the kind of resources and knowledges required to move past simply knowing what needs to be changed to instead actually embodying that change. This was achieved through focusing on the power of embodied learning implied by the works' strongly physical interface (i.e. the spinning of a full size table) in concert with the complex field of layered imagery and sound. The work was commissioned by the State Library of Queensland and Queensland Artworkers Alliance and significantly funded by The Australia Council for the Arts, Arts Queensland, QUT, RMIT Centre for Animation and Interactive Media and industry partners E2E Visuals. After premiering for 3 months at the State Library of Queensland it was curated into the significant ‘Mediations Biennial of Modern Art’ in Poznan, Poland. The work formed the basis of two papers, was reviewed in Realtime (90), was overviewed at Subtle Technologies (2010) in Toronto and shortlisted for ISEA 2011 Istanbul and included in the edited book/catalogue ‘Art in Spite of Economics’, a collaboration between Leonardo/ISAST (MIT Press); Goldsmiths, University of London; ISEA International; and Sabanci University, Istanbul.

Thinking as if you are another : drama, persuasive language and pretexts

Using Shaun Tan’s picture book Rules of Summer (2013) as a pretext, this practical session will explore how primary teachers can engage middle and upper primary students in drama-based activities that support student learning and assessment outcomes in both English and The Arts (with a particular emphasis on drama and media arts). The session will explore notions of persuasive text (written and oral), points of view, devised storytelling and embodied learning.

Live from the Sydney Opera House: Remote musical interactions for teacher professional development

A significant challenge for the implementation of the Australian Curriculum: The Arts is the professional development of primary school teachers in all parts of the country. During 2012, the Sydney Symphony Orchestra (SSO) conducted a remote music professional development workshop as part of the Sydney Opera House’s Digital Education Program for teachers in New South Wales using the Department of Education’s Connected Classroom system which allows live synchronous interaction between facilitators and participants in multiple sites. In this article, we analyse observational and videotape data collected during this live professional development event to consider the opportunities and challenges presented by this type of professional learning experience in the arts. In particular, consideration is given to the impact of a remote musical interaction on embodied learning and aesthetic experience. We draw on actor-network theory to consider the ways in which a remote professional development experience differs to one in which all participants are present in the same space. Finally, we conclude that although there are significant differences in the type of learning that occurs in a remote music interaction, the online space provides a legitimate and potentially transforming experience for primary school teachers.

Creative adaptations: Integrating Feldenkrais principles in contemporary dance technique to facilitate the transition into tertiary dance education

As conservatoire-style dance teaching has traditionally utilised a hierarchical approach through which the student must conform to the ideal requirements of the conventional technique, current discourse is beginning to question how dance training can develop technical acuity without stifling students' ability to engage creatively. In recent years, there has been growing interest in the field of somatics and its relationship to tertiary dance training due to the understanding that this approach supports creative autonomy by radically repositioning the student's relationship to embodied learning, skill acquisition, enquiry and performance. This research addresses an observable disjuncture between the skills of dancers graduating from tertiary training and Australian dance industry needs, which increasingly demand the co-creative input of the dancer in choreographic practice. Drawing from Action Research, this paper will discuss a project which introduces somatic learning approaches, primarily from Feldenkrais Method and Hanna Somatics, to first-year dance students in their transition into tertiary education. This paper acknowledges previous research undertaken, most specifically the Somdance Manual by the University of Western Sydney, while directing focus to the first-year student transition from private dance studio training into the pre-professional arena.

Handbook of International Research in Mathematics Education [3rd Ed.]

"This third edition ofthe Handbook of International Research in Mathematics Education provides a comprehensive overview of the most recent theoretical and practical developments in the field of mathematics education. Authored by an array of internationally recognized scholars and edited by Lyn English and David Kirshner, this collection brings together overviews and advances in mathematics education research spanning established and emerging topics, diverse workplace and school environments, and globally representative research priorities. New perspectives are presented on a range of critical topics including embodied learning, the theory-practice divide, new developments in the early years, educating future mathematics education professors, problem solving in a 21st century curriculum, culture and mathematics learning, complex systems, critical analysis of design-based research, multimodal technologies, and e-textbooks. Comprised of 12 revised and 17 new chapters, this edition extends the Handbook’s original themes for international research in mathematics education and remains in the process a definitive resource for the field."--Publisher website

Peace moves: Dance, identity and peacebuilding

Dance is a potential asset for peacebuilding, creating opportunities for nonverbal, embodied learning, exploring identity, and relationships. Peace scholars consider identity and relationships to the ‘other’ as key components in transforming conflict. Focusing on a case study in Mindanao, the Philippines, this paper explores the potential of dance in a peacebuilding context through embodied identity and relationships. In Mindanao, deep-seated cultural prejudices contribute to ongoing conflict entwined with identity. The permeable membrane (Cohen, Gutiérrez & Walker, 2011) is the organising framework describing the constant interaction between artists, facilitators, participants, and communities. It expands peace scholar John Paul Lederach’s concept of the moral imagination, requiring the capacity to envisage one’s self within a web of relationships. In this paper multiple methods of qualitative research including personal interviews are used to further the discussion regarding dance’s potential to diversify the nonverbal tools available for peacebuilding.

Homework : a situated practice

This paper will present a speculative account of homework as a situated and embodied practice, uniquely shaped by the pedagogical spaces created within homes by families as homework is completed. The paper will argue that these domestic spaces generate 'lines of flight' which are less readily captured than those of the classroom. Brief case studies of interactions between parents and children around homework will be presented and used to explore parallels between the situated, embodied learning experiences of 'doing homework' and participation in the multiple forms of pedagogical exchange possible through an internationalised doctoral program.

Education for a new 'museology'

This article provides a critical reading of a curriculum initiative in tertiary education designed to address students who are traditionally marginalised in the Australian tertiary sector. An argument is made that this curriculum approach with its emphases on authenticity, identity, agency and embodied learning addresses issues of the disjunct between access to knowledge, museums and cultural capital. The political work of this curriculum is situated in the new museology. The author draws on Ellsworth's sensation of learning to elaborate the contributions made possible by the curriculum Learning and teaching in public spaces to museum education and tertiary education.