Re-imagining school through young people’s drawings

Children’s drawings provide rich qualitative data (Walker, 2008) and “valuable information for the assessment of children's environmental perceptions” (Barraza, 1999, p. 49). They are the primary data source being used to re-imagine school from a student perspective (Schratz & Steiner-Löffler, 1998) in a research project being carried out with primary school students in Queensland, Australia. This paper will report on the progress of this project which addresses a mostly unmet need for students’ perspectives to be included in school design (Rudduck & Flutter, 2004). Grade 5/6 students in a number of primary schools have been invited to submit annotated drawings with up to 200 words of text illustrating their ideal educational spaces. Using purpose-designed analytical tools, the submissions will be compared across student backgrounds and school types to obtain a better understanding of the needs and educational desires of young people in relation to changing learning environments. The findings will inform consideration of the design and use of educational spaces with all work exhibited through a dedicated website. The term ‘educational spaces’ avoids restrictive notions of what the concept of ‘school’ means, referring to any real or virtual space in which teaching and learning may occur or, as Ferguson and Seddon (2007) have referred to it, “the shifting imagery of education” that includes red brick schools and dispersed learning networks. The theoretical framework for this study is grounded in the work of Greene (1995) and Wright-Mills (2001) who cited the deployment of critical and empathic imagination in addressing education reform.

Analysing children’s drawings : applied imagination

This article centres on a research project in which freehand drawings provided a richly creative and colourful data source of children’s imagined, ideal learning environments. Issues concerning the analysis of the visual data are discussed, in particular how imaginative content was analysed and how the analytical process was dependent on an accompanying, secondary data source comprising brief, explanatory written texts.

Not as it seems : using Deleuzian concepts of the imaginary to rethink children’s drawings

Deleuze (1990) states in Negotiations that signs are realized in ideas. Although Deleuze referred to cinema, his thinking about signs and ideas can apply to drawings. Cinema is moving imagery and drawing is static, however both are informed and constructed from realized ideas that continue to shift beyond the artifact. Theories about children’s drawings have historically pertained to establishing schematic universalities rather than acknowledging the agglomerative connections they make to the multiple things occurring around a drawing as it is created. Universal schemas however persist within early childhood art discourses despite the growth of critical theory research into other aspects of childhood. Deleuze’s assertions about the signs and classifications of cinema help to contest notions of schematic development, i.e. children should progress through particular iconic drawing stages at particular ages. Deleuze’s quotes and thoughts on the imaginary and imagination are referenced to interrogate ‘scientific’ knowledges and the gathering of evidential truths about children’s intellectual growth and development. Four examples from a dataset of drawings from a pilot study, undertaken by the author that tested the methodological potential of intergenerational collaborative drawing in early childhood settings, facilitate focused discussion on the above contestations.

Beyond the dotted drawings : the Aboriginal Health Worker and health promotion practice

Aboriginal and Torres Strait Islander health workers' roles have changed over the years as the profession has shifted far beyond the mere provision of a cultural brokerage service. Important achievements have been made in enhancing the biomedical role of the Aboriginal and Torres Strait health worker, even though this is not the only area of expertise they need to possess.

Text segmentation in unconstrained hand-drawings in whiteboard photos

In this paper we present a robust method to detect handwritten text from unconstrained drawings on normal whiteboards. Unlike printed text on documents, free form handwritten text has no pattern in terms of size, orientation and font and it is often mixed with other drawings such as lines and shapes. Unlike handwritings on paper, handwritings on a normal whiteboard cannot be scanned so the detection has to be based on photos. Our work traces straight edges on photos of the whiteboard and builds graph representation of connected components. We use geometric properties such as edge density, graph density, aspect ratio and neighborhood similarity to differentiate handwritten text from other drawings. The experiment results show that our method achieves satisfactory precision and recall. Furthermore, the method is robust and efficient enough to be deployed in a mobile device. This is an important enabler of business applications that support whiteboard-centric visual meetings in enterprise scenarios. © 2012 IEEE.

Letter from Thomas Hope, architect, regarding drawings for ark of new synagogue

Digital image

The art of human rights : enriching the life of the law school through drawings and other visual resource

In the life of the Law School, focus on the “visual” can operate at three different levels: learning, teaching, and examining (legal concepts). My main interest in this paper is to explore the latter level, “examining”, broadly considered so as to encompass evaluation in general. Furthermore, that interest is pinned down here to the area of constitutional rights and human rights in general, even though the conclusions reached can (and should) likely be extrapolated to other areas of the law... In effect, the first logical step regarding the relevance of the visual approach has to do with using it yourself when you study —assuming that you came to the conclusion that you are a “visual learner”. As you know, VARK theorists propose a quadripartite classification of learners. The acronym VARK stands for Visual, Aural, Read/write, and Kinesthetic sensory modalities that are used for learning information. This model was designed in the late 80s by Neil Fleming and it has received some acceptance and a lot of attention...

Charles M. Breder, Jr.: drawings

Among the papers of Dr. Charles M. Breder bequeathed to the Mote Marine Laboratory by the Breder family are a series of drawings of larval fish and eggs done from 1917 through 1929. The drawings were made with pencil on half and full sheets of buff colored paper. The half sheet drawings are of larval fish, most of which are not identified. The full sheet drawings often contain comments and notes related to laboratory work on fish egg development, and made during the summer of 1929 when Breder was working in the Dry Tortugas.

The Three-Dimensional Interpretation of a Class of Simple Line-Drawings

We provide a theory of the three-dimensional interpretation of a class of line-drawings called p-images, which are interpreted by the human vision system as parallelepipeds ("boxes"). Despite their simplicity, p-images raise a number of interesting vision questions: *Why are p-images seen as three-dimensional objects? Why not just as flatimages? *What are the dimensions and pose of the perceived objects? *Why are some p-images interpreted as rectangular boxes, while others are seen as skewed, even though there is no obvious distinction between the images? *When p-images are rotated in three dimensions, why are the image-sequences perceived as distorting objects---even though structure-from-motion would predict that rigid objects would be seen? *Why are some three-dimensional parallelepipeds seen as radically different when viewed from different viewpoints? We show that these and related questions can be answered with the help of a single mathematical result and an associated perceptual principle. An interesting special case arises when there are right angles in the p-image. This case represents a singularity in the equations and is mystifying from the vision point of view. It would seem that (at least in this case) the vision system does not follow the ordinary rules of geometry but operates in accordance with other (and as yet unknown) principles.

Generating Semantic Descriptions From Drawings of Scenes With Shadows

The research reported here concerns the principles used to automatically generate three-dimensional representations from line drawings of scenes. The computer programs involved look at scenes which consist of polyhedra and which may contain shadows and various kinds of coincidentally aligned scene features. Each generated description includes information about edge shape (convex, concave, occluding, shadow, etc.), about the type of illumination for each region (illuminated, projected shadow, or oriented away from the light source), and about the spacial orientation of regions. The methods used are based on the labeling schemes of Huffman and Clowes; this research provides a considerable extension to their work and also gives theoretical explanations to the heuristic scene analysis work of Guzman, Winston, and others.

Mission tales in the days of the dons, by Mrs. A.S.C. Forbes ... with nine full page illustrations and decorative drawings, by Langdon Smith.

http://www.archive.org/details/missiontalesday00forbrich

An exploration through interview and drawings of the experiences of patients diagnosed with oral cancer across their cancer trajectory

Background: The treatment of oral cancer is complex and lengthy. Curative treatment implies a combination of surgery, radiotherapy and chemotherapy. The main goal of treatment is to guarantee long-term tumour free survival with as little functional and cosmetic damage. Despite progress in developing these strategies, cancers of the oral cavity continue to have high mortality rates that have not improved dramatically over the past ten years. Aim: The aim of this study was to uniquely explore the dynamic changes in the physical, psychological, social and existential experiences of newly diagnosed patients with oral cancer at two points across their cancer illness trajectory i.e. at the time of diagnosis and at the end of treatment. Methodology: A qualitative prospective longitudinal design was employed. Non-probability purposive sampling allowed the recruitment of 10 participants. The principal data collection method used was a digital audio taped semi-structured interview along with drawings produced by the participants. Analysis: Data was analysed using latent content analyses. Summary: Three ‘dynamic’ themes, physical, psychosocial and existential experiences were revealed that interact and influence each other in a complex and compound whole. These experiences are present at different degrees and throughout the entire trajectory of care. Patients have a number of specific concerns and challenges that cannot be compartmentalised into unitary or discrete aspects of their daily lives. Conclusion & Implications: An understanding of the patient’s experience of their illness at all stages of the disease trajectory, is essential to inform service providers’ decision making if the delivery of care is to be client centred. Dynamic and fluctuating changes in the patient’s personal experience of the cancer journey require dynamic, energetic and timely input from health care professionals.

Exploring Children's Stereotypes Through Drawings: The Case of Musical Performance

Drawings of 'a person' and of 'a person playing music' were collected from children aged seven to eight years and 10-11 years to discover whether children's musical representations would reflect gender differences evident in musical learning and performance, and the increased gender rigidity with age found in instrument preferences. As in previous drawing studies, same sex figures were overwhelmingly portrayed, although older girls drew more opposite sex figures than the other children. All except the older girls overwhelmingly drew same sex musicians irrespective of the gender stereotype of the instrument portrayed. The older girls drew similar numbers of male and female figures playing masculine instruments. Fewer feminine instruments were drawn by older than by younger boys. The increased gender rigidity with age accords with the results of the preference studies, but gender stereotyping was much weaker. This is discussed in relation to what the different methodologies measure.