Visual styles, hidden discourses

Formakademisk, 2023

This article reports the findings of a study aimed at exploring the visual discourses at a Chilean education university. First, building on the classic 'hidden curriculum' and 'school art style' literature, it justifies the need to discuss how higher education institutions model the ways through which teachers-to-be comprehend and use visual resources. Second, the article presents the results of a critical visual methodology performed in the oldest education university in Chile. Through a visual discourse analysis of the experience of walking around the campus, it elaborates on the university's visual styles comprising the themes, technologies and locations of artefacts. Third, it discusses the relationships between courtyard and hallway images loaded with critical motivations and classroom images portraying stereotyped and anachronistic views of childhood. The article concludes by urging to incorporate quality visual pedagogy orientations in teacher education.

Paedagogica Historica

This introduction to the special issue on Images and Films as Objects to Think With presents a historiographical reflection on how images are being approached in the field of educational history. In recent years, much of the work has been situated at the intersection of visual and material studies; images are considered objects with which humans interact, carrying affects and particular materialities that condition their experience; they are taken as historical artefacts that bring out a plurality of meanings, which continue to grow with each new reading or approach. This introduction presents the articles that are included in this special issue as well as a final commentary written by Lynn Fendler that engages in a dialogue with them. The articles move away from considering the visual as a transparent source with a stable meaning, and open up different possibilities for working with and through it. They also problematise and expand the archives in which historians work; by looking at various surfaces in which images are exhibited and circulate, such as books, reports, art shows, films, magazines, and collective memories, these studies point to the "affective and effective histories" that images tell, and invite new research agendas for a visual history of education. 1 see Marc depaepe and Bregt Henkens, eds., The Challenge of the Visual in the History of Education. Paedagogica Historica, supplementary series 6 (ghent: csHP, 2000).

Proceedings of the International and Interdisciplinary Conference IMMAGINI? Brixen, Italy, 27–28 November 2017., 2017

Over the twentieth century, visual anthropology and visual sociology defined a way of conducting research which placed the supremacy of the written text as the only scientifically recognised form for collecting and processing empirical data in crisis, affirming the legitimacy of research into visual repertories (photographs, films, videos) deemed as "significant data" in the socio-anthropological field. We must ask why "visual pedagogy" has not developed in the same way, taking on the importance of the "educational act" as a specific object of representations. In the field of pedagogy, the visual dimension has remained substantially linked to teaching devices, with only a subsidiary function aiming to improve teaching and learning processes. This essay aims to introduce and define Visual Pedagogy as a field of study and research with images and on images which represent educational events, demonstrating their specificity and scientific consistency.

2007

The book is a study of the range of image-making and image-interpreting practices in an average university, with no particular stress on art. There are chapters by doctors, lawyers, scientists of all sorts, engineers, humanists, social scientists... it is a cross-section of the actual production of images in the university, and a corrective to the special interests of visual studies. This file contains the opening pages, table of contents, preface, and the lengthy introduction, which assesses the state of scholarship on art / science links, including critical reviews of scholars who write on the "science of art" or vice versa. The introduction also draws out common themes in the 30 disciplines that participated in the exhibition, arguing that it is possible to consider images in various fields without using tropes from the humanities or social sciences as explanatory tools--in other words, by letting the different disciplines speak in their own languages. The ultimate purpose of the introduction, and the book as a whole, is to justify a university-wide course on visual experience, which would introduce students to work in all faculties or divisions of the university. Such a course would be a corrective to the almost exclusively humanities-based perspective of existing "visual culture" courses; and it would also be an interesting acknowledgment of the visual nature of much of contemporary research and experience (running, as it would, against the grain of other freshman courses, in which words and equations continue to be preeminent).

2017

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Postdigital Science and Education , 2021

Within the space of this collective image/text article, 18 photographic imagemakers and 4 respondents consider deeply and dialogically a quote from William Ayers' 2016 book Teaching with Conscience in an Imperfect World: An Invitation. The resulting constellation of images and words (1) realizes a space within which works of art, specifically photographs, operate as centers of meaning to generate educational implications, and (2) theorizes a pedagogy that resists unilateral prescriptions and is instead anchored around openness, expansion, and individualization. The paper begins with a few short pieces from Sarah Pfohl, including an overview of Ayers' book and ideas from writings on progressive education, object-based teaching and learning, and close/slow looking to position works of art as sites of rich meaning. While contemporary schooling often drives toward monolithic, numerical representations of the learners in its care, the article employs postdigital gestures to argue that learners have more in common with works of art than numbers, and thus, attention to artworks can open valuable implications for teaching and learning. The diverse group of images that follow offer an emerging portrait of teaching practice as a set of constantly shifting constellations moving across deep time and space from the intensely specific to the wide. Four texts think more about schools, education, and art. Finally, there is a postscript from Bill Ayers himself.

In this special issue we offer an extensive exploration and conceptualization of the visual and material dimensions of education and learning, bringing together a cluster of emerging scholarly ventures that investigate how people create, explore, interpret, negotiate, adjust, contest, transform and envision learning environments. This edited collection of research papers shows the versatility of the growing field of schoolscape studies and the high potential of recent theoretical and methodological innovations to investigate the visual and material dimensions of education and learning. The studies share the view that premises designed for education as well as other spaces can equally serve as sites of teaching and learning. Among others, the papers ask what the environment offers and how images, multimodal texts and artifacts can be used to enhance (language) learning and communication. The empirical case studies apply a wide range of theoretical and methodological approaches, bringing innovation into the generation, presentation and analysis of data from varying educational institutions and mundane settings covering geographical sites from Europe and North America.

2021

The present research study deepen knowledge on the viewpoints of future primary education teaching professionals regarding issues associated with the educational system and its creative capacity. A study was carried out with 216 students undertaking the Primary Teaching Degree of the University of Granada. Participants were required to develop a conceptual photograph which reflected their thoughts regarding weaknesses of the educational system. The resultant pieces served as a research tool following the performance of formal and content analysis. The future teachers identify weaknesses classified in two broad spheres. The first refers to issues of a political or institutional nature which affect education at a general level. The second refers to teaching methods and education at a more localised or specific level. This is a line of work in art education that serves to stimulate a critical view of the educational system in the training of future teachers.

2009

Study 4.2 Cultural Context of the Study 4.3 Widened Teamwork and a Transformed Approach to Education 4.4 ReConsideration of the Arts Based Learning Practice 4.5 Transformative and Theme Based Learning 4.6 Textbooks and Teacher Tutorials-A Process of Naming and Production 4.7 Reflections on Narrated Back-Formation 4.8 Relating Imagination and Rhizomes 5. THE MULTIMODAL MONTAGE 5.1 Mediating Arts Based Learning Practice 5.2 The Art Informed Researcher 5.3 Montage and Artology 5.4 The Farmer Paul Montage 5.5 Interpretation of the Montage 5.6 Exploring Students´ Experiences of Aesthetic Response 6. CONCLUSION: AN AESTHETIC APPROACH TO EDUCATION 6.1 Third Spaces 6.2 Aesthetic Distance and Aesthetic Approach 6.3 Lived Inquiry 6.4 Poetic Documentation and Hermeneutic Pixels 6.5 The Rhizomatic Formation 6.6 Concluding Comments 7. SUMMARy IN SWEDISH AND FINNISH Fantasins bilder. Om ett estetiskt förhållningssätt till bildning Kuvia mielikuvituksesta. Esteettinen lähestymistapa kasvatukseen 8. REFERENCES 9. APPENDIx Tables, Figures and Images The Farmer Paul Poem in Swedish About the Title Images are human worked matter. They are reconstructed pieces: photographs, figures, maps or graphs rendered manually by drawing, painting, and carving, or automatically by printing or computer graphics. Additionally, images are captured by optical devices: cameras, mirrors, lenses, or by natural objects and phenomena, such as water surfaces. Images also exist in the individual's mind resulting from a process of imagination.

Studies in Philosophy and Education, 2021

The purpose of this paper is to introduce everyday aesthetics in education. First, it presents everyday aesthetics as a subdiscipline within philosophical aesthetics, that revisits sensory perception as the backdrop of all experience, claims ordinary life is a proper venue for aesthetic inquiry, and problematizes the impact aesthetic preferences have on habitual deci-sions. Second, the paper argues that among the diverse matters students learn in school, they learn—explicitly or implicitly—what and how to perceive, as well as the pedagogical purposes of daily perception. School models the relationships that students will develop between what they perceive, what they think about it, and how they act accordingly. Next, the paper elaborates on the notions of “school aesthetic matrixes” and “space and place in school”. School aesthetic matrixes refer to perceptual patterns that allow characterizing relationships between daily perception and the pedagogical project of a school. They mani-fest through expressions such as prison school, home school, mall school, etc. Space and place in school allude to concomitant experiences, of corporeal basis, that allow describ-ing how we inhabit the world. What distinguishes them is the approach each one gives to the senses and the body. The paper concludes by calling attention to the comprehension and role of perception in education, urging to mind the aesthetic-pedagogical character that students develop throughout 12 years of schooling. Ultimately, the key relationships we develop with ourselves, others, and the world, entail a basic perceptual dimension that can be educated to become more purposefully and integrally present in life.