Arts Integration

The purpose of the study is to determine the effect of the use of artistic practices in different curriculum areas on learning skills. For this reason, a plan for the art integration method has been created to be applied in the subjects determined in the science course. The research was conducted with fifth-grade students studying at a public secondary school in Samsun. Consisting of 40 students, the study group was divided into two halves as the experimental and the control group, each containing 20 persons. Research data was collected by a Science Achievement Test prepared by the researcher accompanied by an expert opinion. The findings show that using the art integration method in science course increases student success. Compared to the posttest of the experimental and control groups, it was found that the success rate of the experimental group was significantly higher than that of the control group. The research findings indicate that; art integration have a potential to contri...

Children with a low socio-economic background frequently fail to reach a high level of scholastic performance during their school years. The school milieu is a potential contributor to this scenario, as schools are generally designed for the attributes, needs, and skill levels that are characteristic of children from middle socio-economic backgrounds. As a result, these children require specific intervention to enable them to function within this 'alien' system. Drama offers unique and exciting possibilities in this field. Previous research endorses the use of improvisational strategies for this specific purpose; and the theories propounded by learning and language theorists and drama educationalists provide a strong theoretical framework. This study involved a sample of 56, 9 to 10 year old students with low socio-economic backgrounds. An 8 week improvisational drama programme (16 one-hour sessions) was administered to half the students, while the others served as a control. The design of this study was quasi experimental and followed a pre-test/training/post-test format. The study aimed to assess the effectiveness of this programme by both quantitative and qualitative methods. The purpose of this study, therefore, was to assess whether improvisational dramatic strategies would affect three skill areas of oral comprehension (translation, interpretation, and extrapolation) and also, children's attitudes both toward themselves and others. '""""" " .

De professionelle udviklingsprojekter KiU og QUEST analyseres i et tvaergaende perspektiv for karakteristiske oplevede udbytter, udfordringer og muligheder for professionel laering. Analyse og diskussion forankres bl.a. i et saet teoretisk baserede tematiseringer ift. generelt design af udviklingsaktiviteter. Analysen viser at erfaringsudveksling med kolleger fremhaeves pa tvaers af modeller. KiUlaerere fremhaever desuden oget selvtillid i samspil med elever og kolleger, foranlediget af den formelle uddannelse i undervisningsfaget. Fagdidaktisk indhold kan give ejerskab og danne afsaet for laering og ny fagforstaelse og professionel identitet (phronesis), men paedagogisk teori og forskning kan ogsa vaere svaert at knytte meningsfuldt til egen professionelle praksis.

Cross-curricular competencies are developed by engaging multidimensional and integrated learning through the teaching of all school subjects. In addition to its interdisciplinary approach, this way of teaching should actively and equally engage students in opportunities created for social learning and collaboration, experiential learning, and creative problem-solving. The values included in this teaching process need to be carefully defined and aligned. In this paper, we present an overview of attitudes that propose contemporary art as a reference framework for defining values and as a model for the practical implementation of interdisciplinary teaching in art education. Creativity, critical thinking in problem-solving, communication skills, cooperation, personal engagement, and even research, are the terms that are often misdefined in practice, reduced to loose associations, and are essentially only formally dealt with. Overviewing the literature on the correlation of these concepts with the practice and methods of contemporary conceptual artists, the paper examines and defines the nature of these connections, which can further contribute to a better understanding of the potential of interdisciplinary art teaching in the development of cross-curricular competencies. In this paper, we explain the integrative nature of contemporary art, which is reflected in the connection of different cultures, perspectives, genres, techniques and materials, forms and contents, and arts and crafts. In addition, the practice of contemporary conceptual artists incorporates research elements and emphasizes the creative component of the research process. Transparency of creative and cognitive processes that take place in artistic work, cooperation, and social activism of contemporary artists are presented here as a key feature of contemporary conceptual art in shaping the model of teaching for the development of cross-curricular competencies.

The paper investigates pre-service primary general teacher-students' perceptions of how music can act as a stimulus for writing, through short story group writing activities. More specifically, we look at their attitudes regarding i) team collaboration, ii) the enhancement of their creativity, iii) classroom atmosphere, iv) the suitability of the activities for their implementation in primary school classes in the future and v) the advantages the use of music can have for language development. In our study, pre-service primary general teacher-students' views were shaped by the experiences they gained from their participation in group activities which were implemented as part of an undergraduate elective course, entitled "Music Education". The participants recorded their ideas on worksheets. Data were collected through observation, diaries and questionnaires with open and closed-ended questions. The results revealed that the pre-service primary general teacher-students had a positive attitude towards story inventing and story writing activities based on musical stimuli. Such activities boosted their creativity and gave them the opportunity to develop their teamwork skills as well as to participate in a pleasant and innovative classroom atmosphere. Finally, they were positive about the suitability of the activities for their future students and the advantages the use of music can have in language lessons for teachers, students and the educational process. Index Terms-music and language, writing, creativity, pre-service primary general teacher education, arts in education 3 Similar benefits are obtained from the use of gamification in education (i.e., see Kapsalis et al. (2020) for a discussion on the effectiveness of Kahoot! as a formative assessment tool in foreign language teaching, among other studies).

This study explores the reflections of first-year university students (N=18) at a Department of Early Years Learning and Care in Greece on the implementation of music activities to 4-year-old children (N=16) of a nursery school in the Prefecture of Ioannina who visited the university classroom in the context of the course "Music Pedagogy". The freshmen pre-service early years teacher-students prepared the musical activities with the trainer-researcher aiming to familiarization of the children with the concept of the musical ensemble/orchestra as well as with the means of musical expression (voice, rhythmic and melodic percussion instruments, body percussion). The pre-service early years teacher-students implemented the activities, taking on specific roles. To facilitate their reflections, they were given questions so as to record their thoughts and feelings during their engagement. The qualitative analysis of the teacher-students' answers highlighted their positive view of being engaged with authentic teaching. In addition, they showed satisfaction with their teaching ability, felt that they confirmed their choice of future profession, revised some of their erroneous views regarding the perceptual abilities of young children, and identified the advantages of early years music education both from their current experience in the educational intervention and from the courses in the first year of their undergraduate studies concerning music education.

Industry and authors of 21 st Century Skill Frameworks are calling for student proficiency in creativity, problem-solving, innovation, collaboration, and communication skills. This project involved 13 fifth grade gifted students in inventing products for a specified audience with a set of given materials, time limit, and topic constraints. The complex, challenging project supports Next Generation Science Engineering Process Standard 3-5-ETS1-2 and applies concepts of plant and animal adaptations. The study had a counterbalanced, repeated measures design in which student made an initial invention during the pretest, then participated in two trials with one in the control condition and the other in the experimental condition. The experimental condition involved creative articulation strategies of considering the audience for the invention, effective communication of the ways the product meets audience needs, and peer collaboration and feedback to improve the product ideas. Students found the invention process initially very challenging, especially generating unique ideas. No statistically significant differences were found in product creativity or student attitudes, which were very positive, between the two conditions of the experiment, likely because of the small sample size. Analysis of student advertisements revealed a statistically significant difference favoring the experimental condition with a medium effect size for including reasons the product meets audience needs in the advertisement. Examples of student-made products and teacher analysis of selected products provide ideas for coaching students into higher creative skill levels. Additionally, statistically significant gains in creativity skill occurred from the pretest to the invention of the product during the first trial and this was maintained into the second trial with large effect size. This study showed that multiple invention opportunities allowed students to develop their skills better than a single activity. The challenging, complex activities helped students achieve a state of flow as they worked during the experiment and helped students develop their creativity.

This article examines the impact of two approaches to teacher professional development in arts integration-a summer institute model and a model combining the summer institute with instructional coaching. In an experimental design, the intervention trained third and fourth grade teachers to integrate visual arts and theater into reading curriculum. Findings suggest the coaching plus institute intervention had a greater impact on teacher confidence, use and frequency of arts integration than the institute-only intervention or the comparison group. Coached teachers reported greater confidence integrating the arts, produced higherquality work samples, taught more reading concepts with arts integration, implemented more arts standards, and used arts integration more frequently than did the institute-only teachers or the control group teachers. Coached teachers reported in greater numbers about the positive impact the professional development had on their teaching practice, including feeling more creative, inspired and finding greater enjoyment in teaching. Coached teachers were more likely than institute-only teachers to correctly use state VAPA standards and to perceive student progress toward those standards. Institute-only teachers demonstrated greater confidence in, and used, arts integration more frequently than did the comparison group. However, they did not reach the same levels as the coached teachers and were more likely to report time constraints and other roadblocks to successful implementation. Teachers in both treatment groups reported high student engagement and better expression of learning by students when using arts integration instructional strategies. This project was funded through the U.S. Department of Education Arts in Education Model Development and Dissemination Program.

This article examines the impact of two approaches to teacher professional development in arts integration-a summer institute model and a model combining the summer institute with instructional coaching. In an experimental design, the intervention trained third and fourth grade teachers to integrate visual arts and theater into reading curriculum. Findings suggest the coaching plus institute intervention had a greater impact on teacher confidence, use and frequency of arts integration than the institute-only intervention or the comparison group. Coached teachers reported greater confidence integrating the arts, produced higherquality work samples, taught more reading concepts with arts integration, implemented more arts standards, and used arts integration more frequently than did the institute-only teachers or the control group teachers. Coached teachers reported in greater numbers about the positive impact the professional development had on their teaching practice, including feeling more creative, inspired and finding greater enjoyment in teaching. Coached teachers were more likely than institute-only teachers to correctly use state VAPA standards and to perceive student progress toward those standards. Institute-only teachers demonstrated greater confidence in, and used, arts integration more frequently than did the comparison group. However, they did not reach the same levels as the coached teachers and were more likely to report time constraints and other roadblocks to successful implementation. Teachers in both treatment groups reported high student engagement and better expression of learning by students when using arts integration instructional strategies. This project was funded through the U.S. Department of Education Arts in Education Model Development and Dissemination Program.

This practical lesson on greenhouses implements standards of the Next Generation Science Standards (K2 ETS I-2; K-LS1-1) and the preschool objectives from the Teaching Strategies GOLD. Teaching Strategies GOLD is an assessment tool available online and in print that can be used with any developmentally appropriate early childhood curriculum. The lesson structure follows the 5E’s Learning Cycle Constructivist Model for teaching and the project-based, hands-on approach to learning. The preschool-aged children went on a field trip to a working greenhouse and then collaborated in groups to produce a three-dimensional model of a greenhouse as arts integration into this science project. The children affixed photo stickers from their greenhouse visit onto a recycled plastic container to make the greenhouse building. They used clay, toothpicks, and colored paper leaves to recreate models of plants they had seen and then planted real seeds. The following lesson on plants and greenhouses serv...

This research paper explores art integration into a science lesson unit that follows the Next Generation Science Standards (K-PS2-1) and focuses on the effects on memory retention of key concepts along with levels of enjoyment. An experiment was conducted with children ages 3 and 4 teaching scientific concepts about gears while incorporating student-made art products. The children were assigned to alternating experimental (artintegrated) or control (no art) conditions during the four stages of the lesson. The results did not show statistically significant differences at the alpha = 0.05 level between conditions in the amount of information retained based on the pretest, posttest, and distal posttest. However, there were overall knowledge gains for both conditions demonstrated by the gain scores. It appeared that incorporating arts into the curriculum can be beneficial for children, including those of diverse cultural backgrounds, as it provides a more enjoyable learning environment....

Denne rapport er en oversigt over den dokumentation, der er indsamlet i forbindelse med udviklingen og afholdelsen af et sanseunivers på Syddansk Universitet under Forskningens Døgn den 23.-29. april 2022. Sanseuniverset er udviklet af FNUG/LSUL. Rapporten beskriver baggrunden for udviklingen af Sanseuniverset, hvordan universet var indrettet, hvilke metoder der blev anvendt til indsamlingen af data, hvem der deltog, generelt hvordan sanseuniverset forløb og en intern evaluering af arbejdsprocessen. Yderligere præsenteres de data, som blev indsamlet, i bilagene.

The Next Generation Science Standards (NGSS) have brought a stronger emphasis on engineering into K-12 STEM (science, technology, engineering and mathematics) instruction. Introducing the design process used in engineering into science classrooms simulated a dialogue among some educators about adding the visual and performing arts to the mix. This led to proposals for a STEAM (STEM + arts) curriculum, as well as warnings that integrating the arts would weaken STEM instruction. The study summarized in this article tested the hypothesis that the arts might provide upper-elementary students, who were still concrete thinkers, with a powerful means of envisioning phenomena that they could not directly observe. This study investigated the impact of STEAM lessons on physical science learning in grades 3 to 5. Ten out of the 55 high-poverty (Title 1) elementary schools in a large urban district in California were randomly chosen as treatment schools and divided into two cohorts. Using a quasi-experimental design that holds general student scientific achievement constant, the study found that students exposed to the STEAM lessons demonstrated greater improvement on physical science benchmark assessments than students exposed to a STEM-only physical science curriculum.

Pre-service teachers often fixate on building their classroom management and lesson planning skills, but the job of teacher educators is to push them beyond the daily rituals and routines to consider deeper relationships of power and control at work in schooling. The arts can be a useful tool for making the covert ways power moves in curriculum and pedagogy visible for new teachers to identify and critique. I approach my work with pre-service teachers through arts integration to invite embodied and aesthetic ways of knowing and learning into the classroom and to help students visualize the hidden aspects of teaching. This article suggests three ways the arts can be used by pre-service educators, including aesthetic analysis, embodied exploration, and art making.

This is an open access article under the terms of the Creative Commons Attribution-NonCommercial-NoDerivs License, which permits use and distribution in any medium, provided the original work is properly cited, the use is non-commercial and no modifications or adaptations are made.

In recent years the arts have been introduced into many pre-service and in-service professional development programs for general education teachers. At the same time, pressure for immediate test-score improvement and standardization of curriculum has limited the creativity and autonomy of teachers. This study, the qualitative part of a mixed-methods investigation of teachers across the U.S., involved six New York City elementary school teachers who found ways to use the arts in their classrooms on a regular basis despite the pressures they faced. The study investigated the personal characteristics and the factors that supported or constrained arts use in teaching. The results suggest that general creative and artistic attitudes rather than specific skills as a maker of art are key to arts use. A willingness to push boundaries and take risks defined this group of teachers. They recognized obstacles and challenges to arts use, but made choices that helped them maintain a sense of independence and creativity in teaching. The strongest motivation to use the arts use was their awareness of the diversity of learning styles and needs among their students. The teachers articulated a variety of ways in which arts-based professional development experiences encouraged them to bring their creativity into the classroom, expand their teaching repertoire, and find effective ways to incorporate the arts in the academic curriculum.

This paper sets out to discuss pedagogical aspects of a collaborative project between Denmark and South Africa, two partner countries with a long history of educational partnerships. The project named Red Apples-Green Apples (RAGA) involved a joint group of facilitators from both countries exploring the topic of climate change and the nature elements (water, air, earth and fire), first with primary school children in Cape Town and then with children in Copenhagen, through the mediums of visual arts and dance. In both countries the children and facilitators were from diverse cultural backgrounds creating potentially rich opportunities for intercultural education alongside learning about the environment through the arts. The project in its pedagogical and structural design of shared artistic experiences enabled meaningful social interaction among the children and facilitators and resulted in enhanced knowledge, understanding and appreciation of self and others. This paper will argue that arts integration educational experiences, such as RAGA, grounded in core principles of 'collaboration', 'creativity', and 'cultural diversity' have the double capacity to enrich children's learning in and through the arts as well as nurture intercultural competences for both learners and teachers in the culturally diverse classroom.

In this practical article, a kindergarten teacher shares a lesson designed to teach students about the power of wind. To address the Next Generation Science Standards engineering standards, students discussed the negative and positive aspects of wind and made daily weather observations (K-ESS2-1). Students constructed birdshaped windsocks, called windbirds, to explore how the shape of the object allowed it to move in the wind (K-2-ETS1-2). To address the National Core Arts Standards, creative arts were integrated as students designed cylindrical windbirds of colorful materials. The windbirds were used to observe the effects of wind in the students' outdoor environment at school. Students read both fiction and nonfiction books to increase their understanding of wind related concepts, learning how windmills can harness the power of the wind (K-ESS2-1). The article provides a review of related literature and a detailed plan of the lesson taught by the teacher.

Research evidence for the benefits of arts integration is mounting. The purpose of this study was to determine if integration of the arts was an effective strategy for teaching the water cycle to kindergarten students. The study included lessons that supported both a science and an engineering standard of the Next Generation Science Standards and national arts standards. The phenomenological study examined the lived experiences of children as they learned and demonstrated understanding through drawings, watercolor paintings, dramatization of a water cycle poem, and the invention and testing of a waterproof boot. Participants were 12 kindergarten students (7 male, 5 female) aged 5-6 years, attending a public elementary school in the Midwestern United States. The three major themes that emerged from the phenomenological study were: 1) aspects of typical lessons, 2) art-enhanced learning, and 3) art-enhanced teacher understanding of student ideas. Findings revealed arts integration was motivating, engaging for the students, and an effective strategy for teaching about the water cycle. The art-based activities provided deeper insights about student understanding and misconceptions than traditional forms of assessment.

The aim of this qualitative study was to establish how students' understanding of social justice was enhanced through their participation in the theatre-in-education process, and its contribution to their learning. The population of the study comprised all students registered for the third-year education module, Issues and Challenges in Education-PGED 302. The population included Bachelor of Education (Foundation Phase, Intermediate Phase, and FET) students. Of the population of 300 students registered for the module, only 72 Bachelor of Education (Intermediate Phase) students who participated in the theatre-in-education presentations, constituted the sample for the study. Data comprised students' written reflections based on their theatre-in-education experiences, which were coded and analysed thematically. The study indicated that students' understanding of social justi ce in education was enhanced through their participation in their theatre-in-education presentations.

This experimental study was undertaken with preservice teachers to test whether the use of science integration into arts education increases demonstration of science details and creative features in artwork. Two conditions were created: arts-focused and science-focused; gouache still-life paintings were produced and analyzed, and an attitude survey was completed. The results suggested that science integration into visual arts classes increased creativity for the arts-focused condition and increased science concepts in the science-focused condition. Participants in both conditions reported positive attitudes, specifically, high levels of enjoyment, alluded to lack of experience with arts and creative projects, and expressed desire for more exposure because of emotional benefits.

This practical lesson on greenhouses implements standards of the Next Generation Science Standards (K2 ETS I-2; K-LS1-1) and the preschool objectives from the Teaching Strategies GOLD. Teaching Strategies GOLD is an assessment tool available online and in print that can be used with any developmentally appropriate early childhood curriculum. The lesson structure follows the 5E’s Learning Cycle Constructivist Model for teaching and the project-based, hands-on approach to learning. The preschool-aged children went on a field trip to a working greenhouse and then collaborated in groups to produce a three-dimensional model of a greenhouse as arts integration into this science project. The children affixed photo stickers from their greenhouse visit onto a recycled plastic container to make the greenhouse building. They used clay, toothpicks, and colored paper leaves to recreate models of plants they had seen and then planted real seeds. The following lesson on plants and greenhouses serv...

This research paper explores art integration into a science lesson unit that follows the Next Generation Science Standards (K-PS2-1) and focuses on the effects on memory retention of key concepts along with levels of enjoyment. An experiment was conducted with children ages 3 and 4 teaching scientific concepts about gears while incorporating student-made art products. The children were assigned to alternating experimental (artintegrated) or control (no art) conditions during the four stages of the lesson. The results did not show statistically significant differences at the alpha = 0.05 level between conditions in the amount of information retained based on the pretest, posttest, and distal posttest. However, there were overall knowledge gains for both conditions demonstrated by the gain scores. It appeared that incorporating arts into the curriculum can be beneficial for children, including those of diverse cultural backgrounds, as it provides a more enjoyable learning environment....

The main objective of the study is to determine the effects of university students' artificial climbing wall experiences, which is considered among experimental learning (learn by doing) activities and defined as "high activity", on their problem solving skill levels. Artificial wall climbing emerges as a learning point which is both a game as of its content and an activity providing people to be active, not passive, through experimental learning activities and creating people opportunities to know better about themselves and others as well as their limits. Pretestposttest control group experimental model was used in this study. Experiment group participated into the practice twice in a week, totally for eight weeks. During this time, the control group continued their normal daily routines and not joined any activity. To collect data, Problem Solving Inventory developed by Heppner and Peterson (1982) was used. As a result of statistical analysis, statistically significant differences (p <0.05) were found between subscales and total scores of hasty approach, confident approach and planned approach. Consequently, activities done during artificial wall climbing have been causing positive development in problem solving skills & perception levels of university students.

This paper explains the design, development and delivery of a curriculum-integrated dance programme across four primary schools in Auckland, New Zealand. Four teachers and their respective classes (101 children in total) were part of the programme. Each class participated in 18 dance sessions at their schools during school hours. The dance educator delivered the dance programme and collaborated with each class teacher for planning and implementation. Various topics related to science, mathematics, English and Māori culture were covered in accordance with the term focus of each class teacher. The core values from the New Zealand primary school curriculum and New Zealand arts curriculum were embedded in the dance programme. The applicability, transferability (to other participant groups), challenges (such as time and venue) and evaluation design associated with the dance programme are discussed. Teachers' reflections are embedded with researcher observations as they describe the significance of the dance programme.

The arts have the power to expand cognitive potential through the development of higher order thinking skills, the use of the imagination, forms of self-expression and pathways to self-knowledge. When teachers are educated to integrate the arts in their classrooms, the result is transformation of the learning environment. In this qualitative case study I examined teacher experience in the Higher Order Thinking (HOT) Schools Arts Integration (AI) Professional Development (PD) program. While my research was informed primarily from the perspectives of arts specialist teachers, classroom teachers, and teaching artists, it also includes the voices of other stakeholders in the HOT educational community including administrators, HOT program directors, and parents. I obtained data through questionnaires, interviews, and observations in which I documented teacher experience during various forms of HOT AI PD and their implementation in the classroom. Teachers reported professional growth and described how HOT AI PD had transformed their teaching practice. This was accomplished through experiential and ongoing PD that teachers found inspiring and relevant to their teaching. The various forms of PD included a weeklong residential summer institute with professional teaching Chapter One: Introduction The topic of this study is Arts Integration Professional Development: The Higher Order Thinking (HOT) Schools Approach. In this study I documented and examined the experiences of educators who participated in various forms of HOT arts integration (AI) professional development (PD). The HOT Schools PD program, established in 1994, was chosen as the focus of this case study due to its comprehensive approach, educational philosophy, theoretical foundations, and longevity in serving schools in Connecticut, where the program is based. The HOT program incorporates three core components that combine to stimulate whole-school reform: Strong Arts, Arts Integration and Democratic Practice. The AI PD offered through the HOT program is ongoing and takes many forms tailored to meet the needs of teachers and also includes other members of the school community, including teaching artists, administrators, and parents. In order to justify the need for this study, it is useful to first consider arts integration and its significance in education. AI has been defined as "…the investigation of curricular content through artistic explorations. In this process, the arts provide an avenue for rigorous investigation, representation, expression, and reflection of both curricular content and the art form itself" (Donovan & Pascale, 2004, p. 14). AI, therefore, brings the arts from the margins to the center of the school curriculum, and is important to study as evidence shows that arts integration can open new pathways of learning for students, particularly those who are at risk, have special needs, or are English

Архитектура / Architecture Введение Наличие теории является обязательным условием существования и развития любой профессии. Архитектурная теория первой четверти XXI в. достаточно разнообразна, при этом далеко не все авторы исследуют архитектурную форму и закономерности ее создания, что было более распространено в XX в. [4]. Социология архитектуры, семиотика архитектуры обращают внимание на лексику зданий, их восприятие людьми, так сказать, по факту, когда архитектура уже состоялась. Не отменяя их достижений, подчеркнем необходимость фундаментальных исследований природы архитектурных форм, того, как они возникают, изменяются, соотносятся друг с другом. Работа британского архитектора и теоретика Кристофера Александера (р. 1936) «Природа порядка» посвящена изучению именно этих вопросов, но не переведена в России. Более ранний труд, «Язык шаблонов» [1], сложно применить на практике, не понимая основ подхода (об этом пишет, например, известный урбанист В. Рыбчинский [19]). Отсюда задачей статьи является реферативное изложение и краткий комментарий «Природы порядка», в том числе по косвенным источникам, в которых она характеризуется [3, 9, 14, 15]. В научный оборот вводятся и некоторые проекты архитектора, сопровождающие его текст, но взятые из других ресурсов. Все представленные фрагменты книги переведены автором статьи. Ряд терминов К. Александера-«биофилия», «живые структуры», «порождающие коды» и др.не рассматривается в данном тексте, но будет проанализирован в дальнейшем. Обстоятельства создания книги «Природа порядка»-четырехтомная работа К. Александера, написанная в течение 27 лет его профессиональной деятельности по проектированию, исследованию, преподаванию. Автор-архитектор, теоретик архитектуры, урбанист, дизайнер, математик, социолог, профессор университета Беркли в Калифорнии [12], где ему в течение ряда лет запрещали озвучивать свою позицию [16]. Он родился в Вене, изучал математику в Кембридже, архитектуру-в Гарвардском университете [20]. В 1964 г. он выпустил свою первую книгу «Заметки о синтезе формы» (Notes on the synthesis of form), а годом ранее стал преподавать в Университете Калифорнии в Беркли и основал Центр экологических структур (Center for Environmental Structure). Им реализовано более 200 проектов в разных странах мира [2, 12]. Его цель как ученого состояла и состоит в том, чтобы заложить концептуальную и прикладную основу для со-В статье представлено реферативное изложение фундаментальной работы британского архитектора и теоретика К. Александера «Природа порядка» с опорой на авторские комментарии. Показаны методологические и мировоззренческие основания трактовки архитектуры как части природных процессов формообразования, повышающей статус профессии. Охарактеризовано содержание четырех частей работы, показана необходимость изучения идей К. Александера архитекторами и урбанистами.

This booklet explores the advantages and drawbacks in the em010tent of artiits,as teachers at all educational levels.-Until recently, arts professionals did not want to hinder their creative work by edafining _themselves to the plate and time of a school situation. Schools geaerally sought tc hire those oho-wanted education as a career: In 1969 the National Eidowment for the Arts and the U.S. Office of Education (USOE) jointly .sponsored tie Artist-In-Schools Program. Participants were not required to teach, but to show students how artists act as creators in different neklia. Other USCE grants brought artists into the schools and placed a heavy emphasis on preparing the schools for the. artists by requiring briefing workshops. Such programs have not been trouble-free. Placement of artists in the schools asachers can create simple Procedural problems or more complex administrative problems. Teachers may feel-threatened-by the differences in artists' temperamtnt and 'educational perspectives. Western School for the Arts in lashington, D.C; illustrates the problems of a school specifically created for professional artist-teachers. These include financial limitations, administrative indifferences, hasty planning, ard cOrflicts among various-participants. A successful-program requires an artist who has a critical sense,_ can analyze an artistic work ., :and can communicate skills to children. An intuitive artist ma) not always be able to discuss the reasons behind a creative action, (Author/ER)

Kreative processer og aestetiske laereprocesser er begreber, der har fået en fyldigere plads i vores omverden de senere år. Begreber, der peger på et generelt forøget fokus på kreativitet og innovation. Denne artikel ønsker, med afsaet i en teoretisk diskussion af kreativitet, at spørge til hvorvidt og hvordan videnskabelige indsigter i et metodisk perspektiv potentielt kan beriges eller befrugtes gennem kreative processer. Kan lytning og laesning vaere kreative processer? Og hvilken type af viden kan sådanne generere? Med afsaet i en sammenstilling af kreativitetstaenkere som Christopher Frayling, Niels Lehmann og herigennem Edward de Bono vil artiklen arbejde sig frem mod en faenomenologisk baseret metode, der arbejder med lytning og laesning som kreative processer. En af artiklens hensigter bliver at spørge til, hvorvidt og hvordan der knytter sig saerlige dimensioner til taenkningen om kreativitet, fx rumlighed og nonlinearitet, og om dette nødvendigvis er en forudsaetning for at kunne tale om kreative processer? Artiklen tager afsaet i en praesentation af to forskellige bud på det overordnede problemfelt omkring relationen mellem kunstneriske og videnskabelige processer. De to tilgange opererer med forskellige optikker på, hvorvidt rationalitetsforankrede og kunstneriske processer kan samtaenkes, eller om de må anskues som grundlagsteoretisk forskellige: Christopher Frayling arbejder i feltet mellem kunst og forskning og spørger bl.a. i teksten "Research in Art and Design" til mulige sammenhaenge. Frayling ser ikke nødvendigvis skabende kunstnerisk praksis og forskningsmaessig (begrebslig) praksis som adskilte paradigmer, og plaederer således i artiklen for at omtaenke skellet mellem kunst og videnskab på forskellige niveauer: Research is a practice, writing is a practice, doing design is a practice, making art is a practice. The brain controls the hand which informs the brain. To separate art and design from all other practices, and to argue that they alone are in a different world, is not only conceptually strange, it may as well be artecidal(to use Stuart Macdonald's word). Yes, art and design have been taught separately from the mainstream […]. But that is an institutional accident, not a conceptual statement. (Frayling 1993: 4) Frayling mener altså ikke, at der er tale om grundlaeggende begrebsmaessigt forskellige praksisser. Produktionsorienteret skaben adskiller sig ikke fundamentalt fra begrebsligt arbejde. Frayling intonerer i artiklen tre forskellige bud på en sammentaenkning af forskning og kunst, nemlig forskning igennem (through) kunst, forskning via (into) kunst og forskning for kunst. Jeg vil lade Frayling vaere et afsaet for en problematisering af en sådan samtaenkning af to paradigmer. Spørgsmålet er ikke, hvorvidt den forskningsmaessige tilgang kan befrugtes af en mere aestetisk oplevelsesbetonet skabende tilgang. Det tror jeg, den kan. Man kan dog stille sig tvivlende til, hvorvidt en sådan befrugtning overhovedet bliver en realitet, hvis paradigmerne, som Frayling foreslår det, flettes sammen. I stedet kunne man forestille sig, at kunstneriske og videnskabelige praksisformer kunne stille spørgsmål til hinanden. Niels Lehmann mener, i modsaetning til Frayling, at der er tale om to uforenelige paradigmer, når han i artiklen "Pragmatisk dualisme: dannelse mellem rationalitet og rationalitetskritik" (2002) tegner et billede af vores kultur som spaltet mellem en videnskabelig kultur med tiltro til rationalisme og en videnskabs-og rationalismekritisk kultur. En sådan spaltning producerer to kultursyn,

Historien om en tåre Den unge pige bøjede hovedet. Øjnene blev blanke og lyset glimtede i øjets tårespejl. Tåren trillede langsomt ned af kindens runding, slap fri ved hagens faste linie og faldt ned på cafebordets blanke marmorplade. Der lå den som en klar dråbe. Tåre fulgte på tåre, til der på marmorets hvide overflade var et lille tårespejl. Den unge pige tog sit lommetørklaede op tørrede sine øjne, rejste sig og forlod cafeen. Lidt senere kom en videnskabsmand forbi, satte sig ved bordet, så tårespejlet og taenkte; "hvad er dog det" tog en dråbe op i et lille klart glas, og bar det til sit laboratorium. Her blev tåren vejet og undersøgt efter alle de nyeste videnskabelige metoder. Til sidst erklaerede videnskabsmanden tilfreds; det er det klare vand med en 0,9 % natriumklorid opløsning. En anden videnskabsmand kom, så tårerne på cafebordets marmorplade, og taenkte "hvad mon dette er, kan det vaere tårer". Er det tårerne fra en ung pige, som har fået at vide, at hendes elskede har vaeret hende utro og har forladt hende? Eller er det tårerne, hun har graedt, da hun får at vide at hendes elskede angrer, beder hende tilgive og ønsker at vende tilbage til hende? Gad vide om disse tårer er graedt af lykke eller sorg. Taenk at kende til og forstå den menneskelige historie og de oplevelser der ligger bag. Man kan spørge sig selv, hvad er en tåre? Er det den materielle virkelighed, det saltholdige vand? eller er det de tanker og følelser, der skaber det saltholdige vand? Den virkelighed, som skaber tårerne, er den type menneskelig virkelighed kvalitative forskningsmetoder forsøger at beskrive og forstå. Forudsaetning Kvantitativ Kvalitativ Virkeligheden En virkelighed Flere konstruerede Forholdet mellem Uafhaengigt Afhaengigt forsker og feltet Generalisering Ønskelig og mulig Afhaengig af situationen Årsag og effekt Kan afdaekkes Kan ikke afdaekkes Vaerdier Vaerdifri Vaerdibundet

artists plan together, each discipline instructs students separately using the common concepts. The projects that fit this model involved arts and non-arts teachers employed in the school selecting an art form that would further reinforce the concepts in the unit of study. Over the three years of the project, schools either increased depth or increased breadth in their use of the arts. Some schools selected a model and worked within the model over the entire funding period. Other schools put their toe in the water of arts integration by starting in a limited way (often with a single unit in an "elaborated residency" program), and adding more teachers, artists, and art forms, expanding to include multiple disciplines, grade levels and arts specialists. Key conclusions were: (1) The models that we have identified are "real" in that they are derived from observation; (2) The role of arts specialists on the school staff was supported rather than undermined by the presence of outside artists; (3) Partnerships involving a visiting literary or theater artist and the non-arts disciplines of reading and writing proved the easiest to implement, having borders between the disciplines that are less distinguishable; (4) All of the models changed the classroom practice of the regular classroom teacher; and (5)The AAA program was truly a teacher-led initiative whose success was not dependent on active principal involvement.

Fokus & Forum-Dialog mellem laeserne og redaktionen Digital innovation med empati eller bare digital transformation? Digitalisering er blevet en varm kartoffel i politik, saerligt fordi det er noget, som vi er gode til at tage til os. Både i de private og de offentlige organisationer. Som nation ligger vi nu godt placeret på de internationale ranglister som nr.1 i digitalisering af offentlige ydelser. Det er NemID, CPRregistret, e-boks og danskeres tillid, som giver os den placering. Men for nu at vaere lidt kritisk, så er mange af de digitale forandringerne, som vi oplever lige nu, blot en avancering af det, at vi siden 'the millennium' har bevaeget os vaek fra papir og blyant til digital lagring og digital kommunikation. Innovationerne går vel mest på de nye forretningsmodeller, og her er nogle af de mest synlige forretningseksempler tech-giganternes, som Facebook, Google, Microsoft og Apples utrolige økonomiske vaekst, der er baseret på, at de tjener godt på 'vores data', som vi frivilligt afgiver, dvs. viden om brugeres adfaerd, politiske holdninger, som kommer til udtryk gennem opslag og vores sociale relationer. Det er ikke, hvad du kan, men hvem du kender, som fortaeller noget om dig-og ja, de kender sågar styrken af vores relationer (likes og hyppighed i kommunikation) og hvilken type af relationer, vi har-om det er familie, kollegaer, skolekammerater etc. Det siges, at Facebook endda har patent på algoritmer, der ud fra vores aktivitet som brugere af de sociale medier kan forudse vores død, før vi selv ved det. "Det er fandeme uhyggeligt du!", som Peter Schrøder ville sige det. Men hvor blev innovationerne af, som skulle gøre verden bedre? Skabe mere tolerance og åbenhed over for andres meninger, perspektiver og ideer? Vi glemmer ikke foreløbigt Microsofts chatbot 'Tay'-en kunstig intelligent dialog-softwarerobot, som kom på det sociale medie Twitter for at blive oplaert i social dialog. På mindre end en dag