Multidisciplinary Approaches to Art Learning and Creativity: Fostering Artistic Exploration in Forma


SECTION 1. Exploring the Nature of Art Practice and Art LearningArt Appreciation for Inspiration and CreationMuseum as Learning EnvironmentWhat Is “Art Appreciation for Inspiration and Creation” (AAIC)?Inspiration Through Art AppreciationKey Elements for AAICExamples of AAICExhibition of the Creative Process and an Art-Making WorkshopOutline of the ExhibitionOutline of the WorkshopThe Outcome of This PracticeWorkshop to Appreciate Artworks Through Body MovementOutline of the WorkshopThe Outcome of This PracticeConclusionReferencesEmbodying Artistic Process in Art Gallery VisitsIntroductionSociocultural and Embodied Approaches to Meaning Making in MuseumsMethodology / Data CollectionThree Sequences of Art Museum InterpretationSequence 1: Animating Seurat at the Courtauld GallerySequence 2: Teenagers’ Interpretive Comparisons of MunchSequence 3: A Curator Performs MunchComparative Analysis: Non-Expert and Expert Interpretations in the Munch RoomDiscussion: Making the Artist Present and Embodied Activity in the GalleryReferencesRelaxation and Reorganisation of “Internal Constraints” in Artistic Creation: Studies Focusing on the Embodiment of Ideas and Interaction With Others in BreakdanceInsight Problem SolvingRelaxation and Reorganisation of Internal ConstraintsFactors That Facilitate the Reorganisation of Internal Constraints: Embodiment of IdeasFactors That Facilitate the Reorganisation of Internal Constraints: Interaction With OthersEducational ApplicationAcknowledgmentsNotesReferenceStories: Trauma, Theatre, and TheoryCreative Work and DevelopmentAct I: The Possibility ProjectParticipantsProcessAct II: Program Impact StudyHypothesesOverview of MethodsData CollectionEarly-/Post-Program SurveysSampleParticipants’ Views of ImpactInterviewsIdentification of ThemesCodingFindingsCollege AttainmentDiscussion of Study FindingsAct III: Additional FactorsDistributed CreativityConclusion: Identity and CommunityAuthor Note and AcknowledgementsNotesReferencesThe Centrality of Artistic Practice to Learning in Art MuseumsA Brief History of Artist-Led Teaching and Learning in the Art MuseumArt Museum Education TodayArt Practice and the Creative ProcessArtists’ Construction of Art PracticeArtistic EpistemologyArtistic PedagogyArtistic Practice in the Art MuseumWhat Are the Implications for Learners?Reflections and a Final ObservationNotesReferencesSECTION 2. Designing for Teaching and LearningFlexibility and Social Interactions: Two Exercises to Help Art Students to Be More CreativeIntroductionFlexibilityInterpersonal RelationshipsResearch to Develop the Creativity of Students in ArtObjectives of the ResearchMethodParticipantsMaterials and ProcedureQuestionnaires of Flexibility and Interpersonal Relationships (Pre- and Post-Test)DiariesImpact on the Creative Process (Post-Test) QuestionnairesProcedureResultsPre-Test and Post-TestEffects of Exercises on the Process and the FactorsCreative Process and ProfilesDiscussionNoteReferencesTeaching Music Composition With Digital Tools: A Domain-Specific PerspectiveIntroductionComposition and Digital Tools in Music EducationImplementation and Use of Music TechnologiesLearning and Creative ProcessesTeaching and Assessment ApproachesAnalysing Mediated Processes of Imagination and CreativityGarageBand and Composition in Interval-Based MusicDSP and Composition in Sound-Based MusicApplying Creativity Models in Sound-Based Music EducationParticipants and Data CollectionExemplifying Teaching Strategies in Sound-Based Music EducationImplementation and UseCreativity and Learning ProcessesExcerpt 1: Working With Sound (Specific Process)Excerpt 2: Working With Composition (Generalisation Process)Teaching and Assessment ApproachesReflections and Future Research DirectionsAcknowledgementsNoteReferencesIntegrating Poïétique and Cognitive Science to Analyse the Creativity Learning Process in a Drawing Course for Art Education MajorsIntroductionMethodology: Two ApproachesDrawing Practice and Reflection for Art Education MajorsRecords of the Drawing Class and Preparation of Basic Data for ResearchAnalysis Based on a Map of the Correlation Between Conversations and Expression: Five ExamplesConclusionAcknowledgmentsNotesReferencesThe Role of Critique in the Development of Student-Artists’ Metacognitive PracticesThe Study of Pedagogy in Art and Design EducationCritique as Pedagogical PracticeA Focus on MetacognitionOur Study of Critique in Art and Design ClassesFindings: Types of Critique and Strategies That Instructors EmployTypes of Critique: This or ThatStrategies and Goals for Engaging in CritiqueCalibrating Ideas to ProductsThe Importance of Environment and Rapport“An Act of Generosity”Critique as Connected With Other Classroom PracticesThe Role of Haptic Learning in ExplorationDiscussion: Strategies That Promote Metacognitive Habits of MindNotesReferencesSECTION 3. Systems for Change in Art Learning and Art EducationLearning to Be Creative Through the Arts in Danish Artist-School PartnershipsThe Researcher in the FieldMethodological Dilemmas and ChoicesA Look Behind the Scenes of the PartnershipsCreative Learning Through the ArtsCreativity as an Individual Learning OutcomeThe Students’ Learning Outcomes“We Have Learned Fantasy”“And Remember to Be Creative!”The Teacher/Artist GapThe Role of AdultsConclusions and PerspectivesNotesReferencesApproaching Art Education as an Ecology: Exploring the Role of MuseumsIntroductionCreating Art as a FamilyAppreciating Art as a FamilyConclusionsNotesReferencesA Different Kind of Learning: The Value of a Studio Art Class for Non-Art Graduate StudentsIntroductionTheoretical Framework and Other Grounding ConceptsThe StudyData CollectionData AnalysisThe Learning Context: Intro to PaintingFindingsJulie, Adult Educator: “A Totally Other Mode of Thinking, and Absorbing, and Experiencing the World”Brianna, Leader/Administrator: “Letting Go of That Need to Be Perfect”Jorge, Philosopher of Education: “I Had No Idea What Was Gonna Come Out of It”A Different Kind of Learning: Five “Differences”Difference 1. Being Immersed in a Visual, Material, Embodied ModalityDifference 2. Feeling Like a “Total Novice” in One Pocket of Graduate SchoolDifference 3. Creating Outside of Strict Parameters, Without a Road Map or Pre-set OutcomeDifference 4. An Embracement of Individual Approaches and Personally Relevant ThemesDifference 5. Enhancing Theoretical Understanding Through ExperienceReflectionNotesReferencesGrowing Up With Art: How Interest, Opportunity, and Support Shape the Learning Pathways of Visual Arts ProfessionalsLiving a Life With ArtSally (11), Artist and EducatorAndrew (76), Academic Video ArtistTheme 1: Early Interest and Engagement in Visual ArtTheme 2: Early Interest and External SupportsTheme 3: Forging a Career PathConclusionNoteReferences
 
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