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Copyright of International Journal of Eurasian Education & Culture is the property of Ayse Burcu Ulusoy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper examines the Confucian concept of learning, or xue ([character omitted]), from the perspective of ecological humanism. Through a comparative interpretation, this paper attempts to disclose the significance of Confucian xue conceived as a practice of aesthetic appreciation and creativity, emphasizing in particular its function within an eco-centric worldview. The author reviews the relevant concepts of ecological humanism as expressed in the ideas of John Dewey and Thomas Alexander, then applies these as a theoretical framework for interpreting xue and its related concepts and practices as they appear in the Confucian text the Lunyu ([characters omitted] ). It is argued that xue is a process of developing and expressing virtuosity and artistry in the "arts of life," and that its practice was understood as a direct participation in the creative development of nature. The significance of such a concept of learning for contemporary educational philosophy is discussed in conclusion.

Folk paper-cut art is one of the bright pearls, with a wide range of shapes and a long history, that serves as a model for modern visual communication design in China and encourages designers to think creatively. Integrating emotional elements into a design not only can elicit an emotional response from the viewer but also can make works created using traditional rational thinking more vivid, energetic, and touching. The main focus of this research is on the path and method of incorporating folk paper-cut emotion into visual communication design. The research status of various feature extraction methods and image recognition methods at home and abroad is examined in depth in this paper. For the recognition of distorted images that are not transformed by mathematics, some effective methods are proposed. They are used to recognize artistic images of paper-cut patterns because they can extract effective features that are not affected by translation, rotation, scale change, or small deformation. Experiments have shown that they have a positive impact. The use of folk paper-cut art in visual communication design not only improves the quality of design work but also generates new ideas for the transmission and development of other traditional Chinese cultures. [ABSTRACT FROM AUTHOR]

In this reflective paper we outline and discuss our art-based Patient and Public Involvement (PPI) approach. This exercise held two broad objectives. Firstly, to assist policy makers in understanding the types of interventions communities will find acceptable to address the problem of poor air quality, and secondly, to ascertain community views about our research plans to explore the impact of the planned interventions on neighbourhoods. We reflect on both our approach and the emergent conversations from the PPI activity. Attendees contributed to the process and stressed the importance of not burdening poor neighbourhoods with costly charges as that would ameliorate one health problem but generate others as a consequence of additional financial burden. Equally, they stressed the need to conduct research on matters which they could connect with such as the impact of clean air plans on young children and how information about air pollution is disseminated in their neighbourhoods as and when research findings emerge. This paper offers a conceptual analysis of the art-based PPI method and uniquely draws a connection to the philosophical traditions of Ludwig Wittgenstein. Specifically, we demonstrate how art is conducive to creating a dialogue which is specifically helpful for PPI purposes for both researchers and implementers, and conversely, why traditional conversational approaches may have fallen short of the adequacy mark in this regard.

This study explores a particular interface between fine art and mass culture: how cartoonists reimagined a well-known or lesser-known painting or illustration. I analyse political cartoons based on these reworkings in four selected Budapest comic papers (Bolond Istók, Borsszem Jankó, Kakas Márton and Üstökös) between 1890 and 1910. In the present study, I analyse only those drawings whose originals feature the leader Árpád or a ruler as the protagonist and relate the paintings to their actions. The caricaturists replaced them with political figures, thus updating the message of the paintings. First I will present the actualised metamorphoses of Árpád, then the transformations of the rulers of later periods, followed by the reimagined representations of the contemporaries, Franz Joseph and Elisabeth. I close the analysis with an example from abroad. [ABSTRACT FROM AUTHOR]

This paper reveals the journey of two settler-researcher-educators supporting learning in preparation for Carey Newman's Witness Blanket Art Exhibit. Invited to create curriculum for students and educators of K-12 who would visit the exhibit, the authors describe co-curricular making as a living, re-generative, re-cursive experience. The learning alongside diverse perspectives of educators and community partners in circle--including Syilx Okanagan, School District, Art Gallery, Museum, and University-led to reconsidered understandings of co-curricular making. Relational commitments that invite co-curricular engagement with the Witness Blanket foreground Syilx Knowledge toward resisting colonial ways, and supporting tmix[superscript w], the life forces of Syilx Okanagan Territory.

Thermal cameras have shown to have utility in secondary school classrooms and undergraduate courses. In this paper, the author argues for their potential in the primary school classroom and presents a range of activities that can be undertaken with thermal cameras (or supplied images). With limited access in mind, the activities in this paper have been designed to be practiced in 'demonstration mode' with only one thermal camera or even by using a bank of existing photographs made available to teachers and students. Activities can be modified for individual use or for use in small groups if students have one-to-one access to the cameras.

The composer, author, and teacher, John Cage, was exercised by our 'inability' to truly listen when approaching sound. In exploring the influences on Cage's avant-garde style, specifically the spiritual discipline found in both Zen Buddhism and Chance operations, this paper attempts to distinguish his philosophy (and use) of "silence" and "chance" as an aesthetic pedagogy. In accordance with Dewey's aesthetic theory and Shusterman's Somaesthetics, resolving the inability to listen is aesthetically conceived as somatic 'attuning' to the occurrence of chance sounds in the ambience of the world. By maintaining Cage's spiritually informed approach as a compositional framework, this paper highlights how his philosophy of silence is pedagogically illustrative of the "active" engagement we can have with the world. This approach is most apparent in Cage's "4'33"," where the 'musicalizing' of everyday sounds erodes the boundaries between art and life, creating a continuity with the world. Somewhat problematically, Cage attempted to make this possible by channelling experience into a state of immersion, unifying art and life by 'letting go' of subjectivity. But as is shown by the Fluxus artists who were inspired by Cage's teachings, the possibility for negotiating Cage's terms brings with it an opportunity to theoretically reflect on the educational processes that underpin Cage's approach to sound.

This paper seeks to introduce a meaning-making process called 'sensuous abstraction' as one approach to aesthetic experience in line with Dewey's philosophy. Dewey highlights aesthetic experience as the best form of experience that integrates emotional and intellectual qualities to foster deep learning and insights. Building on contemporary research on sensation, affect, and human brain, this paper identifies two distinct modes of human understanding: the linguistic/conceptual system and the sensuous-imaginative system. The former, often associated with abstraction and intellectual thinking, is heavily emphasized in traditional schooling, but the latter, integral to human cognition, is sadly neglected and overlooked. While situational meaning offers a way to bridge the two systems, it often falls short of leading to aesthetic experience. In response, sensuous abstraction can promote a process of meaning making that becomes more general than sensation but never as general as linguistic categories while maintaining its sensory wholeness as aesthetic experience demands. Using a classical artwork as an example, this paper concludes sensuous abstraction can be adopted as one approach for educators to create learning experiences by integrating sensory experience and generalizations and abstractions that lead to aesthetic experience.

This paper examines the interplay of creativity, education, and the expressive arts. We begin by presenting a narrative literature review focusing on the use of artistic tools to promote creativity, self-expressiveness, and meaningful aspects of emotional and social learning. This review reveals strong connections between the different components of this interplay, and a special attention is given to the use of arts to promoting creativity and meaningful learning. We then propose the Empowering Creative Education Model (ECEM), which aims to provide a practical framework for employing artistic tools in each of the model's four developmental circles: I, Us, Educational and Community. Each of the four circles includes unique aspects of personal development.

Chassica Kirchhoff, an art historian and curator, has published a book titled "The Thun-Hohenstein Album" which focuses on the study of the second volume of the Thun-Hohenstein albums. These albums consist of drawings of armours and armoured figures from the early 17th century. The book explores the origins, references, and authors of the drawings, as well as the artistic, social, and political contexts in which they were produced. Kirchhoff argues that these drawings were not just technical sketches, but rather tokens of a memorial culture that conveyed symbolic significance. The book is divided into five chapters that analyze different aspects of the album, including plate armour in Augsburg, late medieval martial arts' visual culture, and the commemorative aspect of the drawings related to tournaments. The book also examines specific drawings that celebrate the memories of Maximilian I and Charles V, as well as the Augsburger artistic and intellectual society. Overall, the book offers a unique perspective on the cultural significance of arms and armours beyond their military purposes. [Extracted from the article]

Art is a powerful tool for conveying scientific discovery. Despite the perceived gap between art and science, as highlighted by CP Snow and others, examples of art communicating science can be found in the ancient world, the Renaissance and contemporary data visualization, demonstrating an enduring and historic connection. However, much of science relies on visual elements, excluding those with blindness, low vision and diverse needs, resulting in their low representation in STEM discourse. This paper introduces a novel science and art collaboration in the form of an exhibition program exploring the concepts of Immunology and Biomedicine to blind and vision-impaired audiences, capitalizing on the lived experience of a legally blind artist. Employing multisensory design, art and co-creation methodologies, it transcends traditional vision-based science communication, showcasing the potential for multisensory art to bridge the gap at the intersection of science and inclusion., (© 2024 The Authors. Immunology & Cell Biology published by John Wiley & Sons Australia, Ltd on behalf of the Australian and New Zealand Society for Immunology, Inc.)

Effective arts learning requires the development of important literacies. While investigation of discipline-specific literacies has filtered the literature, it is unclear if these literacies are acknowledged, understood, and/or taught. In this paper, we share the classroom discourse of two arts teachers in early and middle years across visual art and music--to determine how discipline-specific literacies are used and taught. Findings show that these teachers intuitively and consistently share age-appropriate arts-literacies and use semiotic metalanguage with their students to express and make meaning through arts practices. With contemporary research in the field of literacy consistently acknowledging the diverse ways we communicate and the importance of creative thinking and aesthetic-artistic reasoning, it is critical that classroom data, such as shared in this paper, is considered for future curriculum development. We conclude by recommending strategies and considerations for arts teachers when planning and implementing arts literacies to improve students' applied understanding.

The article discusses the current state of play in the field of art education and its affiliates, focusing on the theme of care between entities. The author notes a transition in scholarship themes towards expressing more critically conscious care in a post-pandemic world. The article highlights several papers in the Visual Arts Research journal that explore care between professors and graduate students, colleagues in higher education and K-12 schools, the living and the deceased, and disparate races. The article also mentions a guest-edited special topic concentration on intentional play through games, which challenges traditional notions of education. Finally, the article announces a transition in the editorial team of the journal. [Extracted from the article]

Human trafficking can have multiple adverse effects on a victim's mental and physical health. The study explored how a small UK community arts project was experienced by individuals post-trafficking and the impact it had on well-being. Community-based participatory research was employed to increase understanding the experiences of six female participants taking part in a community arts project. Data were analyzed using thematic analysis. Themes of Authentic Care, Building Confidence, and Creative Expression were developed. Findings suggest the community arts organization played a vital role in supporting women to build trust and social connections, as well as to feel valued. Artistic activities helped participants express individuality, had therapeutic benefits, and provided motivation, routine, and space from worries. The role of community arts organizations is important in supporting individuals in the context of limited post-trafficking services., (© 2023 The Authors. Journal of Community Psychology published by Wiley Periodicals LLC.)

Copyright of Canadian Journal of Art Therapy is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper explores children's understandings of Acknowledgement to Country practices and Aboriginal knowledges. Guided by the relational lenses of respect, responsibility and reciprocity, we conducted focus groups with children across five Australian early education centres. We found that Acknowledgement practices were evident through recitation of their Acknowledgement to Country, engaging with artefacts, and/or discussion of artworks. Secondly, children demonstrated emerging understandings about place names, the symbolic use of flags for places and people, and Australian plants and animals. Thirdly, Aboriginal cultures as living cultures were evident in temporal discussions about people and culture. Finally, imaginative play implied efforts to make sense of Aboriginal concepts and language. Across the study, children were active in experimenting with ideas in their own meaning making. Acknowledgement to Country was not a moment in the day; rather, it was embedded throughout the day through routines, storytelling, play and creative activities, all designed to foster learning.

Dealing with conflicts seems to be a great challenge in society today. But not only in society. Higher education displays an air of resoluteness with certainty and security that disguises the conflicts and the fear of conflicts in a substantial number of subjects. If not in a state of denial, higher education avoids taking up conflicts over issues, for learning. The detailed investigation of Tagore's pedagogical writings, with a focus on the importance of conflicts in education, reveals a genuine embrace of conflicts for education. Conflicts are natural and necessary for the development and change of both the individual and society and the start of a 'creative imagination' to solve the problems we face in life. Contradictions in conflicts are not incompatible incongruities that are irreconcilable and mutually exclusive, but to the contrary, in need of each other. Contradictions do not represent different worlds but are substantial parts of one world: together they form a unity. Conflicting forces are necessary to create harmony. Creativity, imagination, love, art, and critical encounters are key elements in Tagore's practical education aimed at finding similarities among people instead of emphasizing differences. Relations between people over the Identity of people. In other words, we need conflicts to become creative and imaginative human beings. The paper continues discussing conceptual and practical issues that seem necessary to get the teaching of conflicts in education off the ground. On the conceptual level, in particular our dealing with uncertainty and fear, the valuation of conflict and the need for uncertainty-researching education. On a practical level, I propose a certain teaching model, a supportive curriculum, a way of choosing genuine conflicts for education and finally, I argue for specific support and education of teachers, acknowledging the vital role teachers play in delivering the education that we need.

Brazilian writer Carolina Maria de Jesus (1914-1977) was born in a rural community and spent most of her life in a slum. Despite this, her literary work achieved remarkable editorial success, having its value recognized by critics and academic circles. This paper analyzes Carolina Maria de Jesus's autobiographical narratives in the light of John Dewey's aesthetic theory, with the purpose of investigating the factors responsible for the development of her aesthetic sensitivity -- intellectual and emotional dispositions favorable to involvement with artistic practices. The results suggest that Carolina Maria de Jesus's literary skills, which express not only individual but also collective yearnings, resulted from the incentive she received to think about things that do not exist and from her relationship with people who favored the formation of a personality open to varied experiences. Such results are presented as requirements for a democratic and humanist education that aims at the flowering of aesthetic sensitivity and encourages educators and students to believe in their creative potential.