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This article explores how lens‐based practices can articulate and respond to art education phenomena. The affective turn in education and appearances of education in artists’ film and moving‐image are explored to help identify different appearances and experiences of art education pedagogy. Interspersed by clip descriptions from students and my affective descriptions of watching Être et avoir by Nicolas Philibert, and writing about a film made for the Freelands Foundation SHIFT series, I examine how using moving‐image practice to make a collaborative film in a college of further education in the West Midlands, England can dislocate art education pedagogy from Saul's parcelled and segmented time towards affective encounters and out‐of‐time, temporal experiences. Deleuze's time‐image film theory is explored to position pedagogy as a distinct, affective and temporal phenomena in Art Education and is used to compare the experience of both the making of and watching a film in an education context. [ABSTRACT FROM AUTHOR]

In the studio, there are routines and rituals to be observed. One of those is making gesso. The quantities change each time and the ingredients vary, but the mechanical process remains the same: soak rabbit skin glue for 3 hours, double burner melt the glue, sieve in champagne chalk whiting, stir slowly, and tap the sides to remove air bubbles. Brush on first layer. Dry. Sand. Repeat × 10. Out of repetition each new territory is unique with its own lumps, drips and curves on a straight edge board. Making gesso is a kind of ritornello. Drawing on Deleuze and Guattari, a ritornello is a repetition leading to a transformation; it is a methodical kind of time that is rhythmic, local and spatiotemporal. It contravenes the idea of a universal, overarching time to consider heterogeneous, plural experiences of time in the art classroom. Ritornellos exist in both the studio and the art classroom, but in the art classroom, they often sediment into endless repetitions without rupture: tonal scales, colour wheels, drawing grids and pastiche. We apply the concept of ritornello to pedagogy in Secondary Art and Design education to think about school art orthodoxies and how they can be reterritorialised. [ABSTRACT FROM AUTHOR]

Since the outbreak of the COVID-19 pandemic, art educators have had to abruptly overcome their resistance toward online education due to the forced transition to an online class format in K-16 education across the country. As online art educators, we also changed aspects of our courses to better meet student needs during this time. Based on these changes, this commentary examines our pre-service art teachers' learning experiences in online courses, mainly focusing on the interactions within video-conference-based synchronous classes. Curious about the relevance of Evans (2016) claim that "the virtual is real" for students' online-based situated learning, we share three vignettes from our recent teaching practices: 1) our students' perceptions of a divide between the instructor's real self and the instructor's virtual self that they encountered in online classes, 2) new learning patterns exhibited by our students during the pandemic and 3) changes in the expectations of our students with regard to online class instruction and delivery. [ABSTRACT FROM AUTHOR]

In this research, I explore the potential of a material‐led, embodied pedagogical approach to cultivate diverse modes of thinking, knowing and becoming within a pre‐GCSE curriculum. Drawing from my experiences as both an artist and educator, I acknowledge the transformative power inherent in recognising the agency of all forms of matter, whether human or non‐human. Through the implementation of a project titled ‘To Play,’ which utilises paper as a primary pedagogical tool, I engaged Year 9 Art and Design students. Qualitative data collected over a six‐week period underpins the analysis, with a particular emphasis on understanding students' experiences with material‐led processes. The findings highlight the potential of material‐led pedagogies to empower students and challenge anthropocentric perspectives, offering valuable insights for enhancing pre‐GCSE art education and harnessing the educational potential of materials. This study contributes to the ongoing discourse in art education by emphasising the importance of embodied, experiential learning approaches that prioritise creativity, exploration and critical engagement with the world around us. [ABSTRACT FROM AUTHOR]

Teaching is increasingly defined through the syntax of cognitive science, by retrieval practice, spaced learning, and interleaving, generating a computational rhythm for learning as a system of inputs and outputs that builds up an individual's memory over time. This, I argue, is at odds with the choreography of art and design education as an aesthetic, social, and material practice. An alternative mapping is required to fully understand the chronology of learning that takes place in and through the subject of art and design with human and nonhuman others. Drawing from a review of research in the field of Neuroaesthetics, I will seek to defend the unique temporality of art and design education and imagine different visualisations of learning in the subject beyond the computational. [ABSTRACT FROM AUTHOR]

This paper explores how increases in modularisation, elements of professional practice and even our relationship to screens and social media are amongst the factors that have changed the way time is experienced in higher fine art education. I draw upon my experience as a student, educator and pedagogical researcher to propose that identity formation and/or transformation are amongst the key functions of higher education in fine art in the West; that becoming an artist involves complex process of socialisation and individuation; and that these processes take time. I speculate that time is something which was once experienced comparatively smoothly but has been striated and fragmented by various factors including an increased focus on employability, the presence of social media, and not least various post Bologna interpretations at national or local level of the introduction of units and modules to comply with standardised credit systems. I propose that the combined effect of these factors amongst others distracts students from the middle by focusing them on micro destinations that deflect from developing a practice and impacts on these potentials. [ABSTRACT FROM AUTHOR]

Crip time is a fluid term with various definitions that pertain to the ways that disabled people experience time. In one sense, the effects of crip time can be constraining, particularly when it results in an encounter with ableist institutional and societal barriers. But crip time can also take on a liberatory form as a mode of resistance and a catalyst for structural change. This autoethnographic inquiry explores these various manifestations of crip time and will take form as a kind of crip time travel endeavour that recounts my experiences of temporality as a neurodivergent university art student. Framed through the mental imagery of the membrane and the vortex, I discuss the ways in which my neurodivergent student temporality collided and conflicted with the rigid temporal frameworks of neoliberal higher art education (HAE). I particularly focus on how HAE segments its programming into academic and artistic curricular time. I detail my difficulties keeping up with the academic curricular time to such an extent that the studio time and community time of artistic curricular time became lost or displaced time. Based on this crip time travel inquiry, I will acknowledge and move beyond a confining conception of crip time to offer insights into the liberatory potential of crip time towards reimagining temporal relations, reconceiving student success and opening time for neurodivergent students for critical making and thinking among a community of artist peers and mentors in HAE. [ABSTRACT FROM AUTHOR]

Researchers define gamification as the phenomenon of creating “gameful experiences” and the use of “game mechanics” in non‐gaming contexts (Deterding et al. 2011; Hamari et al. 2014). Gamification within education is the translation of design elements historically associated with gaming, e.g., embodiment, restructured timetables, probability, risk and reward, into the design of pedagogical approaches towards the goal of increasing student motivation, responsiveness and self‐determination. The following article examines the gamification of critiques and peer‐reviews as an evidence‐based best practice and disruptive innovation before outlining examples of critique games. The critique games in this article disrupt instinctive response frameworks and timetables and provide alternatives to more conventional critique and peer‐review practices. [ABSTRACT FROM AUTHOR]

An autoethnographic exploration of identity formation raises the question of how individuals inhabit, negotiate, accommodate and resist the social groups to which they belong, continually coming to terms with who and what they are. This paper discusses, through this researcher's autobiographical exploration, the ways in which pedagogical discourse and practice produce identities that are constructed within the broader sociocultural context of arts education. As an art educator who has been learning and teaching in the Korean sociocultural context since the 1970s, I have experienced the struggle between my identity as an artist and my identity as a teacher amidst the changes in educational ideology reflected in the Korean national curriculum, which is a set of pedagogical discourses and practices that are constructed within a particular sociocultural context. It can be said that my autobiographical narration has important implications for the practice of art education in connecting individuals and society in an ambiguous and complex future society by enhancing theoretical understanding of wider social phenomena. In this paper, the narrative interpretation of my changing identity as an artist, an art teacher and a teaching artist provides a timely insight into identity shifts in how the artwork we encounter and our perceptions of art are shaped and transformed by our own cultural experiences and recollections of our own personal experiences within the interconnectedness of art and education across time. [ABSTRACT FROM AUTHOR]

Arts therapy is provided in most educational settings in Israel, but post‐Covid, many arts therapists working in schools resigned or took leave, and other therapists have displayed little interest in taking their place. This study explored the experiences of therapists who left the system, with the purpose of making their voices heard and promoting policy development pertaining to the employment of arts therapists in the education system. We conducted semi‐structured in‐depth interviews with 15 arts therapists who left their jobs in the school system, asking them about their initial expectations upon entering the educational system, their experiences and reactions to their work environment, and the issues prompting them to seek job opportunities elsewhere. The findings suggest that along with the need for arts therapists to be proactive and search for solutions, the Ministry of Education and Regional Support Centers need to promote flexibility in the systemic hierarchy, improve communication, and provide more supervisory evaluation and support of the system, especially during times of change and crisis. From a policy perspective, we advocate for a unique definition of arts therapists' working conditions and the provision of opportunities for career growth. [ABSTRACT FROM AUTHOR]

The research addresses the use of artificial intelligence in educational processes and especially in the field of graphic design. The aim of this research is to determine students' opinions about the artificial intelligence applications that graphic arts students use as support while designing in the graphics course in visual arts education. Looking at the opinions of graphic design students about artificial intelligence applications; They state that students are increasingly using artificial intelligence technologies in their design processes and that these technologies make their work easier by offering new and innovative approaches to designers. In addition, it is seen that they regularly use artificial intelligence applications to get inspiration during the design process, save time by reducing workload, and improve their design skills. The findings show that students appreciate the practicality and efficiency of artificial intelligence applications, but they are concerned that they may, at least partially, dull creativity and lead to uniform designs. In addition, it was found that students were cautious about taking artificial intelligence support in all of their courses and adopted the view that this technology should be used consciously. In conclusion; The research shows that artificial intelligence-supported applications play an important role in the field of graphic design and that a conscious approach is important for students to use this technology effectively. It has been concluded that the use of artificial intelligence is quite common among students, that they see artificial intelligence-supported applications as a tool that inspires them when designing, enables faster development and significantly reduces the workload. [ABSTRACT FROM AUTHOR]

Art theory as taught in Australian higher education still predominantly focuses on Eurocentric artistic practices, methodologies and histories, with practices by First Nations artists and artists of colour often relegated to tokenistic one-off lectures. This approach to syllabus fails to reflect the depth and breadth of contemporary art and creates an inherently imbalanced perspective disconnected from the diverse experiences of students. Simultaneously, students are expressing their own expectations for an empowered and critically reflexive art education. Using the undergraduate art theory course, ReShaping Worlds, as a case study, this collaborative article discusses the importance of developing curriculum that provides students with an expanded perspective on artistic and curatorial practices by decentring hegemonic Eurocentric art narratives and reflecting on positionality. In doing so, we also highlight our roles as arts educators in facilitating and supporting reflexive and critical practice amid climates of political, social and ecological uncertainty. [ABSTRACT FROM AUTHOR]

Our paper addresses the stated need for art educators to develop inquiries into the history of non-Western, non-Anglophone art education systems. In response, we look at data taken from the history of Israeli art education and the development of Israeli art curricula in order to offer a historical sketch of the development of school art curricula in Israel. We frame our sketch using the perspectives of multiculturalism and critical theory. In the course of our discussion we reference scholarship from North America and Europe. However, our focus is primarily on shifts in Israeli policy in the direction of acknowledging greater diversity and multiculturalism. We trace these themes, starting with pre-state Israel and concluding with contemporary Israeli concerns with equity and social justice. We note parallel concerns with the same social issues in scholarship from North America and Europe. The main purpose of this comparison is to bring attention to the "blind spots" and "black holes" in Israeli visual arts syllabi where both Arab and Jewish Eastern culture and esthetics have been overlooked. We note parallels between these omissions in the Israeli visual arts curricula and attempts to correct similar lacunae in North American visual arts education. [ABSTRACT FROM AUTHOR]

Distance-learning studies have seen an incredible growth in the last 20 years. The majority of these were at postgraduate level. Fewer were undergraduate and even fewer were in initial teacher education training. Within these, there are even fewer examples of art education courses as it was frequently argued that the experiential aspect of these courses could not be translated into a remote learning-teaching environment. Nevertheless, Higher Education is moving rapidly toward an expansion of distance learning. The article discusses characteristics of online learning in the field of art education for elementary school teachers. It focuses on lessons learnt during the Covid-19 Emergency Remote Teaching in the context of preservice elementary generalist teachers and how the pandemic has accelerated the "digitalization" turn. It discusses opportunities for experiential, collaborative and active learning that are transformative enough to overturn stereotypes and promote perceptions of self-efficacy in art learning. Further, it affirms necessary aspects of presence in an online environment – social, cognitive and teacher presence – to achieve successful student outcomes for non-art specialists. Drawing from pedagogy, the implications of the study offer policy recommendations to Higher Educational Institutions on how to support both teacher educators and pre-service teachers in the context of art learning. [ABSTRACT FROM AUTHOR]

We conducted a study of 362 undergraduate art education students to investigate the influence of emotional regulation skills on academic engagement, and the mediating role of academic self-efficacy in this relationship. The results revealed a significant positive correlation between emotional regulation skills and academic engagement. Furthermore, academic self-efficacy mediated this relationship. Our research contributes to a better understanding of the interplay of emotional regulation skills, academic engagement, and academic self-efficacy among undergraduate art education students in the context of higher education in China. The findings offer practical insights for educators to enhance academic engagement among students in art education programs and suggest future directions for research. [ABSTRACT FROM AUTHOR]

This article looks at the work of three working-class-identified artists based in the UK – Mark Leckey, Andrea Luka Zimmerman and Simeon Barclay – who make art which explores their personal narratives or backgrounds. Starting with the context of changes to postwar British art education, it explores the 'professionalisation' of art degrees by incorporating art history and theory elements, and awarding accredited degrees including the research-as-practice PhD. Despite the greater inclusivity of art schools for students from lower socio-economic backgrounds, this article argues that the language and theory utilised at degree level could be prohibitive. It argues that although the approaches taken by artists Leckey, Barclay and Zimmerman offer a more embodied approach to theory and language in their practices, ultimately, education can be both liberatory and restrictive. Furthermore, in identifying these artists as examples of working class artists who have escaped or exceeded their working-class backgrounds via education and social mobility, it does not offer solutions to the structural issues of a largely elitist education system and artworld, and if anything results in tropes and stereotypes of the appearance and language of 'working-class' art. [ABSTRACT FROM AUTHOR]

In 1928 the Yugoslav journal Radna Škola put forward the perplexing claim that James Liberty Tadd (1853–1917) was one of the most significant and influential American educators. Why was this otherwise unknown art educator put into transnational circulation as responsible for the perceived success of education in the United States? Following the 1898 publication of his magnum opus, New Methods in Education, Tadd enjoyed a modest international reputation, but he is little known today. Adopting an “entanglement” approach to global histories of education, this article focuses on the messy tangling together of different actors, devices, discourses, and practices involved in this transnational transit. The article argues that the most salient aspect of Tadd’s introduction to a Yugoslav educational public in the late 1920s is an educational approach that purported to be transformational in how it unlocked human potential. This is to view “potential” as an object that circulates in the world and to suggest that histories of education should include study of the ways that the uppermost possibility spaces of human experience have been understood in relation to education in different times and spaces. [ABSTRACT FROM AUTHOR]

Generative Artificial Intelligence (GenAI) has arrived. Its impacts are touted to be profound on all aspects of society, including the arts and education. This article poses questions about the use of GenAI in drama education with the hope of inspiring a critical discussion that moves beyond binaries of acceptance or rejection of the technology. These questions go to the core of what defines our practice, our values and our purpose in the GenAI era. [ABSTRACT FROM AUTHOR]

This work aims to explore the application of an improved convolutional neural network (CNN) combined with Internet of Things (IoT) technology in art design education and teaching. The development of IoT technology has created new opportunities for art design education, while deep learning and improved CNN models can provide more accurate and effective tools for image processing and analysis. In order to enhance the effectiveness of art design teaching and students' creative expression, this work proposes an improved CNN model. In model construction, it increases the number of convolutional layers and neurons, and incorporates the batch normalization layer and dropout layer to enhance feature extraction capabilities and reduce overfitting. Besides, this work creates an experimental environment using IoT technology, capturing art image samples and environmental data using cameras, sensors, and other devices. In the model application phase, image samples undergo preprocessing and are input into the CNN for feature extraction. Sensor data are concatenated with image feature vectors and input into the fully connected layers to comprehensively understand the artwork. Finally, this work trains the model using techniques such as cross-entropy loss functions and L2 regularization and adjusts hyperparameters to optimize model performance. The results indicate that the improved CNN model can effectively acquire art sample data and student creative expression data, providing accurate and timely feedback and guidance for art design education and teaching, with promising applications. This work offers new insights and methods for the development of art design education. [ABSTRACT FROM AUTHOR]

In Australia, where initial teacher education is offered both on-campus and in a fully online mode, future primary-school generalist teachers study teaching across the school curriculum. This includes the arts curriculum where opportunities for future teachers to engage in authentic arts learning themselves are generally seen as essential for developing their arts teaching capabilities. However, a number of university educators have reservations about being able to do this effectively in the online environment because of the practical, experiential, and performative nature of arts learning. This study reviews the learning design of two compulsory arts education units in a fully online Bachelor of Education (Primary). It uses the "signature pedagogies" conceptualisation of the distinctive, durable, and pervasive pedagogical features of a discipline and explores whether arts education's signature pedagogies can be sustained in the online environment. Using qualitative content analysis methodology, the study shows that the learning design preserves arts education's signature pedagogies in the online context, though the expression of these is re-imagined for this learning environment. Augmented by survey data from students' unit evaluations, the study shows that online teacher education can offer meaningful arts learning in units designed for future primary-school teachers. [ABSTRACT FROM AUTHOR]

Hip hop is the most popular music in the US and remains on the fringes of the music education profession as both under-integrated, researched, and utilised. The purpose of this project was to investigate the experiences and perceptions of undergraduate music students who facilitated a hip hop project with hip hop experts in a local youth arts organisation located in the southeastern region of the US. As a qualitative investigation, analysis of these data revealed four themes associated with undergraduate music student experiences, which included (1) adaptability, (2) connection, (3) discomfort, and (4) impact. These data suggest direct influences on participant understandings related to hip hop with implications for the field of music education to include hip hop experiences in democratic and learner-led classrooms. [ABSTRACT FROM AUTHOR]

Based on the author's experiences of working with materials from the Dale B. Harris Papers, specifically a series of children's drawings "about the war," this article engages the concept of attunement as a strategy to address the challenges of encountering children's creations from the past. The article begins with an introduction to the concept of attunement, drawing into dialogue the work of Erin Manning and Jane Bennett, for example, as well as related scholarship from art education, qualitative studies, and childhood studies. This introduction is then used to express how the concept of attunement has been central to the author's approach to researching childhood art. After discussing the connection between attunement and the author's practice as a researcher, the idea of archival attunements is introduced, a turn of phrase used to animate the experiences, potentials, and challenges of encountering children's art from the past. [ABSTRACT FROM AUTHOR]

Public art is increasingly recognised for its pedagogical value, especially in higher education, where it enhances institutions’ educational outcomes and expands students’ learning experiences. However, its potential in basic education remains under‐exploited. This study aims to bridge the gap by investigating how public art is effectively integrated into school curriculums and the educational benefits it offers students in their learning journey. Researchers, therefore, designed a student‐centred public art intervention project, Dreams and Hopes, at a Chinese nonprofit primary school incorporating the school's educational goals. The project recruited 5th and 6th graders to create a giant mosaic mural for the campus’ public space during the school's club and regular curriculum. To determine the educational benefits of the public art practice, researchers collected qualitative data using ethnographic methods in the project. The results showed that students at different stages (design, making, exhibition) gained competencies in three key themes: creativity (divergence, convergence, expression), practical ability (operation, innovation, collaboration), and self‐identity (satisfaction, achievement, confidence). These competencies align with the school's educational goals and enhance students’ learning experience. Problem‐based guidance, a relaxed and enjoyable atmosphere, effective communication and a connection to reality are essential to these critical competencies. The study reveals that public art may support educational goals and benefit students. It also enhances the practical experience of public art in basic education and provides a model of intervention to educators. The study recommends that schools actively collaborate with external resources, emphasise the art practice's educational value, and provide platforms for student arts participation. [ABSTRACT FROM AUTHOR]

Fashion is a concept that is also a product of visual culture and takes its source from visual culture, is intertwined with the life of the individual, and appears in different aspects of the changing processes of time, to create aesthetic and comfortable forms of human life. While the rather wide range of fashion brings diversity to fashion education, the production of fashion products in aesthetic forms has led to the necessity of art education, and the production of fashion products with the right methods has led to the necessity of technical education. Fashion design education is a form of design education in which artistic and vocational technical education is taught to the student through blending them correctly. Besides, vocational and technical courses; art education, which is taught in fashion design education with the basic education logic is the result of the multi-directional education approach provided to the fashion design student. Art education-based courses, especially taught in the first years develop the student's creativity, originality, aesthetic point of view and aesthetic expression style. Drawing (Figure Drawing), which is one of the most important of these lessons, is a basic course that teaches the student to see and perceive and to express what they can see and perceive in an aesthetic way. Thanks to this course, the student, who gains observation and shaping skills through developing aesthetic sensitivity will receive basic artistic training for the fashion design program designed to dress the human body aesthetically and functionally. In this article, which was investigated on this perceived need, the importance, position, process and content of the Drawing (Figure Drawing) course for the fashion design program were examined and the opinions and expectations of Selcuk University fashion design students about the course were tried to be set forth. The position and content of the Drawing (Figure Drawing) course in the fashion design program were tried to be determined in the Bologna programs found on the university websites and the course information packages in the program. Descriptive analysis was used in the study conducted with the literature research and qualitative research method, and semi-structured questions were used in the interviews with the purposeful sample group. In the purposefully selected sample group in the study, some students are admitted by the Talent Exam, and some are admitted by the Central Examination System. In particular, students studying in different periods and groups were reached. With this approach, the unbiased opinions of the students who came to the department by drawing before and the students who did not know about drawing before university were collected and compared by descriptive analysis. When the departments of fashion design and textile and fashion design at the undergraduate education level in Turkey are examined, it is seen that these departments accept students with a special talent exam based on the Pattern (Figure Drawing) course and training, which is a necessary education, or with a central examination system that includes completely general theoretical courses or portfolio examinations. According to the findings obtained from the interviews in the study, almost all of the students who were admitted both to the talent exam and the central examination system considered the Drawing (Figure Drawing) course quite necessary for their education. Considering their success status, it was understood from their statements that the students who took the talent exam were more successful. It was determined that the students who took the central exam drew more still-life, lifeless models such as lifeless mannequins and tors due to their lack of pre-qualification and readiness. While the students who took the talent exam expressed their opinions on more advanced subjects, such as drawing faster and drawing what they imagined, the students who took the central examination system. The students who took the central exam reported that they would like to draw more different things, that they would like to be told more about drawing knowledge at the beginning of the course, and that they would like the instructor to be more interested, to give information frequently, and to warn and correct mistakes. Their common answers can be regarded as being able to draw more live models, providing models from outside, improving the workshop environment, using different environments, enriching the materials, drawing more fabrics, and enriching the content. [ABSTRACT FROM AUTHOR]

This article focuses on developing the idea process in visual art education by using digital peer feedback. In the school subject visual art, the visual idea process, e.g. when students sketch their ideas, is an important phase in a project. When an idea takes form, there is the possibility for considering the idea in a new way, for others to study and discuss it, and most importantly, for generating new ideas. By digitally sharing their visual ideas and providing feedback, students might become more aware of their own and others' processes. This study aimed to explore how eighth-grade students develop and share visual ideas supported by digital peer feedback. Thematic analysis was used to identify different types of feedback provided by students. A qualitative survey was used to investigate student perceptions of the feedback. Many students appreciated receiving feedback from peers. Some students made significant or minor changes to their visual ideas based on the peer feedback, while other students abandoned their initial sketches and created entirely new ones, or did not make any changes to their initial idea. These results suggest that giving and receiving peer feedback is something that needs to be practiced in different specific school subjects. [ABSTRACT FROM AUTHOR]

Massive open online courses (MOOC) have become important in the learning process and have been adopted in higher education, especially during the COVID-19 pandemic. However, few studies investigated MOOC continuance intention (CI) for arts disciplines. Thus, an integrated framework was proposed based on the expectation–confirmation model (ECM) and value–software–hardware–design system perception framework, focusing on the exploration of the potential factors of MOOC CI for art education taking music education as the context. A questionnaire-type survey was used, and responses from university students were analyzed using partial least squares structural equation modeling. The findings reveal that perceived music familiarity (PMF), perceived emotional value (PEV), and perceived user interface design (PUID) positively influence music MOOC CI. In addition, expectation–confirmation factors (i.e. confirmation, perceived usefulness of individual learning, and satisfaction) not only considerably affect CI but also play partially mediating roles between music MOOC CI and perception factors (i.e. PMF, PEV, and PUID). Accordingly, the ECM is extended in the music MOOC context. Moreover, the results reveal that personality traits fail to moderate CI, which denotes no significant difference across groups. The findings present several implications for researchers and practitioners in the MOOC, music and arts education, and learning system design in the context of higher education. [ABSTRACT FROM AUTHOR]

Discussions of the aims and efficacy of teachers tend to focus on an extended present pre supposing a more or less common profile across subjects and recent times. Given the concern with contemporary schooling this is unsurprising, but it limits what might be learned about the character of good and bad teaching, about the particularities of certain fields, and about the ways teachers conceive themselves in relation to their subjects, students and society. This essay considers the teaching of art, by artists to art students, setting this within a long view of the institutions of art and art training. Three partial models of the art educator and their associated qualities can be abstracted from medieval, early modern, and recent periods. (1) The Exemplar: possessed of practical skills and habituated understanding and judgement. (2) The Master: having in addition to the exemplar's qualitieserudition and cultivated taste. (3) The Critical-Advocate: theory-oriented, and self-consciously progressive. Good art (be it in terms of expressive, imaginative, formal, representational or other relevant aspects) has the power to transform makers and observers, and to encourage and deepen self-examination and self-understanding. Good art teaching should be alert to and directed towards these benefits. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the author discusses articles within the issue on topics including art education, effect of Anthropocene/Capitalocene on the practice of art, art education and pedagogy, and relational pedagogy that empathize and work with the affective dimensions of young people.

To conceive a philosophy of art education that is removed from actual practice would belie the extraordinary experience of developing and making practice. In this article, I propose to explore the philosophical implications of art practice being an experience of the 'daily extraordinary.' A view of practice as being at once stretching and comfortable, takes the artist and viewer's responses to the strangeness of the everyday: the delightful, the shocking, or even the miraculous, in what appear to be simple and mundane experiences. If we perceive learning in the arts as a pursuit of ideas, affect and expression that occurs in regular practice, there is an inclusivity that renders both learning in the arts and philosophy of art education accessible to everyone. In this article I will refer to the Goldsmiths Centre for Arts and Learning's research programme of 2022–2023, in which events and connected teaching activities practised being All For the Arts. With visiting speakers, museums and galleries and postgraduate students, CAL researched how the vitality and challenge of art practice, which includes the individualities and expression of persons and histories made ordinary and invisible, could bring the value of learning in the arts to the fore. Including reflections from contributors such as John Baldacchino, A Particular Reality, Carol Wild, Danny Braverman, Raphael Vella, Kevin Tavin and Andrea Kárpáti, we explored inclusivity in art practice from the daily extraordinary of each speaker's developments in educational research. Also, in the company of representatives from arts organisations such as Entelechy Arts, Autograph ABP, Whitechapel Gallery, Young V&A and Bow Arts, we considered the amazing and essential factors of inclusivity in the arts – that could be encountered on a daily basis. I will gather meeting points here among this incredible range of contributors. [ABSTRACT FROM AUTHOR]

The loss of relational networks and life‐sustaining capacities of the Earth resulting from the Anthropocene/Capitalocene provoke ambiguous pedagogical experimenting with the limits of the known. The Akokisa River of Texas is more than its extractive use‐value based on humanist rationality. Water connector Ángel Faz approaches the River as more than a passive and endless resource to be extracted and manoeuvred for profit, but as an ecology of relations entangled with humans—the River is us; we are the River. As a boundary agitator, Faz speculates into unresolvable and reciprocal voids located in the excluded middles between humans and more‐than‐humans ripe with potential percepts and affects across River multiplicities. Such gesturing generates transcorporeal, multi‐linguistic, uncanny, trickster, and shimmering pedagogies bewildering the capacity to participate in the dynamic indeterminacy and interconnectedness of the River's ongoing becoming. [ABSTRACT FROM AUTHOR]

This text aims to revisit a practice developed in a course on art education within the Ph.D. programme in Arts Education at the Faculty of Fine Arts, University of Porto. We approached this space through the construction of a workbook that was practised during classes. The exercises aimed to reflect on the positionality we occupy and on art education as a field of practice/research built on several colonialities. The idea of theory as a practice enacted through questioning, displacements, staying in research and getting to know the archives we inhabit framed the work carried out. The text is an exercise in revisiting the workbook, activating it now through reading and outside the group of participants to which it was made. It is not linear in the sense of recounting the experience; rather, it seeks to blend today's writing with the exercises drawn from that workbook. [ABSTRACT FROM AUTHOR]

Considering art and its educative potentials as a living experiment with the body's elemental constitution and modes of organisation, this article engages water, earth, air, and fire as milieus through which a body learns to sense, move, and act in the world differently. This leads to a series of propositions for an elemental philosophy of arts education, which recognises the intersectional and decolonial potentials of bodies, and strives to amplify and proliferate these potentials through creative pedagogic practices. If, as Elizabeth Grosz (2017) proposes, "the chain of evolutionary emergence is unbroken not only materially but also conceptually" (p. 250), then arts education offers an expression of the body's incorporeal and material potentials as they change and evolve through time. Further to this position, we argue that arts education has the potential to radically reframe relationships with water, earth, air, and fire in ways that resist their co‐option as tools of colonialism and intersecting categories of oppression. [ABSTRACT FROM AUTHOR]

The article proposes a relational pedagogy centred on study, to contest the affective condition of the present and how it shapes narratives of young people being disengaged and with a lack of future. In doing so, it draws from affect theory and black radical studies to outline a more complex approach to affect in university experience. It mobilises the concept of study, advanced by Stefano Harney and Fred Moten in their book The Undercommons, to direct attention to less linear and transparent space‐times where study, a practice of affecting and being affected by what others do to you and what you do with it, exceeds the frameworks of the university. Further to this, the article connects study and fugitivity to what Moten calls an aesthetics of the break practiced across black studies. In doing so, it links affect to complex spatial‐temporal relationalities that emerge from sensuous experimentation and creative speculation, which engage both in university and its escape. These ideas are explored through a participatory study with university students in Manchester, UK called Sensing the Black Outdoors. I present the findings derived from radical sensory‐spatial experiments, which led to: (a) visual encounters centred in not looking away and staying with the material presence of blackness and (b) the development of collective experiments with sensory media for feeling and imagining alternative experiences of space and time in the city. [ABSTRACT FROM AUTHOR]

This essay is a plea to art educators in what is a global climate in a permacrisis both politically and physically. This is a deliberate and persuasive provocation to reorientate art education to avoid a reiteration that is taking place when the 20th and 21st centuries are compared in relation to the striking changes that are taking place in relation to a qualitative shift in technologies and the phase change of the earth. I develop this provocation by first developing the relations between art, science and philosophy of the 20th century, and art educations roll in this. I then turn to the 21st century to develop art, science and philosophy as they relate to the problematic developed by Peter Weibel and Bruno Latour in four significant exhibitions held at the KMZ. From there, I turn to anchor my theoretical support as to why Deleuze and Guattari particular expression of non‐philosophy is of key import to make this plea stick in relation to both digital mediation and the post‐Anthropocene. [ABSTRACT FROM AUTHOR]

The concern of this paper is to provide a number of 'seeds' for a reclaiming of art in education by placing emphasis upon art's pedagogy or art's education. The notion of reclaiming does not infer a return to a utopian past or to a halcyon future, but it invokes a reaffirmation of the adventure of events of art practice that can take us beyond ourselves towards new creative assemblages and possibilities for becoming‐with. Such reclaiming requires a culture of trust, care and response‐ability. In relation to art's pedagogy the paper calls for opening up what is formally recognised as 'practice' in art education to a sensing towards what might be obscured by such recognition and in doing so reshape our ideas and modes of practice. [ABSTRACT FROM AUTHOR]

The fate of art's education looks like a cynical and rather hopeless process. Those who belong to the field pledged their loyalty to the discipline by dint of how they regard art as being inherently pedagogical – what is here called art's education. Decades of engagement in art's education leaves one travelling over spaces that present themselves as widening chasms between art's education (the pedagogical inherence of art) and art education (art's location within the structures of schooled education). Chasms aside, new borders and unnecessary walls keep being erected just as new territories and jurisdictions are continuously declared. Those of us who have always regarded themselves as migrants within the field would be forgiven to pine with nostalgia for when, not so long ago, art and education moved and roamed with pride and autonomy. Maybe it is this nostalgia which keeps us hoping, while knowing very well that often we tend to idealise the very 'past' in which we take false solace. [ABSTRACT FROM AUTHOR]

This article shares research, an empirical psychological case study, about cognition in higher degree art education. It proposes cognitive curation as a concept and practice that can develop knowledge and learning autonomy in and beyond the academy. Informed by the autoethnographic stories, interviews, and artworks of three academic art educators, this article's research demonstrates how cognition and its curation can manifest and develop in the teaching, research, and practice of higher degree art education. Open coding and framework alignment (cognitive, nexus orientated and visual) helped understand, locate, and exemplify cognition and curation in the research. Informed by the data, this article acknowledges how movement, identities, and frameworks, as learning strategies, can help facilitate cognition and cognitive curation. Cognitive curation provides means to responsibly form and follow learning, it is consequently relevant to the arts, education, and life. Art education's cognitive value is often questioned, this article dialogically contributes to the defense of its cognitive integrity whilst foregrounding cognitive curation. [ABSTRACT FROM AUTHOR]

Objectives: Current literature remains inconclusive regarding the best methodology to accurately palpate lumbar spinous processes (SP). Body painting (BP) uses markers to draw anatomical structures on the skin's surface. While BP can be a useful tool for engaging learners, it is unknown whether it improves palpation accuracy. The purpose of this study was to investigate whether the addition of body painting to palpation education improves lumbar spinous process palpation accuracy in first-year Doctor of Physical Therapy (DPT) students. Methods: Thirty-eight DPT students were randomized into a traditional palpation group and a body painting (BP) group. Each group received identical instruction on palpating the lumbar spine, with the BP group additionally drawing lumbar SPs on their laboratory partner with a marker. Students were then assessed on their ability to accurately palpate the L4 SP on randomly assigned subjects. Two Certified Registered Nurse Anesthetists (CRNAs) used ultrasound imaging to confirm the location of each student's palpation. Palpation time was also recorded. The BP group also completed a survey on the learning experience. Results: Forty-five percent of students were able to accurately palpate the L4 SP. There was no significant difference (p = 0.78) in palpation accuracy between the traditional and BP group, although students in the BP group were randomly assigned subjects with a significantly (p = 0.005) higher BMI. Ninety-five percent of students were able to palpate within one spinal level of the L4 SP. Students in the BP group reported that the BP activity facilitated learning and active participation. There was no significant difference in palpation time (p = 0.98) between groups. There was a fair correlation (r=-0.41) between palpation accuracy and subject BMI. Discussion/Conclusion: While body painting was an enjoyable activity to incorporate into palpation laboratory, it is unclear whether it enhanced lumbar SP palpation accuracy in first-year DPT students. [ABSTRACT FROM AUTHOR]

Susanne Langer sees the 'the public importance of art' as one of 'the ultimate questions in a philosophy of art'. Indeed, Langer is often referred to as an authority on the justification of art education and is cited as providing good reasons for incorporating the arts in the curriculum. It is therefore surprising to note, as Elliot Eisner does, that Langer's theory has had little influence on actual art education. For while many theoreticians in the social sciences and education have found Langer's contribution to the understanding of the arts highly significant, Eisner laments that 'alas, the lesson Susanne Langer was trying to teach ... in her remarkable book, never took hold in ... American public schools'. It seems that policy-makers outside of art education circles remain sceptical regarding the need for art education. The substantiation of art education requires firm ground against scepticism. It is therefore important to understand the ways in which Langer's project fails to fulfil its promise. In examining Langer's aesthetic theory, I will show that despite its philosophical acuity, Langer's argument fails to persuade the art education sceptic who believes that art occupies a minor role in education and should therefore remain marginal in the school curriculum. [ABSTRACT FROM AUTHOR]

To improve the current oil painting teaching mode in Chinese universities, this study combines deep learning technology and artificial intelligence technology to explore oil painting teaching. Firstly, the research status of individualized education and related research on image classification based on brush features are analyzed. Secondly, based on a convolutional neural network, mathematical morphology, and support vector machine, the oil painting classification model is constructed, in which the extracted features include color and brush features. Moreover, based on artificial intelligence technology and individualized education theory, a personalized intelligent oil painting teaching framework is built. Finally, the performance of the intelligent oil painting classification model is evaluated, and the content of the personalized intelligent oil painting teaching framework is explained. The results show that the average classification accuracy of oil painting is 90.25% when only brush features are extracted. When only color features are extracted, the average classification accuracy is over 89%. When the two features are extracted, the average accuracy of the oil painting classification model reaches 94.03%. Iterative Dichotomiser3, decision tree C4.5, and support vector machines have an average classification accuracy of 82.24%, 83.57%, and 94.03%. The training speed of epochs data with size 50 is faster than that of epochs original data with size 100, but the accuracy is slightly decreased. The personalized oil painting teaching system helps students adjust their learning plans according to their conditions, avoid learning repetitive content, and ultimately improve students' learning efficiency. Compared with other studies, this study obtains a good oil painting classification model and a personalized oil painting education system that plays a positive role in oil painting teaching. This study has laid the foundation for the development of higher art education. [ABSTRACT FROM AUTHOR]

The present study focused on the integration of art education for the development of communicative skills in ninth grade students of general basic education. The study is framed in a quantitative approach, with a pre-experimental design of quasi-experimental type, aimed at evaluating the impact of an art education strategy in the development of communication skills in ninth year students of General Basic Education (EGB). The sample consisted of 35 students and 4 teachers from the Escuela de Educación Básica Perla del Pacífico, randomly selected to ensure representativeness. Exploratory surveys were administered to students and teachers, together with indicators designed to measure communication skills. The study also included an evaluation by educational experts. Pre- and post-tests were used to compare the results before and after the intervention, using indicators such as clarity in oral expression, coherence in written expression, among others. Statistical correlation tests were performed to analyze the relationships between variables. The results indicated a positive impact of the strategy on the development of communicative skills, highlighting significant improvements in clarity and coherence of expression, adaptation to the public and resolution of communicative conflicts. Expert evaluation provided valuable feedback to improve the effectiveness of the strategy. This study highlights the importance of arts education in the integral development of students and its ability to improve communication skills. [ABSTRACT FROM AUTHOR]

This article presents the development and application of an approach for evaluating audience response to and meaning-making from large-scale public murals, created as part of an art-science-community engagement project. The project adapted Visual Thinking Strategies (VTS) facilitation, a common technique in visual arts education, with a focus group style interview to investigate if the murals generated the intended meaning-making among members of the communities they depicted. We piloted a VTS-centered focus group discussion with three groups of community residents in Pennsylvania's Lehigh Valley. Thematic coding of observations in the discussion groups suggest that a VTS-centered focus group is an effective approach to evaluate audience meaning-making by prompting slow looking, protracted discussion, and offering a structure for discussion that keeps the facilitator from shaping topics of conversation. The affordances and limitations of this approach as a tool for research and evaluation of learning through public art and exhibitions is discussed. [ABSTRACT FROM AUTHOR]

This essay seeks to reflect on the functions and paths of the movement of imagination in art educational processes. To do this, the author delves into her notes, interspersing concepts and poetry. In the poetic field, he shares Tupi mythical narrative, poetry set to music from the Brazilian songbook and some practical educational art with children. In the conceptual field, he invites authors such as Gaston Bachelard, André Breton, Joseph Campbell, Renato Noguera, Mircea Eliade and Gianni Rodare to talk. An educational art path is suggested without the rigid objectivity of a methodology; least one presentation of techniques. The aim is to invite readers to inhabit the text, either to change their ideas of place or to graft it with new suggestions. It is, therefore, an explicit rehearsing of thoughts driven by the author's teaching experience. [ABSTRACT FROM AUTHOR]

In 2014, in Angola, the first higher education institution in Arts began operating, after fifty-two years of university history in the country. The implementation of this area of knowledge, in addition to officialities, involves rehearsing specific ways of communicating the processes relating to the creation of works, as well as the practice of theory in that environment. Relying on a bibliographical review, this text–written in the form of a diary–rehearses the possibilities of research and writing, within the arts, in academia, for the Angolan context. [ABSTRACT FROM AUTHOR]

Eight responses, from India, Canada, the US, and Australia, highlight pedagogical issues that are raised in the essay 'Integrated Foundation Studio and Art History at the School of the Art Institute of Chicago'. The comments includes questions of practicability, history of pedagogy, similar initiatives, and philosophic assumptions. [ABSTRACT FROM AUTHOR]

Interest in art school histories and the archives that support them has grown over the past decade, yet institutional recordkeeping practices and collecting, where they exist, do not tend to capture the kind of records that are most useful for research into art school pedagogies or their relationship with contemporary art discourse. This article gives an archive studies perspective on the Fine Art Critical Practice (FACP) Archive, a collaborative project to collect archival sources documenting the history of the FACP degree programme at the University of Brighton, UK, to be held at the University of Brighton Design Archives and activated through involvement of the FACP community of staff and students. It considers the records of interest to that community may lie in the context of an art school archive within an institution. It goes on to consider the example of a body of papers received from a former member of FACP staff, Mick Hartney, reflecting on some of the questions raised by this mode of collecting in terms of archival arrangement and knowledge production for the project's future phases. [ABSTRACT FROM AUTHOR]

Inclusive education has been promoted in recent years; however, its inadequacies and the difficulty of its practical application have been pointed out. Hence, this study presents a scheme of learning according to the conditions of a person's disability and proposes a hypothetical teaching method that accommodates various degrees of disability. The method implements teaching materials developed for people with profound intellectual and multiple disabilities with people with moderate to mild disabilities. The authors conducted classes for 15 students enrolled in two special needs schools and an art club that utilises art activities that highlight positive aspects of individuals. Through qualitative analysis, 11 types of learning concepts were extracted and classified into broad categories of basic literacy, cognitive skills, and social skills. Additionally, by categorising learning schemas based on the level of communication and physical movement, rather than the type of disability, six types of instructional methods are proposed. This provides a viable guidance system for inclusive group learning for people with various disabilities. [ABSTRACT FROM AUTHOR]

Purpose: The aim of this study is to investigate how the information needs satisfaction of visual art teachers affects their creativity. Visual art teachers' information seeking behaviour and specifically the association of information needs satisfaction with creativity has been an understudied area, despite competent information seeking being considered essential for high quality practices of art teachers. Design/methodology/approach: A questionnaire survey was developed addressing the information seeking behaviour of art teachers, informed by Wilson's model (1981), including visual art teachers' information needs, information resources, obstacles faced while seeking information and the perceived impact of information needs satisfaction on visual art teachers' creativity. Findings: The study included 298 visual art teachers in Greece. The results demonstrated that the key information needs of art teachers were mainly related to materials' properties, techniques for creating artwork and artwork promotion methods. Online information sources were the preferred sources of art information, followed by colleagues, personal collections and visits to galleries and museums. Our study identified lack of time, lack of specialized libraries and copyright, as the main barriers to information seeking. Originality/value: Information about art plays a substantial role in visual art education, while visual art teachers' information needs satisfaction positively influences their creative endeavours. There is a need to further explore the digital information needs of visual art teachers. [ABSTRACT FROM AUTHOR]

Very limited information has reached the present day in terms of the institutionalization process of painting education, the opening of private schools providing painting education, their curriculum, staff and general operating rules. Within the framework of the renewal movements of the Ottoman Empire, painting lessons were included in the education curriculum of military schools. Although the domestic and foreign press of the period, travelogues, memoirs, diaries, archive documents are limited sources of information in this field. Pera and its surroundings, where foreign painters lived during their travels to the Ottoman geography, also turned into the art production and education area of the Ottoman Empire, in other words, the art environment. Pierre Désiré Guillemet (1827-1878) opened a school called Academie de Dessin et de Peinture and his activities laid the foundation for the idea of opening a school for the public and providing art education in the minds of Ottoman high-ranking bureaucrats. On the one hand, the Sanayi-i Nefise-i Şahane was taking shape and, on the other hand, the workshops and courses initiated by Western painters in the very early period continued their existence by increasing in number, and later they turned into private painting schools. In this article, for the first time, information will be given about educational staff, curriculum, rules, educational conditions and fee policy of a painting school with a special status in the light of the regulation of the painting school belonging to the painter Mehmed Muazzez Özduygu. [ABSTRACT FROM AUTHOR]