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This article examines blue paper as an ecological solution in drawing practice by investigating the questions of when and under which circumstances German artists in the early sixteenth century decided to use blue paper. Blue paper had several aesthetic, symbolic, and economic functions, often both referencing a geographic relationship to Italy and its tradition of drawing on blue paper, and also engaging in a world of play and imitation in workshop practices. For a better understanding of the early modern paper ecologies within which artists worked, it is necessary to regard paper production within a broader socio-cultural range, thus not only as an exchange between paper makers but also with consideration of other crafts as well as the impact of new technologies. From there we can reconsider our relationship to nature. [ABSTRACT FROM AUTHOR]

There is uncertainty whether postoperative application of paper tape (PT) improves scar aesthetics and reduces wound closure complications. This study aimed to review and assess the quality of applicable findings from studies investigating PT’s efficacy. We queried PubMed and SCOPUS using the search terms “((“paper tape”) AND (wound OR closure OR heal* OR complication OR skin OR prevent* OR scar*)).” We excluded articles that were duplicates, basic science, or not clinically relevant. We assessed the level of evidence for each article using the American Society of Plastic Surgeons (ASPS) Rating Levels of Evidence and Grading Recommendations for Therapeutic Studies, ranging from I (highest) to V (lowest). Of 186 publications reviewed, we included eight studies in the literature review. Five of these studies reported statistically significant positive outcomes on scar aesthetics and wound closure associated with using PT. Using the ASPS rating system, we found that two studies were Level I, three studies were Level II, two studies were Level IV, and one study was Level V. Notably, heterogeneity in the study designs limited outcome comparison. The data from the studies included in this literature review support using PT to optimize scar and wound management. The lack of higher levels of evidence, however, suggests the need for additional randomized controlled trials to rigorously evaluate patient outcomes when using PT compared with other forms of adhesive dressings. [ABSTRACT FROM AUTHOR]

The demand for high-grammage paper, 150 g/m2 or more, is increasing for product protection and aesthetic value. Fold cracking, resulting from high mechanical pressure during folding, considerably decreases the economic feasibility of such products for papermaking companies. Fold cracking can be reduced through creasing, but defects possibly occur as fiber bonds are broken. In this study, the fold cracking of high-grammage paper that was not treated through creasing was explored. The mechanical and folding properties of six types of pulp fibers were evaluated based on their beating degree. The fines content of the fiber differed according to the beating condition. Using pulp with low fines content improved the folding properties. The mechanical properties of hardwood pulp were enhanced with increased beating degree. The mechanical properties of softwood pulp were considerably increased, and fold cracking occurred with increasing beating degree. Therefore, to improve the fold cracking, beating should be applied appropriately, following the type and mixing ratio of pulp fibers. Finally, softwood pulp mixing is proposed as a strategy to control fold cracking while maintaining the unique characteristics of high-grammage paper. [ABSTRACT FROM AUTHOR]

Annually on 1 January, Japan's efficient postal system circulates 2.5 billion New Year cards to arrive simultaneously in every home in the country. Based on ethnographic fieldwork around Osaka, this article investigates the continued popularity of this exchange of paper forms in an age of smartphones and fast internet connections. Extending recent anthropological scholarship about digital data, I argue that these seemingly trivial cards have transformative potential. They are active, potent participants in the cultivation, accumulation, and ongoing care of multiple networks of social, economic, and spiritual relationships. Through an analysis of the material and aesthetic qualities of the cards, I highlight how their front‐back design embodies co‐existing, but contrasting, dimensions of Japanese relations along a qualification‐quantification and personalization‐standardization axis. The cards also produce depth and scale by linking intimate, domestic concerns with larger political and economic interests, while weaving together multiple temporal dimensions. Ultimately, they exemplify how the manipulation of surfaces can have profound cosmological consequences. These cards possess a spiritual and social potency that generates an all‐encompassing, intimate closeness that yearly rejuvenates society by reconstituting individuals as part of the whole. [ABSTRACT FROM AUTHOR]

This article serves as an introduction to a collection of papers that respond to Jonathan Palmer's paper on the role of creativity in psychoanalytic work. The contributors, who are known for their creative approach to psychoanalysis and art, offer their unique perspectives on the theme of creativity in psychoanalysis. They emphasize the significance of creativity, aliveness, and play in the therapeutic process, drawing on personal experiences and artistic references. The papers encourage readers to reflect on their own sources of creative expression and consider the role of creativity in their own analytic encounters. [Extracted from the article]

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.

This article delves into the relationship between art and psychoanalysis, specifically focusing on the concept of aesthetic experience and its impact on therapy. The authors discuss how aesthetic experiences can lead to transformative change for both patients and analysts, allowing for new approaches to life and the ability to confront difficult experiences. They emphasize the importance of the analyst's involvement and openness in creating an environment for these experiences to occur. The article also touches on the role of creativity in therapy and the analyst's responsibility to nurture the patient's own creative self. Overall, the article highlights the interplay between art and psychoanalysis and the potential for aesthetic experiences to deepen the therapeutic relationship. [Extracted from the article]

This paper outlines the development of a new Indigenous research methodology: Indigenous Literature Re-view Methodology (ILRM). In the rejection of the idea that Western, dominant forms of research 'about' Indigenous peoples are most valid, ILRM was developed with aims to research in ways that give greater emphasis to Indigenous voices and knowledges, foregrounding Indigenous ways of being, doing and knowing. The advantages of ILRM include identifying themes as 'relevant' as opposed to 'common'. This method is based on relatedness, which is framed by Aboriginal ontology, axiology and epistemology, or ways of being, ways of doing and ways of knowing. Describing and employing ILRM to re-view Indigenous Australian boarding school literature, it was found there is a modest but robust body of research that has emerged in the past 20 years. Sixty-six written sources (i.e. journal articles, reports, theses and books) which were published in 2000 onwards and focussed on a topic of contemporary Indigenous boarding schooling were analysed. Sources that included a chapter or section on boarding as part of a publication focussed on other topics were not included in this re-view. Seven major themes emerged, including home, student experience, transitions, access, staff, health and evaluation. This paper focusses on the development and use of ILRM as an Indigenous methodology for researchers in Indigenous fields of study.

This paper responds directly to the question, how do we communicate our philosophy of art education? It does this by drawing upon previous research with "House of Imagination, School Without Walls" and doctoral research exploring children's learning identity as artists, to illuminate a philosophical approach to art education and its pedagogy that highlights both human and more-than-human dimensions of learning in communities of practice involving artists, researchers and educators working alongside children and young people where spaces of possibility for practice and innovation emerge. The paper focuses particularly on current and creative research in the "Forest of Imagination," a long-term participatory contemporary arts and architecture event in Bath, UK. "Forest of Imagination" offers an alternative, creative approach to learning, focusing on ecological imagination and nature connection. As a new aesthetic imaginary, the Forest of Imagination is a living, breathing art classroom, inspiring curiosity, imagination and a deeper connection with the natural world.

Combining biologically active compounds with nanocarriers is an emerging and promising strategy for enhancing the activities of molecules while reducing their levels of toxicity. Green nanomaterials have recently gained momentum in developing protocols for treating and preserving artifacts. In this study, we designed a functional biohybrid material by incorporating tributyltin(IV) ferulate (TBT-F) into halloysite nanotubes (HNTs), generating a new formulation called HNT/TBT-F. The primary objective was to develop a formulation with robust antimicrobial properties and reinforcing features for treating paper with artistic and historical value. To characterize HNT/TBT-F, assess the HNT's loading capacity, and investigate the TBT-F release kinetics from the nanotubes, various analytical techniques, including UV-Vis and infrared spectroscopies, thermogravimetry, and microscopy analysis, were employed. Furthermore, we evaluated the antimicrobial potential of TBT-F and HNT/TBT-F against Kocuria rhizophila, a bacterial strain known for its opportunistic behavior and a cause of artifact biodeterioration. HNT/TBT-F exhibited a significantly stronger bactericidal effect than TBT-F alone against K. rhizophila cells growing planktonically or those forming a biofilm. This enhanced performance could relate to the confinement of TBT-F within the nanotubes, which likely improved its physical-chemical stability and increased the local concentration of TBT-F upon contact with the bacterial cells. Additionally, we evaluated the mechanical properties of a paper treated with HNT/TBT-F, assessing any potential alterations in its color. The findings of this study highlight the favorable attributes of the HNT/TBT-F formulation and its potential for developing protocols aimed at consolidating and preserving culturally significant paper objects. [ABSTRACT FROM AUTHOR]

Archives, ancient books, and documents kept in museums and libraries are the carriers of historic and cultural information left by our ancestors. However, these paper cultural relics can show notorious signs of degradation, e.g., fungal development. Due to the organic components of paper objects, they suffer from fungal biodeterioration. The excreted substances of fungi and the fungi's structures themselves are often colored and interfere with the readability of the artifacts, diminishing their artistic and monetary values. In this study, we collected and separated the moldy archives collected in the Archives of Shaanxi Province (China) and obtained the identification results of eight kinds of molds. Clotrimazole (CTZ) and quaternary ammonium salt chitosan (HACC) were combined to prepare a microemulsion. Synergies of CTZ and HACC could enhance the antifungal effect and reduce the required concentration of a single drug. The composite emulsion could effectively improve the retention of drugs on the surface of paper cultural relics, improve the solubility of hydrophobic drugs, and provide a data basis for the anti-mold preservation of paper cultural relics. [ABSTRACT FROM AUTHOR]

This article focuses on South African teenage girls' engagement with pornography. Using a decolonial approach and drawing upon new feminist materialism, this study focuses on the ways in which bodies, gender and sexuality configure to produce and constrain girls' capacities for sexual expression. The paper makes three claims. First, the article turns away from a one-sided representation of girls as only possible to know through the lens of sexual suffering while challenging childhood sexual innocence. Second, the online pornographic field is situated in a gendered and racialised system of organisation whereby the perfect body is naturalised as an esteemed object of desire. Third, the desire for the perfect, slim, blemish-free, hairless body through self-surveillance constricts capacities in line with normative standards of female beauty. A decolonial porn assemblage is harnessed to illustrate the contradictions produced as girls both desire and object to idealised bodies that are naturalised through heterosexual and racialised hierarchies. The paper concludes by considering the implications of approaching girls' engagement with pornography in relation to the expansion and limitation of their capacities and the body as an intense site of power.

Given the rise in extremist radicalization using digital media, antifascist education must develop its own philosophy of digital technologies. The first half of this paper turns to Leo Löwenthal and Norbert Guterman's theory of the American agitator as well as Max Horkheimer and Theodor Adorno's notion of fascist projection and paranoia to provide groundwork for this project. Though written in the 1940s, Frankfurt School essays on agitation and projection can be thought of as early indications of the importance of affect in fascist politics, which has only become intensified with the advent of digital media. The paper then proceeds to apply a critical concept of "agitational aesthetics" to chan culture in the present day, highlighting the affective economy of memes in the radicalization process. In conclusion, a series of questions are posed to educators to help them think through the complexities of intervening before, during, and after the online agitation of proto-fascist tendencies in youth.

This discussion article examines the potential integration of Generative Artificial Intelligence (Gen-AI), including advanced Large-Language Models like the popular platform ChatGPT into subject English education. Following the significant public and academic attention in response to these technologies through 2023, this paper considers the transformative potential and challenges posed by Gen-AI in educational settings. Central to the discussion is the exploration of how English teachers can leverage Gen-AI to enrich student learning beyond the obvious domain of writing skills. Instead, the article foregrounds the necessity for students' understanding of Gen-AI as an essential component of digital literacy. While acknowledging ethical concerns such as plagiarism, equity, and access, the paper presents an argument for the productive use of Gen-AI in the classroom to augment reading, viewing, and interpretation lessons. Avoiding an evangelical or dystopian view of AI, this discussion piece explores the time-critical and urgent issue of how, when, and why English can engage with the technology.

Confronted by myriad interconnected societal challenges, this paper asks: what kind of pedagogy does justice to the experience and challenge of living in a complex world? Departing from a critical reading of a preparative-logic to education, this paper emphasises students' entangledness: more-or-less consciously, students are uniquely shaped-by and shapers-of complex societal challenges in a here-and-now sense. Utilising this premise, the paper develops a set of pedagogical perspectives that might inspire and help teachers to design their own responses to particular complex societal challenges in their unique teaching contexts. Drawing on emerging outcomes from a narrative diffractive inquiry with 12 teachers as co-researchers and engaging with complexity thinking, six perspectives are presented and discussed: entanglement-orientedness, entanglement-awareness, hopeful action, inquiry within complex societal challenges, practicing perceptiveness, and practicing integrity. Together, these perspectives offer a heuristic for embracing complexity in education.

In this paper, I consider the ethics education potential of two documentary films set in the mountains. I first draw upon the work of Emily Brady in order to tease out some similarities and differences between environmental tragedy and sublime experiences in nature. I secondly argue that the screened sublime is qualitatively different but not necessarily inferior to sublime sensations in nature. I then discuss how the film Mountain showcases the allure of the mountains while also suggesting the search for the sublime there may not be morally justifiable unless it is sustainable. I thereafter unpack the tragic themes in, and moral issues raised by, The Last Mountain. I maintain the film invites viewers to consider the ethics of risky mountain adventures and whether the rewards of such adventures justify the very real risk of tragedy. I conclude by thinking through how the films explored in the paper can aid mountain adventure education in at least two ways: (1) by opening up questions about the moral and ethical frameworks that mountain adventurers have and should have and; (2) by providing viewers with safe and sustainable experiences of the tragic and sublime.

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.

The intricate and tricky case of semantic analysis, especially of the enigmatic realm of nouns, the red thread of linguistics and literary exploration. This academic research explores the rich sphere of Russian literature in-depth to determine connections between function and the embodiment of theme through proper names. This research is aiming at studying the role of proper nouns in the literary masterpieces by focusing on the ideas of character development, thematic cohesiveness, and the narrative flow. This papers deals with profound significance of proper nouns as linguistics pointers that take you beyond their literal meaning to different levels of connotative value. It takes most of its ideas from the late linguistics and literary critique. This research gets down to serious business by cherry-picking and analysing a set of Russian masterpieces. An intensive method of semantic analysis was used by the study to properly identify and categorize all the structural features of proper nouns. Also, it conducts an examination of the usage of language by these instrumentalities so as to discover their common features and themes which lead to the invention of the main narrative. The results of this study add to our comprehension of proper noun semantics in Russian literature and provide us with a stepping-stone to broader discussions on the linguistic theory and literary studies. This cognitive effort exceeds the linguistic borders, as it takes into consideration the cultural and historical value of the proper nouns being presented. The report shows why it is necessary to reconsider the theoretical design to account for the distinctive linguistic and particular cultural features of the Russian literary heritage. This research is a step toward unravelling noun semantics' mystery and adds to the already existing linguistic aesthetics and cultural semiotics debates.

This paper focuses on an alternative photographic aesthetic based on the human eye that could have evolved given a different set of historic technical developments in photography. In broad terms, this alternative aesthetic would depend on the recording medium being far more sophisticated than the lens: the opposite of how photography actually evolved. The paper references an art practice based on singleelement lenses, which materially reduce phenomena to what may be experienced preconsciously inside the human eye. The paper then aligns the practical artistic outcomes with aspects of phenomenology and established academic enquiry into preconsciously experienced optical data. In phenomenological terms, the aesthetic produced in these artworks privileges the biology of the human eye over the processing power of the visual cortex: a preconscious ocular aesthetic over conscious perception. The paper contends that when viewing images that approach a fundamental, yet unknown, visual experience, the viewer has partial access to visual phenomenon which is experienced prior to, and withheld from, consciousness. The results highlight how photography has always strived to produce a uniform, sharp plane of focus that, in turn, falsely maintains that human beings biologically experience the world in a similar manner. The paper also extends aspects of Walter Benjamin's notion of "optical unconscious" while incorporating aspects of Maurice Merleau-Ponty's "indeterminate vision". The paper also realizes how an arts practice can incorporate the agency of materials to approach traditionally intellectual enquiry in novel ways. [ABSTRACT FROM AUTHOR]

Kirigami is the art of cutting paper to create three-dimensional figures for primarily aesthetic purposes. However, it can also modify the mechanical behavior of the resulting structure. In the literature, kirigami has been applied to modify the material's structural behavior, such as by changing its elasticity, rigidity, volume, or any other characteristic. This article examines the behavior of a pattern of rectangular kirigami cuts on a thermoplastic polyurethane soft material structure and its influence on the mechanical parameters of the macrostructure. The results demonstrate that rectangular kirigami patterns significantly affect the stiffness of the test specimens, changing from 1635 N/m to 4020 N/m. In elongation, there is a variation from 176.6% to 218% by simply altering the height of the rectangular cut. This enables the adjustment of the soft material structure's stiffness based on the geometry of the propagating kirigami cuts. [ABSTRACT FROM AUTHOR]

In the photographic series Baroque Biology Paper Theatre (2019), Jennifer Willet enages with GMO bacteria growing in LB Agar petri dishes. Each plate presents imaginary biological vignettes where non-human organisms teach humans complex biotechnological processes. In this work, living bacteria cultures serve as collaborators in the creative process creating artworks that are both sublime and disgusting. Baroque Biology (Paper Theatre) presents a series of biotechnological vignettes where I reimagine laboratory aesthetics as feminine, gawdy, and fantastical in direct contradiction to the norms of contemporary scientific practices. [ABSTRACT FROM AUTHOR]

This paper reports on the findings of a visual text analysis of selected infographics and data visualisations used in news websites during the COVID-19 pandemic in Sydney, Australia. Infographics and data visualisations used in news website articles disseminated and communicated local and national information to the public about the COVID-19 pandemic and related social implications. For the first time live data, animation and interaction were used in reporting health and societal information to a general news readership, contributing to the knowledge base and visual literacy of the public. The information presented was not only clear but also aesthetically appealing. This paper examines the styles of news digital infographics and data visualisation of three longitudinal studies using lessons learned from Grainger "et al." (2016), Dick (2020) and Tufte (2001) and contextualises the context, narrative, aesthetics, communication, data, functionality and examines the collaboration between communication designers, journalists and the development team. The implications for communication design education are explored in the context of skills, tools and teamwork needed for future communication design students.

Using the Rushdie papers as a case study, this essay discusses questions of commodification, access, preservation and cultural nationalism related to the acquisition of the literary archives of post-colonial authors. Who should own this archive? What is the archival fate of writers with a tenuous relationship with their place of birth? Finally, how does the well-guarded, commodified, expensively acquired archive privilege aura and secrecy over the treasures in the readily available, published literary corpus? This reading suggests that we need to attend equally to the aesthetic value of the literary imagination as part of the discussion in archival studies. [ABSTRACT FROM AUTHOR]

Late in his artistic and scholarly career, W.G. Sebald decided to eschew then-emergent modes of computational media in favor of analogue production techniques. Sebald himself often remarked on his encounters with media, both new and old, expressing a consistent interest in the materiality of writing. In his own artistic practice, he preferred the process of handwriting to what he called the tyranny of "PC Perfectionism." Scenes of writing, and the technologies of pen, paper, and pencil, appear regularly throughout Sebald's corpus, especially in The Rings of Saturn (1995) and Austerlitz (2001). These elegiac encounters with residual technologies informed Sebald's literary aesthetic. The novel Austerlitz, in particular, foregrounds media history and the evolution of modes of writerly work. In this novel, written in the shadow of new modes of digital writing that were becoming ubiquitous at the end of the twentieth century, Sebald's poetics of media obsolescence emerges as key preoccupation in his aesthetic project. [ABSTRACT FROM AUTHOR]

Drawing on ethnographic data from central Serbia, the article uses the concept of "esthetic formations" to consider how divergent expressions of Orthodox Christianity intersect in postsocialist space. The majority of Serbs identify as "Orthodox" and Orthodox imagery pervades the public sphere—but only a minority engage concertedly with liturgical practice. Through their regular fasting and churchgoing such self-identifying "believers" embody an Orthodox esthetic which is at once connected to—and yet distinct from—the overarching Orthodox cultural context. Whilst for churchgoers such embodiment represents sincerity and commitment, for many others it represents fanaticism and excessive piety. Overall, the article makes two claims. First, that "esthetic formations" are not internally rigid and that esthetics can divide as much as they unite. Second, that embodied esthetics allow different actors to articulate different moral claims about what constitutes sincere Orthodox practice. [ABSTRACT FROM AUTHOR]

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.

Management and maintenance of physical facilities are ladders for climbing and achieving quality assurance in Higher Education in the 21st Century. This paper reviewed literature on the management and maintenance of physical facilities for quality assurance in Higher Education in the 21st century with the aim of accessing its implication for the academic growth and sustainability of institutions. Significantly, the administration and maintenance of physical facilities in higher education are very important to the economic and academic growth of the educational system. They are ranked among the determining factors of success in the school system. This study looked at maintenance culture in tertiary schools, innovative methods of plant maintenance and renewal in higher education as well as the benefits of maintaining school physical facilities. It is important that the habit of maintaining existing physical facilities be learned by school heads and transferred to the subordinates and students as a sustaining force and vehicle for retaining equipment and facilities in their original condition of completeness and aesthetics.

Presenting research findings outside of the form of a traditional research report requires different modes of making and communicating. This paper offers an account of how "The #FEAS Report," a satirical news video, was made to communicate the findings from interviews and a survey as part of the mixed-methods study, "Sexism, Higher Education, and COVID-19: The Australian Perspective" to a wider public. Three creative tactics for research communication were used: "DIY aesthetics," "humour," and "situated bodies." These communication tactics enabled the researchers to think differently about what research findings mean, and how to articulate them in ways that are intelligible. The paper shows how these tactics worked to bring findings to audiences beyond the academy and ask audiences within the academy to think differently about research reporting and knowledge communication. The paper considers how performing research in this way generates different conversations that compliment those started by more common ways of presenting research findings, and most importantly, how crucial it is for feminist researchers to make space for the creative within contemporary higher education.

In this paper, we show how children's creativity manifests in literary aesthetics and how they explore moral subjects as a result. Literary aesthetics involve a range of artistic elements or expressions within a textual work. Writers may use aesthetic properties to express individual appreciation or how people view the world, often in relation to moral values. This paper takes an interdisciplinary approach to understanding the relation between aesthetics and moral value in children's writing. First, we situate our discussion within the context of reflexivity theory, which framed the larger study from which these data are drawn. Second, we apply appraisal theory within the lens of reflexivity to analyse children's writing samples for their aesthetic representations of moral qualities. As a result of our study, we show how teachers may improve and complicate the way children practice literary aesthetics in their writing. We argue it is important for students to learn about aesthetics in writing as aesthetics are a key quality of literary expression and may educate readers on the perception and moral values of others.

This paper discusses the duality between global perspectives and local realities that have influenced the design of the school architecture by examining and comparing state school projects in two geographically distant countries: Chile and Portugal. The proposals and experiences of the "Society for the Construction of Educational Facilities" (1937-1987) in Chile and the "Board of Constructions for Technical and Secondary Education" (1934-1969) in Portugal are analysed. Established in the 1930s, these centralised bodies managed, organised, and controlled state school building projects in such a way as to achieve uniformity in design, creating architectural identities that embodied both the educational values and the representative character of the State. These bodies were influenced by similar global circumstances, and their activities were guided by the recommendations issued by intergovernmental organisations of the time. Such a situation brought their projects closer together in terms of their functional, aesthetic, technical-constructive characteristics. After examining and identifying the international influences which brought them closer in terms of the educational meanings and values associated with school architecture, the paper identifies the local circumstances that guided the design and construction processes of schools in both countries, bringing fresh geographical insights to school architecture discussion. At the same time, possible global readings of strategies, influences and results are explored, enabling us to understand school architecture as part of a nation's cultural values and as a material expression of the social model of modernity, which will continue to meet the challenges that schools face in twenty-first-century society.

This paper suggests that cultivating an aesthetics of attention in education can be a valuable affective tool for combatting the kind of numbness often associated with the resilience of racism. The notion of "attention" broadens the frame of analysis of racial violence by taking into consideration the affective and aesthetic dimensions of attention. The paper brings together Taylor Rogers' recent theorization of "affective numbness" and Simone Weil's theory of attention to argue that the cultivation of an aesthetics of attention to others' personhood has a potentially pivotal role in education to restore hearing of non-dominantly-situated persons' cry of injustice. The article suggests pedagogical ways of engaging teachers and students affectively to resist their numbness in the classroom. The analysis argues that "paying attention" to racial violence can contribute to creating "reparative futures" in education, but care is needed to avoid re-traumatizing students of color and other traumatized students.

Learning around artificial intelligence (AI)-powered technologies that attends to power is an urgent and widely felt priority among the learning sciences and CS ed broadly. Popular approaches to AI education focus on technical skills, with far less theoretical and practical work around critical and justice-centered AI learning. Adding to this literature, we discuss tool design and observed interactions in Drag vs AI workshops, where participants use hands-on makeup art as a medium for fooling, subverting, and refusing facial recognition. Our broader analysis asks how participants make sense of the technical and political aspects of AI, as they interact with AI through the Drag vs AI workshops' modes of aesthetic transformation, tinkering, and resistance. In this paper, we focus on participants' embodied algorithmic tinkering with AI and affordances for justice-centered computing education. Our analysis highlights how tinkering and play modes of interaction with AI materials can promote critical and agentive learning.

Academic underachievement of students from disadvantaged backgrounds is an ongoing and unresolved problem. Schools serving vulnerable communities often fail to meaningfully engage their students who are often exposed to significant family and environmental adversities. However, where the educational landscape is overwhelmed with neoliberal processes of accountability and testing, education generally comes to be understood as a cognitive process with little attention to the bodily or affective dimensions of learning. This paper draws on new theoretical ideas in affect and embodiment to build a case for an embodied, affective and creative pedagogy for students who live with poverty and adversity. Specifically, I report on research that investigates how two teachers utilised "Creative and Body-based" (CBL) provocations to redesign curriculum for disadvantaged students in their sites. In utilising the analysis of two narrative portraits, I highlight examples of bodily affectivity as well as affective pedagogical practices that impact on students' capacity to learn and teachers' capacity to teach. Analysis suggests that embodied and creative approaches enable new forms of communication and learner identities through bodies, senses and imaginings. Such approaches provide much needed affective conditions that 'hook' students in, encourage dialogue and help them to realise their potential as learners. Outcomes of this work signal an epistemological and pedagogical shift toward understanding bodies and creativity as agents of learning and knowledge production. By engaging with notions of a 'learning body' potential exists to challenge neoliberal practices in complex classrooms and support young people to foster stronger connections, hope and a re-inspired aspiration to learn.

This paper discusses what constitutes good teaching, taking as its cue the 'aesthetic' concept treated in everyday aesthetics and 'internal good' accounted by McIntyre. Teaching is viewed as practice, not merely as a basic action, due to its epistemological nature as everyday work. What everyday aesthetics teaches us is that even in the practice of teaching, sensory experiences such as comfort, familiarity, discomfort, ordinariness, etc. can be viewed as aesthetic experience. This kind of aesthetic experience constitute intuition supporting 'good teaching' that confirmed by examining Dreyfus et al. This 'good teaching' sensitivity is not specific to the individual practitioner, but is considered to be an 'in-practice value (internal good?)' (McIntyre) shared by the community of practice. From the aesthetic perspective, this value could be called 'aesthetic value in practice'. In the teaching community of practice, 'good teaching' is both 'beautiful teaching' and 'ethically good' teaching. Teaching should be seen as a relational practice, and for this reason, The Ethico-Aesthetics of Teaching should be constructed.

With this paper, we share an activity for the undergraduate mathematics classroom called "The Harp Project" that leverages the aesthetic nature of both the mathematical and the musical arts. This project was conceived as a STEAM/PBL project with the added feature that it was carried out in pieces by an entire class. Anecdotal evidence suggests that the uncommonly high level of students' interest and engagement in the experience and the communal feel of their participation can be attributed to this collective quality of the project's design. For this reason, we invite others to consider this curricular experience as it appears viable for supporting efforts to cultivate a broader population of students with an affinity for mathematics.

This paper aims to study the features of vocal improvisation using interactive musical technologies. The survey method contributed to determining the level of vocal skills of 214 respondents auditioned before the experiment. The authors developed a training programme based on previously received information. It included breathing, technical, aesthetic, and vocal improvisation skills. The results showed that 93% of the experimental group believed that interactive technologies had advantages in the educational process, and 63% of the control group believed that they had no advantages. The survey of the students allowed identifying elements that required improvement or changes in the curriculum. The students of the experimental group showed that using national Chinese instruments for accompaniment was important for 32% of the respondents, 27% chose the answer "other", which included systematic and more frequent cross-sections of knowledge, the involvement of foreign approaches to learning. The calculation of the level of knowledge obtained showed that 88% of the students demonstrated a high level in the experimental group, a low one was only in 2%. Study prospects relate to studying technical and aesthetic elements to be applied during classical and folk vocal performance.

This paper explores the facilitation of the emancipatory in an International Baccalaureate ("IB") context of privilege. It aligns with the idea that capitalism, even in welfare state democracies or 'do good' corporations, maintains the interests of the owners of capital. It is by nature unjust and exploitative and must conceal this injustice by securing a (spurious) legitimacy for itself. This makes a rare methodological contribution as the article provides critical 'meta-analysis' of IB research literature by prioritising work that affords insight into the lived reality within the IB-Sphere. It then triangulates this analysis through the work of German Social Philosopher Jürgen Habermas. This work provides a significant and timely contribution to 'franchised education' in the twenty-first Century, and will be of essential reading to scholars, policymakers and leadership whether involved in the IB, or active in the Neo Liberal spaces of education more generally: such as Multi Trust Academies, Free Schools, or Charter Schools. This is thanks to the lessons learned over nearly 60 years of educational franchise in a diverse and globalising sphere as presented here from IB research through critical analysis.

How do we dwell tenderly in the ruins of the modern university? This paper engages a hopeful, collaborative, and sensory methodology to imagine possibilities for research and researcher. As academic women navigating the decay of the neoliberal university amid the shadowy spectre of the 'ideal' academic, we explore our lived experiences, identities, and questions. For us, managing modernity's disorientation and dislocation means showing up differently, with new tools, new theoretical frames, and new ways of relating. From our experiential and aesthetic inquiry, tendrils of possibility for what research does, has been, is, and could be, are emerging. Our dwelling together (co-sensing in radical tenderness) helps us see beyond the thicket of institutional requirements towards a more hopeful and collective existence -- for if the sense of separation instilled by modernity is a social disease, healing must be a communal endeavour.

This paper develops the concept of "aesthetic knowing," its significance in perceiving and participating in ecologies writ large, and challenges that arise in engaging it during a time of ecological crises. I define aesthetic knowing as "perception of the quality of relationship," and suggest it offers insight into how ecologies are intra- and/or inter-connected. Aesthetic knowing is the epistemological basis of a "relational empiricism," a philosophical position which foregrounds the capacity to receive and respond to otherness, and I claim it offers an antidote to the isolating overreach of some theorising prevalent in environmental education (EE). My main purpose is to clarify the scope and nature of the relationship between aesthetic knowing and ecologies, so to offer methodological and theoretical context for educators and education researchers seeking to attend to healthy and threatened ecologies. Cultivating aesthetic knowing is necessary for responsive participation with/in any ecology, but can be emotionally difficult. As ecological destruction escalates, sustaining aesthetic knowing demands perception of, and participation with fear, while working with fear in turn requires aesthetic openness. I discuss approaches to cultivating aesthetic openness given this apparently wicked recursion.

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This paper discussed the art appreciation technique using Jerrold Levinson's artistic value in arriving at the importance of aesthetic experience in artwork. Levinson claimed that artistic value covers aesthetic value and achievement value, specifically in analyzing Juan Luna's Spoliarium, which is considered the largest painting in the Philippines and is proclaimed as a national heritage. This paper argued that art should have aesthetic engagement from the viewer's point of view which would lead them to discover its artistic value. Thus, this paper used the contextualizing technique since it augments and strengthens artistic engagement. [ABSTRACT FROM AUTHOR]