Search

This study examines experiences with aesthetic bias as perceived by individuals with physical disabilities (i.e., vision, hearing, orthopedic/mobility). We used the concept of aesthetic bias to guide our quantitative and qualitative data analysis. A quantitative Needs Assessment Survey (NAS) gathered demographic information, degree of appearance management behavior and assessed participants' perspectives on their experience with aesthetic bias during the interviewing process and in the workplace environment. In addition, we conducted interviews with 12 participants that assessed their experiences with aesthetic biases. The results revealed four themes: appearance creditability, concealing or revealing the disability, inconsistent feedback from others, and disability awareness. The findings add value to the extant research and the community and can be incorporated into workshops and education sessions on aesthetic bias and disability.

By using the feminist imaginary as a pedagogical tool for resistance and change, an experience of activism within the university context in Naples, Italy is explored. The article focuses on the potential transformative power of art as catalysis for deeper level emotional and spiritual learning transformation. The aim is trying to inspire critical conversations to rethink spaces and practices that allow community care, and conditions that include authenticity, resonance, reflection, and freedom. Engaging in the arts, aesthetics, and creative practices can contribute to a sense of hope, agency, and possibility with the potential to provide avenues for creative expression and innovation. Sharing narratives of possibility and engagement with the arts can promote community connections. This article highlights the way artistic practices contributed to the creation of a dynamic and inclusive creative landscape that challenges established norms while encouraging creative and critical thinking.

This article confronts tensions of "risk" and "change" in youth engagement and community arts, towards insights for alternate world-building. We problematize overly instrumental approaches, by examining aesthetic and inductive theories of change arising from "Making With Place," a research creation initiative based in Toronto, Canada. From Spring 2020 to Fall 2022, we engaged diverse young people as artist-researchers in community arts production experiments exploring concepts of place from individual and collective perspectives. We draw here on resulting public artworks, discussions with the artists, and our own field notes to surface the theories of change arising from this work. We identify three emergent metaphors--the garden, the bridge, the margins--and the ways in which they resist dominant discourses in favor of new practices of imagination and repair. We explore how these creative explorations articulate theories of change that refuse forgetting and call forth desire.

As China's economy and culture become increasingly globalized and open to exchange, students' aesthetic views have revealed potential danger signals during the evolution of civilization, sometimes manifesting as deliberate neglect and challenge to righteous culture. This study focuses on the issues faced by contemporary aesthetic education for students, particularly the oversight by teachers during lesson preparation in identifying learning materials that are both engaging for students and have experiential educational value. Based on the immersive learning characteristics of intuitive experiential education, the study employs an exploratory case study method, utilizing the industrial heritage cultural landscape of Fanshan Town in Anhui, China, as a tool and resource for students' aesthetic education. It constructs a knowledge system of alum culture landscape aesthetic literacy, grounded in the thought of "Harmony between Man and Nature", centered on the elements of contemporary students' aesthetic literacy. The findings indicate that the cultural landscape of the alum industrial heritage situates the construction of the aesthetic literacy knowledge system within a broader and more credible temporal and spatial context. This provides high-quality learning materials for the experiential teaching process, helping students draw lessons from historical reflection and enrich their aesthetic cultural literacy.

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 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.

The objectives of this research were to study (1) the development of knowledge on the aesthetics of Lam in Ubon Style, and (2) the process of transferring knowledge to inherit the performing arts of Molam Morlam-Ruang-Tor-Klon in Ubon style. Data from documents and fieldwork were analyzed and presented using descriptive analysis. The results showed that there are developments and changes according to the eras, divided into the old era before 1937, a few numbers of performers; the changing era into theatrical performance; the modern Morlam era brought popular musical instruments to play; and the current Morlam era, in which light and sound technology is used to help in the performance of three aspects of aesthetics: melody, poetry, and aesthetics of singing techniques. Regarding the process of transferring knowledge, the results indicated that two national artists have provided knowledge by practicing the performing arts in singing, dancing, and poetic gestures. Improvements are made in each area to enhance learners' skills development. The study provides significant insight and implications for developing learners' skills in performing arts at home.

Black Music Aesthetics (BMA), guided by conceptual approaches grounded in African belief systems, are found in the structure and performance practices of Black musics. Music education in American society leans strongly toward Western European aesthetics, which includes: the centrality of rhythm, pitch, and harmony to musical understanding; a reliance on written notation for preserving and sharing musical ideas; and a primary focus on sounds. While Black music and musicality can be explored using Western European aesthetics, they cannot be thoroughly explored in this way. In this series of articles, I draw on the work of ethnomusicologists to define BMA and provide concrete examples for incorporating them in general music. The first article in this series provides a historical foundation and definition for BMA and offers examples of how it can be centered in the study of Black musics.

Background: Sketching exists in many disciplines and varies in how it is assessed, making it challenging to define fundamental sketching skills and the characteristics of a high-quality sketch. For instructors to apply effective strategies for teaching and assessing engineering sketching, a clear summary of the constructs, metrics, and objectives for sketching assessment across engineering education and related disciplines is needed. Purpose: This systematic literature review explores sketching assessment definitions and approaches across engineering education research. Methodology/Approach: We collected 671 papers from five major engineering and education databases at all skill levels for reported sketching constructs and metrics, cognition, and learning contexts. Based on the selection criteria, we eliminated all but 41 papers, on which we performed content analysis. Findings/Conclusions: Engineering, design, and art emerged as three major disciplines in the papers reviewed. We found that sketching assessment most often employs metrics on accuracy, perspective, line quality, annotations, and aesthetics. Most collected studies examined beginners in undergraduate engineering design sketching or drawing ability tests. Cognitive skills included perceiving the sketch subject, creatively sketching ideas, using metacognition to monitor the sketching process, and using sketching for communication. Implications: Sketching assessment varies by engineering discipline and relies on many types of feedback and scoring metrics. Cognitive theory can inform instructional activities as a foundation for sketching skills. There is a need for robust evidence of high-quality assessment practices in sketching instruction. Assessment experts can apply their knowledge toward improving sketching assessment development, implementation, and validation.

The essay draws on Michel Serres' writings on education in order to derive from them a general theory. Though the polyglot philosopher never presented his philosophy of education as a formal system, it was a lifelong concern that he addressed from the perspectives of mathematics and physics; literature and myth; art and aesthetics; justice and the law. Ever elusive in his prose style, Serres was a magnetic and infectious educator who, ironically, and perhaps understandably, did not gain the sort of following enjoyed by other French philosophers with whom he cuts such a contrast. The essay assesses the Serresian pedagogy in three key areas: the mutual translatability of the pedagogies of the humanities and arts versus those of the social and hard sciences; the urgent need for an environmental ethics of education; and the permeation of effective instruction by aesthetics.

Research has highlighted the important role that the senses play in mathematics thinking and learning, particularly in the area of visualisation, but also in relation to physical movement. Recent scholarship suggests that sensory experiences are not limited to the five cardinal senses but involve a range of other specific senses as well as combinations of senses. The aim of this article is to explore how this expanded understanding of the senses matters to mathematics education research. We frame our argument in terms of "aestheticizing mathematics" education research, focusing not only on mathematics knowing, but also on implications for investigating the mathematical sensorium; for the latter, we propose the use of "re-enactments" as powerful research methods. To empirically elaborate on this argument, we illustrate the use of this method to investigate how senses matter in developing multiplicative thinking around/with multitouch technology.

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.

In this essay, we conceptualize a rasquache resistance for Chicanx elementary-aged youth. Rasquache resistance are the various performances, comportamientos, estilos, ways of being, manners of speaking, dress, and types of humor that Chicanx youth express and perform that resist white supremacy. Drawing from Chicanx and Black feminisms and Chicanx cultural studies, we conceptualize rasquache resistance through rasquachismo, a concept theorized by Tomás Ybarra-Frausto that identifies the working-class sensibilities of Chicanx communities as an aesthetic rooted in survival, creativity, and cultural production. Our aim is to provide insights for educators who are working alongside students, specifically critical educators who seek to build on the sensibilities that Chicanx youth bring to classroom spaces and schools.

Innovative instructional methods can help improve student engagement and learning outcomes when teaching difficult subjects, such as statistics. This instructional innovation article illustrates how gamification can be applied in management education to improve students' learning experience, engagement, and acquisition of knowledge. Our purpose is to demonstrate how gamification is not only a powerful way to build on the use of games and game thinking in our field, but also a versatile application of education technology that could potentially enhance the way management knowledge is taught. Furthermore, it is a low-risk way for management educators to join and contribute to the larger virtual revolution. We document the process of combining the Technology, Pedagogy, and Content Knowledge (TPACK) competency framework and the Mechanics, Dynamics, and Aesthetics (MDA) design framework to create both theoretically and practically motivated gamification designs in a graduate-level statistics class. With student data and feedback, we demonstrate that gamification helped create a positive learning experience, facilitated interactions in the course, and assisted the learning of statistical knowledge. We offer suggestions and concrete examples for interested educators to implement gamification in their courses.

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.

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.

This article examines the unique intersection of knowledge that occurs in the digital arts learning context. The knowledge shared has emerged from the author's practice as a teaching artist designing and delivering an immersive and interactive intermedial arts learning experience in the field of physical theatre entitled Creature Interactions: an interactive workshop. Building on Mishra and Koehler's TPACK model for technology integration in learning contexts, an adapted model for conceiving and understanding technology integration in arts learning is proposed, TPAACK. The revised model presented acknowledges the primacy of aesthetic knowing and affect in arts encounters and its intrinsic presence in arts learning across any domain; digital or analogue.

In this qualitative research we employed the case study method to identify the factors that affect Turkish fifth to eight graders' selection of books to read and the reasons that cause them to stop reading the books they have selected. To identify those factors and reasons, data were collected from a total of 32 participating students who were selected using stratified purposive sampling. A group was formed for each grade. Each grade group included 8 students who borrowed books from public libraries and voluntarily participated in the study. The participants were interviewed using open-ended questions. Interviews revealed that in selecting books to read, the students considered theme, genre, and structural features such as title, cover design, author, publisher, and recommendations made by peers, teachers, and family members as criteria. The students also stated that the events and themes in the books, language features, font size, insufficient time to read, and the library's requirement to return a book in 15 days were the reasons to give up reading a selected book.

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.

In this manuscript, we introduce four philosophical camps and provide bulletin board and classroom decoration examples of how music teachers can visually communicate their teaching philosophies to their students, parents, colleagues, and administrators. The categories emerged from our review of bulletin board examples created by our music teacher colleagues and include (1) music, emotion, and expression; (2) praxialism; (3) extramusical benefits; and (4) social justice. Bulletin boards may indirectly represent teachers' philosophies when compared with explicit curricula, such as lesson plans, textbooks, and other instructional materials. However, teachers can foster holistic learning experiences for students by harmonizing their implicit messages on bulletin boards and classroom decorations with the explicit curriculum.

The aim of this study is to contribute to the understanding of culturally responsive care in multicultural Early Years classrooms. Through an exploration of teachers' narratives in an Indian school, the study highlights the tools and strategies used by teachers to promote an ethic of care among a diverse student population of over 16 languages, 5 religions, and 35 ethnic communities. The study identifies three key categories of care practices: affirming and attuning, diffusing and soothing, and anchoring and building. Overall, the findings suggest that teachers employ a range of relational and aesthetic strategies to promote equality, collaborate with students in inclusive policies, and preserve marginalised cultural heritage. They also narrate folktales and mythology to reject exclusionary discipline and model peaceful responses to conflict. Finally, teachers build a shared classroom identity and cultivate students' capacities for care. This study aims to contribute to the theory and practice of an ethic of care in Early Years education and offer culturally responsive pedagogical tools for inclusive and peace-promoting classrooms.

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.

This study investigated characteristics associated with two kinds of peer victimization--bullying victimization and adversarial victimization--distinguished by different balances of power between the perpetrator and victim. Specifically, we examined whether bullying victimization (victim has less power than perpetrator) would be experienced to a greater extent by vulnerable adolescents with psychosocial difficulties (fewer close friendships, emotional symptoms) and less peer esteem (physical attractiveness, perceived popularity, dating popularity, and prestige). In contrast, we investigated whether adversarial victimization, in which the victim has equal or greater power than perpetrator, would be experienced by adolescents perceived as rivals because they are held in high esteem by peers. A total of 599 adolescents aged 9 to 14 years (M = 11.93; SD = 1.40) completed a self-report measure of emotional symptoms and peer nomination measures of victimization, close friendship, physical attractiveness, dating popularity, perceived popularity, and prestige. Bullying victimization was negatively associated with close friendships, physical attractiveness, perceived popularity, and prestige, whereas adversarial victimization was positively associated with all four indicators of peer esteem. The results demonstrate the importance of measuring the power balance between the perpetrator and victim when studying peer victimization. Findings are discussed from an evolutionary perspective suggesting that victims of bullying are selected by perpetrators to achieve adaptive benefits while minimizing retaliatory, reputational, and social costs, whereas victims of adversarial aggression are targeted as rivals in competition for status and mates.

Calligraphy is the treasure of traditional Chinese culture and it is ubiquitous in China. Because of the unique aesthetic characteristics of calligraphy, the difficulty of calligraphy teaching lies in the assessment of calligraphy works. The major problems concerning calligraphy assessment are the low time efficiency of calligraphy assessment and low engagement of students in the assessing process. As an active learning method, peer assessment (PA) has been widely applied to education. This research aims to explore the application of PA to the calligraphy class. With reasonable training, elementary school students can act rationally as an assessing group. On the basis of students' scores, this study further takes the most reasonable scores based on clustering analysis as the final score. Through the comparative analysis of the students' scores and the teachers' scores, it shows that the students' scores of calligraphy writing can obtain results that are close to the teachers' scores. The significance of the study lies in enhancing the time-efficiency of calligraphy assessment and maintaining the learners' high levels of engagement in the assessing process. The results show that the use of PA in the assessment of calligraphy writing is an effective and accurate method of calligraphy assessment, which contributes to students' command of the key points of calligraphy marking and plays an integral role in guiding students' future calligraphy practice.

Learning about evolution can be challenging for students, as a full understanding may require them to see the world in new ways, to master a disciplinary language and to understand complex processes. Drawing on a long line of theoretically grounded arguments of philosophers and researchers for including wonder in science teaching, we report on the results of an empirical study with the primary aim of investigating the role of wonder in students' learning about evolution. The study was carried out through a formative intervention in which two researchers in science education collaborated with a seventh-grade teacher. Over a period of six weeks, 45 students participated in lessons and workshops aimed at eliciting a sense of wonder in relation to concepts that are known to impact the learning of evolution. We incorporated four 'triggers' to elicit students' wonder in the science class: "aesthetic experiences," "defiance of expectations," "agency and awareness of a mystery within the ordinary." Logbook entries and interviews with student pairs provided empirical material for a qualitative analysis of the role of wonder in the students' meaning-making about, learning of and engagement in evolution. The results show that it is possible to design science teaching that triggers students' wonder in relation to an intended learning object. The results also reveal that the participating students described their sense of wonder in qualitatively different ways and that they still struggled to make sense of the concept of evolution after six weeks of teaching.

MoLam is a cultural performance art in northeast Thailand. MoLam is a profession that requires the high art of singing and relies on literary aesthetics and elaborate melodies to attract listeners. The objectives of this study were to: 1) research and collect information about Isan MoLam's performing arts, 2) explore the current conditions and problems affecting MoLam's performing arts literacy inheritance, and 3) investigate the process of transmission literacy to inherit MoLam's performing arts literacy. Descriptive analysis was used to examine and data from documents and fieldwork. The results of this study are as follows: (1) According to MoLam research, when the colonial country invaded this region, the Thai-Lao ethnic culture in northeastern Thailand and Lao PDR was split. On the Thai side, individuals flocked to the center area to meet with Siam. MoLam in the Northeast has steadily developed since then, and it may be classified into four types: (i) non-dramatic MoLam, (ii) dramatic MoLam, (iii) ritual MoLam, and (iv) miscellaneous MoLam. (2) As Thai society enters the internet era, there are numerous popular entertainment mediums, leading people's morals to shift and lowering people's interest in viewing MoLam performances and roles. The goal is to find a way to pass down this performance art to future generations. (3) Literacy transmission: After synthesizing the material to be taught, the students are separated into two groups: (i) MoLam singing has been practiced by a group of elementary and high school students; (ii) MoLam singing, and music have been practiced by a group of students at higher education institutions. Under the established parameters, both groups have extra talents. In conclusion, this study may be utilized as a model for conveying local wisdom information.

The aesthetic experience of the body in music and performance education offers a remarkable perspective in terms of musical understanding. Somatic approaches and practices for mindbody integrity play a facilitating role in this process. The aim of this conceptual article is to examine theoretical and practical applications within the conceptual framework of somaesthetics in music and performance education. Accordingly, the aim of this research is (i) to define the elements of somaesthetics in music and performance education, and (ii) to explore the unity of body and mind in music and performance education. In this context, examples of applications based on somaesthetics in music and performance education will be included. As a result of this review, practical recommendations are provided for music and instrument educators. These recommendations cover physical and mental practices with a reflective perspective. Through this study, the contributions of somatic approaches and practices in music and performance education are discussed and practical suggestions are made.

To constitute awareness of climate change, hearing the solutions of students in their words and seeing visual products by creating experiences in schools is vital. This case study was limited to sequential implementations of climate change in the natural sciences teaching process in 5th grade. After an education process on using Pixton, 12 students transformed their learning into digital comics. This research aimed to reveal the problems created by students through digital stories about climate change, solutions they suggested for climate problems, and aesthetic subtleties they applied to express themselves. Digital comics created by students, researcher notes, observations, and students' view forms were used as data collection tools. Finally, vital solutions to problems such as global climate change, pollution, destruction of the natural environment, and extinction of living creatures were created by students during this case. Important solutions consisting of preventing global warming, making peace with nature, vital measures and efforts to protect the soil were suggested. Besides, interesting aesthetic subtleties such as storification, positioning of the characters, place preferences, expression of emotions, and time depiction were applied. Teachers can use comics to see students' tendencies, raise awareness, encourage them, and help them develop solutions for current socioscientific problems.

This research aims to investigate the existential identity of creativity in Islamic philosophy. In order to achieve the goals of the research, the analytical-inferential method has been used. The findings of the research showed that Mullah Sadra considers creativity as a part of the human soul, that is, he considers it as one of the platforms for realizing personal perfection and becoming a human being, and even above that, he considers creativity as a platform for the possibility of reaching the highest existential perfection, i.e. reaching It refers to true love and encountering a true lover. According to the mentioned contents, Mulla Sadra has a different definition of creativity. Creativity has a high position in Mulla Sadra's philosophy and he considers it a kind of godliness and has a wide scope for it. Creativity is considered a part of the human soul, and humans have an existential form that requires creativity. That existential form of the human soul, which is the source of all three creativity, creative person, and creative work. In Mulla Sadra's philosophy, the soul, as the first order of existence, has the most and strongest closeness to the body. Mulla Sadra considers the soul and the body as necessary and the soul cannot exist independently of the body. The human spirit has the ability to create, and this capability leads to human evolution.

Chinese Tujia folk songs, deeply rooted in the cultural heritage of the Tujia ethnic group, serve as a living repository of history, values, and traditions. The primary objective of this study is to investigate the historical development of education and cultural literacy in Chinese Tujia working songs in Chongqing. The comprehensive literature review provides insights into the history of the Tujia ethnic group, their musical heritage, and contemporary challenges to preserving their cultural traditions. The research site includes Youyang Tujia and Miao Autonomous County, Shizhu Tujia Autonomous County, Pengshui Tujia, and Miao Autonomous County, and Qianjiang District. Key informants, including accomplished artists, academic researchers, and local experts, share their invaluable insights related to the preservation and performance of Tujia folk songs. By using the principles of music aesthetics, music ethnology, and ancient Chinese music history. The result of this study underscores the critical importance of preserving intangible cultural heritage, especially in the context of today's rapid modernization and globalization. They highlight those traditional folk songs, like Chinese Tujia working songs, hold immense cultural and historical value. The study also provides actionable recommendations for ensuring the continued vitality of these culturally rich songs. These suggestions can guide efforts to integrate Tujia folk songs into educational curricula, support local musicians and artists, and promote cultural events.

This study reviewed educational, aesthetic, entertainment and deviant experiences which are elements of the metaverse experience set them as research variables and presented the results of the study through a survey. First, it was found that the educational experience was statistically significant for safety education satisfaction and had a positive effect. In order to provide practical education, educational experiences must feel like reality and fun content must be easily delivered. Second, it was found that deviant experiences were statistically significant for safety education satisfaction and had a positive effect. This can be said to increase the prevention of safety accidents only when the deviant experience service feels like reality and interesting contents related to safety education are easily delivered. Third, it was found that the aesthetic experience was statistically significant for safety education satisfaction and had a positive effect. This can be said to increase the prevention of safety accidents only when aesthetic experiences and services feel like reality and interesting contents related to safety education are easily delivered. Fourth, it was found that the recreational experience was statistically significant for safety education satisfaction and had a positive effect. This can be said to increase the prevention of safety accidents only when entertainment and deviant experience services feel like reality and interesting contents related to safety education are easily delivered.

Combining images, comparing and linking them in chains, clusters and texts is a cultural practice that was not invented with digitisation. It dates back to the nineteenth century, when the invention of photography facilitated the task of copying artworks and other cultural material, and putting them in different contexts. Later, with the invention of the moving image, the gesture of montage was developed as an entirely new device of narration and thinking. Alain Bergala refers to this cultural practice when he proposes, in "The Cinema Hypothesis," the combination of film clips as a film-pedagogical praxis as well as a research method. This article investigates the theoretical, cultural and practical aspects of this method, in revisiting a wide range of writings by Jacques Rancière, Roland Barthes, André Malraux and Wsewolod Pudowkin, as well as materials from Aby Warburg's "Bilderatlas" and the found footage film "Why Don't You Love Me?" by Christoph Girardet and Matthias Müller (1999). Furthermore, by comparing an extract from "Grigris" by Mahamat-Saleh Haroun (2013) to Sandro Botticelli's "The Birth of Venus" (1485/6), the didactic potential of this method is explored. The article thus considers the pedagogical, aesthetic, cultural and filmic aspects of the practice of 'montage' in its most basic sense: the combination of (audio)visual material. [Translated into English by Michael Wood.]

Creating teacher-authored materials can be a challenging task for a variety of reasons. While relying on coursebooks to provide a ready-made structure to our classes, we often design our own materials to meet some of the specific needs and interests of our learners. Teachers usually approach the task of materials development through intuition and trial and error without a clear understanding of the principles of design that might help us in the creation of successful materials. This article outlines five research-based design principles that form the foundation of materials development and gives practical suggestions for how to put these into practice to produce materials that are aesthetically appealing, well scaffolded, authentic, affectively and cognitively engaging, and consistently revised and updated.

The development of student teachers' beliefs about good teaching needs to be integral to their education programmes. This study attempts to scrutinise the contribution of a theatre education course to the conceptualisation of a group of eight student primary teachers' notion of good teaching and a teacher's ethos. The findings reveal that, within the coursework, student teachers' learning experiences are interwoven with the ethics of the beautiful, the ethics of the dialogue and the ethics of the will. This nexus of learning experiences enabled them to identify three internal goods of good teaching: the awakening of learners' positive emotions; the activation of their learning energy through play; and the strengthening of their embodied understanding by using theatre semiotics. Concerning a teacher's pedagogical dispositions in good teaching, they consider trust, respect, empathy, open-mindedness, vigilance and playfulness as pivotal for the ethos of a teacher connected to both teaching and their pupils.

In an attempt to connect theory and practice with regard to research on creativity and visual arts, this study aims to explore how visual materials created by children can help determine qualitative parameters in the process of observing creative activity. These materials are the result of a series of workshops designed by the authors, artists, and professors in a faculty of teacher training carried out with pupils from public second-cycle preschools and elementary schools. Having developed a data collection strategy based on participant observation, the materials are grouped into three interrelated parameters: movement, language, and transformation-aesthetics. These parameters are designed as a flexible observation tool, which allows for every researcher to implement it, by contributing to the development of new research in various classroom contexts.

Mathematical "magic," or experiences of beauty and creativity for K-12 mathematics students, can contribute to deepened content understanding. However, creating opportunities for mathematical "magic" in mathematics classrooms has been a challenge for classroom practitioners. To support development of these experiences in classrooms, we deployed a bi-directional support program between a college-level mathematician and an early-career secondary teacher. Based on data collected from this project, we have identified four principles that will promote mathematical "magic." We conclude that mathematicians and early career teachers can work together to a) leverage understandings of the nature of mathematics, b) apply meta-mathematical reasoning, c) share knowledge of content and students across contexts, and d) recognize students' mathematical development to design learning experiences for mathematical "magic."

Playing musical instruments involves a high level of skill based on the harmonious and esthetic reproduction of notes. The main aim of this study is to determine the impact of MusicFlow, an interactive music composition system, on the development of students' piano skills. The article also used a survey to determine the potential of using digital technology in piano education. To achieve this goal, the authors used the questionnaire method and the method of experimental research. Analysis of the final music aptitude test showed that only the overall average of piano skills differed significantly between groups (Z = -2.53, p = 0.031). The results of the survey showed that digital technologies contributed to the correct positioning of hands for 27% of university students and 25% of school students who learn song compositions, which was associated with the visualization of each stage during training. 87% of respondents confirmed that the curriculum influenced significantly the speed of learning and contributed to learning not only during lessons, but when preparing homework. The results of the paper are important for musicians of various levels who focus on improving technical and aesthetic skills while playing the piano.

Diagnosing aesthetic perception plays a crucial role in deepening our understanding of student creativity, emotional expression, and the pursuit of lifelong learning within art education. This task encompasses the evaluation and analysis of students' sensitivity, preference, and capacity to perceive and appreciate beauty across different sensory domains. Currently, this assessment frequently relies on subjective evaluations of student artworks. There are two limitations: 1) the diagnosis is possibly limited by instructors' bias and 2) the heavy workload of instructors for conducting comprehensive assessments. These limitations motivate us to ask: Can we automatically and objectively conduct aesthetic perception diagnosis? To this end, we propose an innovative deep hybrid framework, AestheNet, to automatically evaluate aesthetic perception by analyzing numerous collected student paintings. More especially, we first utilize convolutional neural networks to extract the significant features from the student artworks. Then, we employ the transformer model to capture the intricate relationships among multiple aesthetic perception dimensions for objective diagnosis. Finally, we validate the effectiveness of the framework by creating a new dataset consisting of 2153 paintings drawn by 675 students. These paintings are annotated by human experts from 77 dimensions based on domain expertise. Extensive experiments have shown the effectiveness of AestheNet in aesthetic perception diagnosis. AestheNet is dedicated to overcoming the subjectivity inherent in traditional assessment methods, providing a new, quantifiable, and standardized way to evaluate aesthetic perception. This research not only opens up new perspectives in understanding students' aesthetic development during the art education process but also explores the innovation of using artificial intelligence technologies in the assessment of art education.

Gender-fair language makes women and people of other genders, their interests, and achievements more visible. However, critics argue that gender-fair language impairs the comprehensibility and aesthetic appeal of texts. This study tests these assumptions specifically concerning the gender asterisk, a form of gender-fair language that makes people outside the male-female dichotomy typographically more visible in German. In two experiments with N = 133 and N = 110, subjects were randomly given one of three versions of a text, either with masculine-only forms (e.g. die "Spieler*innen," ~"the fe*male players"), the gender asterisk in its plural form (e.g. "die Spieler*innen," "the fe*male players"), or the gender asterisk in its singular form (e.g. "der*die Spieler*in," "the*the fe*male player"). Subsequently, participants completed a comprehensibility questionnaire. Both experiments show that the gender asterisk in its singular form impairs comprehensibility, but only Experiment 1 shows an impairment due to its plural form.

This article interlaces the story 'Comfort' by Alice Munro with Hannah Arendt's understanding of education as intergenerational passing on. Its principal aim is not to criticise Arendt or the fictional character of Lewis but to work with them towards a richer and more complex understanding of what can go wrong in education in general and teaching in particular. For this purpose, the article does not start from a theoretical framework but from the concrete aesthetic artifact -- the story -- itself. The departing question is: What can we learn from the literary description for our theoretical understanding of the intergenerational in educational relations?

Cultivating diversified and high-quality talents is the mode of cultivating talents in higher quality education. Aiming at the effect of the innovation of dance education system, the authors study the change of its influence on college students' artistic accomplishment under the new media form. Firstly, it analyzes the research status of the integration of dance education development and new media education in various countries, and improves the shortcomings of traditional dance teaching. Starting from new media technology, the education process is optimized by means of mobile network, intelligent communication, and wireless sensing. Finally, the regression model is used to test the influence of new media means on the artistic accomplishment and employment trend of college dance education students. The results show that dance education in the context of new media can improve students' artistic literacy and help college students achieve the goal of rapid employment.

In international philosophy of music education, there are some philosophers who are important points of reference. One of them is the German Immanuel Kant (1724-1804). While his philosophy is complex, an oversimplified understanding of his ideas turned him into the "bad guy" of international music education philosophy, being in favor for instance of art for its own sake. His assumed ideas are thought to be the foundation of aesthetic education, in opposition to music education concepts promoting praxis and social change. The prominent role Kant plays leads to questions: Can an eighteenth-century philosopher be blamed for twentieth-century music education concepts and their supposed aberrations? And what did Kant really say? By addressing these and related questions, this paper offers fresh perspectives on Kant's original concept and the role his assumed ideas play in international music education philosophy, aiming at revising some discourses around them. Furthermore, Kant as a case in point, can lead to general considerations about the function of philosophy in music education philosophy.

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.

Enlightenment modernity brings about the domination of industrialization, bureaucracy and instrumental rationality over the subject and its school life. At this time, the subject is like living in what Weber called the "iron cage" ruled by instrumental rationality. The worship of rational authority in education has reached such an extent that aesthetics characterized by perceptual enjoyment has been suppressed, denied and outlawed, which is embodied in the loss of transcendence of aesthetic education. Utilitarianism and entertainment are the main manifestations of the loss of transcendence in aesthetic education. Therefore, it is necessary to regain the transcendence of aesthetic education in three aspects: first, to redeem the rigid and bureaucratic school life through aesthetics, to save the "beautiful risk" of education dominated by instrumental rationality in education; second, to resist the one-sided development of human beings through aesthetic education, and to create unique and individualized personality traits by cultivating students' individualized aesthetic interest; Thirdly, we should resist the "standard answer" through the interpretation of the pluralistic meaning of works of art in aesthetic education.

This article offers an update on key developments in research related visual literacy, children's reading and children's literature. Beginning with an overview of the field, we chart several distinctive 'turns' or research trajectories: the aesthetic, the intercultural or empathic, and the ethical. We then consider how questions of power, authenticity and representation are visible in three important areas of the field: research with marginalised groups; research that focuses on mediation within the visual reading process; advances in the types of visual texts being used in research. Key emergent ideas include the challenges of adult mediators' expectations on children's visual reading, the potential of texts' material affordances, and new directions in open, more inclusive opportunities to respond to, and with, visual texts. We conclude with a hopeful look forward at emerging directions in policy and research.

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.

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.

This article interrogates the role of retrieval practices in an urban, multicultural London classroom. With the advent of cognitive science-based approaches in recent years, retrieval has become a central tenet for testing foundational knowledge in English literature. I consider the implications of retrieval for classroom discourses concerning feeling, experience and aesthetics. I ask whether it is possible to conceptualise 'retrieval' differently to encompass the funds of knowledge offered by our students and contexts that lie beyond the classroom.