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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.

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.

This article explores the teaching of atmosphere for undergraduate geography students. Though many scholars have observed an "atmospheric turn" in the discipline, teaching atmosphere in human geography has received less attention. To this end, the article examines the design and delivery of a "floating workshop" that engaged students in thinking and feeling the meteorological and affective qualities of atmosphere. Practically, the floating workshop involved the preparation, launch and floating of two solar-powered balloon-like sculptures made by the international artistic community "Aerocene." In contrast to practices of mapping or remote sensing with aerial devices like kites or drones that are familiar to geographical pedagogy, this creative practice-based workshop foregrounded sensual and affective observations of atmosphere, from the feeling of wind speeds to the transmission of emotions. This shared atmospheric experience and pedagogical experiment linked theory with practice, activated situated learning processes, and generated critical inquiry into the affective, aesthetic and material dimensions of air and atmosphere.

This article aims to enhance the pedagogy of drawing by integrating relevant aspects of art history and aesthetics with perception and communication theories. "Visualcy" is defined as an articulacy with visual languages, from which the more familiar "3Rs" ("R"eading, w"R"iting, and a"R"ithmetic), alluding to literacy and numeracy, evolved. It embraces not only the more familiar definition of "visual literacy" in the sense of how people perceive, interpret, and learn from existing visual imagery, but also the "semogenic" facility for producing the means to understanding through the articulation of visual elements (line, shape, tone, texture, colour) in the construction of new images. After reviewing the role of drawing in cultural evolution, the article discusses drawing in relation to aesthetics, before outlining a pedagogy of drawing designed to nurture visualcy, of central importance to human culture.

Imagining Spanish America as Eden and sublime force, colonial environmental aesthetics inaugurated American "disponibilité," figuring environment in the colonial matrix of power as the non-place outside of European time and space. The image of the garden evoked by this aesthetics corresponded to the desired, secular transformation of environment, which delimited the location of a colonial vegetal-human relations of extraction. I contend that in the transition period from colony to republic, cultural, political, and scientific discourse used the image and language of the garden to reestablish claims over territory by shifting from the Edenic to georgic mode. I offer the Garden State as a (neo)imperial environmental aesthetic to lay bare the politics and poetics of place-making and its entanglements--through agriculture and horticulture--as part of a response to the rise of liberal agro-economic policy and the proliferation of the plantation model in the work of naturalists, politicians, Neo-classical, and Romantic writers. By placing ecocriticism, environmental history, and plant studies into conversation with garden theory through this framework, I argue we can better attend to the concentric material and literary gardens and garden-like formations tied to plantation logic and the ordered cultivation and civilization of space and human-vegetal relations in Latin America's nineteenth century.

Informed by a postmodern perspective on language, culture and visual art education this article examines what a creative, visual art focus can bring to the experience of language-and-culture learning for secondary-age students of Arabic as a heritage language (HL). It builds on our previous research focussing on student interactions with works by renowned artist, Ali Omar Ermes, which sets text in the form of Arabic letter shapes and short poetic inscriptions against a painted background. Here we seek to gain a deeper, more nuanced understanding of the process involved through an in-depth study of the thoughts, feelings and emotions experienced by three intermediate-level students as they engage with works by Ermes and then creatively transform them into 'textart' pieces of their own. Methodologically we adopt an ethnographic case study design focussing strongly on process but also incorporating principles of arts-based research. Our findings demonstrate how the approach can extend possibilities for meaning-making and affirmation of identity by connecting with personal experience, by leveraging multiple semiotic resources rhizomically and intertextually, and by making space for affective, spiritual, aesthetic and multisensory dimensions. For heritage language learners this brings a deeper engagement with learning and a strong sense of empowerment as multicompetent speakers.

The Chilean curriculum for writing education includes five paradigms: "cultural," "macro-linguistic," "micro-linguistic," "procedural," and "communicative." The implementation of such a poly-paradigmatic curriculum can occur in multiple ways. Therefore, we analyzed classroom practices with two aims: (a) to describe how the paradigms are evident across practices, and (b) to analyze the paradigms' internal alignment within each practice. We conducted classroom observations with five Spanish language teachers with varied orientations toward writing instruction. A content analysis of teachers' discourse formed the basis for a narrative case-by-case analysis and a cross-case analysis. This process was guided by data collected during a previous survey study and supported by teachers' interviews. Findings revealed that the "cultural," "macro- and micro-linguistic" paradigms were implemented most often, while the implementation of "procedural" and "communicative" paradigms was rare. Additionally, paradigm alignment was visible in two practices but not in other practices. Possible reasons for this lack of integration and potential solutions to resolve this issue are discussed.

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.

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.

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 study examines the metaphors about "aesthetics" produced by 67 primary school teacher candidates at a state university in Turkey. The research is a basic qualitative study. In the determination of the study group of the research, the easily accessible sampling method, one of the purposeful sampling methods, was preferred. The data were collected through an opinion form, which was created using structured pattern questions. Content analysis technique was used in the analysis and the interpretation of the data. The metaphors provided by the participants were analyzed and classified under various themes. The results show that the aesthetic perceptions of primary school teacher candidates differ significantly and vary; also reveal that they prioritize form more in aesthetics, explain aesthetics based on comparison, and have a mental image focused on value judgment. The study empirically demonstrates that overall the same metaphor is understood differently by different people and provides clear evidence for individual differences in understanding metaphor.

This article draws on data collected from a secondary school in Florida to explore how temporally disjointed aesthetics (e.g. (re)photographs) impact constructions of historical knowledge. Using posthuman concepts (e.g. assemblage, rhizome, spacetimematter(ing), hauntology), this study relied on visual methodologies-specifically photo-elicitation--to attend to the question: How do engagements with (re)photographs contribute to the development secondary students' historical consciousness/thinking? Data consisted of artifacts reflecting engagements with three collections of (re)photographs featuring ghosts/hauntings and semi-structured focus group interviews. Rhizomatic assemblages re-presenting entanglements with what was produced during this study suggest that (re)photographs not only fostered historical consciousness/thinking by exposing the in-between/ness of temporality and materiality, but that (re)photography extends the boundaries historical consciousness/thinking through students' emerging relationships to the pastpresentfuture(ing).

We compare epistemologies and aesthetics in the International Baccalaureate Diploma Programme and the Australian New South Wales Stage 6 Visual Arts Syllabus, focusing on curriculum content, pedagogical praxis, and assessment strategies. Both curricula feature making, reflexivity, and critique. International Baccalaureate components are Exhibition, the Process Portfolio, and the Comparative Study. In New South Wales Visual Arts they are the Body of Work and Visual Diary. Issues are the teacher as curriculum; uneven resources; shifting contexts and formulating standardized expectations. In both, qualitative assessment and examination are achieved via articulating criteria and levels of achievement, and examiner training. In International Baccalaureate, what counts as good work can vary in relation to Principal Examiner standards, particularities of context, pedagogy, and resources, with work ranging from sophisticated installations, to anime, to the school art style. In New South Wales Visual Art aesthetic conventions are reinforced because the system is less distributed than International Baccalaureate, where aesthetics become engrained, perpetuating conventions around what counts as good art. In spite of supervening assessment structures, teaching, learning, and assessment in visual arts education is always highly qualitative, unfolding, and rooted in the situated shifting conditions and ways of being in the world of each teacher, student, artwork, examiner, artist, and scholar.

Specific aesthetic features of the object and observer's expertise seem to be related to the perception of motion aesthetics. How differing kinematic motion characteristics and their manifestation are related to the perception of motion aesthetics and how this relates to the observer's expertise is still investigated. It is hypothesized that different manifestations of the kinematic motion characteristics amplitude, fluency, and complexity are related to perceived motion aesthetics of dance skills and observer's expertise. Dancers' and non-dancers' perception of motion aesthetics was assessed when watching stick-figure video sequences of semi-standardized dance jumps, classified relating to three kinematic motion characteristics and their semantic differentials. Large, fluent, and complex dance jumps were perceived as more aesthetic than small, jerky, and simple jumps. There was no general effect on the observer's expertise. Nevertheless, non-dancers gave higher aesthetic ratings for complex dance jumps than dancers. Findings indicate that expertise does not relate to the perception of motion aesthetics per se. In contrast, specific kinematic motion characteristics of dance jumps do. Amplitude and fluency seem to be remarkable objective aesthetic qualities when perceiving motion aesthetics of dance skills. The observed dance skills' complexity appears to be a critical parameter when addressing observers with different expertise.

Aiming to challenge the notion that the ballet lexicon is ahistorical, this study focuses on the ballet classroom. Training plays a vital role in how ballets are performed, and past choreography needs a different approach from that of contemporary ballets. Previous studies of classroom movement, while acknowledging different Schools, have not dealt with the effect on the dancer of diverse training systems. To explore this, I filmed three students from the Royal Ballet School, who learned sections from a syllabus, constructed by Ninette de Valois in 1947, to investigate how aesthetic values, implicit in the syllabus, differed from those of today. Contemporary source material was used to examine the values of the era revealing the extent to which those principles significantly influenced the syllabus. To test this, the study compared the English values with those of George Balanchine and contemporary American writers. Balanchine's classroom technique was also largely constructed at about the same time as de Valois's. The findings show that embodying the past through earlier values can be an effective way of communicating with today's dancers, highlighting how such principles change.

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.

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.

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.

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.

Innovations in training programs impact the educational system and the level of students' professional abilities. Therefore, the purpose of this study is to investigate the use of innovative technologies in teaching music and aesthetics with the use of intelligent technology. Students from various music schools in Beijing participated in the study: elementary (112 respondents), middle (123 respondents), and high school (98 respondents) (areas: piano, violin, and percussion), a total of 343 participants. Assessment of the students' level of proficiency took place in several stages: comparing the students' level of proficiency with that they had before the experiment, for this purpose an average eight-point system was used. The next stage consisted of a comparison of grades for the final academic concert. The results showed that the greatest improvement was seen in the percussion class and the least in the violin class. Piano students showed an average result in the correlation comparison, but their level was the highest in the final academic concert, 48.55% of the students showed a level of skill above average. While 39.13% of the violin students scored "excellent" and "good". The same level among the students of "percussion instruments" was shown by 35.71% of the students. Thus, one can conclude that applying intelligent technologies positively impacts students' performance, but it is necessary to be careful in choosing applications and technologies for implementation in the educational process. Further research should be directed at the impact of other applications and programs on learning, as well as ways to improve other music education areas and how they can be changed by intelligent technology use.

The human voice is an alive, natural instrument belonging to the human body and most beautiful tool for the individual to express himself. When evaluated from a musical point of view; the human voice, the first known musical instrument in the history of music, is the oldest, most natural and most valuable of musical instruments. This privileged instrument bestowed upon man is different for every human being, like a fingerprint. This makes it a single and unique instrument unique to a human being. The human voice, which is used for simpler (primitive) situations (crying, laughing, screaming, etc.), turns into a more complex ability, to speaking and an even more complex ability, to singing. Although all three forms of voice are formed instinctively and/or for a reason arising from necessity, they are also used to express a higher artistic expression. The voice, which is basically used for self-expression and communication, turns into a tool of higher expression in the oral arts and the art of singing. The act of speaking is the basis of the act of singing. Accordingly, it can be said that the act of singing is an enhanced and expanded speaking skill. The correct, beautiful and effective use of the human voice, especially in the art of singing, is based on both technical and artistic skills. Therefore, not only technical skills but also technical skills and artistic skills should be considered together for the development of singing skills in vocal training, and technical skills should support artistic skills. The researches on the human voice and the singing act until today have generally only dealt with the sound from a scientific, biological-acoustic perspective. As far as can be reached, no study has been found in the literature in which voice is considered as a multidimensional phenomenon, in a holistic way, including its biological, spiritual, emotional and aesthetic dimensions. In this context, the aim of this research is to make an evaluation and make suggestions by considering the human voice and the act of singing with its artistic and philosophical aspects. It is hoped that the research will contribute to filling the gap in the literature and set an example for new research to be conducted in this direction. In the research, which is based on the literature review, the domestic and foreign literature on the subject has been tried to be examined.

The professional development of teachers is fundamental to educational reform and promotion, and such a development includes teachers' aesthetic experiences. This study aims to explore the impact of Chinese teachers' aesthetic experiences on their professional development and the differences between male and female teachers in terms of the impact of aesthetic experiences on professional development. In total, 500 teachers from 20 universities in Hainan and Guangzhou, China, were surveyed, and 488 valid questionnaires were collected. A multivariate regression analysis was conducted to examine the impact of each variable. The results of the study indicate that "aesthetic attitude," "understanding of beauty," and "full experience" all have a significantly positive impact on the professional development of both male and female teachers, whereas "pleasure of beauty" has no significant impact on teachers' professional development. The findings also demonstrate that no difference exists between male and female teachers in terms of the impact of aesthetic experiences on professional development, and the more practical conceptions of aesthetic experience have a direct impact on teachers' development.

Global policy development in schooling often looks to solutions that embrace technology and articulate a 'what works' approach to practice. This paper takes as a case study the Australian Government's "Through Growth to Achievement" report on achieving school excellence. It analyses the report through the lens of 'sublimes', which provide insight into the way certain policy rhetoric can become reified. "Through Growth to Achievement" emphasises technological solutions which align with and reify an aesthetic notion of good teaching that draws on the 'what works' literature. This analysis argues that certain assumptions about technology, teacher practice and the 'evidence' for good policy are based on these reifications. A sublimes analysis makes these unspoken assumptions explicit and reveals the way they reinforce globalised policy approaches and foreclose others.

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.

In this study, we investigated whether a colourful design would foster the aesthetic appreciation of Chinese classic poetry, and the role of learners' empathy trait in this process. Middle school students (N = 159) were assigned to one of four conditions in a 2 (Colour Design: Colourful vs. Grayscale) × 2 (Empathy Trait: High vs. Low) between-subject design. Results showed that learners with high empathy attained higher scores on comprehension test and aesthetic appreciation ratings than learners with low empathy. Moreover, a significant interaction of the two factors on aesthetic emotion and evaluations ratings was found, indicating that aesthetic ratings were higher in the high empathy group than in the low empathy group with grayscale learning materials, whereas aesthetic ratings were comparable between the two groups with the colourful design. The results indicated that a colourful design can foster low empathy learners' aesthetic appreciation, and suggested that individual differences should be taken into consideration in instructional design in the multimedia learning of poetry.

This article is on the development of the School Facility I.Q. Inventory (SFIQI), an instrument to assess the extent of knowledge a school administrator possesses in delivering their assignment to manage his/her school building. The instrument was designed based on the current literature. The validity of the instrument was verified by a panel of judges and its reliability was tested by using split-half reliability method. Embedding eight themes on school facility management, SFIQI consists of five sections with a total of 71 quantitative questions. The instrument can be used for self assessment of a school administrator's knowledge about school facilities. It can also be used as a teaching tool in the school leadership preparation programs.

Reconceptualizing the notion of creativity is imperative for addressing today's multilayered social, ecological, and educational crises. This paper draws upon the Daoist philosophy of creativity, which connects rather than separates, to elaborate on the creative relational dynamics of a Daoist pedagogy. First, Western conceptions of creativity are briefly discussed to situate Daoist creativity relative to other scholarship. This discussion is followed by exploring three important aspects of Daoist creativity through interconnectedness: the self-creative process of the cosmos, the co-creativity of human creativity in spontaneity, and the virtuous pursuit of creative harmony. Conceptualizing Daoist creativity in these three aspects lays the foundation for the formulations of contemporary Daoist pedagogical dynamics. First, relational ontology underlies non-dualistic knowing and creative learning, which is infused with meditative sensitivity and incorporates aesthetic modes of thinking and associative thinking across boundaries. Second, creative personhood through integrating opposites and becoming attuned to the creative energy of life requires the personal cultivation of both the instructor and students while transforming teacher-student relationships. Third, a Daoist pedagogy of harmonizing creative tensions is envisioned through making connections across difference, diversifying texts, enacting pedagogical attunement, and harmonizing different modes of knowing and being.

In this study, it is aimed to comparatively examine the social media usage habits and social media awareness levels related to appearance of the students studying at the Faculty of Fine Arts in Turkey. The study was conducted in accordance with comparative relational screening and correlational research designs. 203 students studying in the fine arts faculties of four different universities participated in the study. According to the research findings, it has been observed that a large proportion of the participants use 'Social networking sites (Facebook, Instagram, Myspace, Google plus, etc.)' and 'Photo sharing sites (Instagram, Flickr, etc.)'. However, the social media awareness levels of the participants studying at the Faculties of Fine Arts were found to be low. While the social media awareness levels of the participants about appearance did not differ according to gender, class and achievement status, significant differences were found according to the departments. Finally, a significant relationship was found between the social media awareness levels of the students of the Faculty of Fine Arts and the frequency of use of social media platforms.

By travelling in a cosmopolitan milieu in a UK university, pedagogies of possibilities are explored. Over a period of five years the exploration narrates the journeys of, what Clover (2010) calls, "artists as educators," documenting conversations and creative pedagogic practises. This is despite the closure of the university campus in 2023, due to an overt neoliberal agenda. The findings of two feminist cosmopolitans in conversation, illustrates that when stories require repetition, that is the retelling of a certain narrative as well as stories that are whispered, they are of a particular significance. Represented are resistance, resilience and rebellion. In addition to the tone and context of conversations being important, the findings in the research suggest that by adhering to a feminist cosmopolitan ontology, encouraged is a sensitive, ethical encounter with others. This approach suggests that those marginalised in the academy and the artworld, then are seen and heard. Their voice and artwork are visualised as challenges to the norms of the academy.

This paper uses an arts-based learning encounter at a marae-based wananga as a starting point for exploring the potential of aesthetic inquiry to support dynamic and always evolving relationality between people and place. The work of two researchers, Maori writer and scholar Cassandra Barnett and Irish inter-cultural researcher Sharon Todd, is discussed as examples of critical aesthetic inquiries that open new possibilities for relationality between people and place through encounters with artworks. Maxine Greene's definition of aesthetic inquiry, as distinct from an "arts as connoisseurship" approach, is utilised to encourage a greater awareness among arts educators of the limitations and potential risks of liberal multicultural approaches in arts education. With increasing pressures to fast track the decolonising and indigenising of curriculum in New Zealand education, I discuss the importance of mitigating the risks of uncritically transferring indigenous Maori concepts and material into mainstream classrooms. New insights are offered into how aesthetic inquiry in arts based pedagogy and curriculum can support learners to sit with the complexities that come with a settler-indigenous history.

Usability testing is a method that determines how userfriendly a website or a mobile application is. The present study investigated the usability of a newly launched mobile application called TU-GET CBT or Thammasat University General English Test (Computer-Based Test). It also strived to understand the extent to which the application contributes to users' motivation. Twenty-one target users were involved in three focus group sessions; they also completed a usability and intrinsic motivation questionnaire. In addition, five experts in the field of language education and technology performed the heuristic evaluation that measured the application's usability. The findings showed that in general, all participants were satisfied with the application in terms of its usefulness for English language learning and test preparation. Nonetheless, several technical usability issues were identified including accessibility, navigability, and aesthetics. Pedagogical usability of consistency and feedback were also raised across findings. In regard to motivation, the findings suggested that the users' motivation can increase if they perceive the application as valuable and enjoyable. These findings provide valuable implications for the next phase of the TU-GET CBT application development.

Objectives: The purpose of the study is to examine various dimensions of aesthetic visual design and their role in predicting usability in e-learning in higher education institutions of northern India. Using quantitative means of data collection, this research identified, ways and means to make learning content effectively usable, that is, attractive, interesting, motivating, and engaging for the learners. Method: A survey questionnaire was developed through focused group discussions with field experts. Data were collected through online as well as offline modes. A Google form was created and its weblink was shared with the students pursuing degree courses in various state universities in northern India. Several visits and revisits were also undertaken to various universities to approach the respondents. Results: Results confirmed consistency, typography, graphics, grid, and layout as factors responsible for predicting usability of e-learning. Surprisingly, color and compositional guidelines emerged insignificant. Implications: The study has implications for teaching and learning activities that promote effective learning. The findings are beneficial for course-design faculty who develop modules by considering visual design elements that can facilitate interaction with and understanding of content by students learning in an online modality.

This design case documents the development of a new online training program to teach circuit court interns in Wise County, Virginia, how to create smart land records, or land record abstracts stored on a blockchain. The authors first describe the instructional context behind land record abstraction and the clients' original specifications for the curriculum. The authors then detail their empathic design approach, design decisions based on clients' feedback, and reflections-in-action at key points in the course's development. Major design decisions included the composition of a frame narrative to link the course modules, the reordering of the curriculum to mitigate the significant cognitive load in the training's content, and the use of both vertical and horizontal development to maintain aesthetic consistency. This paper concludes with the rationale for the evaluation plan and the establishment of a "multigenerational" partnership between the clients and new graduate students in the Instructional Design & Technology program at Old Dominion University.

Computer programming has become an essential part of K12 education, promoted as a way for students to engage in computational thinking that helps develop students' ability to analyze and solve problems and prepare them for future careers. Tabletop board games are seen as an effective means to help students learn computer programming. Several board games have been developed for teaching computer science to novice students. Still, many are dominated by simple pathfinding movements lacking comprehensive use of various computer programming concepts or have a considerable gap between the game dynamics and the actual coding that takes place on the computer. This paper presents a design case in which we used Kalmpourtzis' (2018) elements of educational game design (game elements, learning, and players) to develop a board game that engages players who are learning block-based computer programming. We present the four major prototypes and the challenges for each step. Then, we highlight three main areas in which our design process offers implications for the design of educational board games.