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This article explores and displays some of the literacy events taking place in the context of early childhood education in Sweden. More specifically, the literacy events are part of the educational practices in the atelier of Reggio Emilia inspired preschools in Sweden. As parts of an ethnographic study of aesthetic activities, including digital technology, these literacy events awoke the researcher's interest. The literacy events are analysed from a sociocultural perspective reinforced by the use of multimodal theory. The results show how the literacy events in the ateliers become playful explorations. The children use the atelier's specific cultural and social potentiality to explore and develop written and oral language as part of the visual and aesthetic literacy practices taking place there. [ABSTRACT FROM AUTHOR]

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Notre article rend compte d’un atelier mené par une intervenante en école maternelle (périscolaire) autour des émotions, avec une dizaine d’enfants de 5-6 ans, au printemps 2022. En nous appuyant sur une posture d’observation participante qui nous a permis de réaliser un enregistrement des interactions, ainsi que sur les réponses de l’intervenante à un questionnaire réflexif, nous nous intéresserons aux questions suivantes : dans quelle mesure un tel atelier peut-il amener les enfants à mieux nommer et exprimer par divers canaux (dont le corps) leurs émotions ? En quoi le dispositif « Atelier », reposant sur un « esprit de corps », est-il favorable à ces apprentissages langagiers ? Enfin, au-delà des mots et phrasèmes mobilisés lors de l’atelier, comment les enfants en arrivent-ils à néologiser en proposant de nouveaux mots ou formules pour mieux exprimer leurs émotions ? Nous postulons ici que ce travail d’exploration lexicale, mené dès le plus jeune âge permet d’ouvrir un espace d’émotissages (Berdal-Masuy 2018) afin de tisser des liens entre émotions et apprentissages.

This article concerns itself with the potential for ateliers to disrupt conformist approaches to pedagogy in early childhood education and care. An illustration of the role of the atelier in amplifying the aesthetics of the experience of the educational project of Reggio Emilia illuminates how disruption of conformity can be activated through the pedagogical alliances that the atelier solicits, taking a broad view of such alliances to encompass correspondences between humans and materials. Insights are shared from a research project and installation, the Digital Investigations Atelier, a collaboration between academic-researchers and teacher-researchers who work with young children in a variety of education and care settings in Perth, Western Australia. Data that 'glow', which for some reason, possibly intangible, stood out, are shared to illuminate conceptual phases of aesthetics, alliances, and experimentation in the creation of the installation and its opening to visitors. The article contends that conventional pedagogies, those that yearn for the predictability of recipes by the minute and elevate neoliberalism's longing for linearity, are devoid of aesthetics and experimentation, leaving little space for imagining correspondences. Instead, it is speculated that ateliers can be places of disruption, where pedagogical alliances can be re-imagined and remade through aesthetics and experimentation.. [ABSTRACT FROM AUTHOR]

The authors assert that young people must initiate their own entrepreneurial ideas and develop a business plan to begin their employment journey. Motivated students can become individual entrepreneurs as early as sixteen years old. Knowing the key elements of their future activities can help entrepreneurs anticipate, analyze, monitor, and evaluate the success of their enterprise before executing their idea-project. A business plan allows for adjusting planned or actual indicators to achieve income. The development process of a business plan includes analyzing the enterprise’s market environment, assessing the target audience’s needs, new sait, determining the organizational structure, identifying financial risks, and estimating income and expenses. The primary obstacles to starting one’s own enterprise include the Russian-Ukrainian war and its consequences, reduced potential customers due to lower incomes, limited financial and credit resources, and high advertising and marketing costs. The authors calculated the costs of starting a business with four employees. The Silhouette studio’s operation shows that it requires expensive equipment and a long payback period for a small enterprise. Risks in this area include purchasing low-quality equipment, lack of funds for unforeseen expenses, poor quality of services, ineffective advertising campaigns, excessive rent increases, too many workshops in the market, and poor location choice. The industry’s unique feature is a relatively short production cycle of one to two months for manufacturing complex products, making it a profitable investment, especially for working capital, providing quick returns. The planned payback period for the Silhouette studio is two to three years of operation, but it may happen sooner. The enterprise’s profit depends on advertising coverage, the income of the local population, and other aspects that affect the enterprise’s profit. A tailoring and repair shop is a distinctive institution providing quick, efficient services tailored to individual or inclusive needs.

In this article, the focus is on the entangled relations between digital technology, art activities, mathematics, literacy and children in Swedish preschool ateliers. As part of an ethnographic study, the researcher follows how children use digital technologies and non-digital materials (such as shells, pens, paper, wood, bubble wrap and light) to create and make the visual and aesthetic aspects of the technology seen. In the analysis of the children's play-based and art-oriented activities in the atelier, the subjects of literacy and mathematics become visible. The analytical approach includes the use of sociocultural theory and multimodal theory, and looking at mathematics in accordance with the six organising principles described by Alan Bishop. The results show that the children's activities with digital technology and non-digital artefacts appear to activate, expand and transform their understanding and use of literacy and mathematics. [ABSTRACT FROM AUTHOR]

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

La filière forêt-bois connaît depuis toujours une succession de crises et de difficultés que les professionnels sont amenés à gérer : état sanitaire des forêts, tempêtes, adéquation ressource / besoins… Pour y répondre le plus efficacement possible, il est important d’identifier les acteurs compétents et de mobiliser l’ensemble de la filière, pour trouver collectivement des solutions adaptées. Les expériences passées, l’identification des difficultés, ainsi que l’apport des chercheurs doivent permettre d’anticiper au mieux la gestion de nouveaux épisodes de crise, tout en limitant leurs conséquences néfastes. Messages clés La filière forêt-bois gère depuis des années une succession de crises. Les prises de décision nécessitent d’identifier les acteurs compétents. Les prises de décision doivent se fonder sur les expériences du passé.

Todos os dias, quando chego ao meu atelier, entro numa realidade alternativa que denominei Omphalos ou 2070. Vivo-o como se tivesse encontrado um lugar arqueológico, do qual brotam imagens de uma realidade futura vagamente reconhecível. Contudo, este simulacro encerra em si todo um conjunto de possíveis discursos sobre pintura, desenvolvidos por mim, enquanto autor, sempre na primeira pessoa. Palavras-chave: ATELIER; PINTURA; ALQUIMIA; FÉ

Dans le cadre d’un doctorat en études littéraires (recherche-création) à l’Université Laval, l’auteur de l’article documente et analyse des ateliers somatiques d’écriture qu’il anime depuis 2015. Il questionne ce que l’expression corporelle apporte à la pratique de la création littéraire. Durant un atelier, des écrivain⸱e⸱s exécutent des exercices de respiration, du yoga et des automassages Do-In ; chacun⸱e explore par le mouvement son anatomie osseuse et charnelle, se déplace dans l’espace avec les yeux fermés, puis iel commence à écrire. Aux automnes 2018 et 2019 Mattia Scarpulla a été chargé du cours « Écritures nomades » pour étudiant⸱e⸱s de premier cycle. Certaines séances débutaient avec de la méditation et du yoga assis. Ensuite, il proposait des exercices d’écriture automatique. Ces activités étaient un préambule au travail théorique et créatif sur le thème du voyage, et permettaient aux étudiant⸱e⸱s de lever leurs inhibitions. Il leur demandait aussi d’observer leurs compositions, de les commenter. Les étudiant⸱e⸱s identifiaient des « erreurs » dans leurs textes en prose et dans leurs poèmes. Pourtant, pendant la conversation, ces « erreurs » se révélaient être des possibilités créatives. L’article retrace cette expérience didactique pour questionner une rencontre des pratiques corporelle et écrite entraînant un regard critique, mettant en doute les conventions de production du texte, encourageant les étudiant⸱e⸱s à expérimenter plus librement la création littéraire.

Francis Bacon painted pictures based mostly on photographs published in encyclopaedias, popular magazines, the tabloid press, posters and packaging. He was interested in reproductions of paintings by great masters. He used photographs by Muybridge. Photographs, treated by Bacon as tools, were later “worked on” by the artist, becoming the canvas for his paintings. The scenes he chose – often drastic, depicting rape and violence – were painted into his canvases, creating a deformed image of the world that “emerged” from the horrors of both world wars. He painted portraits based on his photographs of friends. These were usually people with whom the artist was emotionally connected. He painted self-portraits base on a series of photographs taken in automatic photography, from which he selected several to form the basis of his paintings. Real things and persons should exist in the fictional space assigned to them. By destroying literalism in painting, Bacon wanted to find the similarity desired in painting as its principal, so to rediscover realism. When painting a portrait, he tried to capture the appearance of the figure. After Francis Bacon’s death, his London studio (7, Reece Mews), restored by conservators, was “repeated” in the space of the Hugh Lane Gallery in Dublin. It contains about 7,500 objects, among them numerous photographs which had been torn up by the artist, photographs of his lovers and friends, black and white reproductions. The Bacon ‘archive’ collected in Dublin is now a silent hint of the creative process of the artist, who despite numerous studies devoted to him and recorded conversations, still remains one of the most inscrutable artists of the 20th century.

Questo paper presenta un’esperienza condotta in una scuola primaria di Sassari con 21 bambini di 8, 9 e 10 anni, nell’anno scolastico 2015/2016. Il progetto è stato finanziato dal primo bando della Regione Sardegna “Tutti a Iscol@”, con l’obiettivo di innalzare i livelli di apprendimento degli studenti e contrastare l’abbandono scolastico. “Idea_Lab”, laboratorio innovativo digitale di educazione alimentare condotto da esperti esterni con il tutoraggio della scuola, ha assunto un carattere interdisciplinare con un approccio costruzionista. Il percorso ha suscitato interesse e curiosità per le tecnologie utilizzate (computer, software 3D design, stampante 3D) e motivazione nei bambini, i quali hanno reinterpretato le pedine del gioco dell’oca adattato al tema alimentare.

in the educational experience of Reggio Emilia, art education is held to be a central element in children's knowledge building processes and the aesthetic experience is considered an activator of learning process. In the Reggio educational philosophy, the space dedicated to aesthetic education and the exploration of artistic languages and techniques is called the "Atelier". The Atelier is a place closely connected to the other school environments, aimed at fostering children's agency by allowing them to explore visual and expressive languages in close synergy with verbal, body and logical ones. This paper addresses the main characteristics and values of the Reggio Emilia educational philosophy that contribute to fostering children's agency, by focusing on the aspects that are most connected to the aesthetic experience. From such a perspective, the visual and artistic languages are considered to be a means of inquiry regarding the world and as media that support children in building bridges and relationships between cognitive and expressive processes. Finally, the paper problematises such characteristics by drawing on recent developments and interpretations of Malafouris' material engagement theory Montani, P. 2020. "The Imagination and Its Technological Destiny." Open Philosophy 3 (1): 187–201.). [ABSTRACT FROM AUTHOR]

The article explores the concept of studio filmmaking in the context of early Hollywood and a new incarnation of studio filmmaking in the age of digital visual effects. The author analyses the old studio era in terms of shaping the cinematic image (primarily compositing) and the meaning of the studio, understood as an atelier. Kalbarczyk argues that originally the final look of the film used to be achieved by blending all the shot elements in the physical space of the studio, while nowadays the final form is most often created in a virtual space, deepening the decentralization of the filmmaking process. The author argues that more than the atelier space, the new studio filmmaking concept would refer to the holistic way of thinking about cinema as a heterogeneous structure, not so much attained integrally through filming, but carefully constructed. Various dimensions of studio filmmaking are discussed using the following films: Sunrise: A Song of Two Humans (1927), Citizen Kane (1941), Everest (2015) and Avengers: Endgame (2019). [ABSTRACT FROM AUTHOR]

A research-action path carried out in the second class of primary school is presented, to encourage the promotion of creativity declined in the different ways of thinking that are described within the theoretical framework of multiple intelligences. The hypothesis from which the research-action work starts is that creativity, in its plural forms, can promote a school of each and everyone, and for this reason, the Italian school must recognize it (again) space and dignity. Promoting creativity also becomes a cultural choice, for a society that returns to reflect on the ethical meaning of education.

This paper presents an interdisciplinary research project related to the Design Department of the Milan Polytechnic, aimed to identifying experimental valorisation strategies for a specific typology of spaces, the faber's houses / ateliers. If so D.E.SY (Designing Enhancement Strategies and Exhibit SYstems for the Italian House Museums and Studios), focused on the system of places of life and work of the faber (artists, architects, designers, foremen) in the metropolitan area of Milan and Lombardy, crosses a microarea of museography (houses and atelier museums), a substantial percentage of our survey is represented by private spaces, although often visited and open to dialogue with the community. This is a composite network that goes against the trend of widespread and increasingly less sustainable hypermuseism. Moreover, the vocation of these places is varied, the stages of conservation are different as well as their potential and critical issues. So the basic-exploratory research, with purposes of methodological investigation, was measured with a fluid and contaminated subject stimulating for the transversal skills of the research group, composed of historians (art, design, museology), designers for cultural heritage, interaction and applied technologies designers. As project coordinator, the author intends to highlight the peculiarities of the investigation and its processes, in the exchange of methods and perspectives implemented: from the decoding to reflection have been born enhancement strategies and openness to the territory of museographically “closed” spaces with all their tangible and intangible heritage. At the same time, these formidable setting, with their internal storytelling strategies, are able to influence the design laboratory and modify its perception.

In mid-nineteenth century Paris, when an art education was out of reach for most women artists, several male painters began opening private schools specifically catering to women. In Catholic Spain, opportunities were more restricted; therefore, leaving the country and attending these French ateliers were key to women’s training as no government-sponsored academies accepted women at the time. By means of archival and historical research, this analysis applies theories of Judith Butler to explore the careers of two Spanish women painters: Alejandrina Gessler y Lacroix (1831-1907) and Antonia Bañuelos Thorndike (1856-1921) as they studied under academic painter, Charles Chaplin (1825-1891). Operating outside gendered norms and traveling outside of Spain changed the direction of Spanish women’s art production and exhibition practices allowing them to subvert the conservative limitations in their home country and develop professional careers both within and outside of Spain.

Peut-on parler d’un atelier de création pour les auteur·trices de pièces de théâtre? Si oui, quelles en sont les caractéristiques? À travers une étude portant sur seize auteur·trices francophones, Thibault Fayner travaille à rendre compte des lieux et des temps de l’écriture dramatique actuelle. En mettant au jour l’existence d’un atelier mobile et polytopique, il propose une plongée dans l’organisation du travail créateur des auteur·trices dramatiques d’aujourd’hui.

L’enjeu de cet article est de retranscrire une conférence qui prend la forme d’une performance afin de révéler la complexité et l’intimité qui animent nos espaces de création. L’atelier, le laboratoire et la salle de cours sont trois espaces dans lesquels mes voix se confondent, se mêlent et entrent en résonance avec celles de mes collègues et de mes étudiant·es. Les expériences se croisent, les costumes se superposent, les voix prennent de l’épaisseur à travers la diversité de ces espaces de création. C’est ainsi que se créent des interférences entre les voix de l’artiste, de la chercheuse et de l’enseignante, qui en deviennent parfois presque inaudibles… joyeux brouhaha de la création!

Depuis 2015, j’organise des ateliers somatiques d’écriture à l’occasion de processus de spectacles littéraires, mais aussi dans le cadre de formations données à l’université ou dans des centres consacrés à la littérature. Durant ces ateliers, les auteur·trices sont plongé·es dans une mise en chorégraphie, exécutent des exercices de respiration et de yoga, des automassages Do-In, chacun·e produisant une création littéraire en lien avec son ressenti. Dans mon article, j’introduis deux expériences immersives, l’une qui a eu lieu à Turin en 2018, et l’autre que j’ai animée à Québec en 2019. Les participant·es y ont déployé une poétique somatique, en créant une oeuvre littéraire et un solo de danse les yeux fermés.

This paper presents empirical material drawn from a participatory 'apprentice ethnographic' research project examining the everyday geographies of a recovery-oriented wood workshop in Edinburgh, Scotland. It addresses two key literature gaps in human geography: firstly, empirically developing the concept of atmosphere within therapeutic landscapes research, and, secondly, exploring the notion of well-being in spaces of craft. The paper develops a more enlivened understanding of well-being as a dynamic and emplaced process, with the study's methodological approach allowing the researcher to focus less on the individual psychological attributes of participants and more on the spatial aspects of journeys towards recovery and well-being. The paper highlights how 'atmospheres of care' are tentatively co-constructed and maintained in the taskscape of the workshop, creating a liminal space of recovery and transition. It concludes with implications for the wider study of social and ethical economic enterprises and institutions of care. [ABSTRACT FROM AUTHOR]

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Because of their weight and size, children are much more sensitive to environmental pollution than adults. They breathe, drink and eat more, and therefore absorb more potentially toxic substances, as the European Environment Agency points out. Challenges therefore lie ahead in a number of areas. As soon as pregnancy is announced, prevention and awareness-raising workshops are offered at the three Trousseau-Tenon-Pitié-Salpétrière maternity units of the Sorbonne Université-Paris hospital group of the Assistance publique-Hôpitaux de Paris. If a child is suspected of having food allergies and/or requires medical attention, the paediatric allergology department of the Armand-Trousseau hospital in the 12th arrondissement will be contacted., (Copyright © 2024 Elsevier Masson SAS. All rights reserved.)

This article presents practices of a research in education developed between July and December 2019 that moved towards thinking about teaching in Philosophy and Arts in the final years of Elementary Education (EF) in a public school in the municipality of Lauro de Freitas, Bahia. The justification takes as reference the need to propose escape routes and resistance to the crisis in public education in the current scenario of implantation of the BNCC that brought two risks to the curriculum of the teaching network of Lauro de Freitas: deregulation of the discipline and, therefore, teaching in Philosophy, both with regard to the offer and the possibility of it being subject to the content of religious teaching. The research has an applied nature, a qualitative approach and by procedure the creation of a Philosophy and Arts Atelier was adopted at the school. 37 students from the final years of the EF, aged between 11 and 16 years, participated in the experiment, by free membership and through online registration in a form hosted on Google Drive. The creation of the studio followed the concept of experience proposed by Larrosa (2008) which requires, from the acts of teaching and knowing, the involvement of teachers and students. As a result, we observed that the Atelier functioned as an experimentation platform, where students were able to experience themselves at school as student-researchers, through the valorization of their speeches and productions and the experience in experiences different from those experienced in the school routine. [ABSTRACT FROM AUTHOR]

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The main issue of this paper is the study of a group of amphorae of Heraclea Pontica origin which have been found during the late antique workshop excavations in the ancient theatre of Prusias ad Hypium. According to Memnon of Heraclea, the ancient city of Prusias ad Hypium was established by the Greek immigrants who were founders of the ancient city of Heraclea Pontica. Although the city joined the Bithynian Kingdom during the reign of King Prusias I, the most brilliant and powerful age of the city was during the Roman Empire period. The ancient theatre is the best preserved ancient architectural ruin in the city, although today most of the ancient city remains are under the modern town of Konuralp. It seems to be a Greek theatre due to its location on the slope but the use of vaults and its semi-circular plan and dramatic multi-stores stage building reflect its Roman character. In this context, this theatre is a Greco-Roman building and thus, it can be accepted as a transitional form between Hellenistic and Roman theatres. The archaeological excavations which have been conducted in the theatre since 2013 brought to light several archaeological structures belonging to the period when the theatre was abandoned. Among these remains, a structure belonging to a late antiquity workshop (specialised in bone tools production) is important. The commercial amphoras, found among other ceramic categories inside the workshop, represent a group of finds that should be evaluated and constitute the subject of the present paper. [ABSTRACT FROM AUTHOR]

This essay explores the circumstances which led the Russian painter Vasilii Maksimov to compose an unusual group portrait in the early months of 1864. The work was painted shortly after fourteen students withdrew from the Imperial Academy of Arts in St. Petersburg and formed a cooperative association known as the St. Petersburg Artel of Artists, a commune spearheaded by the painter Ivan Kramskoi. Shortly after these events, Maksimov would join an Artel of artists established by the Academy graduate Pёtr Krestonostsev. Few scholars discuss this Artel but exploring the ways it mirrored collective ideals for artistic practice then prevalent in Paris sheds light on how homosocial networks of support rose to the fore in this historical moment. Maksimov's 1864 group portrait records the productive conflict that resulted from artists' desire to work with one another through discourse and collaboration in both eastern and western Europe in the period. [ABSTRACT FROM AUTHOR]