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This article presents creative methodologies for studying the emotionally charged environment of school buildings, with particular attention to situated movements and modes of engagement after the Covid pandemic. Drawing on digital-sensory methods and futuring practices, developed in collaboration with staff and students in a UK secondary school, we present a series of speculative architectural models and living maps. Our approach is informed by Bruno Latour's concept of the Terrestrial as a metamorphic zone that includes the built environment, with connections to contemporary architecture and design practices. We use techniques in speculative cartography and cosmography, creating maps and models that show how students negotiate the affective atmosphere and social-material ecology associated with school buildings. [ABSTRACT FROM AUTHOR]

In this article, I propose an affect approach to learning events concerning relations between children, popular media, and digital technology. Affect conceives learning as an aesthetic event in which particles of the world pass into bodies and transform their capacities to feel, perceive, and think. A conceptual discussion on affect and affective pedagogy is developed. This discussion is extended through an ethnographic narrative connected to a small study constructed from a layered perspective as mother/scholar/art educator and centered on the creative activity of a 10-year-old girl with digital technology and a passionate attachment to manga and anime. Implications from this study are drawn for an affective pedagogy that orients toward learning's immanence and recognizes the emergent ways in which bodies, things, and forces enter into composition, augmenting or depressing the potentials in pedagogical events.

The article addresses the concept of Black childhoods through an ontology of fugitivity that operates at the intersection of Black studies and feminist science and technology studies. An ontology of fugitivity thinks of Blackness as a performance of resistance to systems of knowledge that have persistently situated Blackness as placeless and outside sovereign power. The article elaborates this ontology of fugitivity with attention to two concepts, the Black outdoors and a recalibration of the senses. Focusing retrospectively on a series of classroom interactions and art created by one Black girl, Quvenzhané, the article examines how, through processes of artwork, Black childhoods articulate as complex compositions of bodies, images, sound, and non-binary relations of outside-inside. The article concludes with a discussion of how pedagogies that attend to fugitivity can contribute to sensorial and ontological reorientations demanded by the Anthropocene.

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

In this article, I discuss the concept of compositionism as an onto-epistemology of being and knowing that questions human exceptionalism. Compositionism suggests that humans exist in interdependence with complex bio-social systems that need to be assembled together with an ethics of response-ability toward threatened places and beings. I propose compositionism as a concept to inform the field of art education. I do this by devising correspondences between compositionist theory, childhood studies, and visual art-based research. I direct the implications of this discussion into selected passages of data from a study developed in collaboration with two classes of 5th-graders attending public school in a large city from the American Midwest. In this study, children used visual art-based methods, including drawing, video, print, and narrative to develop attentiveness and intimacy with a group of trees and tall grasses on the school block.

This article is a Teachers' Life History study that centers on the context derived from current policies and budget cuts implemented to public services and education in the city of Milwaukee, Wisconsin. It explores how these affect the lives, moral commitments, and social senses of pedagogy of three art education specialists who have developed their careers within the last decade marked by losses, uncertainty, and intellectual isolation. Through biopolitical analysis of testimonies, we suggest a focus on art teachers' strategic acts of independence, resistance, and creativity existing within the limitations of current policies, scarce resources, and excessive pressure for achievement in large urban districts.

In this article, I think retrospectively with art and passages of writing produced in connection to a study on aesthetic activity and urban nature with two classes of fifth graders attending school in a city of the American Midwest. For this, I take on the art philosophy of Deleuze, Deleuze and Guattari and Deleuzian scholars to discuss how aesthetics and processes of art-making can inform empirical gestures based on distance from and invention of worlds. Art extracts sensations from chaotic forces that function in excess, variation, and proliferation, offering valuable practices to attune toward the affectivity of post-phenomenological life worlds. [ABSTRACT FROM AUTHOR]

In this article, I analyze the processual aesthetic production of girl subjectivity in/with Hayao Miyazaki's films through a feminist materialist perspective informed by the writings of Karen Barad, Rosi Braidotti, Donna Haraway, Elizabeth Grosz, and Affrica Taylor. I elaborate on feminist materialist concepts such as those of relational ontology, aesthetics of existence, worldmaking, mythopoesis, queer kin, and gender/sexual difference. With these concepts, I philosophically and ethnographically inquire in/with girl spectators who are interested in the experimentation with new modalities of existence that do not limit to those of success and alienation, but allow for creative possibilities of rupture, recomposition, and transversalization of girl subjectivities. [ABSTRACT FROM AUTHOR]

This article reflects on a curatorial and pedagogical research project to reactivate ARTIUM’s contemporary art collection (Vitoria-Gasteiz, Spain) after a decade of acquisitions and institutionalization by seeking experimental involvement with difficult knowledge, through prosthetic pedagogy inspired in the time-image and paradoxical modes of address. Three moments of this project are discussed: (a) the selection and research of a number of artworks from the aforementioned collection; (b) the design of a museum space in ARTIUM’s Sala Este Baja; and (c) the activation of the exhibition space through a Laboratory of logics of vision. [ABSTRACT FROM PUBLISHER]