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The term "art" is a bit of a misnomer. Paintings, sculptures, a musical score, a poem, and a drama are examples of static things or goods that are frequently referred to as art. In this perspective, art is finished and done, whether it is beautiful or disturbing, challenging or captivating. Teachers of young children may use the term "art" to describe spontaneous, open-ended, and frequently messy colour or texture explorations with little or no adult guidance or engagement. Other times, instructors provide art as highly scripted make-and-take craft activities. These scripted activities may be tied to distinct abilities and academic information that they want children to learn, such as the fine-motor skills required to use scissors or paste, or the capacity to recognise colour. However, as we explore new possibilities for ourselves as teachers and new understandings of children's abilities, we can begin to use the term art to describe a lively process of engagement with a variety of materials that is sensual and reflective, creative and deliberate, relational and expressive. There's nothing to practise, nothing to adapt. Encounters that aren't always positive or negative. These are dangerous, worldly contacts that influence us, cause us to think and feel, connect us to the world and separate us from it, push us to act, demand from us, motivate us to care, concern us, and question us. Experimenting with these interactions requires prodding ourselves to have a different perspective on them. We don't find the meaning of these interactions, nor are we seeking for it. Their facts are unimportant to us. We approach each interaction as a unique event with its own set of questions, concerns, and ethos.

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Paper has its own preferences. It interacts with the water, the walls, the flooring, the door, and the bodies of the youngsters. It's identified by how it floats, slimes, and adheres to walls, windows, and legs under various situations; how it feels; how it slides off; what it does; and how it moves. Receptive, reactive, pliant, absorbent, and sensitive to touch, bending, folding, and crumpling are all terms used to describe paper. These motions may be slight, but working with paper entails a continual movement with the material, joining forces with it (Ingold, 2013), and reacting to its tendencies.

In similar manner I have crumpled the paper and turned it into a ball. This can be used as a normal ball through which I can literally play games with my friend like a ball catch and also a cricket while using this paper ball and any notebook as a bat. This artefact of mine will teach children in early childhood the importance of sharing and togetherness. Because with this artefact a child learns to play with other fellow mates and also learn the value of togetherness. This will also help children to develop their physical and mental strength.

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The viscosity of the paint, its capacity to dry and harden, its smoothness, slickness, and stickiness are all factors to consider. I observed how paint behaves, such as how it spreads, covers, layers, mixes, and modifies itself and others while leaving traces. Paint became a tool for thinking rather than a tool for developing sensory abilities in children. Paint served as both a verb and a noun in this fashion (Ingold, 2011). Anticipation, composition, performance, storytelling, and touch met mixing, dipping, stirring, squishing, splattering.

In this artefact I have taken the same ball from my previous artefact and have coloured it with different water colors. The mixing of the colors will teach children in early learning settings about their formation when we mix two different colours, how the third colour is made. Also, how beautiful the colours are and not to forget it will help them to enhance their motor skills. Because adding colours to anything, will make that thing fascinating and attractive.

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Talking about ecologies through recyclable things. In my artefact I have experimented the usage of water and soil on a piece of paper. How does it affect its texture, how much time consuming the process is all about? What happens when we dip it into the water and such things.  How different kind of papers have different density, thickness and does it float on water or will it sink.

This artefact can be used in early childhood setting in order to make children learn about different things which can float on water, depending on the density, thickness and texture of the object. Also, children can learn about different types of textures after and before the product sank in the water.

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Young children use art to communicate with and about the world in innovative and connected ways. Children develop meaning and understanding via the language of art. They engage in human-to-human communication concerning ideas, experiences, and feelings. Young children have a sense of purpose in society as a result of their engagement, and they are able to share their thoughts, hopes, and criticisms. When children speak the language of art, they are producers of information rather than consumers, a generativity that grants them complete dignity. We start with the fundamental sounds while learning a language. We play with tone and inflection, experimenting with how to form our mouths and tongues. We imitate the noises we hear by listening to other individuals. Vowels and consonants are forged into words when we learn to weave sounds together. We no longer feel ungainly as time passes, and this new language becomes second nature. Our aspirations will eventually emerge in this new language. We've taken ownership of it. We learn the language of art in this manner. We investigate the physical characteristics of a medium, such as how it feels in our hands, how it glides across paper, and how it maintains its shape.

We play around with different materials and approaches. We were familiar with this new creative medium after several interactions and active exploration. Color, texture, movement, and sculptural image become important to us. We've adopted art's language as our own. Learning the traits and characteristics of an art medium, according to Giovanni Piazza, an educator in Reggio Emilia, Italy, is like "learning the alphabet." "An alphabet may grow via interactions between a youngster and a substance," he explains. "As the youngsters work with paper, clay, wire, and other materials, multiple alphabets will emerge. As youngsters use their thoughts and hands to manipulate items with gestures and tools and begin to gain abilities, experience, tactics, and norms, structures within the kid form that may be compared to an alphabet or language" (Gandini 2005, 13).

Children view their work in unique ways as they switch from one medium to another, work on different scales, or go from two to three dimensions. They have different points of view. They pay attention to fresh details. They get fresh insights into the connections between the many components of their profession. They become more conscious of the importance of colour, line, and texture. Children's thinking is frequently transformed as a result of the practise of depicting and re-creating a concept or experience through art mediums.

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Sound moves bodies, forges relationships, and creates worlds by slipping across diverse registers of perception, meaning, and impact. Like words, sounds are "overflowing with meaning" (Rosen, 2015, p.40; see also Gershon, 2011).

Non-linguistic sounds (both human and animal) appear to have a larger possibility for slippage between distinct forms of representation and nonrepresentation, in contrast to words.

As a result, paying more attention to sounds other than words has the potential to broaden literacy teaching in ways that produce the novelty and surprise needed for learning to be transformational rather than merely utilitarian. Sound is multifaceted, acting in a variety of ways on various bodies, materials, and settings. Any attempt to define what sound is and does is inevitably thwarted. As a result, rather than focusing on one particular style of audition, it may be more beneficial to cultivate a variety of ways of hearing. Sound research "reminds us of the inclusive character of sound, both in terms of perception and the sources that activate reception," according to the author. (Gershon, p.72, 2011)

In my artefact I have used different recyclable things and bought them together just to create a music out of it. There is nothing in sync, but still, it’s just another method of communicating and bringing out the best from inside you.

This artefact can be used in early childhood settings and the acquisition of sound by children via interactions with other individuals is commonly associated with the acquisition of language. Non-linguistic, non-human noises, on the other hand, play a significant role in children's expressive and communicative activities, revealing the limitations of both autonomous skills-based and social-multimodal literacy methods. Both treat literacy as a logical, intentional, and purposeful human activity (Kuby, 2017; Leander and Boldt, 2013; Rowsell, 2014).

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Artefact 5: Presence of different shapes around us.

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Artefact 5: Presence of different shapes around us.

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Presence of shape around us: While making this artefact I have experimented with different shapes of products which were present around me such as: a bottle lid, a leaf, my fingers. This involvement of different shapes can be used as in early childhood settings in order to make them learn about different shapes present around us like circle, rectangle, square. Not only children will learn about different shapes but will also learn about different colors. This will help them in increasing their imaginative power and will make them more creative.

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Desire is equated with assemblages by Deleuze and Guattari: "to desire is to form an ensemble" (Deleuze, quoted in Olsson, 2009, p. 149). Assemblages come in a variety of shapes and sizes. They are 'machinic,' which means that they can only function if they are deliberately put together: a bicycle cannot function without a rider, a flattish surface, and the laws of motion and gravity. Without a baby, an adult, and a supply of food, a highchair isn't much of a highchair (or toys). An assembly does not happen 'by chance.' The relationships that are formed between the constituents of an assemblage give rise to the ensemble.

Signs can be found in assemblages. 'Assemblies of enunciation' are assemblages of signs (Deleuze & Guattari, 1987, p. 155). Assembling things from around you, not the only thing we need, but to be creative about it is the most important thing which is needed. In my artefact I have tried to make a pen stand out of a toilet roll, and waste paper.

This can be used in early childhood setting as Construction play is a great way to make learning more interesting and engaging! ... These simple tasks stimulate a child's brain on a regular basis, therefore assisting their education. Playing with a range of construction and creative goods boosts children's self-esteem while also encouraging autonomous learning.

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References:

1.     Pelo, A., 2016. The language of art: Inquiry-based studio practices in early childhood settings. Redleaf Press.

2.     Pacini-Ketchabaw, V., Kind, S. and Kocher, L.L., 2016. Encounters with materials in early childhood education. Routledge.

3.     Hanna, W., 2016. The Children's Music Studio: A Reggio-inspired Approach. Oxford University Press.

4.     1.Gallagher, M., Hackett, A., Procter, L. and Scott, F., 2018. Vibrations in place: sound and language in early childhood literacy practices. Educational Studies, 54(4), pp.465-482.

5.     2. Cobb, E., 1959. The ecology of imagination in childhood. Daedalus, 88(3), pp.537-548.

6.     3. Bradley, B., Sumsion, J., Stratigos, T. and Elwick, S., 2012. Baby events: Assembling descriptions of infants in family day care. Contemporary Issues in Early Childhood, 13(2), pp.141-153.

7.     4. Kindler, A., 2010. Art and art in early childhood: What can young children learn from" a/Art activities?". Art in early Childhood, pp.1-14.