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Chewter, C. (n.d.). Block play – the benefits of manipulative play in early years: Learning and development. Teach Early Years. https://www.teachearlyyears.com/learning-and-development/view/the-benefits-of-block-play.
Edwards, C., Gandini, L., & Forman, G. (2011). Hundred languages of children, the: The reggio emilia experience in transformation (3rd ed.). ABC-CLIO.
Koralex, D. (2015, March). Ten things children learn from Block Play. NAEYC. https://www.naeyc.org/resources/pubs/yc/mar2015/ten-things-children-learn-block-play.
MahshulahZ. A., SyaodihE., & RachmawatiY. (2020). The Ray of Light: An Activity Approach of Reggio Emilia. International Conference on Elementary Education, 2(1), 785-790. Retrieved from http://proceedings.upi.edu/index.php/icee/article/view/687.
Pacini-Ketchabaw, V., Kind, S., & M., K. L. L. (2016). Paint: Assemblage. In Encounters with materials in early childhood education (pp. 52–61). essay, Routledge.
Play with clay (better kid care). Better Kid Care (Penn State Extension). (n.d.). https://extension.psu.edu/programs/betterkidcare/early-care/tip-pages/all/play-with-clay.
Thornton, L., & Brunton, P. (2013, May 12). Exploring light and dark with early years. Teaching Expertise. https://www.teachingexpertise.com/articles/exploring-light-and-dark-with-early-years/.

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In this investigation, I will experiment with blocks. I took wooden rectangular blocks and started making something. I was not having anything in my mind before I start using blocks similar to children when they are using blocks. I am seeing my little one playing with blocks. He is doing whatever he wants to do with the blocks. So, I decided to do the same. I follow the pattern and the final product was kind of a tall building.

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In this investigation, I will experiment with clay and see how it change its shape according to our willingness. I decided to explore clay with adding some water in that. I took some clay and put water in that but unfortunately I put more water which shows that we can't use clay or shape clay if we add more water in that. But later I put very little water we can shape it in any form. I take a roller ans roll the clay then put some shapes on that with clay forms in different shapes.

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This investigation into assemblages caused me to reevaluate how I view the framework, or absence of it, in the creative community and how it affects young kids in their growth. When several components blend altogether to create a special thing, the idea of assemblages comes into play. Edwards, Gandini and Forman (2015) states that cultural and artistic dissemination have existed from the beginning of human civilisation and continue to do so anytime both human and nonhuman components of various communities comes into touch with each other, despite guidance, intention, or professional supervision. A lesson that I've discovered from studying assemblages is that teachers shouldn't try to replicate anything; instead, they ought to constantly be willing to create new things and support the relationships and ecological systems of developing assemblage.

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Each learning environment need to have a full assortment of units blocks, a variety of accessories related to the toddlers's present passions and situations, accessible shelves, and enough of time and space to construct new designs as well as those that the toddlers are already familiar with (Koralex, 2015). With the use of blocks, toddlers can discover how to take rounds sharing resources, make new friends, become more independent, pay attention for longer periods of time, work together with others, and boost their self-worth. Therefore, it is our obligation as educators to ensure that we promote young children to have fun with blocks. Blocks ought to be introduced or reintroduced to preschool teachers since they are the perfect resource for small children (Koralex, 2015).

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Chewter states that every environment may benefit from block play's open-ended, imaginative, and worthwhile recreational and educational opportunities. According to Pacini-Ketchabaw, Kind, and Kocher (2016), blocks made of wood are sturdy. They're thick. They are formed. They can't be ripped, crushed, or ground up. Therefore, for my this project I will use wooden rectangular block to broaden my thinking in regards with concept of assemblage.

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As preschool teachers, we should be aware that preschoolers should regularly engage in clay play. Toddlers may express their unique thoughts, emotions, and ability to develop in a variety of ways when clay is introduced to them. Toddlers have no preconceived notions about what clay is or how it should be handled. Keep an eye on preschoolers while they play with clay. Because every child is unique, the activity should be tailored to suit their requirements, interests, and talents. There truly is no correct or incorrect method to work with clay; you just need to do whatever works best for the toddlers in your programme (Play with clay).

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According to Pacini-Ketchabaw, Kind, and Kocher (2016), it's amazing how adaptable clay is. It can be cut, stamped, ornamented, coated, cleaned, transported, burnished, heaved, applied, hollowed, changed, polished up decorated, hammered, elongated, cut, and changed. Clay wiggles, sobs, sticks, contracts, dries out, stretches, motions, breaks down, trickles, lies, cracks, plummets, increases, connects, lies down, and collects. So, clay is one of the most suitable materials I can experiment with in this inquiry-based research. Clay will be appropriate for my concept of assemblage.

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As an educators, we have plenty of chances in the early years to encourage infants to engage in both shadow and light playing. By altering the brightness intensities wherein lightboxes and projection screens are utilised, we can generate unique spaces where people can investigate light in your environment. The tools employed to study light encourage artistic perception and a sense of attractiveness by their character. Thornton and Brunton in May 2013 states that it is similarly essential to give students with these engaging resources and instruments so that they encourage discovery and research.

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Children exhibit increased interest and respect for the natural world and investigate connections with living and non-living objects as they use organic substances to further their understanding (Department of Education and Training, 2021). Natural resources and playing outside are undoubtedly helpful to infants in numerous capacities, according to recent study. Playing outside and establishing a relationship with environment are crucial for fostering imagination, imaginative play, problem-solving abilities, and cognitive growth. Teachers can educate kids about protecting the environment through utilising natural resources and engaging them in outdoor activities.

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Paper carries unique tales and serves as a puzzle. In order to truly understand paper as an educator, one must discover the way it flows and explain what occurs to it when it changes, combines, modifies, or alters in addition to describing its characteristics or features (Pacini-Ketchabaw, Kind, and Kocher, 2016). When doing experiments on paper, the goal shouldn't be to predict the outcome but rather to become fully immersed in the investigation and participate in the procedure of coming into contact with a substance. Through my experiments, I discovered that in order for anything novel and unexpected to occur, as an educator we must allow oneself to be receptive to the possibilities of novel methods of understanding and being.

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As an educator, we must focus on what motivates painting assemblages constitutes one of the topics to look into. What is capable of making trends before destroying those. Human and non-human beings combine to form an improvised procedure that " renders and generates an area or region concurrently" (Pacini-Ketchabaw, Kind, & Kocher, 2016) as a result of the artistic possibilities of painting assemblages. We need to concentrate on paying concentration, to the manner in which paint-paper-child-brush-educator combinations in the learning environment produce shapes. Every single day, we must allow the paint lead you to a fresh design and component.

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In this investigation, I sought to experiment using commonplace things and light to observe what sort of shades they cast and the way shifting the items affects those patterns. My primary objective was to combine a variety of substances to see what kind of shades they could produce when used combined. Through testing, I was managed to produce several shadows that mimicked different things, like a car, a home with a chimney, a railway waggon with cylinders on it. I made use of commonplace items like cardboard, rolls, and packing stuff. If I shifted the lighting source or the focal item, the shades changed, I saw.

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Lighting constitutes one of among the most fundamental sensations human beings have since it touches everything. Thus, according to Zulma Aimmatul & Rachmawati (2020), it is essential to give children a proper knowledge about light from a young age in order to prevent misunderstandings from developing till they are grownups.

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During this investigation, I explored with using natural resources in an educational context to incorporate playing and "art and craft" activities. I tried to utilise various natural elements to create an aesthetic of combination art in my research of assemblage art. I utilised different parts of plants which were going to be included in the assemblage, including limbs, leaves and flowers. I looked into many applications for these substances in my work. I experimented using these components for a considerable amount of period before finally producing this assemblage piece.

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There isn't any doubting the important impact on nature and natural resources play in a infant's growth and awareness of their environment. Preschoolers can acquire knowledge using every single one of their senses when they engage with natural settings and objects, which provides perceptual for all senses. These senses consist to  listen, touch, smell, and see.

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In this investigation, I worked using multiple paper kinds and sought to shape-shift it into various forms that could be combined into an assemblage to create visual art. I attempted to cut paper into various forms that children could construct, before I put it into a visually appealing assemblage piece. I began with cutting patterns out of plain white paper, followed by adding magazines cutouts. My major goal in my research was to investigate various ways to alter papers.

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Whenever it pertains to potential for preschool learning, paper is an endless pool of possibilities. There are countless methods to utilise paper for exploration, experimentation, investigation, and play. Pacini-Ketchabaw, Kind, and Kocher (2016) states that Paper leaps, glides, hovers, soars, shreds, rips, sways, flies, bounces collects, crumples, crimps, embraces creases, turns, encompasses, swishes, shakes, stops, bundles, disperses, and gives. We inhale it and exhale it. It is used to launch, break down, paste, put on, improve cover, read, write on, flip, gather, paint, propel, drape, and colour. We unfold, unroll, sound, fasten, crinkle, tickle, clothe, magnify, circulate, sweep, strip, and redress. We also open, fill, empty, catch, bind, write, organise, twist, turn, and rearrange. So, I decided to move ahead with paper with the concept of assemblage instead of movement.

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In this experiment, I sought to employ paint in a way that it became thing to contemplate about rather than anything to work with. I utilised a variety of objects together with paint to construct an assemblage, letting the paint serve as my guide. I assumed the role of an infant and made marks on the piece of paper with a variety of tools including toothbrushes, palms, fingers, brushes, and sponges. To feel the colour on the palms, I tried paints with various viscosities and densities. This paint composition was created using a variety of elements and colours.

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Paint makes it difficult to distinguish among the person who creates and the finished piece, while every other associated items, including the paper that awaits the opportunity to be painted, the easel that is positioned in the back of the learning environment, the paintbrushes that need to be shifted and the colours in the platter, come collectively to form an assemblage of themselves (Pacini-Ketchabaw, Kind, and Kocher, 2016).

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We learned fairly some innovative ideas in this class. The idea of assemblages is one of those that piqued my curiosity and is the one I want to find out more about. As an idea, assemblage artwork brings together common things in fresh and unexpected ways that allow the viewer to perceive the work of art from a variety of viewpoints. The assemblage is widely utilised in preschool settings when kids are striving to widen their artistic interests, even if we aren't aware of it. This is what preschoolers do as they add a variety of craft supplies to their drawings and other works of art.  In this unit, we learned about the relationship among assemblage and paint as well as how to utilise both to blur the lines among human and non-human materials in order to collaborate with kids to produce creative pieces (Pacini-Ketchabaw, Kind, & Kocher, 2016). In order to explore the seemingly endless potential of assemblage, I intend to go deeper into the idea of assemblage in this endeavour and explore with new elements and aesthetic expressions. I will use paint, paper, natural material, recycle material and clay as my materials for my inquiry based research.