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Overcoming sensory barriers to communication and building a culture of inclusivity

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Can a transdisciplinary visual art pedagogy/classroom cultivate digitally literate students?

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Ah gosh, i haven't really touched my abstract or done any work on it since last semester. Still need inspiration and worried my theme is too similar to many of you guys

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Question: How can art in / as therapy practices can be adapted to work in an art education context to support the wellbeing of students in secondary schools

Focus: Student Wellbeing

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How can speculative inquiry as a method/pedagogy influence Design education for a contemporary society?

The focus is to presents opportunities for teaching and learning through a speculative inquiry to help students with filling the missing piece of entrepreneurial, imaginative, curious, play  missing within design education.

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Question: Authentic Contemporary Studio Practice: Positioning an Approach to Thinking, Designing, Making and Reflecting

Where is authentic contemporary studio practice in the art/design/technology curriculum, and how could it be embedded?

Focus: What is Authentic Art education in schools

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Question: (Teacher) Wellbeing - Who defines it, who influences it and how is it practiced.

Focus: Teacher Wellbeing

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Question: How can I fully include hoh, D/deaf, and non-verbal learners in my classroom?

Focus: Student Communication Barriers (sensory)

Solution/Idea: Promote engagement (with peers) through transdisciplinary, practical, active, collaborative learning.

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CAYA Art Space is run and co-founded by Giulia and Jordy.

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Jordy and Giulia are both visual artists who share a love of creating, bringing people together and having a good ol' time. Both artists enjoy exploring colour, line, form and texture, whilst generally making a mess experimenting with alternative art materials.

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______________

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CAYA Art Space was born in response to the various impacts of COVID19.

The social, emotional and mental effects on individuals throughout the lockdowns and afterwards have left us wondering how we can soothe, support and reconnect with ourselves and each other.

​

As we have studied and worked as Art Therapists, we understand and appreciate the positive benefits of creating art from a well-being perspective. CAYA Art Space aims to normalise art making as a relaxing, fun and social experience that can be regularly participated in.

​

Although we are trained Art Therapists, we wear our visual arts hats as facilitators of CAYA Art Space. If you are seeking Art Therapy, please email us at for access to therapeutic services seperate to CAYA Art Space.

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CAYA Art Space is run and co-founded by Giulia and Jordy. ​ Jordy and Giulia are both visual artists who share a love of creating, bringing people together and having a good ol' time. Both artists enjoy exploring colour, line, form and texture, whilst generally making a mess experimenting with alternative art materials.

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What if, students were taught how to use their own creativity to design for and within our society?

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- transdisciplinary practice as contemporary art and how/why it's missing at school
- Transdisciplinary approach to curriculum i.e. media arts, Visual arts, CCT integration
- digital literacy and it's value... in the context of the pandemic and the rise of misinformation
- how to teach digital literacy through a transdisciplinary classroom

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Overcoming sensory barriers to communication

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Overcoming sensory barriers to communication

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looking for refs:

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May be a good read?

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Abstract
Training art therapists requires fair grading systems that equitably assess learning styles and developmental levels of academic aptitude, particularly with longer term art assignments. As students progress in their studies, a contemplative education framework offers a self-directed learning environment that strives to share grading responsibilities when evaluating studio projects, which is the focus of this article. The Grading Rubric for Assessing Artwork (GRAA), created by the author, is presented as a self-reporting tool for developing introspective scoring practices while responsibly mitigating overinflated or underinflated self-appraisals. Overall, supporting the advancement of an identity as a practitioner-researcher artist and therapist demands reliable pedagogies that increase awareness of first and third person motivations, goals, and outcomes.

Acknowledgments

The author wishes to thank his students and research assistants over the years who offered critical feedback by responsibly "road testing" the GRAA with their assignments.

Additional information

Notes on contributors

Michael A. FranklinMichael A. Franklin, PhD, ATR-BC, is Professor and Co-Chair of the Graduate Art Therapy Program at Naropa University in Boulder, CO.

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Expanding Artistic Literacy in Art Therapy Education: Self-Reflection Tools for Assessing Artwork and Art-Based Research

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Abstract Training art therapists requires fair grading systems that equitably assess learning styles and developmental levels of academic aptitude, particularly with longer term art assignments. As students progress in their studies, a contemplative education framework offers a self-directed learning environment that strives to share grading responsibilities when evaluating studio projects, which is the focus of this article.

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Hey ella, have you found any of the PSW readings helpful?

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When I think of 'digital' in terms of art and design, it tends to be more media arts, photography or using design programs. From my placement experience, digital literacy was missing in art and design classrooms. Maybe this is because not every school has the facilities (teachers who can use the programs and equipment) to teach or embed more digital integration? I would be interested in your thoughts on your project findings/ideas. -Ruby

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Through examining the art, design and technology curriculum and related resources, I have noticed a lack of making and designing structure in the visual art subjects. From my own experience as a student, I did not feel prepared for Studio Arts in VCE, where I was expected to practice as an artist. Maybe it’s the idea that art subjects are meant to be all about making that contribute to teachers not wanting to incorporate as much theory and design into the unit plans and projects, or that they themselves do not have an artistic practice. It may be their interpretation of the curriculum that leads to short assignments that cover one skill such as printmaking. It may be none of the above factors that contribute to how the art curriculum is interpreted and enacted.

My experience in thinking and making as an artist emerged during my tertiary studies at RMIT. The Fine Art course was designed in specialist streams, where you jumped straight into a major and specific art form. This meant that I had exposure to traditional and contemporary techniques in the gold and silversmithing field, enabling me to develop my own style and practice through making, thinking and writing. I felt that my practise truly emerged when I was thinking more deeply about my stimulus material and how I connected that 2 making with materials. Spending long periods of time understanding materials on a deep level, how they work in relation to each other and how they can be manipulated by myself really helped me develop and understanding of what is important to me and how I connect to the world. By having different types of classes such as workshops, tutorials and studio time helped build on my practise by adding all these elements together to inform how and why I am making. This added structure too how my art practise was formed where theory, thinking designing and making what all intertwined but all equally as important as each other.

If this structure found tertiary art education was applied to primary and secondary education, I feel like it would really help students engage more deeply with ideas materials and therefore developing their own artistic practise. What I mean by artistic practise is something where you are self driven to explore a theme or idea and you don't need to have as much guidance as what you would when you're learning about a new skill technique or material. Your interest drives your making and therefore it becomes an iterative process where you a combining all these elements to inform what you are doing and why you are doing it. In my first year of university the lecturers really scaffolded us in this practise process through same prompts and checklists to help us make sure we were fully exploring the idea and material we were using post op this helped as this form of structure was instilled in my making process and was something that I continued to use in my honours year to help drive what I was working on.

For an effective secondary classroom using a practise framework or structure would really help teachers teach authentic art practise which is something that is developed overtime and is often inquiry based. If the art classes were split up into workshops, tutorials, and studio time, this would help students make Connexions of how each of these elements are valued in an art practise and they can be used together. Siri informs making and making informs theory, they work in tandem and they shouldn't be isolated, Siri doesn't have to be boring it can be engaging, relevant and responsive to what students are going through in their life such as the COVID-19 pandemic. For me in my practise I explore things that are meaningful to me, that is how I make sense of my feeling of place and this is through exploring nature around me. This is something that I noticed was always in my practise when I reflected and looked through my old visual Diaries which showed me lots of evidence of me using nature and flora in my work. It was often linked to nature found in my home in wangaratta or where I live now in Melbourne. It wasn't something I noticed until third year of university but it was something always there and this is what drives my practise. This constant inquiry and way of making is my artistic practise but I did need help to form this and that was through structured ways of thinking and making in university.

Perhaps in our causes we named to consider how we integrate theory and thinking with designing and making 2 form a well rounded idea of an inquiry based practise. His students are given the tools of thinking and making techniques and skills, they will have everything they need to work in an open art studio on their inquiry based project. This is where the classes of tutorials and workshops come into place which leads to free studio time. for me now I have the underlying foundations of my practise developed I can just spend time in the studio when I'm making because those skills in making her always sitting there in the back of my head I'm always drawing redesigning rating theory literature to help me understand the next part of my practise.

I think to help with this idea of an artistic practise in secondary school, students need to have longer inquiry projects where they learn various skills and techniques but they use those skills and techniques to make a piece of artwork or respond to something that is important to them. Maybe it's scaffolding students so they can be autonomous and not rely so much on direction of what to make because they know what they will make based off what they've already learned. I think material aspects of learning are very important as you gain an understanding of how something works and if it's important or relevant to what you're trying to express. Perhaps incorporating more technique and skill workshops into art classes would help students be exposed to various materials and skills where they can decide what is most appropriate to what they want to make. This will help with their creative exploration as they can choose from a suite of skills or techniques and materials to best express and respond to their theme or idea.

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This study focuses on how art and design classrooms create a third space learning environment that allows student-centered learning and an embracing of identity making alongside relational learning amongst othered students (consist of but not limited to students from third culture backgrounds, students with English as a second language backgrounds, Aboriginal and Torres Strait Islander students, students with special needs).

The idea is that through making, an individual is able to explore a space in their minds that they will never have the opportunity should they choose not to unlock that door. Through the process of creating, a person is in a vulnerable state of mind, transforming idea to form, and thoughts to creation. The methodology that I will undertake in this paper is a/r/tography, a process of visual, written and

performative processes for reflection, art making, researching and teaching (Springgay et.al., 2005). Through a/r/tography, a journey of self can be paved through an inquiring process of meaning-making. I argue that art and design classrooms are able to create a space where students are allowed that space to discover more about themselves through making. A portion of my paper allows me to discover that for myself. As an international student who moved to Australia when I was 17, identity-making through design and art was always something that I turned to, consciously or unconsciously. When I was a teenager, my mother encouraged me to create to reflect on a happening in my life. Making and creating was an avenue that I could turn to and continued to do when I no longer lived with her.
Takacs (2003) states, “Only by listening to others can I become aware of the conceptual shackles imposed by my own identity and experiences.” Students who are othered then come to realise that they have an ownership and unique perspective that only they can share and vocalise. I explore this through a series of photographs and paintings that I have done over the course of this year and will continue to do over the coming weeks (?). (Think about making that video maybe lol)

This study proves the importance of moving beyond the politics of polarity and exoticism of difference and the othered. Perspective gaps need to be closed by having a round reflective discussion table. That table can happen in the form of relational learning for students. For my own self-study research, that happens with the me who made the art piece and a me who is reflective looking at the art piece and how that journey of making helped me reflect on a certain happening over the course of this year. (I don’t know if this is too fluffy. Halp.)

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Through this self-study project, I’m trying to work out my position to teaching. During placement, I saw a lot of disconnected lessons — on technique, on specific artworks, on the studio process. There wasn’t really much of a focus on stringing art together into a narrative with consequence; that artists and artworks are linked together through invisible signifying chains. There wasn’t much of a framing of students as practitioners (as artists), even though enquiry-based learning is so popular. I guess I am questioning how much structure and how much freedom is conducive for making art in the highschool context. I guess I am also concerned with taking care of art: treating it in discourse and paying attention to what artists make and what contexts they’re in. I’m wondering about equality in schooling and for students.

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This isn't too fluffy! this is fab, you've situated it well within some initial literature, maybe Eisner, BIesta or Greene might help support this further. You've storied this really nicely within your own reflections which has been the hard part of this project for me! So you're making a video?

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I really like the sentiment 'taking care of art' and equality of schooling. I guess it's interesting as Kate emphasised the way the curriculum is written to do this but it's in the implementation that it's lost, so what is needed to support that curriculum to implementation transition for all students? And why is it so often missing? Funding, priorities, teacher education, community values?
- Sabrina

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I am reflecting on my experience in secondary school and then tertiary studies.
I then ponder over how the structure at university could be used in secondary art education to facilitate an inquiry-based studio practice.

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Yes!! I really like the way that you are thinking this problem through Ruby -- and I agree that there is an issue at year 11, where all the work of developing a sense of practice hasn't begun yet. I also like the emphasis on intertwining theory and practice, and how the rotation between workshops, tutorials and studio time all build a solid context for the how and why students are making.
— Marnie

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The stream-of-consciousness style works well! I'm really keen to hear you tell this story in the presentation and I'm wondering if the literature could float in and out (woven) when needed as support?
— Marnie

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I think you mentioned on my column that you were struggling a lil bit to story in your own reflections into your project? But you did exactly that by pondering on your high school experience with that collage story, no? [: TBH with you, I'm super excited to see your prezzo and read your paper. This intrigues me greatly.

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Speculative design sounds really intriguing, and I'm curious about how it plays out with the design brief cycle listed in the current curriculum? Like that the friction that this approach produces with the curriculum could be a productive space. Are you looking at all of the listed points in your project?
— Marnie

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Also here's a random resource on Australian graphic design

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If the yardsticks of maturity are an understanding, respect and recognition of history, then we are still in utero.

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I've been struggling with how to start this for ages and stuck on starting with the classroom, this writing activity actually really helped me let go and start somewhere different so now I have to figure out how where to next! Thanks for the support though Jo!

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Hey stephie, it doesn't matter if your question is similar or not, you experience will be unique and translate into your paper. It's obviously a key concern if it crops up across several papers!
Maybe a starting point for you is your instagram practice of viewing, curating and responding to other artists and designers work as an authentic practice?
I'll have a read through your writing this afternoon after I have a much needed snack!
- Sabrina

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Stephie, your abstract is refreshing to read and I love where it's leading to. Areas will definitely overlap, especially with Design education because there are definitely problems with how it is delivered in Vic schools. I wouldn't worry about that at all. I am always inspired by your design pieces. Your unique style and how you work/ think / play and create could turn into a series unit plans or lessons to help teachers in design! Always happy to chat if that helps :) Lucinda

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Ahh ok, so your project is looking more at digital literacy through art, along with digital artworks / spaces, rather than thinking of digital processes/techniques as tools to be leveraged? Reminds me of Matthew Griffins' show at ACCA and his Outernet video; is his approach helpful for thinking this through?
—Marnie

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Jo, this sounds awesome. I love how you intend it explore your thinking through photos and paintings too.

Also Maxine Greene refers to 'state of consciousness' which might interest you and your thinking. I'll link you to some articles shortly that could be useful to you if you would like to cite her. Lucinda :)

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I think it has ended up here at digital literacy through art and then the findings may be that this happens through digital practices? TBH I think I was pursuing a few too many rabbit holes and I just have to pick one to dive into and call it a day at that... now that our word count is reduced both a blessing and a curse

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Thanks so much Marni! How it plays alongside or against the design process is a TBC!! I am still working on that aspect. The points listed above are currently the issues in Design education, which I hope to address but considering the scope of this assessment I'm not sure if I can talk about each one. PS. thanks for the graphic ;) very speculative and I love it!!

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Releasing the Imagination_ Essays on Education the Arts and Soc copy