assessment 3 -Digital Visual Journal by

Paper

puneetsidhu2003 — 2025-03-18 08:14:26 UTC

History of Paper: The first material used for writing that resembled paper was papyrus, which originated in ancient Egypt. However, the true process of making paper was first recorded in China during the Eastern Han period (25–220 AD). By the 8th century, Chinese papermaking techniques spread to the Islamic world, gradually replacing papyrus. By the 11th century, paper had made its way to Europe. In the 13th century, the process was refined in Spain, where waterwheels were introduced to paper mills to increase efficiency. In the 19th century, the paper industry advanced even further in Europe with the invention of wood-based paper (Wikipedia Contributors, 2019).

Exploring Paper: While exploring different types of paper, I touched and felt papers of various textures, such as tissue paper, notebook paper, and art paper. I tried cutting, tearing, squeezing, and crumpling the paper to see how it responded. I remember making paper boats and airplanes as a child. The lightness of the paper made the airplane fly, and the boat would float on water for a while. However, once the paper absorbed enough moisture, it would eventually sink, unable to hold its shape. I made an origami star, as the paper is fragile it was hard for me to make a knot with the paper. After I finished making it the paper was creased so much that it was not possible to decrease it.

According to Guattari (1995, p. 6) and Stengers (2018, p. 6), experimentation is a way of learning and discovering new things by engaging our emotions, social connections, and even political ideas. It opens up possibilities for thinking and acting differently, allowing us to explore new perspectives (Pacini-Ketchabaw, Kind, and Laurie, 2024).

Reflection: Through my exploration, I realized the versatility and fragility of paper. Its lightness and flexibility offer endless opportunities for creativity, but it is also highly sensitive to environmental factors like moisture. I thought about how paper encourages exploration, especially for young children, as they experiment with folding and shaping it. The way paper interacts with other materials, like glue or water, raises further questions about its potential for art and learning. The limitations of paper, such as its inability to endure water for long periods, reminded me of the importance of understanding the properties of materials when engaging in creative processes. For future learning with children, I am thinking of:

· What would happen if I combined paper with other materials (such as water, colors, or fabric) to explore different effects in art and design?

· How can I encourage children to explore the relationship between paper and other natural elements (e.g., sunlight and moisture) to understand how materials interact in real-world contexts?

We are already incorporating sustainable practices in our classroom by encouraging the use of both sides of the paper. For example, if children decide they don't want to take their artwork home and want to continue practicing their cutting skills, they can reuse the same paper. After cutting, the paper scraps are collected in a small basket, which can then be used for future activities, such as pasting or collaging. This approach not only reduces waste but also promotes creativity and resourcefulness in children, teaching them the value of reusing materials.

Class participation:

Clay

puneetsidhu2003 — 2025-03-18 08:14:39 UTC

Clay and mud have always been significant in my life and culture. As a child, I played with mud, which is a mix of soil, water, and clay. Clean clay, on the other hand, was used for crafting and construction. In my home country, mud houses and walls were finished with a liquid clay mixture to give them a smooth, polished look. Clay also plays an important role in our traditional festivals, where it’s used to create earthen lamps and idols, connecting us to cultural practices. Not only is clay a sustainable, eco-friendly material that’s locally sourced but working with it also fosters creativity and offers therapeutic benefits for children. Whether it’s used in construction or art, clay and mud carry both functional and cultural significance, bridging the past and future.

Inquiry - As an adult, when I think of working with clay, I often picture the mess and the dirty hands, and I do not enjoy the crackly feeling when it dries on my skin. But once I begin working with it, I lose myself in the process and enjoy shaping various sculptures. The soft, slippery texture of clay calms me, and as I knead it, I am reminded of my childhood memories. It is a wonderful feeling to connect with the material in this way.

Reflection:
Pinch it, poke it, press it, shape it, throw it, scrape it, form it, lift it – clay is incredibly versatile. I believe clay studios should be set up in our centers to give children the opportunity to explore it, stimulating their creativity and imagination. Working with clay enhances tactile senses, fine and gross motor skills, and hand-eye coordination. The way children interact with clay is unpredictable, as both the material and the children’s movements are constantly changing. Sometimes, the clay resists staying in one shape, which teaches children patience. Clay flows and transforms with their movements, making it a dynamic and engaging material (Pacini-Ketchabaw, Kind, and L.M. Kocher, 2024, p. 63-64). I plan to provide regular opportunities for children to explore clay, and I will work with my co-educators to ensure the activity is beneficial and that the cleanup process is smooth.

Padlet link – session 9

https://victoriauniversityau.padlet.org/e5112535/ece2006-material-inquiry-3-clay-xn50rip3lus1gj40/wish/LNV1Q7jeoAYzamq3

Loose parts

puneetsidhu2003 — 2025-03-18 08:15:01 UTC

The term "loose parts" was introduced by Simon Nicholson, an architect and educator, in the 1970s. In his paper, "How Not to Cheat Children: The Theory of Loose Parts," Nicholson emphasized that movable materials in a child's environment provide valuable learning opportunities. He believed that open-ended materials promote creativity, problem-solving, and deep engagement, as they allow children to build, shape, and reconfigure their surroundings (Nicholson, 1971).

Inquiry of Loose Parts: In ECE 2005, I learned about loose parts, and it completely changed my perspective on what I once considered junk. I now see potential in every object that might otherwise be thrown away. I was amazed to witness how, during a pop-up session, children created remarkable art pieces using loose parts. These materials hold endless possibilities. One session that particularly stood out to me was when we watched “The Land” video, where children were provided with an open space filled with loose parts. It was clear how this environment helped enhance their creativity, imagination, and development in physical, emotional, social, and problem-solving skills.

In my own exploration of loose parts, I selected an empty water bottle, a ribbon, a pipe, and a funnel. As I interacted with these materials, I felt their different textures and sizes. While assembling them into a creation, my son asked if he could join in. Together, we built what he called a “breathing machine.” It was incredible to see how these simple loose parts sparked our creativity and brought us closer together through the shared process.

Reflection - We at child care centers provide loose parts but are limited because we are afraid of the mess, or children getting hurt, answering to parents and the management. During my learning, I have realized how important are the loose parts for children as they spark creativity. The material being open-ended helps children to use their imagination freely. Loose parts also support problem-solving as when they try to build the structure they can fail and try again

According to Graziella Brightenti, an educator in Reggio Emilia, materials have the right to be "listened to and understood," and they "have the power to invoke in us our own experiences" (Gandini & Kaminsky, 2005). (Pelo, 2016, p.120).

Class Participation

https://victoriauniversityau.padlet.org/e5112535/ece2006-material-inquiry-2-loose-parts-junk-iz7f8yjjs78q2q2e/wish/MbejW1XyN3eoZNkG
Investigating artist – class Padlet – session 4
https://victoriauniversityau.padlet.org/e5107304/investigating-artists-jo5x5t20i1cox1no/wish/O7A9QmzEVbJnZ6x3

Light

puneetsidhu2003 — 2025-03-18 08:15:08 UTC

Light is a powerful force that deeply impacts my mood. Sunlight brings energy, happiness, and a sense of new beginnings, while darkness often brings a feeling of ending or fear. As a child, I remember sitting outside with my cousins, looking at the starry night and chatting for hours. However, being in the dark and seeing a shadow move would often scare us. According to Linda Thornton and Pat Brunton, children need to understand how light and dark work together, as it helps them explore and express their feelings of wonder and fear (Thornton and Brunton, 2010).

I also recall playing shadow games with my hands and noticing that the closer the shadow was to the light, the bigger it became. Now, I continue this tradition, playing shadow-making games with my children. Light holds cultural significance; it brings hope and joy. I never paid much attention to the shadows created by sunlight, but I’ve realized that depending on the sun's position, shadows can be long or short and they move throughout the day. Light is more than just a source of illumination; it transforms the atmosphere, shapes how we see things, and influences our mood. One of my favorite types of light is the traditional Diwali lamps. When lit in the dark, they fill the space with warmth and happiness.

During my inquiry, I explored how light interacts with different objects. One experiment involved placing an empty glass in the sun, which created a simple shadow. But when I filled the glass with water, the shadow changed, and I saw a rainbow effect. This showed me that the characteristics of an object—like its material and density—affect how light passes through it. The water in the glass altered the light, creating a colorful spectrum. This experience taught me that light not only creates shadows but can also produce unique visual effects depending on what it interacts with.

Reflecting on this, I wonder what would happen if I used colored water or placed the water in a colored glass. I also thought about how light can be used in classrooms to help children explore concepts of shadows, reflection, and color in creative ways. I plan to introduce light tables and set up various objects for children to explore and inquire about, giving them opportunities to experiment with light in a hands-on, engaging way.

Conclusion

puneetsidhu2003 — 2025-03-18 08:19:38 UTC

All 4 materials are versatile and children can explore them and have great learning opportunities and experiences. Paper is often perceived as a "materia povera", a poor or humble material, but it has hidden qualities, that can pose new questions and help us to distance stereotypes and gain new points of view. (Reggio Children, n.d.) Loose parts, as highlighted by Simon Nicholson's theory, promote open-ended learning, where children can shape, build, and reconfigure their surroundings, stimulating their creativity, problem-solving, and social skills. Clay, with its tactile and malleable nature, fosters imagination and creativity, allowing for physical engagement that builds both motor skills and emotional resilience. Finally, light, with its ability to transform the environment and create shadows, invites exploration of concepts such as perspective, mood, and wonder, making it a powerful tool for learning. Together, these materials offer rich opportunities for hands-on discovery, reflection, and meaningful learning experiences that connect children to the world around them, nurture their creativity, and help develop critical thinking and problem-solving skills.

References

puneetsidhu2003 — 2025-03-18 08:21:09 UTC

Nicholson, S. (1971). How Not to Cheat children: the Theory of Loose Parts. [online] Available at: http://media.kaboom.org/docs/documents/pdf/ip/Imagination-Playground-Theory-of-Loose-Parts-Simon-Nicholson.pdf.
Pacini- Ketchabaw, V., Kind, S. and L.M Kocher, L. (2024). Encounters with Material in Early Childhood Education. 2nd edition ed. p.11.
Pacini-Ketchabaw, V., Kind, S. and Laurie (2024). Thinking with Materials. Routledge eBooks, pp.1–23. doi:https://doi.org/10.4324/9781003322559-1.
Pelo, A. (2016). The Language of Art : Inquiry-Based Studio Practices in Early Childhood Settings. 1st ed. Redleaf Press, p.247.
Reggio Children. (n.d.). Reggio Children - The Secrets of Paper Atelier. [online] Available at: https://www.reggiochildren.it/en/rc/ateliers/atelier-in-presenza/the-secrets-of-paper-atelier/.
Thornton, L. and Brunton, P. (2010). Exploring Light and Dark with Early Years - Teaching Expertise. [online] www.alcassociates.co.uk. Available at: https://www.teachingexpertise.com/articles/exploring-light-and-dark-with-early-years/.
Wikipedia Contributors (2019). History of paper. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/History_of_paper.
www.youtube.com. (n.d.). ‘The Land’: A Movie and Discussion about Adventure Play, Part 1. [online] Available at: https://youtu.be/vHKrH51ygok.