About KNOWHOW 1: Studio Approaches to Teaching and Learning - 'Places and Materials' (original) (raw)
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A different way of knowing? Inquiry through the creative arts
The argument I present is that inquiring through creative practice is a legitimate form of research, leading to different ways of knowing from the dominant academic kind characterised by reason and logic, that champions theory as the primary means of generating new knowledge. How can we understand the creative arts – in this instance art and design - as a form of research towards similarly valuable but different ways of knowing? The lecture maps out my still developing understanding of formal inquiry through practice over the past 30 years, charting its relationship to key turning points in thinking, creative practice and art education during the 20th and early 21st centuries that have opened up new appreciations of different ways of being and knowing, and therefore different ways of doing research. These new paradigms have helped to shape doctoral research involving practice, and also recent major postdoctoral visual arts research that further explores the possibilities of this form of inquiry and helps articulate different ways of knowing and their cultural value.
Doors to Knowhow: Arts-Based Research Practice in Pedagogical Inquiry
The Imagination in Education: Extending the Boundaries of Theory and Practice, 2009
Project KNOWHOW is an art-based narrative inquiry that seeks to represent the pedagogy of the artist-teacher. In making this representation accessible to other educators KNOWHOW hopes (re)inspire imaginative approaches to education. This paper presents an overview of Project KNOWHOW and outlines the combined methods of arts-based inquiry and narrative inquiry. Two examples of existing literary narratives are given as the inspiration for the approach adopted by KNOWHOW. The paper then describes the journey from field texts to research texts, highlighting a particular issue emerging from the cultural differences between the researcher and the researched. The resolution of that issue is explained through a specific account of the researcher's creative art practice. This account explores art practice as a means of objectifying issues from within the field and illustrating how artefacts can engage the imagination and become a vehicle for critical reflection. Finally, the paper concludes with researcher reflections exploring the different layers of imaginative education that exist within Project KNOWHOW.
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Creativity, Innovation and Entrepreneurship
In a society where information is widely available, being able to filter and under-stand facts is paramount to envision, devise and design practical solutions concerning a particular problem, and further consider its implications. In a higher education context, skills such as creativity and rational thinking are trained through-out a course, encouraging understanding and problem-solving skills, essential aptitudes in an everchanging world.Creativity can transform an idea of an existing domain into a new one, it is all about being curious, examining, connecting, experimenting, and playing with the surroundings, and thus incubating an entire new version or set of ideas, adding value to the process. It is the ability to reason and create connections with previously acquired knowledge that generate new ideas. The interest in creativity as a scientific area began in the 1960’s, with advertising result of interaction between the individual thoughts and sociocultural context, creativity is...
Creativity as Practice(d) in a Design Studio
Although the social and cultural dimension of creativity has been emphasized for quite some time, there is neither a consensus on how creativity can be nurtured nor on what it is to become creative. Adopting a practice-oriented perspective, this paper reports on an ethnographic study in a studio-based course on Interface Design. Drawing on observations and students' narrative accounts of their working processes, the local design studio is portrayed as a well-attuned system of structural elements, patterns of interaction and epistemic assumptions. The findings reveal basic similarities but also significant differences with other studies on educational design studios. It is suggested that these differences are due to differences in the epistemic frames enacted.
"This paper explores conceptions and approaches to teaching held by academics in departments of art, design and communication and explores links between the conceptions, the approaches and the communities of practice associated with the subject context. Much of the work which has examined teachers’ conceptions built on research frameworks that also explored students conceptions and approaches to learning. This study of conceptions of teaching is phenomenographic, results are presented in the form of an outcome space of the categories of conceptions. This analysis is enhanced by a quantitative study using the Approaches to Teaching Inventory with reference to the sociocultural perspective on practice, particularly emphasising learning to practice. This paper concludes with a discussion of the phenomenographic study of conceptions of teaching and the quantitative investigation of approaches to teaching and their relation in turn, to the concept of communities of practice. "