“…By making my narrative field notes visual and three‐dimensional, I was able to discern deeper insights, elevating the images as embodying knowledge rather than being viewed as simply illustrative. Unpacking this process further, I return to Barrett (), who describes how knowledge can be a ‘sense activity’ through which one's ‘aesthetic experience’ (citing Shusterman ) can be elucidated. Within this, and drawing on the connection between embodied knowledge and artistic practice as outlined by Dewey (), Barratt (, 115) explains that: knowledge produced through aesthetic experience is always contextual and situated… derived from an impulse to handle materials and to think and feel through their handling … aesthetic experience plays a vital role in human discovery and the production of new knowledge .…”
Section: Discussionmentioning
confidence: 99%
“…This was analytically unpacked through dialoguing between reflexive narrative field notes and a three‐dimensional model. This experiential knowledge (Barrett ; Biggs ) then took the form of a visual timeline that was reflected upon and evaluated by participants – an apparatus from which fresh insights were elicited. As will be discussed after the section on modelling experiential knowledge ethically, I return to Rust et al .…”
Section: Positioning Practice and Theorymentioning
confidence: 99%
“…As such, I position this artefact as having a dual role in the research as both a producer and carrier of experiential knowledge. Here I draw on experiential knowledge as a central concept, which, following Biggs (), Barratt () and Niedderer (), is defined as knowledge contained and embodied in and through action and experience, which can be sensory and tacit in nature (Polanyi ); as well as briefly touch on social constructivism as set out by Lincoln & Guba (), whereby knowledge is socially determined and co‐constructed.…”
This article contributes to the growing debate within art and design education research about the role, legitimacy and accountability of artefacts in the creation and generation of knowledge. I present an artefact‐based approach to visually documenting and disseminating my doctoral practice‐based fieldwork that protected the anonymity of the participants whilst supporting my exploration of the situational, interactional and tacit dimensions of participation. Constructing a three‐dimensional scaled model of the fieldwork setting and using narratives from my field notes, I undertook a cyclical reflective process where I reconstructed critical moments that took place. This was used as both a tool for communicating my participatory design educational practice and for evaluating my findings with the participants. By sharing this sense‐making process, I offer an ethical means of visually documenting fieldwork when working in sensitive contexts and with vulnerable participants, setting out the dual role this design artefact played as both a producer and carrier of experiential knowledge.
“…By making my narrative field notes visual and three‐dimensional, I was able to discern deeper insights, elevating the images as embodying knowledge rather than being viewed as simply illustrative. Unpacking this process further, I return to Barrett (), who describes how knowledge can be a ‘sense activity’ through which one's ‘aesthetic experience’ (citing Shusterman ) can be elucidated. Within this, and drawing on the connection between embodied knowledge and artistic practice as outlined by Dewey (), Barratt (, 115) explains that: knowledge produced through aesthetic experience is always contextual and situated… derived from an impulse to handle materials and to think and feel through their handling … aesthetic experience plays a vital role in human discovery and the production of new knowledge .…”
Section: Discussionmentioning
confidence: 99%
“…This was analytically unpacked through dialoguing between reflexive narrative field notes and a three‐dimensional model. This experiential knowledge (Barrett ; Biggs ) then took the form of a visual timeline that was reflected upon and evaluated by participants – an apparatus from which fresh insights were elicited. As will be discussed after the section on modelling experiential knowledge ethically, I return to Rust et al .…”
Section: Positioning Practice and Theorymentioning
confidence: 99%
“…As such, I position this artefact as having a dual role in the research as both a producer and carrier of experiential knowledge. Here I draw on experiential knowledge as a central concept, which, following Biggs (), Barratt () and Niedderer (), is defined as knowledge contained and embodied in and through action and experience, which can be sensory and tacit in nature (Polanyi ); as well as briefly touch on social constructivism as set out by Lincoln & Guba (), whereby knowledge is socially determined and co‐constructed.…”
This article contributes to the growing debate within art and design education research about the role, legitimacy and accountability of artefacts in the creation and generation of knowledge. I present an artefact‐based approach to visually documenting and disseminating my doctoral practice‐based fieldwork that protected the anonymity of the participants whilst supporting my exploration of the situational, interactional and tacit dimensions of participation. Constructing a three‐dimensional scaled model of the fieldwork setting and using narratives from my field notes, I undertook a cyclical reflective process where I reconstructed critical moments that took place. This was used as both a tool for communicating my participatory design educational practice and for evaluating my findings with the participants. By sharing this sense‐making process, I offer an ethical means of visually documenting fieldwork when working in sensitive contexts and with vulnerable participants, setting out the dual role this design artefact played as both a producer and carrier of experiential knowledge.
“…One of the key principles of socially situated conceptualizations of language is that language is the primary source for making meaning, and that language development is dependent on practical experience in social interaction (DiCerbo, Anstrom, Baker, & Rivera, 2014). This practical experience, leading to forms of experiential knowledge (Barrett, 2007), was originally explained by Dewey (1938) who referred to reflection as a form of thinking that was inspired by disorder in directly experienced situations. In his view, experience led to knowledge that was constructed and reconstructed, personally and socially, through enduring and valued experiences in the past, present, and future (Craig, 2004(Craig, , 2009Golombek, 1998;Olson & Craig, 2005).…”
This paper describes teacher educators' understanding of language for classroom communication in higher education. We argue that teacher educators who are aware of their personal practical knowledge of language have a better understanding of their students' language use and provide better support for knowledge construction. Personal practical knowledge originates from teachers' professional practice and is based on their past experience, current awareness and future expectation. Data from focus group interviews with teacher educators (N = 35) were used for content analysis. Findings demonstrate an emerging conceptualization resulting in two language modalities of personal practical knowledge, specified as: 'language-sensitive and interpersonally oriented' and 'language-focused and pedagogically oriented. ' The insights contribute to building a professional practical knowledge base of language and communication-oriented teaching.
“…Percy (2004), following Polanyi, suggests that we also learn through the application of fact, based on rational thought processes, but the principal method of learning is fundamentally constructive rather than deductive. Barrett (2007) notes that Polanyi's account of tacit knowledge adds to our understandings of experiential knowledge. It refers to embodied knowledge or 'skill' developed and applied through practice and experience and is understood instinctively.…”
the bookbinding workshop:Making as collaborative pedagogic practice abstract This article will consider student engagement through collaborative teaching and learning practices I have developed within a series of bookbinding workshops in which I acquire new skills alongside my students. The bookbinding workshop developed from my desire to seek ways to engage with and alongside students in my practice and research to ground my own making within my pedagogic practice. In this way students are not being 'instructed' by a skilled specialist but rather collaborating with a committed enthusiast and researcher learning from their practice and experience. This article will discuss the impact these workshops have had on participating students, their practice and their sense of 'creative self' through the analysis of anonymous surveys carried over the span of two years.
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