The Configuration of Meaning: Learner-Centered Art Education Revisited

Burton, Judith M.

doi:10.2307/1320677

Cited by 21 publications

(7 citation statements)

References 4 publications

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Section: Discussionmentioning

confidence: 99%

“…Art is about forming relationships with an‐ other (Lowenfeld ; Burton ); a person, a material, a technique, a space, the self or the world. Burton (, 333) asserts that ‘when we talk about art as experience, we mean the experience of relationships, born out of a constellation of feelings, thoughts and sensory responses’ as these present the initial traits of ‘forming higher order judgments about morality, caring and justice’. Moreover, while discussing the role of affect in developing subjectivities through the engagement with art practices, Addison (, 365) highlights that experiencing art, either by encountering an artwork or being involved in the process of making, suggests ‘a dialogue between an articulate body and the environment (material resources), [as] a type of embodied experience, one in which the conceptual and affective fuse’.…”

Section: Discussionmentioning

confidence: 99%

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‘Tell me your story!’ – Making the ‘Other’ Visible through the Development of Collaborative Visual Narratives

Markidou¹

2019

Int J Art Design Ed

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This article reports on the findings of a series of participatory video art/documentary workshops designed and implemented to enhance understanding and collaboration between teenagers of diverse cultural backgrounds in the city of Pafos in the Republic of Cyprus. This research initiative was part of The Alien Trail (2017); a photographic project that explored the everyday life of refugees and migrants currently living in the island through the images of four distinguished photographers: Antoine D’Agata, Nikos Economopoulos, Bieke Depoorter and Nicolas Iordanou (Project Creator). The workshops were co‐designed by artists, educators and anthropologists in order to promote visual and multimodal communication amongst participants through short video and documentary making and collaborative drawing sessions. The findings of this practice highlight that teenagers were able to develop empathy and understanding by discussing and sharing meaning through exploring each other’s visual narratives.

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Section: Discussionmentioning

confidence: 99%

Section: Discussionmentioning

confidence: 99%

‘Tell me your story!’ – Making the ‘Other’ Visible through the Development of Collaborative Visual Narratives

Markidou¹

2019

Int J Art Design Ed

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“…We avoided using any of the maker movement-related recent advanced technologies like 3D printers, robotics kits, or microcontrollers, and instead used everyday materials, art and craft supplies, and broken toys, and created an atmosphere of playful making and tinkering. Our personal and professional experiences, backed by ample research in art education (for example, Burton, 2000;Burton, Horowitz, & Abeles, 2000), prompted us to believe that children are naturally prolific makers and tinkerers and that plentiful learning opportunities arise through engagement in these activities without explicit ties to instruction and educational goals.…”

Section: Methodsmentioning

confidence: 99%

Zooming into a Tinkering Project: The Progression of Learning through Transitional Objects

Parekh¹,

Gee²

2018

Interdisciplinary Journal of Problem-Based Learning

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The Maker Movement has been received by the field of K-12 education with great enthusiasm as a way of teaching STEM content to children. We call attention to and identify learning opportunities in children's projects created in a playful, informal environment with easily available materials. In keeping with research in the field of maker education and learning sciences, we describe tinkering as a constructionist learning activity in which meaning making is captured through transitional objects (Bamberger, 1995). First, we examine one specific tinkering project and identify transitional objects within the project. Next, we discuss the process of meaning making as captured through the transitional objects and identify the significance of children's emerging views of scientific concepts. Finally, we discuss implications for adopting the concept of transitional objects for capturing children's meaning making and learning in the domains of K-12 science and engineering education.

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“…I considered this framework to be like a weather vane that would help me figure out which way the wind blew. Bolt, 2013;Blikstein, 2013;Bolt 2007Bolt , 2013Brown & Adler, 2008;Brown & Duguid, 2002;Burton, 2000Burton, , 2009Coole & Frost, 2010;Gee, 2004Gee, , 2007Gee, , 2010Gee, , 2013Gee & Hayes, 2011;Hetland et al, 2013;Ito, 2010;Ito et al, 2009Ito et al, , 2013Jenkins et al, 2009;Kafai, Peppler & Chapman, 2009;Lankshear & Knobel, 2011Lave & Wenger, 1991;Martinez & Stager, 2013;Papert, 1980aPapert, , 1980bPapert, , 1993Papert, , 2001Papert & Harel, 1991;Peppler, 2013;Resnick, 2002Resnick, , 2008Thomas & Brown, 2011. ( In addition to literature from the maker and digital media learning movements, I also drew from digital media theory, posthumanism and new materialism, thereby entangling 21 st century learning behaviors (Jenkins, et al, 2009;Twining et al, 2013) with constructionism (Papert & Harel, 1991); artistic development (Burton, 2000(Burton, , 2009; connected or interest-driven learning (Ito et al, 2013;Peppler, 2013); and a characteristic of digital materiality I came to call decentered embodiment. With this neolog...…”

Section: Frameworkmentioning

confidence: 99%