The invisible hand: designing curriculum in the afterward

McKnight, Lucinda; Rousell, David; Charteris, Jennifer; Thomas, Kat; Burke, Gerald

doi:10.1080/09518398.2017.1286406

Cited by 9 publications

(1 citation statement)

References 26 publications

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“…Our reading-writing-thinking-together-apart amplifies the scars, ubiquitous in any writing, where visual and semiotic gashes provoke discord; evidence of the disharmonious connections, unresolved dissonances and tensionalities of incomplete fusions. While we understand that we are not the first to perform a collective -or even a monstrous -coming-to-know (see for example Charteris et al, 2019;Gannon et al, 2014;McKnight et al, 2017;Riddle et al, 2018), we hope that our wor(l)ding of literary and scholarly voices -shot through with multimodal metaphors and -22 -gothic madness -might function to grow further possibilities for how post-qualitative research might be enacted. In emerging, our creature has given us a glimpse of what the future might look like.…”

Section: Eschewing Endings For Entrailsmentioning

confidence: 99%

Coming to know collectively: a gothic tale of method, metaphor and madness in the academy

Lennon

Barnes

Riley

et al. 2020

International Journal of Qualitative Studies in Education

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This experimental paper provides an immanent alternative to the neo-positivist outcomes-drive n turn currently cannibalising the Academy. It offers a stitched together, multiphrenic creature, formed in darkness, gore and toil; a co-generative performance embodying coming-to-know as a process of creative co-inquiry. It writes into existence an ungainly and seductive creature who is the speciation of a curious collective who met regularly to explore new and experimental ways of performing educational research. Our creature is a response to post-qualitative challenges for invention and re-invention. So we invent! And you, dear reader, are invited to participate in our grizzly performance. The following ethnodrama lays bare our skin in a gothic theatre where the individuated self is dismembered and restitched in order that coming-to-know might be understood as a collective and ongoing performance.Roll up, roll up! Come and see the spawning of our creature! You know you want to. Take a peak. You won't be sorry.

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Section: Eschewing Endings For Entrailsmentioning

confidence: 99%

Coming to know collectively: a gothic tale of method, metaphor and madness in the academy

Lennon

Barnes

Riley

et al. 2020

International Journal of Qualitative Studies in Education

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Tin Shed Science: Girls, Aesthetics, and Permeable Learning

McKnight¹

2018

Handbook of Comparative Studies on Community Colleges and Global Counterparts

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This chapter provides a partial account of an intimate case study of an after school science club for young girls in a garden shed in suburban Melbourne, Australia. While hybrid learning spaces merging home and school have been described before (Moje et al, 2004), particularly in relation to girls and science (Barton, Tan & Rivet, 2008) such descriptions are limited to the hybridity of discourses and do not acknowledge the aesthetic, material or sensuous dimensions of scholarship. Instead, the study on which this chapter is based involves diffractive artworks taking place notionally some years "after" the science club, forming this chapter assemblage. The chapter combines images of the science club shed with further assembled fragments of original pedagogical intent via planning documents, and other arts-based interventions by the organiser/writer. Emerging with this work is the concept of permeable learning, based on understandings that design is multiple and human intentionality as curriculum is a thinskinned and fragile fiction despite humanist insistence, particularly in neoliberal contexts, that it is otherwise. Permeable learning incorporates intra-action (Barad, 2007) as both human and non-human entities merge, thus calling each other into being. So students and the gases they create and breath in their experiments become new entities of 2 indiscernible boundaries; as do school and home; art and science; mud and hands; public and private pedagogies; teacher and student; memory and experience; girl and bird, and shed and garden.

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Propositions for an Environmental Arts Pedagogy: A/r/tographic Experimentations with Movement and Materiality

Rousell

Cutcher

Cook

et al. 2018

Springer International Handbooks of Education

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This chapter works through a series of methodological experimentations with movement and materiality in order to explore the potentials of environmental arts pedagogies. We address the question of what environmental arts pedagogies might come to look like in the ever-changing contexts of children's social and environmental worlds. This leads us to engage with choreographic movement and the heterogeneous materialities of place through differential flows of human and non-human agencies as they come to co-compose pedagogical encounters. In doing so, we draw on new materialist accounts of matter as agentic, fluid and dynamic, movement as a choreographic architecting of experience, and a/r/tographic approaches to pedagogical engagement and embodied practice. We acknowledge that the impetus for movement generation may come from a multitude of sources, however in this project we develop a series of experimentations with movement, materiality, environment, art, and pedagogy through a/r/tographic fieldwork. These propositional encounters generated four artistic processes as they emerged through the concepts of 'corridors', 'flight', 'viscosity' and 'construction'. In teasing out the implications of these concepts for an environmental arts pedagogy, we combine imagery and text to both render and diagram the movement of bodies, materials and environments in passage through each of these four conceptual enactments. This leads us to develop a series of propositions for environmental arts pedagogy based on our creative research process. In doing so, we aim to retain the radical openness and contingency of what environmental arts pedagogies might come to look like in response to the rapidly changing material conditions of our times.

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The invisible hand: designing curriculum in the afterward

Cited by 9 publications

References 26 publications

Coming to know collectively: a gothic tale of method, metaphor and madness in the academy

Coming to know collectively: a gothic tale of method, metaphor and madness in the academy

Tin Shed Science: Girls, Aesthetics, and Permeable Learning

Propositions for an Environmental Arts Pedagogy: A/r/tographic Experimentations with Movement and Materiality

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