Visuality in Teaching and Research: Activist Art Education

Emme, Michael J.

doi:10.2307/1320992

Cited by 13 publications

(8 citation statements)

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“…This approach acknowledges that there are different connective relations for each participant. My research connects with literature on ‘multisensory literacy’ (Cerkez 2014; Peers 2011; Duncum 2004; Emme 2001), however I use the term ‘sensory’ to recognise the flux between the senses in our relation to the cultural texts of art and design. My definition of ‘sensory literacy’ observes that there are different scales of interaction between the senses at certain points: sometimes the visual has more presence in an artwork, sometimes the aural or haptic becomes the major point of connection in learning.…”

Section: Introductionmentioning

confidence: 71%

Sensory Literacy and Empowerment in Art and Design

Matthews¹

2021

Int J Art Design Ed

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Insistence on verbal literacy as a key skill occurs throughout education. There needs to be a greater awareness of literacy as a sensory capacity: creative voices are seen, heard and performed. I argue that all the senses form embodied understanding, and obstructing this flow can impede learning. This article questions how we can use embodied, sensory and performative methods to enable student ownership of theoretical and cultural texts.It contributes a theorised approach and transferrable methods for students to build confidence in their learning capacity. I discuss how interpretations of texts can be seen as discourses that are expressed through visualisation, embodiment and affect to empower learning. Practice research with vocational art and design students is explored, to address their expressions of empowerment, in connection with their interpretations of Foucault and Freire. Students' individuated sensory methods of representing empowerment also offer more inclusive possibilities for decolonised cultural ownership through arts practice.

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Section: Introductionmentioning

confidence: 71%

Sensory Literacy and Empowerment in Art and Design

Matthews¹

2021

Int J Art Design Ed

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“…People receive and transmit information through social media, where we can establish blogs, channels, pages, and groups and regularly upload new images or videos to entertain the viewers. We utilize images to transmit our ideas and ideology consciously or unconsciously (Emme, 2001), but in this era of prolific graphic editing, not everything we see is true (Lippit, 1994).…”

Section: Conclusion and Recommendationsmentioning

confidence: 99%

“…Since both social and mass media are now educating audiences beyond their personal experiences, educators should understand methods to apply the visual communication of different media to different subjects to enable students to avoid learning unconsciously (Barry, 1997;Burnett, 2004;Duncum, 1997;Emme, 2001;Frechette, 2002;Kellner, 2006). As Semali (2002) and Morgan and Welton (1992) concur, interpretation of visual communication cannot reach a final truth, but is followed, combined, and manipulated with other interpretations to reach new meanings.…”

Section: The Importance Of Teaching Visual Communication In Art Educamentioning

confidence: 99%

Learning through a/r /t: Post-digital art education

Barrand¹,

Coleman²,

Peterken³

et al. 2020

Learning Through Art: International Perspectives

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Key concepts for designing learning projects are based on a number of 'learning performance' and 'learning content' including arts performing process of cognition, skills and affection, and arts elements, concepts, principles. The new curriculum adheres to the spirit of the school-based curriculum development and focuses on competency-driven learning materials and instruction for fostering core competencies.Further, arts curriculum development integrates issues like gender equality, human rights, the environment, the global ocean, morality, life, the rule of law, technology, information, energy, security, disaster prevention, family education, career planning, multiculturalism, reading literacy, outdoor education, international education, and indigenous education. These issues should be incorporated into the content of schooldeveloped courses where necessary (MOE, 2014). In addition, the arts learning process provides pupils with the ability to sense and perceive aesthetics in multiple sensory experiences, and then apply that knowledge to diverse contexts. Therefore, the new arts curriculum regulates that schools should design and provide at least one cross-

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“…Visuality is a term central to the discourse of all those who work with images. Thompson, N, (2004) refers to the work of artists as strategic visuality, while Emme (2001) talks of visuality in arts teaching. The term addresses synthetic cognitive and physical functioning and their combination, as they inform interdisciplinary understandings that cross between science, art, politics, and literature.…”

Section: Visual Technologies Education and Visual Performative Knowingmentioning

confidence: 99%

Conceptualising Visual Learning as an Embodied and Performative Pedagogy for all Classrooms

Grushka¹

2010

EOE

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The challenge for arts educators is to find language and conceptual framings for visual art education that resonate with the transformative and literacy aims of mainstream education and position visual learning as essential. The unique value of visual knowing is now an imperative in our ocularcentric culture where new technologies, consumerism and unprecedented mobility impacts on all students in the twenty first century. Visual creative adaptability and its culturally located critical and generative understandings draw from our sense-rich world of human experience. Grounded in the theories of communicative knowing (Habermas,1976), becoming as the experience of performing self (Deleuze, 2001, 2004), experience and creativity as personal agency (Semetsky, 2003) and informed by socio-cultural inquiry, visuality and art practice as research (Sullivan, 2005) the research connects explicitly to socio-cultural values. This paper presents a conceptual model of Visual Embodied and Performative Pedagogy as a renewed language for visual arts education. It is grounded in material embodied practices, socio-cultural learning and identities understanding as they emerge in an ethico-aesthetic learning space that contributes to participatory democracy. The paper argues that the embodied and performative visual experience is central to personal socio-cultural inquiry and subjectivity insights. The paper will foreground the theoretical arguments for Visual Embodied and Performative Pedagogy of self with empirical Australian visual education research, between 2004-2007 (Dinham, Grushka, MacCallum, Brown, Wright, & Pasco, 2007; Grushka, 2009). It centers the significance of images in society and the need for all students to develop visual communicative competencies. The benefits of socially embedded and embodied visual inquiry are argued. In so doing it calls into question the illustrative and often secondary role afforded to visual communicative proficiency found in visual arts education and its related learning outcomes. It argues that it is an essential way of knowing for the mediation of ideas and feelings in the new image oriented society.

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Visuality in Teaching and Research: Activist Art Education

Cited by 13 publications

References 0 publications

Sensory Literacy and Empowerment in Art and Design

Sensory Literacy and Empowerment in Art and Design

Learning through a/r /t: Post-digital art education

Conceptualising Visual Learning as an Embodied and Performative Pedagogy for all Classrooms

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