ART EDUCATIONAL PRODUCT - hanze.nl...concept of “Atelier in een Koffer.”2 (2012) In relation to...

Charlotta Giles | Master Kunsteducatie | April 29, 2016

ART EDUCATIONAL PRODUCT

Contents

1. CONTEXT AND BACKGROUND

2. LITERATURE AND GOOD PRACTICE

2.1 Creative flow and the psychology of discovery and invention

2.2 Pragmatism- a learning theory for the future

2.3 Building creative capacities for the 21st century

2.4 Subjective skills and a willingness for learning

3. ART EDUCATIONAL PRODUCT

3.1 Design criteria

3.2 Learning objectives

3.3 Planning and instruction

3.3.1 Tools and materials

3.3.2 Learning environment

3.3.3 Further instruction

3.3.4 Reference/evaluation/ assessment

4. WORKS CITED

5. REFLECTION

Simplicity & Slippage A concept of experiment as a tool for learning

CONTEXT AND BACKGROUND

The Art Educational Product Simplicity & Slippage provides a concept for creating an

experimental learning environment. It stems from an aim to improve design education

as I have experienced it in secondary school, but can be used as a tool for learning in any

educational setting in which creativity, innovative thought and student- led query are to

be stimulated. The concept entails a set of criteria and suggestions for stimulating

creative flow and immersion in the practical exploration of materials. It can be suited to

any age group and setting which seeks to build a self- driven mindset in students for

responding to unknown and challenging situations in a visionary and confident way.

The qualities strengthened in this AEP benefit the design profession in particular, in

order to build design repertoire and with regards to its function of shaping future life.

They are are equally important to future young adults in all walks of life, in a fast

progressing and increasingly globalized world.

A report published by the University of Brighton in 2006 identifies the challenges that

Western society is to face in future. These are mentioned as an aging population,

climate change, wealth disparities and migration. The report furthermore analyzes the

function of social design. Social design recognizes the designing process as a tool for

shaping social environments. It is indicated here that design education will have to focus

less on marketable products and more on situations that require a visionary attitude as

to how societies and communal living are to be given form. This would hint at the

education of design having to put emphasis on the capacities of creativity and

innovation, as well as on critical thought and reflection. As UNESCO states, do 21st

century societies need members that have an ability to identify problems and to frame

opportunities in a smart and agile manner. (2006) This resonates with Eisner, who

claims: “The world today requires people who can think on their own, who can raise

telling questions and solve puzzling problems. The world outside school is riddled with

unpredictable contingencies- there are no certainties.”(2003) This is of benefit in a

wider professional context as becomes clear from an article published in the

International Journal of the Arts and Education arguing for the development of creative

pedagogics.1 (2011) It refers to a professional world in which individuals will have to re-

design themselves continuously in order to perform in a progressive job- market,

1 See: A Teacher’s Repertoire: Developing Creative Pedagogies, International Journal of Education& the Arts, 2011

therefore needing a self- driven, self- confident and flexible attitude towards a less

predictable future.

Within Simplicity and Slippage lies the introduction of concepts which are inherent to

the process of creating art. It couples those to the practice of design. Art and design are

usually taught as separate subjects in school, where the intuitive, self- reflective, free-

of- goal and spontaneous practice of art is excluded from design. Both art and design

can benefit from one another, however, and design in particular can be enriched and

inspired through the experimental and playful aspects inherent to art.

In principle are the attributes of creativity and innovation inherent to the process of

design. New design ideas are to provide alternatives to existing products, improving

circumstance and quality of life by in form of new product solutions. Design, as it is

taught in most schools, however, does focus little on visionary and thought provoking

aspects that are essential for design ideas to progress. The focus predominantly lies on

the teaching of qualitative skills needed to obtain a profession in a design industry,

which is focused on commercial gain and economic profit, and hardly on quality of life

or the improvement of social aspects.

As Nussbaum indicates, is education currently equipping too little for circumstances that

need solving beyond focus on profit. (2011)This is reflected in design curricula that focus

on manufacturing technique and a design process that is guided by specifications aimed

at fulfilling the commercial needs of a target market or consumer. It is of little surprise

that student design lacks in originality and innovation as a result. Student outcomes

often resemble “School- art” (Haanstra, 2011), reflecting an attitude that prefers to stay

safe, within expectations, for worry of compromising technique and final product.

What is to be aimed for, in contrast, is the taking of risks, which plays an important role

in innovation. This implies that students must be granted the freedom to make

mistakes, to experiment, to discover, without pressure to perform. This is where design

education can be improved by adapting strategies that apply in the arts. As Eisner

suggests, is it in the arts that the unknown is discovered, and through which one “[…]

looks for surprise and redefines goals” (2003)

By introducing the playful, open- ended, and experimental aspect of art to design, can

design capacity move from manufacturing predictable products aimed at a commercial

reality, to a visionary aspect that looks for novel solutions and improvement of existing

circumstance. It can do so by strengthening concepts of curiosity and query, as well as

supporting the subjective skills needed for acting in a confident and visionary manner.

This AEP can help to qualify for the role of the future designer, who needs to be able to

generate design repertoire independent from well- known traditions. It can furthermore

teach important life skill that resonates beyond the design profession and the

classroom. This is where I would like to argue that the inclusion of art and design in

educational curricula can contribute to teaching the abilities needed for shaping

personal as well as communal life in a world which is yet uncertain in how to respond to

future challenges.

LITERATURE & GOOD PRACTICE

Simplicity and Slippage as a concept for learning through experiment is inspired by an

article titled “Viscerality and Slowliness” published in the International Journal of

Education & the Arts in 2012. By observing community artists and their pedagogic

methods in engaging participants, the article observes which principles encourage

immersion in practical experiment. In an immersive state the participant is free from

burden or future expectation, therefore moving beyond the customary. Creation arises

from impulse or or sudden emotion rather than from planned thought and desired

outcome. By creating an environment where participants can immerse in their

relationship with materials, own ideas and experiment can find shape, resulting in the

experience of the making of an individual mark in the world. The criteria described as

artists pedagogies in this article, form the base for the criteria used in my AEP. They are

furthermore inspired by Sabine Plamper, and the educational theory that underlines the

concept of “Atelier in een Koffer.”2 (2012) In relation to this have I taken note of Mahaly

Csikzentmihalyi and his theories on creative flow and the psychology of invention.

(1997)

As part of my pedagogic vision do I feel drawn to the movement of the maker

education3 as it argues for a practical environment in which students explore tools and

materials. The maker education educates active producers instead of passive

consumers, it claims, which is something that resonates with my own pedagogic vision.

In relation to this do I feel inspired by Bente Elkjaer, who analyses the educational

theory of Dewey and the potential that pragmatism holds for future learning. (2009)

By reading Biesta I have concluded that a form of education that strikes a balance

between “learning from” and “being taught by” (2015) might be the most fruitful

ground for learning both qualitative and subjective skills. My AEP contributes to this

2 See: Sabine Plamper, Van krastekening naar eigen beeldtaal, de wereld van het jonge kind, nr maart, 2012 3 See: Waag society, institute for art, science and technology

balance and provides student initiative through query, which results in students being

open to learning, to which teachers can add.

Finally I would like to argue that the concept of Simplicity and Slippage contributes to

the abilities needed in the 21st century, such as cultural understanding and creativity. I

will refer here to the aims of an art education as explained by UNESCO in 2006.

CREATIVE FLOW AND THE PSYCHOLOGY OF DISCOVERY AND INVENTION

In her theory underlining Atelier in een Koffer, Plamper argues, that the expression of

imagination through imagery is intrinsic to children. In order to express themselves is it

natural for children to explore and to investigate material and objects, giving new and

surprising meaning to things. To disturb this tendency with which all humans are born,

would therefore mean to disturb a child’s natural instinct for creating art. In a learning

environment which upholds specific expectations as to how tools and materials are to

be used, a sense of right and wrong is being taught, inhibiting children’s trust in their

own ability. This could be translated to any human at any age, who seeks out creative

practices. Through interference by expectation on technique and outcome, a free flow

of ideas is being disrupted. As Plamper argues, is the ability to think imaginatively and

inventive part of the human condition. The education of art and design, therefore, can

only benefit from trusting in individual ability, instead of manoeuvring from a point of

view that denounces individual creative capacity. An environment in which experiment

and playful exploration are encouraged, on the other hand, would build on and continue

to develop what children already possess.

Having a background in teaching practical technique to students myself, I can relate to

the notion that one might envisage potential chaos through leaving students to explore

possible techniques without guidance. It is here where teachers must change if creative

and self- driven capacities are to be encouraged, shifting the emphasis from perfectly

finished results to the process of creation itself. Essential to nurturing this natural ability

would be, as Plamper suggests, a learning environment in which students can truly

concentrate and immerse in their creative process, free from pressure to perform.

Simplicity and Slippage is a concept which outlines essential criteria that would make

this process possible.

The notion of human natural ability to be creative is accompanied by an instinct for

exploring and novelty risk, according to Csikzentmihalyi. In his work titled “Flow and the

psychology of discovery and invention” he claims, that all humans are born with two

contradicting instincts. The first would aim to save energy, guarding self- preservation,

needing little encouragement. The second would present the taking of risks and

exploration, withering away, however, if not stimulated. The sustaining of high levels of

curiosity is where creativity finds its root, Csikzentmihalyi claims. If too few

opportunities are available that practise and nurture this instinct, then motivation for

creative behaviour is extinguished. All education, including art and design, can take

note here. The question arises, whether a school system which predominantly feeds

ready- made packages of knowledge to its students, to be safely absorbed and

reproduced, hinders human potential instead of developing it. It certainly would apply

to the teaching of design that is heavily framed by teacher expectations and predictable

outcomes. Simplicity and Slippage provides an environment where curiosity and

exploration are nurtured, in this sense leading to creative behaviour. According to

Csikzentmilahyi is an optimal environment for creative flow offered, when both the

aspects of challenge as well as relaxation are high, considering both instincts, of self-

preservation and risk- taking. This AEP is aiming to balance those, with use of an optimal

combination of tools and materials for experiment.

From experience I have witnessed that all students are enthusiastic about engaging

with tools and materials when entering a practical workshop. I can also claim with

certainty that many students feel discouraged when having to use tools and materials in

a guided manner. Too often is student motivation and self- driven attitude hampered,

by a teacher who redirects student focus from exploring initial, spontaneous ideas

towards pre- meditated lesson objectives. As Csikzentmihalyi would argue, does a

“psychic entropy” result from an emotion that is negative. Teacher correction or

judgement, in the moment of curiosity or creative flow, would result in negative student

emotion. This has the effect of a pre- occupied mind which needs to restore subjective

order. Due to this cause do external tasks remain neglected. This theory on the mind

implies that not only creativity is undermined, but that all learning is compromised if

controlled by the teacher. As Csikzentmihalyi explains, is it the full immersion in creative

flow that makes for excellence in life. (1997) He also questions a teacher led

environment with regards to the ability of taking ownership of life. I would agree with

him here, that it is essential to follow one’s own intentions in order to learn to take

ownership. Especially a school environment, in which students are nevertheless

supervised, could allow room for this, yet is it hardly practised in school.

Csikzentmihalyi divides the creative process into 5 steps:

a) PREPARATION- immersion in a set of problematic issues that are interesting and

arouse curiosity.

b) INCUBATION- ideas churn around below the threshold of consciousness, unusual

connections are made.

c) INSIGHT- all necessary pieces fall together.

d) EVALUATION- reflection on whether the insight is valuable, worth pursuing,

insecurity.

e) ELABORATION- deciding on what information needs to be pursued in order to

progress further

Simplicity and Slippage and a project of experiment would fit into the concept of

preparation, as well as elaboration. In relation to the experimental concept of Simplicity

and Slippage is it worth mentioning that immersion and curiosity are identified as the

first step taken. This confirms my belief that to begin an art or design project with query

and experiment would provide a great base for curiosity and inspiration. Another point

worth mentioning would be incubation. Csikzentmihalyi points out that intuition and

intellect work together in the creative process, the most obvious moments would be

incubation and insight. This would imply that creativity is a highly personal process that

requires its own time. As Csikzentmihalyi discovered, are there no specific personality

traits or ways of working that grant the development of a creative personality. It

furthermore becomes clear that a teacher led lesson structure, which demands specific

tasks to be fulfilled at set times, has little regard for individual processes, undermining

creative potential.

In the stage of evaluation, insecure thoughts and self- doubt are the most prominent.

An environment that poses no judgement is essential here, as negative feedback or

labelling comments can inhibit inspiring initial ideas from their development in the

phase of elaboration. It is in the phase of elaboration that the teacher can offer his or

her own expertise as an answer to student query. Before this stage, it would be useful

for the teacher to refrain from interfering.

Both Csikzentmihalyi and “Viscerality and Slowliness”, as well as Sabine Plamper point

to a learning environment in which time holds little meaning and in which participants

can immerse in creative flow completely. There would be a time frame, especially with

regard to schools, but within that frame, time should play little role. This is supported by

refraining from expectations and judgement and by putting emphasis on the process, as

opposed on result.

PRAGMATISM- A LEARNING THEORY FOR THE FUTURE

My Art educational product relates to Dewey and to the theory of Bente Elkjaer, who

defines in her work “Pragmatism” how the educational theories by Dewey can support a

learning theory for the future. (2009) Dewey’s claim made for the learning through

practical first- hand experience instead of learning from lesson content that is based on

experiences made by others, resonates in my AEP. It is important for students to

experience how tools and materials can be used directly in order to assimilate any

know- how with regards to them. This is done best by experiencing material in relation

to all of their possibilities. To copy techniques and methods from a teacher who

demonstrates a single and presumably correct way, results in “symbolic

meaning.”(Dewey). This undermines the discovery of better or improved methods that

might be more suited to specific situations. Furthermore can only practical experience

add a sense of meaning to materials with regards to design. The teaching of symbolic

content leave no room for alternative options, which is what innovation presents. They

can be found through investigation and query only, which is where this AEP is aiming to

contribute. As Elkjaer points out: “subjects (individuals) are not passive spectators, who

look into the world from the outside, but powerful and future- oriented participants in

natural […] worlds.” (Page 80) This implies that students are capable of leading their

own query that can drive their learning forward, holding all skills necessary to

participate with own intent.

The student and classroom are often viewed as separate from real- life, suggesting that

learning takes place only when compartmentalized into different lesson objectives and

measurable outcomes. Learning is part of life, however, and the experiment can

contribute to a type of learning style that is suited to students making experiences as

part of their practical reality. In this sense there remains no need for measurable

outcomes, which serve more as a teacher check- list than as a tool for learning.

Dewey’s concept of experience, which is essential to his pedagogic theory, is

characterized, claims Elkjaer, by reaching forward to the unknown. She furthermore

argues that inquiry is the only method for having an experience. (Page 81) “To ‘learn

from experience’ is to make a backward and forward connection between what we do

to things and what we enjoy or suffer from things in consequence.” (Dewey, 1916) This

aspect is supported by the concept of experiment and specifically by the criteria of

Ephemerality applied in this AEP. It focuses on creation and its consequence, as part of

immersing in the moment, the process, in which all action results in an experience from

which one can learn.

If we regard the process of designing as a process of creating something new, then it is

in practical experiment that students design new ideas, with their hands, as opposed to

designing in theory, with pen and paper. Through practical experiment can students

witness whether ideas are feasible, or not, as a first- hand experience. This upholds

motivation, aids in the “psychologisation” (Dewey) of lesson material that might be

offered as an answer to query derived from experiment, and supports the building of

design repertoire.

Simplicity and Slippage relates to the concept of the makers- education, which aims to

raise future young adults to become autonomous producers in society instead of passive

consumers. Here I agree that a practical learning environment can contribute to a

transition from an industrial and centralized economy, of which the current design

industry makes part, towards an innovative economy in which members of society take

initiative. This can be practiced in a playful way and in an experimental environment,

where students can experience the differences they can make by producing objects as a

result of their individual actions.

BUILDING CREATIVE CAPACITIES FOR THE 21ST CENTURY

According to UNESCO do the arts and an art education provide an essential base for

building creative capacities needed in the 21st century. (2006)The aim of an art

education, as argued for in UNESCO’s “Road Map for Education”, is to contribute to the

education of creative and culturally aware members of society. The arts are to

contribute to the encouragement of behavior and social value that underlines social

tolerance and celebrates diversity. UNESCO makes a link between a need for innovation

and creativity and multicultural societies, with an urgency for the development of

necessary skill for the development of peaceful, prosperous and sustainable societies, in

an increasingly globalized world.

In order to fulfil this mission, must both curriculum design and teacher education adapt

and improve, states Unesco, to include an awareness for the positive value of cultural

diversity in teaching. It is furthermore argued that art education systems need to evolve

from focusing on the result of a process to the process itself, indicating that students

learn valuable skills from the process of creating art itself, and that within this process

lie valuable lessons that are separate from the production of an art object. By putting

emphasis on autonomy of thought and action, student culture should be allowed to

surface in education, through which a sense of creativity and initiative are to be

cultivated.

UNESCO’s vision resonates with Elkjaer who claims that a relevant educational theory

for the future would have to teach an ability to respond creatively to foreign or

unknown ideas.

She claims that this is done best by exercising playful, anticipatory imagination which

translates to a query focusing on the question and consequence of what- if. This is in

contrast to students becoming accustomed to priori propositions that would translate

into the question and consequence of if- then. (2009) I would like to argue that this is an

aspect stimulated directly through experiment.

In addition I would like to claim that Simplicity and Slippage promotes social skill that

can tolerate and incorporate other viewpoints and differing, varied ideas. It also

encourages creativity and innovation by focusing on the process of creating art, instead

of on the art object itself.

Central to the concept of Simplicity and Slippage stands the taking of student-

ownership for the creative process. Participants can follow their own intent and

inspiration. This naturally invites their cultural background or individual personality,

which is likely to reflect. In this does the concept of experiment offer a creative common

ground in which differences in culture, character, and style channel into a variety of

artistic expressions which inspire through different approach, therefore encouraging

mutual respect. This contributes to student’s interpersonal skill and social awareness. It

also results in the understanding that situations can be approached and solved in a

variety of ways, which holds an advantage to a way of teaching that illustrates a single

approach. A certain degree of single- mindedness might transcend here, giving a false

illusion on how to manage life, especially in relation to others. Furthermore is freedom

in expressing own ideas coupled with a certain degree of vulnerability. Most students

are aware of this vulnerability, including their own. Therefore it is of interest of the

whole group to ensure a feeling of mutual safety, to which everybody contributes,

resulting in respectful attitude and tolerant behavior. Here transcends that if individual

participants feel free to express their identity and culture, they are more open to

listening to that of others. Not only is cultural awareness stimulated, but also an ability

to listen with tolerance and to begin dialogue, which supports collaboration. This will

resonate outside school and in future life where common cultural ground might have to

be found in various situations in society and a global world.

Cultural awareness, claims Unesco, needs coupled with creativity, as members of

different social and cultural background will have to form common ground in future

societies, or will have to find sustainable and peaceful solutions in living or working

together to ensure a global world in which common as well as individual interest is met.

Here does UNESCO’s report resonate with the concept of social design, which looks for

the design process as a tool for improving social life. It furthermore points to a design

education that does focus less on profitable outcomes aimed at a consumer’s market,

and more on the process of design which holds keys for changing life and ways of living.

Simplicity and Slippage creates a learning environment that holds no expectation on a

finished product outcome. Students focus on the creative process fully, not being

rushed towards a goal. Through experiment students learn to react creatively to

problematic situations and the unknown. They develop an ability to embrace

unconventional ideas and concepts. They learn to look for new solutions to suit a

situation at hand, instead of compromising novel solutions for fear of breaking

traditional ideas or rigid concepts learnt in class. The experiment does focus on finding

solutions creatively, with the resources and necessities at hand, whatever they may be.

THE IMPORTANCE OF SUBJECTIVE SKILLS AND A WILLINGNESS FOR LEARNING (BIESTA)

This AEP promotes valuable subjective skills that prepare future young adults for a world

which demands independent, visionary, creative and innovative action and in which

they might have to invest a self- driven, and confident attitude. Whilst I value the

teaching and learning of qualitative skill, I believe that the acquisition of subjective skill

has equal relevance. To some extent can qualitative skill, in the sense of specific know-

how fitting specific professional profiles, be acquired at any moment in life, as needed.

It is also becoming increasingly difficult to anticipate which qualitative skills students will

need in their future life. Not only is it difficult for education and parents to predict

future developments in technology and professional life, teenagers, who often have

better technological know- how than their parents, are aware of this, therefore putting

relevance into question.

Subjective and personal skills, on the other hand, are needed in all stages of life and can

be learned in the realm of art and design, by means of inquiry and experiment.

To be able to lead an investigation, to solve problems, to query, to take risks and to

innovate are subjective skills which have value beyond specific subject matter and are

related to the concept of ‘life- long learning.’ To be able to know oneself and one’s

strengths as well as weaknesses, to have practice in assessing when to take risk or when

to stay safe, to have the communicative skills for sharing ideas as well as values, to be

able to assess whether guidance or support needs sought, to learn from mistakes, to

persevere in the face of challenges, are all subjective life skills relevant in managing life.

Here the experiment can contribute to the development of self- confident, self-

motivated and inquisitive individuals who actively make use of available resources in

order to reshape existing circumstances with an innovative and visionary approach.

This AEP does strike a balance, in my opinion, between the concepts of “learning from”

and “being taught by” as discussed by Biesta. (2015)

I agree with Biesta, when he criticises a way of teaching which holds the assumption

that children hold all they need to know within themselves already, needing nothing

more than an environment where their own potential can grow. Whilst I believe in

granting children and students the freedom to follow and to give direction to their own

interest and query, I can see that there is a difference between “learning from” and

“Being taught by”. I agree when he argues, that learning is taking place when something

new is added to a student’s understanding, something which harbours a revelation. This

is not to say that it is wrong to develop, enhance and encourage what students bring to

the classroom themselves. The concept of experiment as in this AEP facilitates an

environment where elements of individual life experience, cultural background,

individual talent, interest and character can be incorporated and built on. What

students do not harbour within themselves are experiences that span a life- time and

conclusions drawn by experts in specific fields, as well as information and know how

acquired through generations, as pointed out by Biesta. Students do not learn about

these in the phase of experiment. The experiment does create a sound starting point for

further query, to which the teacher can add specific know how by building onto a topic

of student interest, however. Here does Simplicity and Slippage contribute to a

willingness for learning designing technique and practical method. This is to take place

after an initial period of free experimentation, which is likely to cause further query.

Biesta argues that willingness for learning is a necessary condition for accepting and

assimilating new information. By allowing time for experiment, does Simplicity and

Slippage invite necessary query for the providing of information, instead of smothering

query by offering know how that might be irrelevant to student interest.

This AEP builds on student curiosity that arises from natural creative enthusiasm when

entering a design and technology workshop. The reason for this lies in the workshop

providing tools and machinery to be used, giving instant results in form of made objects.

All students, in my experience, are keen to experience those tools in a playful manner.

The enthusiasm is always present and forms a foundation for learning which remains

enjoyable, nurturing a willingness for learning.

This resonates with UNESCO, who promotes that an art education raises student

motivation and active participation, thereby contributing to the quality in education.

(2006)

ART EDUCATIONAL PRODUCT

DESIGN CRITERIA

Simplicity and Slippage is to serve as a concept for improving:

Art and Design Education,

Creativity

Innovative skill

Active Participation

By

a) Building design repertoire

b) Allowing creative flow

c) Allowing immersion in experiment

d) Stimulating query

e) Practical experience with materials and tools

f) Allowing intuition and intellect to work together

g) Being spontaneous and playful

h) Striking a balance between challenge and relaxation

i) Trusting individual ability and intent

Simplicity and Slippage furthermore aims to celebrate:

Diversity

By

j) Allowing multiple approaches

k) Allowing student’s background, experience, culture to surface

l) Encouraging self- expression

m) Providing a non- judgmental environment

n) Providing a base for dialogue

o) Embracing unconventional ideas

LEARNING OBJECTIVES By engaging in projects of experiment, students acquire the following

design ideas that reflect individual signature

a positive attitude towards diversity

a pro- active manner

an ability to take risk

self- confidence

self- reflection

an ability to act with autonomy

visionary thinking

understanding of tools and materials

curiosity

Agility

Tolerance

PLANNING AND INSTRUCTION

Tools and Materials

As for tools and materials to be used, the following criteria apply:

Simplicity: Materials to be used are meant to be inexpensive or easily replaced instead of rare

and expensive, to help participants to keep at ease, avoiding worry over potentially wasting

them. Examples would be toilet rolls, cheap fabric, carton, natural objects such as leafs or twigs,

pasta shells, bits of wool, plastic bottles, empty milk cartons, to name but a few. Simplicity is

also granted by leaving little choice to the participant, at best just one and a maximum of two,

as choice can easily result in a tendency to control or plan prior to beginning, to the extent of

inhibiting immersion. The freedom lies in experimenting with the material at hand.

tools& material

Simplicity

Immediacy

limited choice in

ABUNDANCESlippage

Challenge/Relaxation

Choice of 2 materials and 2

tools only, material is offered

in abundance

Processes that avoid

waiting time

Ordinary, inexpensive

materials

Tools that easily “slip”

beyond their

traditional use

Combination of tools

balances need for

challenge and

relaxation

Slippage: Use of tools and materials that can easily be used beyond their expected and

customary purpose. These can be household objects such as rolling pins (in combination with

rubber, foam or to texture surfaces), cheese- graters (to grate all kind of material), but also

workshop tools such as heat guns (to melt or burn), vacuum formers, sewing machines to

perforate materials without thread, etc.…The choice of material and tools depends very much

on age group and setting. To suggest a specific tool and material would defy the concept of

experiment, which holds an unlimited range of possibilities and knows no mistakes. I would also

like to note that tools may be used in their traditional way, possibilities are increased, however,

if tools invite novel methods.

As with Simplicity with regards to materials, are tools offered in a limited choice here (maximum

2) in order to encourage immersion and creative flow, instead of stimulating a calculating mind.

Immediacy: Avoidance of waiting times and complicated processes. If paint is offered, it should

be fast- drying. Masking tape works better than glue, staple- guns are more effective than

needle and thread, to name a few examples.

Abundance: Materials offered must be available in a large quantity to encourage a wide range of

possibilities and to broaden imagination.

Challenge/relaxation: Tools and materials are to be compatible to a certain degree. There

should be a balance between challenge and relaxation. In order to remain playful and at ease,

the participant must feel no stress. On the other hand is a level of challenge needed to stimulate

creative thought. Challenge and relaxation are balanced through a suitable combination of tools

and materials.

SUGGESTED COMBINATIONS

These are suggestions only. When the experimental environment is planned, it is at the

discretion of the professional to choose what is feasible and to ensure that the combination of

tools and material is compatible to a certain degree. In relation to specific future design tasks, or

to test specific design ideas, it would be necessary to focus on relevant materials and tools in

order to build design repertoire and inspiration.

SIMPLICITY SLIPPAGE IMMEDIACY

Toilet rolls Sewing

machine

Dye

pigment

fast drying

adhesive

Combination of

tools and materials

provides balance

between challenge

and relaxation

Empty

milk

cartons

Whole

puncher +

scissors

Stapler

2 colors of

cheap felt

Scissors +

Cheese

grater

Fast

adhesive

Twigs Wire Masking

tape

Leafs laminator Fast

adhesive

Plastic

bags

Iron +

Baking

paper

Stapler

Paper Rolling

pin

Ribbon

Photocopier

Fast drying

paint

Stones

Plastic

bottles

Heat gun

Fast

adhesive

Learning environment

The concept of experiment as a learning tool can be taught in any setting. This can be as

part of an art education or in relation to design. The learning environment could be

provided by art locations or technology workshops, general classrooms, or the outdoors.

The creation of the right environment relies less on a practical setting than on the

provision of the right atmosphere in which participants can immerse in creative flow.

Slowliness: This concerns the provision of an atmosphere in which time is irrelevant.

Participants should be encouraged to forget about time. This is best achieved by leaving the

process open- ended by enforcing o time restriction and by leaving participants entirely

undisturbed within a given time frame. For example, within a time frame of 2 hours the

participant has no time limits or guide with regards to timing. This is an example only, the exact

time frame depends on the environment, and this could also entail an afternoon or a short spurt

of time, such as 30 mins. It is important, that within a time frame, however, time is meaningless.

Focus on process: The phase of experiment holds no expectation on outcomes, there is no goal

to work towards. The focus lies on trying and testing and practical experiment, no matter the

outcome.

Playful: Inspiration and intent is derived from a pleasure of following intuition and individually

favored ideas. There is freedom to try whatever the fancy. Nothing is forced.

creative flow& immersion

SLOWLINESS

without judgement

diversity

EPHEMERALITY

playful

focused on process

Ephemerality: No need for the production of objects that last. A creation can stay in the

moment of production and fall apart thereafter.

Diversity: Different approach and method are celebrated. As there is no expected outcome,

there is no expectation or restriction on how the experiment is carried out. (The only limitation

would be provided by safety)

Without judgement: There is no need for any feedback during the phase of experiment or

thereafter. Observers, teachers and fellow participants should refrain from labelling either

process or outcome in any way. It is to remember here, that the process of experiment entails

individual thought processes and ideas that stem from individual background, culture,

experience or preference. To comment would attach someone else thoughts and background,

which can disturb creative flow or raise insecurity. This can be disturbing in particular when the

phase of experiment is to inspire a further design process. In general it would disrespect the

element of diversity in which everyone is entitled to express individual ideas. Once the

experiment in completed, an open dialogue can help to discuss different impressions. It is

important here for participants to ask on each other’s intent instead of labeling processes with

their own thoughts.

Further Instruction

A project following the principles of Simplicity and Slippage would follow the following steps:

1. Students are given material and tools

2. Students engage in experiment (e.g. 2 hours)

3. Students record thoughts, moments, consequences, queries, outcomes they regard as

poignant (this can take place at any moment including before, during or after

experiment)

After the initial period of experiment, the log book can serve the following purposes:

A) A base of query for finding more information, here the teacher can offer support, link

new information and know how, or students investigate further in an independent

manner.

B) A base for inspiring design ideas, which are to be developed or sketched as a

continuation of experiment.

C) A base for dialogue amongst the group in which participants can continue to express

themselves and listen to others, and in which common ground or differing methods,

ideas can be found that inspire, stimulate or reconfirm.

Participants are meant to begin the experiment on their own. If participants begin to couple and

work together in a natural flow as part of the process, it is possible to continue in couples or

groups

Reference/ Evaluation/ Assessment

LOG- BOOK

There is no assessment attached to this concept, as this would defy its purpose of an individual

process that holds no judgement.

Students are to produce a log- book in which they record the process of experiment. The log

book can take shape in a variety of ways, such as written notes on thoughts and query,

photographs, video recordings or practical examples of experiment. Its aim is to provide a

collection of thought or action or consequence to refer to. The log- book as an outcome does

serves merely the student as a form of reference.

WORKS CITED Social Design

http://mappingsocialdesign.org/

Maker education

https://makereducation.nl/

https://www.waag.org/nl

A Teacher’s Repertoire: Developing Creative Pedagogies, International Journal of Education&

the Arts, 2011

http://www.ijea.org/v12n15/v12n15.pdf

Viscerality and Slowliness: An Anatomy of Artists’ Pedagogies of Material and Time,

International Journal of Education& the Arts, 2012


Sabine Plamper, Van krastekening naar eigen beeldtaal, de wereld van het jonge kind, nr maart,

2012

F. Korthagen& B. Lagerverf, Leren van binnenuit: Onderwijsontwikkeling in een nieuwe tijd,

Soest: Nelissen, 2008

Folkert Haanstra, Authentieke Kunsteducatie, Cultuur + Educatie, 2011

http://mappingsocialdesign.org/

https://makereducation.nl/

https://www.waag.org/nl



Elliot W. Eisner, What do the Arts teach, Stanford University, 2003

Bente Elkjaer, Pragmatism: a learning theory for the future, contemporary theories of learning,

Knud Illeris, Routledge, 2009

Mihaly Cskszentmihaliy, creativity: Flow and the Psychology of Discovery and Invention,

International Edition, 1997

John Dewey, Het kind en het curriculum, John Dewey over opvoeding, onderwijs en burgerschap,

J. Berding, 2011.

Gert Biesta, Het prachtige risico van onderwijs, Uitgeverij Phronese, 2015

Road Map for Arts Education. Building Creative Capacities for the 21st Century

http://www.unesco.org/new/fileadmin/MULTIMEDIA/HQ/CLT/CLT/pdf/Arts_Edu_RoadMap_en.

pdf

Martha C. Nussbaum, Not For Profit: Why Democracy Needs the Humanities, 2010

REFLECTION

This AEP is introducing elements intrinsic to the process of creating art, to the concept to design

and technology. Since qualifying as a teacher, I have tried to include an experimental aspect in

design projects, as I feel that inspiration is an element that does surface mostly when playing

with spontaneous ideas. It is also an aspect of design technology that students enjoy the most,

which is why I would like both playfulness and experiment to feature more in education. It

serves both as a motivator for students and does benefit design, at the same time building self-

confidence in student’s ability to innovate something original that reflects a part of themselves. I

have been looking for a concept or form of teaching to facilitate an experimental, student- led

environment. To just let students loose without a guide- line or support, seemed too much like a

recipe for chaos. It was through conversation with fellow Master students that I felt encouraged

to embrace a way of teaching that would be less controlled and less focused on a perfectly

finished outcome, which led me to look for further ideas in literature. I was delighted when

finding the article “Viscerality and Slowliness” in the International Journal of Art and Education,

as it gave definite criteria in how to create an environment in which participants can immerse in

creative flow effectively. It gave me a concept to start from, as well as the confidence that there

are theories in literature and pedagogics that would support my idea. I have adapted the criteria

to suit design education and my pedagogic vision slightly when designing my AEP. The AEP is not

attached to a specific school or educational setting, which is why it might seem very open and

non- descript in its details. This is partly due to the nature of experiment, which is to remain

without too much boundary. It is also due to the fact that the concept for experiment is to fit

any creative subject and age group, needing filled with specific content (especially with regards

to tools and materials) by art, expressive or creative professionals, such as Drama and Dance

teachers or professionals in Primary or Music schools. Here I perceive designing in a general

http://www.unesco.org/new/fileadmin/MULTIMEDIA/HQ/CLT/CLT/pdf/Arts_Edu_RoadMap_en.pdf

http://www.unesco.org/new/fileadmin/MULTIMEDIA/HQ/CLT/CLT/pdf/Arts_Edu_RoadMap_en.pdf

context, as in the creation of new and novel ideas, which applies to many art related fields. I felt

inspired by Wilke when developing Simplicity and Slippage as she had introduced the onion

model to our class, by Prof. Dr. Fred Korthagen. When sharing my article on creative flow and

immersion, we noticed that we have the element of intuition and personal experience as well as

individual drive and motivation in common, with regards to our pedagogic vision. The onion

model as well as its view on the development of competences resonates with my AEP, in that it

includes the intent and intrinsic motivation of its participants. Wilke in return found my article

inspiring and I welcomed it with surprise when we were to practice some of its elements as part

of her AEP presentation! It confirmed my confidence when realizing that a colleague does thinks

in similar ways, and it was great to see a similar thought transferred into a different setting, such

as Drama. I am aware that my AEP is mainly theory that is still to be practiced in order to be

refined, Wilke’s presentation provided a short glimpse of experiment that follows intuition and

playful intent, which was indeed enjoyable experience, leading to a valuable, inspiring,

experience.

I shared some sources and literature with Nicolette, whose pedagogic vision shows similarities in

its aim to combine art and design. This I see reflected in her inspiration by the Bauhaus

movement, which serves both an artful purpose, as well as design function. The Bauhaus

movement shows further link to social design and a vision that leads beyond the commercial

product, its products expressing political and ideological value. Nicolette communicated that she

felt my concept of experiment would fit into the first stage of design education according to the

Bauhaus School. Here, students are encouraged to experience as many different media as

possible, to build design repertoire. As her AEP is providing a concept for practical experiment

with materials, we had several elements in common, which we discussed. By exchanging ideas

and discussing our pedagogic visions, I feel that our aim and design criteria for the development

of our AEP became clearer, as many thoughts become more focused when having to

communicate them. Simone and Ana pointed me towards the idea of the Makers education and

the ethos and vision of the Waag society. Without our exchange I would not have realized how

closely my pedagogic vision is to this movement. Simone, Ana, Nicolette and I had connected by

forming a Whatsapp group, where we shared literature, publications and ideas, which was

helpful, especially in selecting relevant literature, instead of having to read everything in order

to decide on its content. In general it helped to receive feedback from Master colleagues, as

they have sound know- how for critical feedback, which can either inspire or sharpen one’s

vision.

ART EDUCATIONAL PRODUCT - hanze.nl...concept of “Atelier in een Koffer.”2 (2012) In relation to...

Documents

Transcript of ART EDUCATIONAL PRODUCT - hanze.nl...concept of “Atelier in een Koffer.”2 (2012) In relation to...