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Cry Freedom: Autonomous Opportunities for Personalised Engagement
Paula Jackson
5 minute task
• Considering the senses….’But a whiff of perfume, or even the slightest odour can create an entire environment in the world of the imagination’ (Bachelard)
• Why develop children’s brains at the expense of the rest of their bodies – with the body being given a passive role in the learning environment?
• Present a version of the poem with an emphasis on one of your senses
On the in-breath it’s made of gutter soup
and small change gone particulate
and burnt offerings.On the out-breath:
leftovers fromabove and body heat,
and body moisture, even scraps of body, outside
itself at last, cells set free and on fire.
URBAN AIR
Jo Shapcott
The Creative Environmental Space
• What spaces engender or inhibit creativity?
• What is the nature of the architecture of a creative space?
• What will the creative spaces of the future look like?
Schools without walls
Laboratory Mission Control Moon Surface The Cave Planet
Vittra symbol
Piaget: human development occurs through interaction with the environment
PGCE trainee teachers as co-researchers Working to their strengths
Laboratory Mission Control Moon Surface The Cave Planet x
Learning SPACES
● 5 zones – importance of choice● Allowing children the space to be children – move freely● Children constructing their own meaning within the space
– creating their own environments…● Giving meaning to a space● Transform environments of learning into interactive and
immersive creative spaces
Freedom & opportunity
• Children given freedom to interact with the creative space. • Children offered opportunities to reflect on their experience by
taking & looking at films of themselves ‘in process’.• Importance of process• Importance of play - using a mix of traditional ‘play’ materials
(card, paper, sticky tape) and new technologies (audio recorders, video, cameras, animation
• Freedom to adapt and personalize their learning environment
curiosity
• Central goal of education should focus on learning how to think and how to be curious
• Curiosity and creativity should be celebrated• Inter-disciplinary learning and play are intertwined
The Thinking environment
• Freedom to choose• Opportunities for play - for self-directed, autonomous
and collaborative play• Opportunities for open ended approaches• Opportunities to think• Opportunities to concentrate on process rather than
outcome
Transformation: NEW RESPONSES… exploring BOUNDARIES…
At the heart of Transformation is the exploration of a very specific artistic idea: how does art – be that sculpture, poetry, or the blurred boundaries in between – transform experience and convey the joy of a single moment?
Timeline of transformation
Transformation residencies
• Transforming the creative environment
• Studio as nexus of collaborative research
• 6 artists, 2 weeks, 1 room • No output expectations,
freedom to think, create, perform, research, explore, gather material, share
• e-learning tools provide wider context – website, blog, Flickr, Twitter etc
• STUDIO = CLASSROOM?
The Poetics of Space Gaston Bachelard
• We inhabit space physically, but we also construct and respond to imaginary, remembered, dreamt and collective unconscious spaces
• Classrooms can be reimagined by children• Virtual learning walls, virtual pinboards, discussion groups, photo streams
etc extend the space
• ‘The world is large, but in us it is deep as the sea’ R M Rilke • ‘Space has always reduced me to silence’ Jules Valles L’enfant
Modelling Transformative Change
• As an interdisciplinary artist my interest is in creative play, collaboration, research, and the importance of processes - whether analogue or digital
• This approach is a potential model for open-minded thinking in education – encouraging collaborative, autonomous and immersive personalised learning, thinking and doing
Invitation• Transformation Exhibition10 November 2012 – 22 December 2012The New School House GalleryPeasholme GreenYork YO1 7PWUnited [email protected]
• Supported by The Jerwood Foundation and Arts Council England