Developmental dyslexia is a learning disability caused by neurological differences in language processing, affecting approximately 5-10% of the U.S. population’s ability to speak, read and write. Difficulties with literacy within this culture have social and emotional implications that can influence a sense of otherness. Artmaking is a significant form of expression for students with dyslexia during early education, and influences emotional and social development, such as identity formation. There are findings indicating that the development of an artistic identity during adolescence has implications for the continued cognitive, emotional, and social growth during higher education. This multiple-case study examines the educational experiences and artistic practices of three visual art graduate students with dyslexia. Patterns of cognitive and instructional experiences are considered, such as dyslexic characteristics, learning strategies, special assistance, educational environments, subject interests, and artistic identity formation. Emotional and social experiences that contribute to psychosocial development during education are discussed, such as the students’ experience realizing their difference from peers, the sense of social otherness, being misunderstood by educators, labeling, harassment, exclusion, and stigmatization. Coping strategies, such as artmaking, are discussed, along with the importance of the sense of social belonging during education. Participants’ artistic development is considered in terms of the significance of being an exceptional artist, the arts as an emotional outlet, and their orientation towards figuration during high school and college. In college, participants’ artistic development is compared to post-formal patterns of development, such as dualism, multiplicity, relativity, multiple conflicting commitments, and social awareness. Findings show the significance of the visual arts during identity formation and social development, and of participants’ ability during college to continue progressing towards their potentials. Implications for ideal educational environments, the full immersion of the visual arts into all classroom subjects, and significance of the arts for self-actualization for dyslexic students are discussed.

Both artists and business executives state the importance of intuition in their professional practice. Current research suggests that intuition plays a significant role in cognition, decision-making, and creativity. Intuitive perception is beneficial to management, entrepreneurship, learning, medical diagnosis, healing, spiritual growth, and overall well-being, and is furthermore, more accurate than deliberative thought under complex conditions. Accordingly, acquiring intuitive faculties seems indispensable amid present day’s fast-paced multifaceted society and growing complexity. Today, there is an overall rising interest in intuition and an existing pool of research on intuition in management, but interestingly an absence of research on intuition in the field of art. This qualitative-phenomenological study explores the experience of intuition in both professional practices in order to show comparability and extend the base of intuition, while at the same time revealing what is unique about its emergence in art practice. Data gathered from semi-structured interviews and online-journals provided the participants’ experience of intuition and are presented through individual portraits, including an introduction to their work, their worldview, and the experiences of intuition in their lives and professional practice. Framing outcomes through concepts of psychology, neuroscience, philosophy, theology, noetic sciences, quantum physics, metaphysics, and art theory, resulted in the emergence of five themes that offered perspectives on the purpose of intuition, optimum conditions for intuiting, spiritual aspects of intuition, conduits for intuitive knowledge, and suggested connections between art and intuition. The findings of the study suggest that the artists experienced heightened levels of intuition that the business executives did not. Data indicate that experiences of intuition are enhanced through methods of quieting the mind, which can be found in Eastern practices and that show similarities to processes in art practice, such as transcendence, focus, non-attachment, visualization, a body-mind-spirit connection, and intention. The findings suggest that distinct qualities of art practice allow for alternative knowledge-making methods that can create preferable conditions for intuition to flourish in art education, such as generating inclusive dialog, increasing self-awareness, processing emotions, developing focus, refining the senses, and fostering ethicality, all of which may awaken and strengthen abilities of intuition.

This study is about play. It is about some of the forms of play you may have engaged in as a kid and are now integrated in the art practices of three artists, Núria Güell, Jordi Canudas and Nicolás Dumit-Estévez. Their practices defy the traditional conceptions of both art and play as ends in themselves. This study is contextualized as phenomenological research that aims at understanding what role play can assume in socially engaged art practices, and in what ways it provides a dynamic filter or trajectory for carrying each work forward. It is centered on the experiences of three artists who have developed practices that are participatory, presented in public spaces, open to diverse audiences, and whose design seeks at questioning, transforming or experimenting with new forms of sociability. The study presents the artists’ narratives through interviews and intertwined with the researcher’s experience with the data and documentation, acting as a site for shared meaning making. The findings of the study suggest that essential to play is movement, and that play’s integration in socially engaged art practices opens up transitional or permeable spaces in which previously discrete identities become border crossings opening to the potential emergence of new ideas about self and society

An integration of the researcher’s own experience as a creative professional with that of other artists suggested that there are occasions in a creative practice that are experienced as pivotal, moments when something opens up and an apparent change takes place. Looking beyond art practice, researchers such as Land et al. (2010), Mezirow (1997), and Cranton (2016) have addressed the concept and importance of transformational learning in adults, leading toward a significant shift in the perception of a subject. In order to understand the moments that trigger pivotal experiences for artists, two qualitative studies took place: a pilot study (Alarcón, 2012) and the present study, which includes the narrative accounts of three women painters residing in Tacoma, United States; Paris, France; and Cape Town, South Africa. The research question assumes that artists experience Pivotal Moments in the ongoing development of their work and asks what the narrative accounts of three artists reveal about: (a) the moments that trigger their experiences of creative change or transformation; (b) the nature of these pivotal moments; and (c) how the moments coalesce within the dynamics of the creative act itself. Analysis of the interview data suggests that moments of change are revealed in terms of a set of four Pivots or turning points. In Chapter V, the Pivots are examined as they emerged within the artists as a group, then explored as experienced by each artist individually. The nature of these moments of change is revealed through preparation, location, process, and disruption, and a set of Sub-Pivots housed under each of the main ones. The thematic analysis in Chapter V also revealed the characteristics of these pivotal moments as ritualistic, interconnected, and dynamic. It was also unveiled that they express an inherent dynamic in the ability to turn things around in a creative practice such as painting. Pivotal Moments coalesce within the dynamics of the creative act through the ongoing development of the artist’s work. Finally, this study reveals multiple perspectives on content and suggestions on how we can support the richness of Pivotal Moments as related to Art Education.

黃麗芳. / 論文(哲學博士)--香港中文大學, 2004. / 參考文獻 (p. 587-634). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts also in English. / Huang Lifang. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (p. 587-634).

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This thesis describes two lithographic techniques that may be used to introduce black and white lithography to beginning art students. Aluminum plate and paper lithography are two relatively low cost and safe lithographic methods suitable for schools with limited budgets and limited space. It is recommended that the instructor interested in teaching the two processes described in this thesis have some previous experience in lithography.

The purpose of this study was to develop and evaluate a learning sequence involving copy related activities and to provide clarifying evidence regarding copying effects on personality and artistic development. Improvement in selected aspects of creative behavior was hypothesized. The aspects of creative behavior selected for the study were: Figural Fluency, Flexibility, Originality and Elaboration as identified by researchers in creative behavior, and two drawing tasks developed by the investigator. In addition, improvement in self-concept ratings was also hypothesized.Three intact groups made up of 58 fourth grade students from the Milwaukee Public Schools comprised the sampling. A random cluster sampling procedure was used to identify three schools from the population of 123 elementary schools in the system. Random procedures were used to identify the specific class within the schools and also to assign specific classes to treatment and control groups. The intact groups represented broad socio-economic and cultural backgrounds and were representative of racially balanced schools in the system.The Copy Activity Group of 18 subjects received the copy treatment, a second group of 20 subjects received an art activity treatment, and the third group of 20 subjects, a control group, received no treatment. All groups received pre- and posttests consisting of the Fluency, Flexibility, Originality and Elaboration categories of the Torrance Tests of Creative Thinking, Forms A and B, and two drawing tasks designed by the investigator. The drawing tasks included an imagination or memory task (IDT) and an observational task (ODT). The tasks were rated by experienced judges on a rating scale designed specifically for the study. In addition, all groups received a posttest only administration of the Piers-Harris Children's Self-Concept Scale. Five treatment sessions were administered to the Copy Activity Group and the Art Activity Group on five consecutive days between the pretest and posttest sessions.Two similar yet different treatments were used in the experiment. One utilized structured copy activities designed to promote the mastery of specific concepts, and the other stressed similar concepts and subject matter but utilized more traditional, open ended art activities. Both treatments made use of similar art media and were of identical length. The copy activities provided information which was abstracted from the natural environment and artist's interpretations of the environment. Subjects were instructed to attend to points of maximal information, peaks of curvature, distinctive features, naturally occurring elaborations and artist's interpretations of the visual world in the context of the treatment. The activities, structured from simple to complex, involved tracing, dot-to-dot activities, copying, and coloring activities.The data were subjected to analysis of covariance during the hypotheses testing. The statistical results indicated improved overall performance on all instruments in favor of the Copy Group over the Art Activity Group. The data analysis also indicated that the ability to perceive and subsequently delineate perceptions may have been positively influenced by the copy treatment. While clearly significant differences were noted in the analysis of the self-concept data in favor of the Copy Group, generalizations as to cause-effect relationships were considered to be hazardous and therefore subject to further analysis.

The purpose of this research was to develop and administer a series of treatments that resulted in evidence of Visual Problem Solving ability changes and increased levels of visual differentiation in children. Piaget has posited the possibility of a lag in the exhibition of new percepts in observable form due to psychomotor limitations. Gibson and Gagne have described various components of visual perceptual growth that emphasize first hand experiences in the environment and a problem solving orientation as possible perceptual affectors. A series of Visual Problem Solving tasks were constructed that employed the medium of photography and encouraged children to closely attend to stimuli in the visual array.The sample utilized in this investigation was comprised of 75 students equally divided between three intact second and third grade level combined classroom groups at the Burris Laboratory School, Muncie, Indiana. The three groups were assigned to experimental or control group status by use of a table of random numbers. One group received Visual Problem Solving training that stressed Perceptual Principles; a second group received Visual Problem Solving training that emphasized the traditionally taught Visual Elements of Design; and a third group served as a control which received no specific training or treatments. The subjects in all three groups were pre- and post-tested using the Children's Embedded Figures Test (CEFT) and the Motor-Free Visual Perception Test (MVPT) as measures of visual perceptual functioning. In addition to these standardized instruments, a rating scale was developed expressly for this study. The Dunn Photographic Rating Scale (DPRS) was employed for measurement of possible visual information handling differences between Groups 1 and 2 with regard to photographic activities.The data collected during this research was subjected to multivariate analysis of variance and covariance. Correlation coefficients were computed to evaluate possible relationships between the measures and to obtain estimates of instrument reliability. An alpha level of .05 was employed to test the null hypotheses. Review of the data led to the following conclusions:Subjects receiving treatments that emphasized Visual Problem Solving in conjunction with Perceptual Principles achieved significantly higher results on the Children's Embedded Figures Test than subjects in the other two groups.Analysis of data obtained from subject performance on the Motor-Free Visual Perception Test was inconclusive.Photographic performance as measured by the Dunn Photographic Rating Scale uncovered significant differences between the Perceptual Principles Group and the Elements of Design Group. The Perceptual Principles Group achieved significantly higher levels throughout the five treatments.The most important general finding in this investigation concerned the facilitating effect between Visual Problem Solving methodologies and photographic activity by children. Increases in visual perceptual performance by Perceptual Principles Group 1 provided strong support for instructional strategies that seek to guide children in the formation of higher order visual rules, and contiguity in the application of these guidelines. The evidence tentatively suggested that the photographic medium may have provided a form of visual perceptual activity that increased the mobility of the perceiver, thereby increasing the perceiver's first hand experiences with the environment and ability to isolate visual data. In addition, the lack of emphasis on psychomotor development engendered by the photographic medium was considered to be of value in eliciting new percepts in visual form.

The purpose of this study was to measure the effects of specially designed instructional strategies utilizing an art criticism model upon the perceptual differentiation and compositional drawing skills of college students. The an elementary art education course.All subjects received instruction in the studio activities of drawing and painting during the ten week treatment period. The three experimental groups received additional instruction in art criticism.Instrumentation consisted of the Group Embedded Figures Test, a standardized measure of perceptual differentiation, and the Student Composition Rating Scale, a measure developed by the investigator to quantify judgments of five expert judges on compositional skills displayed in drawings. Each instrument was administered as a pre- and post-test for all groups.Three null hypotheses were tested which maintained no significant differences for perceptual differentiation or compositional drawing skills among the three experimental sample consisted of 86 students enrolled in four sections of groups or between the experimental and control groups. A fourth null hypothesis maintained no significant difference between field-dependent and field-independent subjects on compositional skills displayed in drawing. These hypotheses were tested using multivariate analysis of variance and covariance. The .05 level of confidence was established. Inter-rater reliability was computed and found to be high for pre- and post-test SCRS measures.Findings and Conclusions1. All groups experienced gains in skills of perceptual differentiation. This result suggests that involvement in concentrated art activities, whether limited to studio activities, or coupled with the more cognitive aspects of art criticism, has the potential for increasing the visual perceptual skills of college students.2. The experimental groups significantly outperformed the control group on compositional drawing skill.This result suggests that the art criticism model did assist in the development and utilization of compositional strategies.3. No significant difference was found in perceptual differentiation or compositional drawing skills among the three various approaches to the implementation of the art criticism model. It would appear that student involvement with the structured analysis matrix determining factor, rather than the focus of criticism, or the degree of student involvement.4. Students who display greater skills of perceptual differentiation also display greater utilization of compositional strategies in drawing. This finding supports earlier contentions regarding the relationship between perceptual differentiation and art production.