Lo esencial del arte es perdurar y transmitir a través del tiempo, es por esto por lo que la Escuela Superior de Artes Visuales busca generar tanto interés en el ciudadano como desarrollar los conocimientos de los alumnos que acudan a él, de esta manera formando profesionales que puedan trabajar y vivir a través de su arte. La Escuela se ubicará en el distrito de Chorrillos que, si bien tiene un conocimiento básico y propaga de manera parcial el arte, no cuenta con un lugar especializado donde se puedan capacitar las personas, esto por distintos factores como falta de incentivo por parte de la municipalidad, no se atribuye parte del presupuesto del gobierno, entre otros motivos externos; esto genera que los propios ciudadanos no encuentren lugares accesibles donde puedan aprender de arte y sentir incentivo por él. ​Ubicado en una de las calles principales del distrito, permitirá que se forme una cadena artística interdistrital en aprendizaje y cultura artística: por un lado, los alumnos no tendrán que realizar largos trayectos para acceder a una educación de calidad y por otro los ciudadanos y distritos colindantes, que podrán visitar los espacios semipúblicos de la Escuela, de manera que podrán ser parte de la atmósfera artística que se creará en el lugar. / The essence of art is to stay and transmit through time, this is why the School of Visual Arts seeks to generate interest in the citizen and develop the knowledge of the students who come to it, training professionals who can work and live through their art. The School will be located in the district of Chorrillos, which, although it has a basic knowledge and partially propagates art, does not have a specialized place where people can learn, this due to different factors such as lack of incentive on the part of the municipality, part of the government budget is not attributed, among other external reasons; This means that the citizens themselves do not find accessible places where they can learn about art and feel incentive for it. Located in one of the main streets of the district, it will allow an interdistrital artistic line to be formed in learning and artistic culture: on one hand, students will not have to make long journeys to access a quality education and on the other the citizens and districts neighboring areas, who will be able to visit the semi-public spaces of the School, so that they will be able to be part of the artistic atmosphere that will be created in the place. / Tesis

Bildskapande används både inom förskola och skola där helheten av erfarenheter, kunskaper, känslor och upplevelser gynnar barns kunskapsutveckling. Syftet med studien har varit att öka kunskapen om förskollärares olika syn på bildskapande verksamhet i förskolan. I studien användes metoden intervju. Intervjuerna genomfördes enskilda och i grupp. Resultatet pekar på förskollärarnas olika synsätt på bildskapande verksamhet i förskolan, där förskollärarna beskriver att bildskapande blir ett sätt för barn att uttrycka sig och kommunicera på, där samspelet och kommunikationen bidrar till barns utveckling. Förskollärarna uttrycker att kulturella redskap kan tolkas som fysiska och språkliga och förskollärarna beskriver att olika material är viktigt för att ge barn stöd inom bildskapande. Resultatet visar även på förskollärarnas olika synsätt på den egna rollen inom bildskapande aktiviteter vilket pekar på att rollen är central för barns utveckling inom bildskapande. Förskollärarna uttrycker att deras roll inom bildskapande handlar om hur de utforma miljön, erbjuder material, hur de ser till barnens egna intressen, att de lyssna på vad barnen uttrycker, hur de ger barnen stöttning, och även att de uppdaterar sig själva om ny forskning inom bildskapande. Förskollärarna i studien uttrycker även att deras egen kompetens och trygghet inom bildskapande är central. Resultatet pekar på att förskollärarna anser att kompetensen och tryggheten genererar både möjligheter och hinder för bildskapande aktiviteter. Slutsatsen för denna studie ger en antydan om att förskolläraren har en central roll i bildskapande aktiviteter i förskolans verksamhet utifrån flera olika delar som framgår i resultatet.

This thesis is aimed at Václav Vokolek's life, particularly from the artistic and professional sides. Václav Vokolek belongs to a significant cultural family, which is also reflected throughout his whole life, not only in his work and priorities but also in the circle of his close friends. From the theoretical point of view, the diploma thesis is based primarily on a method of oral history because there were some summarising pieces of work about the Vokolka family created, however it concerned the older family members, not Václav Vokolka himself.

Due to developments in visual technology, teachers and students are exposed to an increasing number of images in their everyday life, which also finds its way into the classroom. This study aims to contribute to further understanding of how knowledge and positions are constructed in visual meetings in the classroom by problematizing the discursive practice of visual art education in upper secondary school.  The study investigates how art teachers construct positions when talking about their choices of images for teaching and what kind of knowledge thereby is constructed as valuable. The study also analyzes how art teachers and students construct positions in visual meetings in the classroom and what kind of knowledge thereby is constructed as valuable.   The study is theoretically framed by theories and concepts in visual culture and Foucauldian discourse analysis. The concept visual meetings refers to how art teachers and students interact and make meaning when using images that the art teachers have chosen. The perspective of discourse analysis involves that classroom interactions are seen as expressions of knowledge and power in general and of prevailing views on visual art education in particular.  Data production is carried out through ethnography, which involves interviews with two art teachers and observations of eleven lessons in visual art classes at two upper secondary schools.  The results show that a dominating overall school discourse regulates how the art teachers and students are constructed as active/adult/experienced and passive/child/unexperienced subjects. One of the classroom practices is shown to prioritize position and knowledge constructions related to production of aesthetically pleasing images. The other classroom practice is shown to prioritize position and knowledge constructions related to image interpretation in terms of understanding cultures and contexts. Both classroom practices also show that despite the art teachers’ stated intentions in constructing independent and critically examining positions for the students, looking practices are formed in the classrooms that do not allow such positions for the students to any great extent.  The study concludes that the dominating discourses in these two classroom practices reveal régimes of truth that regulate what kind of knowledge constructions that are valued within these two examples of visual art education.

The aim of this paper is to analyse how future art teachers talk about gender identity and sexuality in the context of an image analysis. In order to gather the empirical data used for this paper we sent out a questionnaire to student teachers with art as their primary subject. This questionnaire contained both closed and open-ended questions where they were instructed to analyse and describe four pictures of individuals that could be perceived as queer-coded, as well as answer questions regarding the core content of visual arts in the Swedish curricula for grade 7-9. The answers were then looked at through a queer theroetical lens using critical discourse analysis as our method. Based on the answers of the questionnaire we concluded that future art teachers use a politically correct and norm critical approach when speaking about gender identity and sexuality. We could however also see some confusion in the answers that possibly stems from a lack of knowledge and experience on the subject of gender identity and sexuality.

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This licentiate thesis focuses on the development of the idea process in art education using digital peer feedback. In the school subject visual art, the visual idea process, e.g., when students sketch their ideas, is an important phase in a project. When an idea takes form, there is the possibility for considering the idea in a new way, for others to study and discuss it, and most importantly, for generating new ideas. By digitally sharing their visual idea process and providing feedback, students can become more aware of their own and others' creative processes. Peer feedback in this thesis leans on two theories. The first is self-regulated learning, meaning that students formulate goals and identify needs (both their own and others’) when learning. In the feedback activity, the student is responsible for their own idea and for the visual feedback given to other students. They also receive valuable input when providing feedback. The second feedback theory is social constructivism and the zone of proximal development, i.e., the difference between what students accomplish in learning with the help of others and what students accomplish by themselves. In this study it is shown (by focusing on the social aspects of peer feedback) that when students help others, they develop their own products far more than they might have done if working individually. On two occasions, I observed and investigated how students (an eighth-grade and sixth-grade class) developed and digitally shared visual ideas supported by digital peer feedback. Thematic analysis was used on data gathered on both occasions (i.e. in both iterations of the study) to identify different types of feedback provided by students. In the first iteration, the feedback was in written form, and through analysis, five themes were created that described different types of peer feedback. In the second iteration, feedback was provided using various visual techniques, and through the analysis, four themes were formed. In each iteration of the study, four categories were created to describe the degree of change between the first and final sketches. The results suggest that using digital tools and peer feedback activities in visual art could help improve students’ abilities to develop ideas. The methodological contribution of this research is its new use of peer feedback using visual feedback. With this form of feedback, students stayed within one medium, using a sign system to communicate visual solutions on the sketches of other students. At the same time, they received practical tips and direct advice that they could immediately apply to their sketches. / Den här licentiatuppsatsen fokuserar på att utveckla idéprocessen i bildundervisning med hjälp av digital kamratfeedback. I skolämnet bild är den visuella idéprocessen, till exempel när elever skissar sina idéer, en viktig fas i ett projekt. När en idé får en form blir det möjligt att betrakta den, för andra att studera och granska, och kanske viktigast av allt, att generera nya idéer. Genom att digitalt dela med sig av sin visuella idéprocess och ge feedback kan elever bli mer medvetna om sina egna och andras kreativa processer. Kamratfeedback, peer feedback, i uppsatsen lutar sig mot två teorier. Den ena är själv-reglerat lärande, vilket innebär att formulera mål och identifiera behov i lärandet. I feedbackaktiviteten är eleven ansvarig för den egna idén och för den feedback som ges till andra elever. Eleverna får också värdefull input när de ger feedback. Den andra teorin är socialkonstruktivism och den proximala utvecklingszonen, dvs. skillnaden mellan vad elever åstadkommer i lärandet med hjälp av andra och vad elever åstadkommer på egen hand. Den här studien (som fokuserar på de sociala aspekterna av kamratfeedback) visar att när elever hjälper andra utvecklar de sin idé mycket mer än vad de skulle ha gjort om de hade arbetat individuellt. I två omgångar undersöktes hur elever i åttonde och sjätte klass utvecklar och digitalt delar visuella idéer med stöd av digital kamratfeedback. Inspiration från tematisk analys användes i båda omgångarna för att identifiera olika typer av feedback från eleverna. I den första användes skriftlig feedback, och genom analysen skapades fem teman som beskrev olika typer av elevernas feedback. I den andra omgången gav eleverna varandra feedback i form av olika visuella tekniker, och i analysarbetet skapades fyra teman. I båda omgångarna bedömdes graden av förändring mellan den första och den sista skissen. Fyra kategorier skapades i varje omgång. Resultaten tyder på att det skulle kunna vara fördelaktigt för elevernas förmåga att utveckla idéer med hjälp av digitala teknologier och kamratfeedback-aktiviteter i bild. Den digitala delningen underlättade för eleverna att dela och granska varandras idéarbeten och feedback. Det metodologiska bidraget från denna licentiatuppsats är att kamratfeedback har använts på ett nytt sätt, visuell feedback. Genom att stanna kvar i ämnets visuella språk och kommunicera feedback visuellt återanvändes föremål och former i den ursprungliga skissen.

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