This licentiate thesis is based on visual art didactics and the school subject visual art, but focuses on the design process in a college design education. The aim is to explore and understand the innovative and exploratory learning processes and the importance of visual mediation in this context. With a phenomenological approach the study focuses on design students experiences in this context. These experiences are made subject on reflection and formulation, through phenomenology and visual semiotics. The empirical materal of the study consists of interviews and sketches and images collected from student workbooks. The results of the study show that the design process does not occur by itself among the students. It must be learned. The need for learning probably also applies to the processes of creative learning in other fields. Furthermore, the results indicate that the process is best understood and appropriated in pragmatic learning situations. Three kinds of visual representations of the basic aims of process work are identified in the analysis: images for communicative purposes, images for reference and discussion purposes and images as a support for one's own thinking. From the perspective of visual art dididactics the results of the study reveals four important dimensions, wich may be of relevance as a fundamental didactic structure in efforts to promote understanding of a practice-oriented learning in context of visual mediations. Together with a split vision guiding principles, existing premises and action-based learning processes may provide a supporting unit in this structure. Based on the results, it seems important that pupils and students have the opportunity to learn to master and appropriate the creative process in order to use it in an investigative purpose. Considering the structure of the process, a didactic model can facilitate learning and at the same time provide a valuable complement to the subjective approach of inspiration in the aestetic learning process. In summary, the results of the study indicate that the fields of design and didactics are related to each other and that the field of design training can bring knowledge and experience of exploration and creative learning processes to the school subject visual art.

The diploma paper consists of two parts {--} theoretical and practical. There are explained notions related to visual art motivation in the theoretical part like creativity, imagination and fantasy, explanation of chosen visual art techniques, definition of younger pupil age, explication of pedagogy of leisure time and pedagogue of leisure. The practical part consists of visual art project which is composed of visual art activities. The visual art project is realized at the school nursery with pupils of the first and the second classes. Each part of the project contains various motivational elements. There is an obvious interconnection among particular subjects {--} fine art, physical education and music.

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The aim of this study is to investigate the changes in early childhood teachers&rsquo / views about and practices of integration of visual art into science activities that occured after they attended the workshop. In order to explore the changes in five early childhood teachers&rsquo / views about science teaching, semi-structured interviews, classroom observations, and activity plans were used in this study. The study was conducted in a private preschool located in the &Ccedil / ayyolu district of Ankara. The first phase of the analysis consisted of portraying all the data related to participant teachers&rsquo / views about science teaching and the integration of science and visual art on the basis of pre-interviews, observation, and post-interviews. The second phase of the analysis involved finding out whether there was any difference between pre- and post-interviews of participant teachers in terms of their views about science teaching and the integration of early childhood science and art. Meanwhile, observational fieldnotes and teachers&rsquo / activity plans were examined based on the themes emerged from the pre- and post-interviews. The findings of this study indicated that early childhood teachers believed in the importance of science activities in their practices. They provided child-centered activities for children to improve their science experiences. In addition, they used different learning experiences that were naturalistic, informal, and structured in early childhood classrooms. In terms of the place of visual art in early childhood curriculum, all participant teachers stated the importance of visual art in early childhood settings. They also mentioned that visual art could be considered as an effective tool for teaching science because children like attending art activities. They preferred to use art activities after they implemented their science activities. Teachers also mentioned that children could easily express themselves with the help of art activities so they stated that they generally used art activities in their classroom practices.

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Šiame bakalauro darbe išanalizuotas medžio fenomenas vaizduojamajame mene įvairiais laikotarpiais. Vaizduojamasis menas – tai šiuolaikinis pranešimas, įeinantis į medijos sąvoką. Medija apima fotografiją, kinematografiją, videografiją bei žiniasklaidą. Senovės lietuvių simboliai, ornamentai, raštai – visa tai taip pat yra vaizduojamasis menas. Šiai temai atskleisti buvo išnagrinėtas medžio vaizdavimas lietuvių liaudies mene ir mitologijoje. Taip pat buvo išnagrinėta medžio samprata bei funkcijos šiuolaikinių medijų perspektyvoje. Išanalizuotas medžio vaizdavimas ir svarba šiuolaikinių menininkų darbuose. Sukurtas animacinis filmukas „Medis”. / This movie, presented as the final work for the Bachelor’s degree in visual arts, analyses the phenomenon of a tree. Visual art – is a contemporary message, embraced in the “woody” concept. Wood resides in various artistic means: photography, cinematography, videography as well as media. Therefore, ancient Lithuanian symbols, ornaments and scripts also are forms of visual art. This animation reveals “tree” representation in Lithuanian folk art and mythology. It depicts not only the meaning of a tree but also a function in the contemporary perspective of “woodyness”, analyzing it’s visualization and importance in the works of the modern artists. Stop motion animation “Tree”.

Darbo vadovas: prof. dr. Ieva Kuizinienė Darbas parengtas: 2014 m. Vilniuje Darbo apimtis: 149 puslapiai su priedais, 3 lentelės, 12 paveikslų Darbo aktualumas: Jaunųjų menininkų problema šiandien yra ypatingai aktualizuojama. 2013 m. Viešosios politikos ir vadybos institutas atliko „Jaunų menininkų socialinės ir kūrybinės padėties Lietuvoje tyrimą“. Pastarasis parodė valstybės politikos fromavimo būtinumą, orientuojantis į pagalbą jaunųjų menininkų karjeros formavime. Pastebimas ir suaktyvėjusi meno edukacija jaunųjų menininkų kūrinių įsigijimo klausimais – 2014 m. – galerija „Vartai“ kartu su meno ir edukacijos centru „Rupert“ organizavo ketvirtąją „Art Mantica“ paskaitų ciklo pranešimą „Nuo meno mėgėjo iki kolekcionieriaus“. Pranešimą skaitė meno patarėja Francesca Ferrarini. Darbo tikslas: Išanalizuoti Vilniaus dailės akademijos vaidmenį, skatinant sėkmingą vizualiųjų menų studentų integraciją į šiuolaikinio meno rinką, pateikti siūlymus ir rekomendacijas, padėsiančias Vilniaus dailės akademijai siekti efektyvesnių rezultatų skatinant sėkmingą jaunųjų menininkų karjerą ir ugdant savivadybos gebėjimus. Darbo uždaviniai: 1. Išanalizuoti šiuolaikinio meno rinkos sąrangą. 2. Išanalizuoti Lietuvos šiuolaikinio meno rinkos specifiką. 3. Nustatyti jaunųjų menininkų integracijos į šiuolaikinio meno rinką problemtaiką Lietuvoje. 4. Atlikti kiekybinį Vilniaus dailės akademijos vizualiųjų menų studentų (tiek iš Vilniaus, tiek ir iš Kauno fakultetų) tyrimą – elektroninę apklausą... [toliau žr. visą tekstą] / Thesis supervisors: prof. dr. Ieva Kuizinienė Work prepared in Vilnius, 2014 Relevance of the work: 149 pages with appendixes, 3 tables, 12 pictures The relevance of the work: The nowadays-young artists’ issue is being especially underlined. In 2013 ‘Public Policy and Management Institute’ conducted a research analysing young artists social and creative status in Lithuania. It highlighted state policy’s necessity in forming young artists careers. It can also be observed that society is being educated regarding the acquisition of young artists’ pieces of works. In 2014 ‘Galerija Vartai’ alongside arts and education centre ‘Rupert’ organized the fourth ‘Art Mantica’ lecture series report: ‘From art lover to the collector’. The report was read by art advisor Francesca Ferrarini. Work tasks: 1. To analyse the structure of contemporary art market. 2. To determine the specifics of Lithuania’s contemporary art market. 3. To set the problems in Lithuania regarding young artists integration into the contemporary art market. 4. Perform a quantitative research on Vilnius Academy of Visual Arts students (both in Vilnius and Kaunas faculties) - an electronic survey. Employ the findings of the research to identify the challenges and opportunities associated with the students’ integration into the contemporary art market. 5. To perform a qualitative research analysing in-depth interviews with three different art market target groups: 1) Vilnius Academy of Arts staff and students; 2)... [to full text]

This study explored how a teacher-training course helped secondary art student teachers in Taiwan to develop their perceptions and practice of creativity and creative pedagogy [CPed]. A series of CPed workshop sessions, based on the Western theoretical framework of possibility thinking [PT] and its pedagogy [PTCPed], were designed to introduce to the twelve secondary art teacher training students in an arts university in Taiwan. Through adopting an action-based case study approach, qualitative data were collected from the participants’ interviews together with the reflective documents of the participants and the researcher, and any possible visual materials. Observations were also video-recorded. The analytical methods focused on both inductive and deductive approaches to explore how student teachers developed their perceptions of creativity and CPed and the possible influences in practice. Adopting the idea of “contextualising” one set of cultural values in another, a new landmark of PTCPed emerged. This study confirmed most features of PT, but found question-posing and question-responding to be intriguingly absent in the participants’ definitions of creativity (PT) and their practice of CPed; and it also, significantly, identified several emerging PT characteristics and attitudes: originality, confidence, no limitations, and problem-solving. These features were fostered by teacher’s creative teaching [CT] and learners’ creative learning [CL] in an enabling and effective context in which teachers offered the learners’ opportunities (including time, space and challenges) to develop ideas and confidence to play with the materials, prioritised learners’ agency (including individual and group activities), and stood back to offer freedom, and at the same time moved step forward to observe the learners’ engagement and check when to offer help. Finally, this study also highlighted the implications for the practice in the Taiwanese initial art teacher education [IATE], in which teacher educators are suggested to appreciate this complexity, and to understand and allow student teachers to interact with different perspectives or approaches when interpreting their pedagogy through reflective practice.

Contemporary cultural practices sometimes appear dispassionate, distant and clinical—committed to conceptualism or formalism. Yet works by Jacques Roubaud and Jacques Jouet (both members of the Oulipo, a group of experimental writers in France that use formal and mathematical constraints to generate new literary forms) suggest a complex relationship between epistemology and affect. This thesis argues that contemporary literary and artistic projects that appropriate the tropes of clinical procedure and experimental constraint, suggest alternative forms of knowledge that implicate the body and emotions of the experiencing subject. In these projects, affect and emotion travel through reason, logic, system and constraint and are transformed in the process. Therefore any analysis of forms of affect in these works must also consider the procedural and scientific aspect, that which makes them "projects". My research, drawing on recent work that places emphasis on affect, considers these projects as test cases often mediating between a series of dichotomies such as reason/emotion and mathematics/poetry. Curiously it is in the encounter with epistemological systems that the value of affect, embodiment and subjectivity is underscored, and this thesis interrogates the various ways that contemporary projects articulate affect almost despite themselves. By passing through a scientific impulse to inquire about and test the validity of epistemological systems, these projects underscore the role of affect in producing knowledge. This thesis insists on the continued importance of the Oulipo in contemporary culture and seeks to provide a larger, interdisciplinary context for oulipian experimentation by analysing similar works in the visual arts. This thesis has four chapters, each based on the materials that the projects themselves investigate: 1) numbers and mathematics, 2) lists, collection, and census-data, 3) itineraries and travel, 4) weather and meteorology. Projects bear witness to what the poet Lyn Hejinian has called the romance of science: its rigor, patience, thoroughness and speculative imagination (Mirage, 1983, 24) In so doing, these projects reveal forms of affect that only emerge through this 'weird science' as literary and artistic experiments.

This thesis analyses the representation of so-called human curiosities in recent visual art, by drawing a connection to historical practices of exhibiting 'monstrous' and deformed bodies within institutions such as freak shows, anatomical collections and medical museums. The last two decades have witnessed a surge of scholarly interest in the histories of these institutions, particularly through the work of Robert Bogdan, Rosemarie Garland-Thomson, Rachel Adams, Richard Sandell and Samuel J.M.M Alberti, whose research can be situated in interdisciplinary humanities fields such as disability studies, museology, history of science and literary and visual studies. Concurrently, a remarkable number of contemporary artists have also turned to the history and imagery of these spaces to explore the politics of display in exhibitions of non-normative bodies. This study addresses the critical gap between these two parallel domains of inquiry, drawing upon recent studies concerning historical exhibitions of monstrous bodies to analyse how contemporary artists have simultaneously confronted and extended these traditions through their artworks. In order to show that the very notion of 'monstrous bodies' is inextricably bound up in the curious display practices that frame them, I analyse the representation of human curiosities in the work of Zoe Leonard, Joanna Ebenstein, Diane Arbus, Mat Fraser, Pauline Boudry & Renate Lorenz, Marc Quinn and John Isaacs. Each chapter examines a distinct institutional context – the anatomical collection, the freak show, the art gallery, and the contemporary medical museum – to investigate how these artists challenge the meanings conferred upon extraordinary bodies within each space, bestowing new significance upon these forms within the context of their various art practices. I argue that, by doing so, artists themselves can take on roles like curious collectors, freak show talkers and teratologists, revealing the potential for 'art' to act as yet another display framework that imposes a particular set of meanings onto anomalous bodies.