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Aesthetic Literacy Workshop: Helsinki, February 2015

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This is a presentation that Pekka Ihanainen and I did discussing aesthetic literacy, which we define as the ability to enact learning in open spaces through a process of aligning and attuning oneself to the open environment.

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Aesthetic Literacy Workshop: Helsinki, February 2015

  1. 1. A E S T H E T I C L I T E R A C Y W O R K S H O P : H E L S I N K I , F I N L A N D F E B R U A R Y 2 0 - 2 1 , 2 0 1 5 P E K K A I H A N A I N E N & M I C H A E L G A L L A G H E R
  2. 2. • Make use of open space & enact lifelong learning systematically Emphasize process over output; stimulate learners to be self- organized and self- sufficient in their learning Model pedagogical and personal (lifelong learning) applications A I M S
  3. 3. 1. Learning and research Academic and artistic Informal and formal Intentional and serendipitious M E T H O D O L O G I C A L C H A R A C T E R I S T I C S
  4. 4. 1. Aesthetic Literacy Autoethnography Fieldwork Activity with Technology Composition Reflection and Dissemination Iterative Techniques M E T H O D S
  5. 5. an ability to identify learning potential in everyday and open environments and to methodically enact a process of learning through them. Aesthetic literacy, broadened from its specific artistic focus as a capacity for “reading” or making meaning from artistic (everyday) material (discussed in Gale, 2005 as the “living of lyrical moments”), is positioned as a means of making meaning in open environments, to begin to enact lifelong learning in these open spaces. M E T H O D S : AE S T H E T I C L I T E R AC Y
  6. 6. Aesthetic Literacy: Learners align themselves to the possibility of learning in an open environment (a trust in their own capacities for finding learning material in their open, lived worlds), and then attune themselves to their specificities of their environment for learning (acknowledging that each location is a constructed, specific set of attributes- learning in a museum as opposed to the subway as opposed to an open field, etc.). M E T H O D S
  7. 7. Align Attune Sense
  8. 8. Discussion What do you see? What do you feel? (What's the difference?)
  9. 9. Discussion Cognitive Emotional
  10. 10. Discussion What are we connecting this to? What is our frame of reference?
  11. 11. a combination of both autobiography and ethnography in that it is self-reflection and writing that explores the experience of the researcher within a particular environment in an attempt to connect that experience to broader cultural, social, political or other meanings. Subjectivity is assumed and reflected upon. Objectivity is impossible. Rigor and transparency mitigate this. M E T H O D S : A U T O E T H N O G R A P H Y
  12. 12. How would you report this? How would you compose this? (What's the difference?) D I S C U S S I O N : A U T O E T H N O G R A P H Y
  13. 13. What can we connect it to? What are the learning advantages in making this connection? What are the costs of this connection? D I S C U S S I O N : A U T O E T H N O G R A P H Y
  14. 14. M E T H O D : F I E L D W O R K W / T E C H N O L O G Y 1. http://www.clarkart.edu/exhibitions/monet/sketchbooks/ 2. http://darwin-online.org.uk/ 3. http://www.museumsinflorence.com/musei/Laurentian_Library.html
  15. 15. What technologies do we have? What data can we capture with each? How does that kind of data affect our overall understanding of space? D I S C U S S I O N : F I E L D W O R K W / T E C H N O L O G Y
  16. 16. Consider the power of each (audio, video, imagery, text). How can we tell the story of one without the other? What modes are you attracted to? http://michaelseangallagher.org/wp -content/uploads/2015/01/Ambient- street-sounds-of-Seoul_-protest- music-togetherness.mp3 D I S C U S S I O N : F I E L D W O R K W / T E C H N O L O G Y
  17. 17. Who is watching us? What autoethnography are they writing? What is our role in their narrative? D I S C U S S I O N : F I E L D W O R K W / T E C H N O L O G Y
  18. 18. A cairn is a man-made pile (or stack) of stones. Signals, impressions, landmarks, directions, ephemeral. M E T H O D : C O M P O S I T I O N
  19. 19. M E T H O D : C O M P O S I T I O N Postcards or Impressions
  20. 20. M E T H O D : C O M P O S I T I O N Knowledge representations
  21. 21. Tools? Apps? Methods? M E T H O D : C O M P O S I T I O N
  22. 22. Trust and discussion Transparent vs. introspective and private? Circulation through networks, communities M E T H O D : R E F L E C T I O N A N D D I S S E M I N A T I O N
  23. 23. How do you share? How do your researchers share? How do your students share? M E T H O D : R E F L E C T I O N A N D D I S S E M I N A T I O N
  24. 24. R E F L E C T I O N Pause. Reflect. Apply. Iterate.
  25. 25. S P A C E V S . P L A C E F O C U S O F I N V E S T I G A T I O N
  26. 26. S P A C E V S . P L A C E F O C U S O F I N V E S T I G A T I O N What's the difference?
  27. 27. F O C U S O F I N V E S T I G A T I O N What types of spaces and places exist?
  28. 28. F O C U S O F I N V E S T I G A T I O N : S P A C E Physical? Digital? Hybrid? Material? Mobile?
  29. 29. F O C U S O F I N V E S T I G A T I O N What role does technology have in transforming space into place?
  30. 30. F O C U S O F I N V E S T I G A T I O N Mapping Geographical Emotional Cognitive Social Imaginary
  31. 31. M A P A N D A E S T H E T I C L I T E R A C Y V I S U A L I Z A T I O N
  32. 32. Tools? Methods? Feedback? M E T H O D : R E F L E C T I O N A N D D I S S E M I N A T I O N

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