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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
URBAN AIR
 On the in-breath
 it’s made of gutter soup

 and small change
 gone particulate

 and burnt offerings.
 On the out-breath:

 leftovers from
 above and body heat,

 and body moisture,
 even scraps of body, outside

 itself at last, cells
 set free and on fire.

                     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
Vittra symbol




     Laboratory         Mission Control    Moon Surface     The Cave
     Planet x


Laboratory Mission Control occurs through interaction with the environment
     Piaget: human development
                               Moon Surface The Cave Planet
                  PGCE trainee teachers as co-researchers
                         Working to their strengths
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 Exhibition
10 November 2012 – 22 December 2012

The New School House Gallery
Peasholme Green
York YO1 7PW
United Kingdom
www.schoolhousegallery.co.uk
p.jackson1@yorksj.ac.uk

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Cry Freedom: Autonomous Opportunities for Personalised Engagement (By Paula Jackson)

  • 1. Cry Freedom: Autonomous Opportunities for Personalised Engagement Paula Jackson
  • 2. 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
  • 3. URBAN AIR On the in-breath it’s made of gutter soup and small change gone particulate and burnt offerings. On the out-breath: leftovers from above and body heat, and body moisture, even scraps of body, outside itself at last, cells set free and on fire. Jo Shapcott
  • 4. 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?
  • 6. Vittra symbol Laboratory Mission Control Moon Surface The Cave Planet x Laboratory Mission Control occurs through interaction with the environment Piaget: human development Moon Surface The Cave Planet PGCE trainee teachers as co-researchers Working to their strengths
  • 7.
  • 8. 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
  • 9. 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
  • 10. 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
  • 11. 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
  • 12. 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?
  • 14. 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?
  • 15. 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
  • 16. 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
  • 17.
  • 18. Invitation • Transformation Exhibition 10 November 2012 – 22 December 2012 The New School House Gallery Peasholme Green York YO1 7PW United Kingdom www.schoolhousegallery.co.uk p.jackson1@yorksj.ac.uk