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"Gouzouasis, Peter"
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Currere in a New Tonality: A Tetradic Analysis
(pp. 108-109) In the process of describing the connections between ones' personal experiences, the many relationships between and across professional and personal work, and various ways of knowing, we may arrive at a predominant question: what has been, what is now, and what can be(come) - regarding not only the nature of our educational experiences, but how those experiences are related to the broad, interpretive spectrum of the auto in coalescence with the lifeworld. [...]we are capable of living with a simultaneous sense of intrasubjectivity and intersubjectivity - both an individual and shared sense-making and meaning-making of, with, and in the world. For, no longer teleological in nature, how we understand time, space, experience, existence, mind, body, and spirit need not be any particular resistance to regimes of truth or ideology, but a process of remaining open to alternate understandings of what can appear as closed or certain. [...]we are capable of living with a simultaneous sense of intrasubjectivity and intersubjectivity - both an individual and shared sense of making meaning, making self, and making the world. The fact is, to this day many jazz musicians live on the edge of poverty, addiction, and mental illness. [...]Turner criticized the language used in the book as \"a queasy mixture of the old 'gee whiz! ' jazz history\" and sociological jargon. Interestingly, the word in Greek for \"invent\" or \"think up\" is technazomai. [...]it is fascinating to consider that the Greek words téchne (art) and logia (words) form the term technologia (technology) and téchne and logiki (logic; way of thinking) are at the root of \"technological,\" or in other words, artful thinking.
Journal Article
The Dissonant Duet: An Autoethnography of a Teacher-Student Relationship
In reading the research available on the topic of teacher-student relationships in learning, it is evident that over the past four centuries very little has changed in traditional, individual music lessons. Through an exploration of the research literature, we came to realize that it is difficult to describe the socioemotional aspects of learning using traditional research methods, and there are many aspects of learning that are beyond explanation in quantitative, realist-styled studies of the efficacy of learning techniques, learning outcomes, evaluation, motivation, literacy, and technical competency. While we began with our inquiry with an interest in studying traditional piano pedagogy, a complex journey led us to using autoethnography as a way to share and demystify a taboo story from the piano studio that extends beyond music learning. Ours is a sensitive story to tell, and the risks involved in discussing this topic in pedagogical contexts have kept many learners silenced for decades. Through this process, we have learned that when autoethnography is considered as a form of pedagogy, it is an evocative way to reveal and describe subjective, yet crucial, aspects of learning.
Journal Article
Introduction: A creativity without gold stars
Advancement of an idea includes the problematization of it.[...]many of the contributions in this special issue question the underlying concepts by which creativity is understood.The questions they raise leave us wondering: \"... as products of a performative educational system and as teachers within a performative educational system, were we creative enough to face the challenges that would come?\" Working with a child with autism, Evrard and Bolduc (this issue) detail their use of music and song to help improve their participant's verbal and non-verbal social interactions and abilities.[...]a nation without a vibrant creative labor force of artists, writers, designers, scriptwriters, playwrights, painters, musicians, film producers, directors, actors, dancers, choreographers, not to mention engineers, scientists, researchers and intellectuals, does not possess the knowledge base to succeed in the Information Economy (p. 15).Because schools are public institutions, he argues, students have a legal right to enjoy the creative agencies, autonomies, and pursuits that are afforded anyone who works in a publicly funded institution.
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Technology as Arts-Based Education: Does the Desktop Reflect the Arts?
Since the dawn of time, human imagination has resulted in creating extensions of self (that is, tools) as a means to overcome obstacles produced by genetic limits. Whether the tool extends thought or sense; whether the tool is organic, such as language, or inorganic; and whether electronic, digital, or analog, the artist plies the science or system of any medium to achieve expression. Technology education, with its focus on information and communications (ICT), is akin to architecture that is focused solely on the design of joints, beams, and trusses. In an arts-infused new media context, it is the sensibility of the arts educator whose careful design engages artistic endeavor. Creative, artistic applications of new learning and teaching technologies may hold the future of \"content\" development in all forms of new media. New technologies draw on both artistic and scientific knowledge, each contributing to the other's design. Irrespective of the tools to be employed, the arts provoke thought and forever transform participants by making meaningful connections. In short, that content forms the cultural identity of individuals, societies, organizations, and nations in the global village. The focus of this article is to provide a formative, critical analysis of the role of the arts in technology and technology education and extend the rationale for arts-based technology education.
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Arts-Based Educational Research Dissertations: Reviewing the Practices of New Scholars Abstract
With this review, we explore the practices of arts-based educational research as documented in dissertations created and written over one decade in the Faculty of Education, University of British Columbia. We compile and describe more than thirty dissertations across methodologies and methods of inquiry, and identifiy three pillars of arts-based practice - literary, visual, and performative. In this review, we trace the beginnings of a new stream of practice that is interwoven in some of these dissertations and underpins many of them: the methodology of a/r/tography. Four attributes underpin this collection of dissertations: a commitment to aesthetic and educational practices, inquiry-laden processes, searching for meaning, and interpreting for understanding. [PUBLICATION ABSTRACT]
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