This work explores the potential of doing collaborative data physicalization for discussing (un)sustainable practices. For this purpose, it draws on experiences from several data physicalization workshops during the period of 2018-2022, conducted in Amsterdam, The Netherlands, which were available to mostly inexpert groups of people, including almost a hundred primary school students. This paper particularly focuses on a recent held dataphys workshop with over 20 adult participants, such as including international students and climate activists. Based on learner reports (self-assessment questionnaires) (N=20), and observations, it was found that the process of making data physicalizations in workshop and educational settings can be beneficial for engaging in collaborative creative and critical discussion of (un)sustainable practices. Particularly, the participants positively indicated to have learned from the dataphys workshop on a 5-point Likert scale and agreed that it enabled (1) critical thinking, (2) data understanding, (3) creativity, (4) collaboration, and (5) awareness of (un)sustainable practices. This paper presents the workshop format, including ingredients such as live cartoon capturing, and challenges in realizing such value in the context of sustainability, such as including a wider public, the conscious use of data and materials, and discussable effective outcomes.
This study focuses on revealing and developing personal constructs regarding problem behaviour in classrooms. Twenty-nine teachers (initial and in-service students) took part in the project. The main idea is that teachers opinions about their pupils and themselves influence the way they act in their classrooms. Their thoughts and ideas about students - their personal constructs - are generally unconscious. To clarify and to develop teachers constructs, we used Kellys repertory grid technique and Garmans reflective approach. Both methods give a powerful impulse to the development of thinking and acting of teachers. They can use the experiences as an integral part of their own action research. & I am one of the teachers who took part in the constructs research.A personal set of fifteen constructs on twenty-eight pupils was collected. These constructs showed me what kinds of constructs I have (mainly social-emotional and cognitive ones) and made me reflect. They also made clear to me that I think less positively on problem children. Participation in this research includes coaching, theoretical orientation and continuous reflection, making me conscious of what (problem) behaviour I like or dislike and what I should change to get a professional, holistic view. Then problem behaviour will be more easily tolerated by me and I can teach my colleagues about my new insights in intercommunicative sessions and by personal counselling.
The project Decolonising Education: from Teachers to Leading Learners (DETeLL) aims to develop a multi-site approach for interventions towards inclusion and decolonisation in order to change the hierarchical nature of higher education in the Netherlands. DETeLL identifies the model of the ‘traditional teacher’ as embodying the structural exclusions and discriminations built into the classroom and proposes the figure of a ‘Leading Learner’ as a first step towards a radical change in the educational system. In collaboration with the education departments in the Theatre and Dance Academy at ArtEZ, the post-doc will build up a research and teaching programme that engages with students and teachers in the faculty to create a prototype of an inclusive and diverse educational practice. RELEVANCE: Education should be the critical space in which changes occur in order to shape best possible futures. In DETeLL’s acceptation, decolonisation refers to a complete change in the way of thinking and behaving. It does not refer only to the urgency of dealing with historical colonial legacies embedded in society, but also to the subversion of the deeply oppressive colonial culture that (also unconsciously) regulates public and private living, whether this is related to gender, race, class or sexuality issues. RESULTS: 1) Create a theory and practice-based scientific base-line of decolonisation and art education; 2) Provide a definition of ‘Artist educator as Leading Learner’ following a practice- based methodology of intervention; 3) Design and Pilot a new teaching programme for theatre education at ArtEZ to be then upscaled to all educational departments in a follow-up project); 4) Produce a strong interdisciplinary and international output plan: 3 academic publications, 2 conferences, 4 expert group workshops. NETWORK: ArtEZ; University of Amsterdam (UvA); Ghent University; UCHRI; Hildesheim University; Cape Town University. The partners will serve as steering committee through planned expert group meetings.
Entangled Machines is a project by Mariana Fernández Mora that interrogates the colonial and extractive legacies underpinning artificial intelligence (AI). By introducing slowness and digital kinship as critical frameworks, the project reconceptualises AI as embedded within intricate social and ecological networks, thereby contesting dominant narratives of efficiency and optimisation. Through participatory, practice-based methodologies such as the Material Playground, the project integrates feminist and non-Western epistemologies to articulate alternative models for ethical, sustainable, and equitable AI practices. Over a four-year period, Entangled Machines develops theory, engages diverse communities, and produces artistic outputs to reimagine human-AI interactions. In collaboration with partners including ARIAS Amsterdam, Archival Consciousness, and the Sandberg Institute, the research seeks to foster decolonial and interdisciplinary approaches to AI. Its culmination will be an “Anarchive” – a curated assemblage of artistic, theoretical, and archival outputs – that serves as a resource for rethinking AI’s socio-political and ecological impacts.
Within the framework of the “Greening Games” project, we will develop, test and distribute flagship didactic materials addressing the interdisciplinary nature of green digital gaming. These will be tested in selected higher education programs and finally shared as open access content for the broader academic and teaching community. It is our core strategic responsibility to educate students about the relations between digital games and environment. We believe that the more aware students of today will become greener game designers, programmers, and academic leaders of tomorrow. At the centre of our partnership’s didactic philosophy are human responsibility, ethical game design and sustainable gaming culture. Societal IssueVideo games serve as technological marvels and cultural reflections. McKenzie Wark suggests they are integral to a shared culture, fostering critical thinking. Games act as arenas for cultural values and environmental awareness. Climate-aware video games, often referred to as 'green games' or 'eco-games,' raise ecological consciousness and reconnect players with nature. For example, Riders Republic, which replicates real-world terrain using satellite imagery, inspires eco-awareness. However, the environmental footprint of video games, reliant on digital electronics and resource-intensive consoles, poses challenges. Developers, manufacturers, and gaming giants must address these impacts. Benjamin Abraham emphasizes sustainable game development as a holistic solution beyond incorporating green content.Benefit to societyBy developing teaching materials on green gaming for higher education, we create the following impact. We will…- increase the awareness of this subject among Bachelor’s and Master’s students.- enhance students’ knowledge of green gaming and their ability to integrate existing solutions into their game projects.- stimulate more research interest among research staff as well as students.- facilitate the uptake of pedagogical resources on green gaming by lecturers and professors.- create a European research community around the topic.- raise the visibility of green game studies among the game industry and wider public.
