This chapter offers an account of a workshop in arts-based learning called “Metamorphoses of Organic Forms”. This detailed description of a particular practice may inform a discussion of ways in which artful approaches, in general, may come to matter in STEAM education, with implications for both educational research and practice. Added to that, the chapter argues that such art-based practices can also be relevant more widely in the context of sustainability education, such as on the theme of climate change. Precisely because the content of the art workshop at hand is not prima facie linked to it, there is an unexpected potential to take up such a tangential theme in an unusual way. Typically, participants feel invigorated to enter new territory – both spatial and mental. On a meta-level, the session can also be seen as a practice in facing complexity, uncertainty, not knowing. The chapter suggests that such artful educational practices have intrinsic merit if we are to equip new generations with skills to live in and endure “post-normal times”. In the workshop “Metamorphoses of Organic Forms”, participants are invited to imagine how forms in nature might either evolve or disintegrate over time. The workshop lends itself to follow-up lessons in biology and natural history. The outcome is not given. Participants go through a shared process step by step, following a sequence that is outlined for them as they go along. They are encouraged to imagine how natural phenomena might grow or decay in time and they do this in a series of short sessions where they sculpt works in clay. Such a practice in art-based environmental education is arguably a form of “poor pedagogy”. This educational activity is primarily and fundamentally an open-ended process. Rather than requiring an extensive methodology, its practice requires participants to surrender themselves to a process that will be unique each time it is performed. Such a practice is an expression of a view on education that is not centred on the transmission of knowledge but rather looks at attention as education and the education of attention.
Until the recent outbreak of the COVID-19 pandemic, the growth of tourism had confronted many destinations with policy decisions that had impacted regional ecosystems and the quality of life of their resident population. To counter the threats driven by dominant tourism growth models, a number of tourism scholars have called for revisiting the philosophical foundation upon which tourism activities are developed. Informed by debates in philosophy and the wider social sciences, including tourism scholarship, this conceptual paper, therefore, suggests an alternative governance paradigm for tourism destinations, which is articulated in four propositions that reflect a new materialist perspective. These propositions are a monist post-anthropocentric ontology, a participatory epistemology, resilient forms of tourism and participation as methodologies, and social eudaimonia as societal value. The core argument presented in this paper is that the Anthropocene requires tourism destinations to espouse alternative governance approaches drawing from ideas emerging from new materialist scholarship.
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Op 27 januari 2006 is dr. Michiel Scheffer geïnstalleerd als lector Fashion Materials Design bij Saxion in Enschede. Het lectoraat en de bijbehorende kenniskring is gericht op het versterken van de wisselwerking tussen creativiteit, technologie en economie op het gebied van mode en textiel. Deze wisselwerking moet sterker tot uiting komen in het onderwijs en dient ook in samenwerking met het bedrijfsleven tot uiting te komen in een onderzoeksprogramma. Het lectoraat is ondergebracht bij de opleiding Fashion en Textiel Management binnen de Academie voor Kunst en Toegepaste Techniek in Enschede. Dr. Michiel Scheffer is economisch geograaf en is al vijftien jaar actief in de Europese kleding en textielbranche als onderzoeker, consultant en branchemanager. Dit boek bevat de tekst van de lectorale rede van Michiel Scheffer.
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De technische en economische levensduur van auto’s verschilt. Een goed onderhouden auto met dieselmotor uit het bouwjaar 2000 kan technisch perfect functioneren. De economische levensduur van diezelfde auto is echter beperkt bij introductie van strenge milieuzones. Bij de introductie en verplichtstelling van geavanceerde rijtaakondersteunende systemen (ADAS) zien we iets soortgelijks. Hoewel de auto technisch gezien goed functioneert kunnen verouderde software, algorithmes en sensoren leiden tot een beperkte levensduur van de gehele auto. Voorbeelden: - Jeep gehackt: verouderde veiligheidsprotocollen in de software en hardware beperkten de economische levensduur. - Actieve Cruise Control: sensoren/radars van verouderde systemen leiden tot beperkte functionaliteit en gebruikersacceptatie. - Tesla: bij bestaande auto’s worden verouderde sensoren uitgeschakeld waardoor functies uitvallen. In 2019 heeft de EU een verplichting opgelegd aan automobielfabrikanten om 20 nieuwe ADAS in te bouwen in nieuw te ontwikkelen auto’s, ongeacht prijsklasse. De mate waarin deze ADAS de economische levensduur van de auto beperkt is echter nog onvoldoende onderzocht. In deze KIEM wordt dit onderzocht en wordt tevens de parallel getrokken met de mobiele telefonie; beide maken gebruik van moderne sensoren en software. We vergelijken ontwerpeisen van telefoons (levensduur van gemiddeld 2,5 jaar) met de eisen aan moderne ADAS met dezelfde sensoren (levensduur tot 20 jaar). De centrale vraag luidt daarom: Wat is de mogelijke impact van veroudering van ADAS op de economische levensduur van voertuigen en welke lessen kunnen we leren uit de onderliggende ontwerpprincipes van ADAS en Smartphones? De vraag wordt beantwoord door (i) literatuuronderzoek naar de veroudering van ADAS (ii) Interviews met ontwerpers van ADAS, leveranciers van retro-fit systemen en ontwerpers van mobiele telefoons en (iii) vergelijkend rij-onderzoek naar het functioneren van ADAS in auto’s van verschillende leeftijd en prijsklassen.
This PD project aims to gather new knowledge through artistic and participatory design research within neighbourhoods for possible ways of addressing and understanding the avoidance and numbness caused by feelings of vulnerability, discomfort and pain associated with eco-anxiety and chronic fear of environmental doom. The project will include artistic production and suitable forms of fieldwork. The objectives of the PD are to find answers to the practice problem of society which call for art that sensitises, makes aware and helps initiate behavioural change around the consequences of climate change. Rather than visualize future sea levels directly, it will seek to engage with climate change in a metaphorical and poetic way. Neither a doom nor an overly techno-optimistic scenario seem useful to understand the complexity of flood risk management or the dangers of flooding. By challenging both perspectives with artistic means, this research hopes to counter eco-anxiety and create a sense of open thought and susceptibility to new ideas, feelings and chains of thought. Animation and humour, are possible ingredients. The objective is to find and create multiple Dutch water stories, not just one. To achieve this, it is necessary to develop new methods for selecting and repurposing existing impactful stories and strong images. Citizens and students will be included to do so via fieldwork. In addition, archival materials will be used. Archives serve as a repository for memory recollection and reuse, selecting material from the audiovisual archive of the Institute of Sound & Vision will be a crucial part of the creative work which will include two films and accompanying music.
This project develops a European network for transdisciplinary innovation in artistic engagement as a catalyst for societal transformation, focusing on immersive art. It responds to the professionals in the field’s call for research into immersive art’s unique capacity to ‘move’ people through its multisensory, technosocial qualities towards collective change. The project brings together experts leading state-of-the-art research and practice in related fields with an aim to develop trajectories for artistic, methodological, and conceptual innovation for societal transformation. The nascent field of immersive art, including its potential impact on society, has been identified as a priority research area on all local-to-EU levels, but often suffers from the common (mis)perception as being technological spectacle prioritising entertainment values. Many practitioners create immersive art to enable novel forms of creative engagement to address societal issues and enact change, but have difficulty gaining recognition and support for this endeavour. A critical challenge is the lack of knowledge about how their predominantly sensuous and aesthetic experience actually lead to collective change, which remains unrecognised in the current systems of impact evaluation predicated on quantitative analysis. Recent psychological insights on awe as a profoundly transformative emotion signals a possibility to address this challenge, offering a new way to make sense of the transformational effect of directly interacting with such affective qualities of immersive art. In parallel, there is a renewed interest in the practice of cultural mediation, which brings together different stakeholders to facilitate negotiation towards collective change in diverse domains of civic life, often through creative engagements. Our project forms strategic grounds for transdisciplinary research at the intersection between these two developments. We bring together experts in immersive art, psychology, cultural mediation, digital humanities, and design across Europe to explore: How can awe-experiences be enacted in immersive art and be extended towards societal transformation?
