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Cultural heritage is no longer something that can only be experienced in a museum exhibition. Digital tools have facilitated the distribution of material relating to artefacts, both in its representation and in presenting its context. This paper describes how digital modelling techniques can be synthesised with 3D scanning to digitally restore artefacts and create authentic replicas of their original states. The digital artefacts can then be used to assist the process of interpreting these artefacts in diverse forms, both in the museum and outside the museum. The study looks at Pictish sculpture as a case-study, restoring 3D models of two stones, and creating varying opportunities for their interpretation. As part of this study, new interactive tools, a virtual reality environment, and a virtual tour are built to assist immersive interpretation of the Pictish sculpture. The application of these digitised objects serves as an opportunity for informal learning. These applications were evaluated during a drop-in session. Findings show that all participants enjoyed the immersive mode of learning with 89% also showing a willingness to learn more about the topic.

Around the western world various activist groups confront controversial monuments and other mnemonic infrastructures of historical culture representing contested histories and equally contested visions of the future. This article presents an original model for analyzing controversial issues of commemoration in the context of history education. Relying on the theory of historical consciousness, it first presents monuments as a distinctive type of mnemonic infrastructures of historical culture. It then delineates a conceptual model for making sense of various "types" or ways of engaging with these infrastructures: preservational, analytical, hypercritical, and reflexive. These ways of engaging are then analyzed in reference to four competencies of historical consciousness in relation to Jörn Rüsen's recognized typology (inquiry, historical thinking, orientation, and narrative). The article explains how this new model can be transposed to the context of education so as to help students analyze past and current memorial controversies and ultimately develop more complex ways of engaging with mnemonic infrastructure in society.

In the last decade, explorations into the work of volunteer educators, titled "docents," within art museums revealed turbulent circumstances that led some institutions to alter their volunteer programs, if not end them entirely. How did art museums come to rely on volunteers to undertake such an important responsibility -- that of engaging and connecting with visitors -- thereby functioning as the face and voice of their institution? The memory of Anna Hyatt Huntington's 1953 sculpture "The Torch Bearers" frames an exploration into docent history to tease out interpretations, questions, and ideas to inform contemporary practice.

The National Memorial for Peace and Justice (NMPJ) opened in Montgomery, Alabama, on April 26, 2018. The memorial provides a sacred site where people can gather and reflect on America's history of racial injustice and represents an essential milestone in the ongoing process of racial reckoning in the United States. As Alabama has historically been a crucible for change in the fight for racial justice, it serves as a poignant site for this ongoing effort. Martin Luther King, Jr.'s observation that Montgomery, once the "Cradle of the Confederacy," was transforming into the "cradle of freedom and justice" reflects the city's continuing metamorphosis (King, 1998, p. 62). Against this backdrop, this article delves into the complex interplay of Confederate monuments, countermonuments, and public art, exploring how certain symbols shape narratives, perpetuate systemic racism, and become focal points in the ongoing struggle for justice. Additionally, this article further examines historical myths, educational narratives, and the intersection of art and activism, ultimately converging on the NMPJ as a transformative symbol and a beacon for a more equitable future.

Surface anatomy is an important skill for students in preparation for patient care, and peer examination is often used to teach musculoskeletal and surface anatomy. An alternative pedagogical approach is to use bodies represented in artworks. Represented bodies display fictive anatomy, providing students with the opportunity to apply their musculoskeletal knowledge and to think critically when evaluating the anatomical fidelity of a represented body. An elective course at the University of Michigan enabled undergraduate students to analyze the musculoskeletal and surface anatomy depicted in Renaissance artworks. Students traveled to Italy in 2018 (n = 14) and 2022 (n = 15) to analyze the fictive anatomy portrayed in artistic sculptures and musculoskeletal structures depicted in wax anatomy models and sculpted skeletons. In assignments, students were asked to identify musculoskeletal structures as portrayed in the context of represented anatomy created by Italian Renaissance artists and to assess the fidelity of the depicted anatomy. The students also applied their knowledge of musculoskeletal anatomy to describe body position and evaluate muscle function in their assessments of the accuracy or inaccuracy of the fictive anatomy. The students reported that evaluating the anatomical fidelity of represented bodies in artworks supported their learning of musculoskeletal and surface anatomy, and that their critical thinking skills improved in the course. Evaluation of the anatomical fidelity of represented bodies in artworks is an effective pedagogical approach that can be implemented in art museums as an adjunctive learning experience to deepen students' musculoskeletal and surface anatomy knowledge and further develop their critical thinking skills.

In this article, I provide a critical reading of the now-removed statue of Sir John A. Macdonald in Charlottetown, Prince Edward Island, Canada. I bring together my own experience visiting the statue with understandings from Indigenous scholarship and public pedagogy theorizing to think about commemorations as public pedagogies that are foremost relational. I consider how the Macdonald statue works narratively, discursively, and as a site of embodied encounter to create a harmful relationality. Thinking relationally, and pedagogically, about colonial statues suggests possibilities not only for understanding how these commemorative practices produce bad relations but also for envisioning and enacting good relations.

Many powers use art as a mean to transform social and political culture. The aim of this study is to examine approach and relationship between the ideological and social conditions of arts, culture and education policy with regard the power in the example of Sculpture Art Education in a eurasia state. This research has been done in accordance with document analysis, which is one of the qualitative research methods. In this direction, the document analysis covers the years 1923-1956. In the study, art education policies were set out based on the political and cultural influences of the period. In addition, the spread of revolution was examined from the point of how the art of sculpture come true and its interaction with western. The relationship between sculpture education and applied sculptures has been handled with the defined ideological dynamics.

In 1999, Bruce Uhrmacher developed an analytical framework to promote the study of monuments. The framework introduced three points of analysis: (1) an analysis of referent, (2) an analysis of design, and (3) an analysis of reception. This framework focused on developing a curriculum that supported a critical, interdisciplinary study of monuments. In this paper, the authors review and reshape the previous framework, with attention on the aims of the framework (its strengths and gaps), and the role of social justice, in the wake of current events. This paper also presents a multilayered engagement with Eisnerian curriculum theory, while expanding the analytical frame to incorporate other education theorists in ways that extend the ideas into the present-day, when monuments have come to the fore of the public consciousness and debate.

This research paper aims to explore a potential model for speaking through which consists of: (a) strategies of using art as a medium for learning English; (b) challenges to use art as a medium for learning English. This qualitative case study uses semi-structured interviews and observation in three schools of South Sulawesi. Data were analyzed through thematic analysis approach. The findings show that there were four strategies of using art as a medium for learning English, namely: (a) using art to learn vocabulary; (b) using art to learn grammar; (c) employing art as a medium for learning process simple writing and; (d) using art as a medium for speaking. In addition, the challenges they face include linguistic and practical challenges. The findings of this study extend the debates of learning English through art media. The implication of this study is that using art as a medium for learning English can be a model for EFL in similar contexts.

The study had a descriptive survey model. The purpose of the study was to determine the problems faced in art education by academicians in fine arts education under the conditions of COVID-19 pandemic, and to help take measures for the solution of these problems. The population of the study consisted of higher education institutions/branches that provide fine arts education. The sampling was the academicians of the Fine Arts Education Department, Faculty of Fine Arts, and Painting/Sculpture and Conservatory Departments. After the pandemic was detected in Turkey in mid-March 2020, an attempt was made to contact the sampling between April and June 2020. The study was conducted with 196 academicians who had different academic titles. An online survey was used as the data collection tool in this study. The survey included 37 questions in 6 problem fields on demographic data, distance education backgrounds, and problems that could be experienced in distance education and art education, was applied to those who wanted to participate voluntarily in the study from academicians. Frequency and percentage distributions were used in statistical analysis of the data in the present study. The participants stated that they experienced problems mostly due to the contents/achievements of the courses, student-related problems, and measurement and evaluation-related problems during the distance education process. However, they also stated that they experienced fewer problems that stemmed from internet and computer, distance education program, and teacher-related problems.

Jane Card's previous work on the power of images in conveying particular interpretations and her advice about how to use visual material effectively in classrooms will be familiar to readers of "Teaching History." In this article she focuses specifically on the capacity of visual representations to convey a compelling message about the significance of particular events, creating an impression that goes on to shape interpretations of the larger story of which they form a part. These popular interpretations may then prove very long-lasting--effectively resistant to subsequent changes within the academic scholarship. Card illustrates this phenomenon with two examples, relevant to topics commonly taught within the National Curriculum and beyond: the impact of the Norman Conquest on Anglo-Saxon England and the defeat of the Spanish Armada.

This article focuses on the controversies surrounding a statue in the Dutch city of Tilburg: the public representation of a nineteenth-century missionary and a kneeling African Surinamese person with leprosy. To understand the current tensions over the statue, the concept of historical consciousness as part of the Dutch changing historical culture is historicised. It is shown that the statue combines interpretative frameworks from different times, evoking opposing emotions: aversion to the old disdain for Catholics in the predominantly Protestant Netherlands; admiration for Catholic missionary work in the colonies; fierce criticism fuelled by the Black Lives Matter movement. Colonialism and missionary work had strengthened the civilising mission in the colonies, which was grounded on a western conception of progress and white superiority. From a postcolonial perspective, the statue is a narrative of submission and racism, the material presence of an older mnemonic infrastructure. However, the statue also represents the triumphant progress of Catholic emancipation in the Netherlands.

Among the factors identified to be responsible for the poor performance of senior high school students in biology is inappropriate instructional media. This study investigated the effects of plastic relief sculpture on senior high school students' performance in biology practical activity in Ogbomoso, South Local Government Area of Oyo State, Nigeria. Moreover, it also observed gender as the moderating effect in this study. The population of this quasi-experimental study was the all senior high school biology students in Oyo State. Two intact classes of 120 biology students were randomly sampled for the study. Two instruments were used in this study i.e. Students' Biology Practical Test and Biology Practical Lesson Notes. The findings of this study revealed that there was significant difference existed between the performance of students in the experimental and control group (F (8, 51) = 1.89, p < 0.05). Meanwhile, female students performed insignificantly different compared with male students (t (118) = 7.16, p = 0.12). Therefore, the study concluded that plastic relief sculpture is effective in improving students' performance in biology. Thus, it is recommended that teachers should adopt plastic relief sculpture as the innovative instructional resource in teaching biology.

Based on the learning outcomes, values, skills/proficiency and job safety for grades 6, 7 and 8 from the 2017 Visual Arts Course Curriculum (MEB, 2017), outcomes related to three-dimensional work have been associated with care, love, responsibility and inquiry and activities "My Money", "Abstract Sculpture" and "Talking Emojis" have been planned. They have been completed with visually rich presentations and step by step implementation phases and presented to the subject teachers intended for practices. In the data collection process, the activities were observed by the researcher, audio and video recording made and right after the activities interviews with the students and teachers were made and student work was collected to examine documentation. Data obtained during the data collection process have been analyzed with thematic analysis method and taking into consideration the basic characteristic of multiple case study and the themes obtained have been evaluated with the theme titles; "Connections", "Internalization" and "Realization". Among the outcomes of the results of the research are the facts that the bases of skill/proficiency, value and job safety are important at activity planning and that rich presentations and step by step applications can transfer the relevant outcomes of the students into behavior. It is also attention-grabbing that students, who gain the values of respect, love and care for their environment through three-dimensional work, can transfer mathematical, digital, social skills and those related to citizenship to their lives.

As the technology continues to advance, it becomes imperative to use technology as a tool for learning. In learning 3D animation field, digital sculpting skills are one of the important skills for students; however, each student has different learning ability, which are obstacles in doing digital sculpting. In this research, we use the social media and lecturer's direct instructions to promote students' digital sculpting skills. In methodology, we create a learning management plan of our learning method, then let the students practise digital sculpting by using video sharing and group discussion via Facebook group, together with lecturer's direct instructions both inside and outside the classroom. Analysis shows that the students have improved their digital sculpting skills and are satisfied with this learning method. Social media and lecturer's direct instructions act as a useful learning method and instrument for students' discussion, practising and researching.

As Americans contend with the question of which statues and markers belong (or don't) on public land, government leaders, civic groups, and citizens must be prepared to engage these conversations and answer a range of related questions. In this article, the authors view arguments over public statues--statues of persons that reside on public lands--as opportunities to develop students' historical thinking and civic capacity. The authors extend relevant ideas from previously published articles but with an emphasis on the historical reasoning skills and classroom practices required to engage in meaningful discourse about public statues. The authors distinguish history from heritage and outline a method for classroom-based inquiry. They provide example resources and a graphic organizer to help teachers envision similar historical inquiries that align with the C3 Framework's Dimensions 2 and 3. While the focus is exclusively on public statues of historical people, many of the considerations also apply to monuments of events (e.g., battles) or ideas (e.g., religious symbolism).

This case study of an art education program for medical students examines the efficacy of different types of content and modes of delivery. Through the delivery of art analysis, art history, sculpting, and life drawing seminars, art educators were able to teach empathy, observation, and flexible thinking to first-year medical students. This interdisciplinary approach to museum education can be used across many contexts to complement existing curricula.

In the United States, and in particular in the South, elected officials resistant to Black and brown demographic and cultural shifts have sought to destroy or block the histories and cultures of immigrants and minoritized from public discourse. United We Dream, an organization led by immigrant youth, is using public art to center minoritized visionmakers, history weavers, and storytellers whose experiences as immigrants awaken a mindset of abundance, racial justice, and Black and brown liberation in the broader public. Often, the concept of scarcity -- that there are not enough resources to go around -- undergirds the country's vast carceral and immigration enforcement systems. United We Dream's powerful cultural work aims to debunk these falsehoods and show the richness and abundance of communities nationwide.

Universities across the globe continue to reckon with memorialization and symbolism tied to racist histories. In this paper, the author uses Critical Race methodology to examine how 23 Black undergraduate students at the University of Cincinnati interpret and experience one such symbol--the namesake of an enslaver--memorialized throughout campus. The enslaver, Charles McMicken, bequeathed money for what would become the University of Cincinnati explicitly for the "education of White boys and girls." The author begins with the assumption that the namesake is a symbol of White supremacy. Using Critical Race Theory, the author analyzes: (1) to what extent this symbol shapes students' campus experiences; and (2) the mechanisms by which students' learned of the racist histories behind the symbol. The data presented demonstrates how counternarratives surrounding this symbol were shared and how the concept of racial realism--the belief that racism is permanent--might be useful in understanding how Black students are not completely demoralized by such symbols.

Due to the rapid development and advancement within various fields, the scope of knowledge is expanding at a staggering pace. In modern education, experts and teachers makes efforts to eliminate fragmentation of the school curriculum and to modernize the manner of teaching thus optimizing the learning process. In planning art lessons, teachers must adopt an appropriate teaching strategy that enables students to acquire knowledge efficiently and holistically, encouraging the creative solving of art tasks. The present article presents some conclusions of experimental research undertaken to determine the effects of the implementation of a teaching process involving cross-curricular integration. The study involved 274 fifth-grade students and 14 single-class teachers from seven selected Slovenian primary schools. It was found that teachers achieved better learning outcomes by using teaching strategies with cross-curricular integration in sculpting tasks as part of the learning process in art education. The proposed guidelines for teaching art concepts will help teachers to overcome specific obstacles in planning activities for the visual arts learning process, while students will benefit from an increased connection between subjects and integrated knowledge of the visual arts.

The present study describes a creative teaching approach utilizing two works of art in environmental education teaching, making the teaching of material recycling and reuse more experiential, participatory, and original. The third work of art, selected and presented by the learners themselves, "completed the picture" of this innovative approach. Therefore, as the study proves to have the right encouragement, the learners can broaden their cognitive capacities, while through discovery learning they can come in contact with artworks that they did not even know that existed until recently.

Spatial interpretation features as a skill to acquire in the educational curricula. The visualization and interpretation of three-dimensional objects in tactile devices and the possibility of digital manufacturing with 3D printers, offers an opportunity to include replicas of sculptures in teaching and, thus, facilitate the 3D interpretation of the sculptural heritage. In this research, an open access 3D educational resource is created for teaching in the aim of Art and drawing subjects. In Santa Cruz de Tenerife, Spain, fifteen students of "High School", worked in a traditional 2D environment and in a 3D environment with sculptural heritage replicas in digital and tangible versions. The three-dimensional interpretation of the sculptures is evaluated with a 3D viewing test created for this experiment, to verify whether the material used does indeed facilitate the 3D interpretation. The results show a greater difference using 3D representations compared with the 2D versions in the three ambits analysed. In modularity, the percentage of correct answers in the 3D viewing test are 84% with 3D technologies, versus 40% with 2D representations, in volumetry, 90,7% versus 72%, but in orthogonal views is where the biggest difference is with a 76,7% of correct answers in the 3D viewing test using 3D technologies versus 0% using 2D versions.

This exercise aims to familiarize students with the underdiscussed topic of the role of context in coaching through a physical activity. It consists of a group sculpture--a combination of socio-drama, systemic constellation, and social presencing theater--drawing from a coaching case of an ethical dilemma, using the placement and arrangement of participants to represent the stakeholders and context (economic, legal, sociological, etc.). The visual and embodied representation aims to raise awareness and develop understanding of the invisible--but often felt--contextual factors at play in coaching, to generate reflection about their influence, and to offer insights on how to identify and embrace them. This activity is primarily aimed for coaching educators and supervisors, but a slightly adapted version could expand its benefits to a more general audience of managers and leaders.

The Black Lives Matter campaign has led many people around the world to reassess monuments that are installed in public spaces to commemorate historical figures. These reassessments raise questions about what it means to attack the statues of the past, what the rights and wrongs of such actions are, what this teaches us and how all this is passed on to the next generation. In line with this, I focus on a statue of the former dictator of Korea, Chun Doo-hwan, installed in 2019. The purpose of the statue was, however, somewhat different from that of many other statues currently at issue. It was erected for the purpose of humiliation rather than respect. By examining the case of the statue of Chun Doo-hwan in Korea, this paper discusses the nature of democracy in relation to these attacks on statues. In particular, it attempts to interpret the installation of the statue as a form of art for an emancipated community, where democracy is understood as involving a haunting of the collective memory. It concludes that democracy is something never to be grasped fully, something that slips away from its intentions and that is always to be tested and reconsidered. Finally, the paper addresses the educational significance of the statue in question in terms of how history is to be taught and how, in our interactions with the statues around us, the past is to be remembered.

Statues are in the news. Controversies are swirling around the slave trader and philanthropist Edward Colston in Bristol, Confederate generals, soldiers and leaders in the United States, and the sculpture in honour of Mary Wollstonecraft in Newington Green in North London. In some cases, the attacks have been physical as well as verbal, and such moves have provoked counter-moves in defence of certain statues or statues of a certain kind. People are paying attention to and reflecting on monuments that they might normally pass by without a glance or thought. Nor has the conversation simply been about the authorised and unauthorised relocation or dismantling of statues: there has also been considerable enthusiasm for erecting new ones. In this paper, I argue that it is healthy to have such debates and important in a functioning democracy. However, before we can consider why some statues and monuments have become so controversial, and how best to resolve the controversies, we first need to understand the many different reasons why statues might be erected in the first place, and why they might continue to be valued and preserved. We also need to consider secondary intentions in their creation, and other social functions they might serve, whether intended or not. We need to reflect on the who, how, where and when of statues before we can understand their defacement or destruction.

In recent years, the removal of monuments which glorify historical figures associated with racism and colonialism has become one of the most visible and contested forms of decolonisation. Yet many have objected that there is educational value in leaving such monuments standing. In this paper, I argue that public monuments can be understood as speech acts which communicate messages to those who live among them. Some of those speech acts derogate particular social groups, contributing to their marginalisation in much the way that slurs do. Comparing derogating monuments to slurs is also productive in suggesting morally appropriate responses to their harms. I explore the limits of the use-mention distinction in relation to the harmfulness of slurs and apply this to show that attempting to recontextualise harmful monuments in situ--by, for example, changing the text on an accompanying plaque in order to retain the monument for its educational value--will not solve the problem in most cases. I conclude that the removal of slurring monuments, or their relocation to museum exhibitions dedicated to presenting a more critical view of history, is a more robust and reliable way of protecting against harm, and that this consideration outweighs any purported educational value in leaving monuments in place.

In pursuit of an alternative perspective on the so-called 'statues controversy', this essay brings recent interpretations of the enduring 'power', 'gaze' and 'magic' of statues into alignment with critical histories of iconoclasm, sacred and secular, and New Materialist accounts of our multiple entanglements with the object histories of inherited monuments. Opening with a close reading of Percy Bysshe Shelley's renowned 1818 sonnet, 'Ozymandias', the essay applies the resultant theoretical synthesis to argue for the general restraint of popular iconoclastic and demolitionary acts and largely to caution against the mimetic violence of statue removal in favour of fresh, educative and iconotropic ways of 'making legible', and 're-reading', statues, pedestals, inscriptions and their diverse contexts past and present.

Stacy Boldrick is a Lecturer in Art Museum and Gallery Studies at the University of Leicester, where she conducts research in iconoclasm and its significance for social groups and institutions. She is the author of "Iconoclasm and the Museum" (Routledge, 2020). In 2013, she collaborated with Tabitha Barber to curate Art Under Attack: Histories of British Iconoclasm, an exhibition at Tate Britain. The present interview took place in the aftermath of George Floyd's murder and against the background of the ensuing worldwide anti-racism movement and protests when many debates on what should happen to monuments linked to the Confederacy, slavery and colonialism were put in the spotlight. The interview explores the historical and social consequences of iconoclasm, with a particular focus on the role of monuments within the current anti-racism movement. Lily Jean is studying Politics and International Studies at the University of Warwick.

There are many things that can be done to educate young people about historical monuments in schools. At the same time, however, we argue that there is little warrant for optimism concerning the educational potential of classroom instruction given the institutional constraints under which school teachers must labour. For these reasons, we think it best to expand the scope of educational possibilities one is willing to consider.

This paper takes a "natural history approach" (Erickson, 1982) in describing and analyzing the making of a fanciful object--a wind sculpture--by a young woman and a staff scientist in a youth outreach program called X-Tech at the San Francisco Exploratorium. Working from audio-video footage, audio recordings, and "in situ" notes, I provide a report of how a wind sculpture evolved from idea to functioning artifact over the course of two days. I draw on a six-year ethnographic relationship with a network of educators at the Exploratorium to situate the conjoint social action. The "characters" in this account are the adult and youth participants along with the material and ideational tools. I show how opportunities to engage in experiences that foster growth were made common and plentiful by this network of educators and youth participants. I also show how those opportunities were generated and entered into by participants of different ages and social roles, and how people made their way through opportunities to learn by thinking and talking in tandem.

This article examines how dress fashion in outdoor sculptures of the 1990s in the Accra cityscape accentuated feminist activism, sensitised child right campaigns, and encouraged girl-child education in support of governmental efforts and activism of civil society organisations in Ghana. It gives attention to how dress fashion of the time was used in the social construction of feminist identities and the promotion of child rights through outdoor public cement sculptures. The study takes a multidisciplinary dimension of looking into the synergy of using public sculpture for multiple attention-seeking constructs: dress fashion, feminism, child right and education. Simple narrative analysis was used in the presentation of data gathered through observation and photographic documentation of selected public sculptures of the 1990s in the Accra Metropolis. The study revealed that "kaba" fashion and precolonial feminine wraparound dress styles, contributed to the creation of feminist identities and intensified feminist activism in Ghana in the 1990s.

As a hauntological artist, I deconstruct my silenced First Nation Wolastoqiyik (Maliseet) ancestry and look towards the intergenerational narratives of my grandmother, mother, and I. Employing the methodology of a/r/tography, the intersection of autobiography and art-making, I utilize diverse art forms to find that g(hosts) reside amongst spaces of liminality. Supported by the methodology of a/r/tography and drawing upon works, which blur the boundary between past and present, self and other, I deconstruct the silencing of my First Nation lineage by creating three art(works). These art(works) are placed within an exhibition catalogue and inquire into 1) the specters that loom between the evocative objects of our narratives, 2) how script-writing and the script's performance can reveal ghosts in spaces of liminality, and 3) how sculptures facilitate spectral movement. Each individual art(work) plays a role in breaking the silence. A(wake), specters arise.

The United States' collective memory focuses on the nation's story as one of progress and freedom, yet the experiences of many citizens, particularly citizens of color, are in contradiction to this collective memory. Today, there is a small yet growing collection of counter-monument installations around the country that tell a counter-story to remember the nation's past. In this article, the authors discuss how teachers can use counter-monuments to teach the marginalized histories often left out of the standard history curriculum. They focus the content on a set of counter-monuments at Kelly Ingram Park in Birmingham, Alabama that give voice to the experiences of youth during the Children's Crusade of the Civil Rights Movement.

This article discusses the development of an immersive virtual reality (VR)-infused Makerspace for experiential learning. Students in an advanced-level Russian course used a Makerspace to complete a three-part project aimed at language and cultural learning through art and presentational speaking. Participants completed a survey about their experience at the end of the project, thus providing some data by which to assess its success. Students used Oculus Rift headsets to view 360-degree target-culture images and engaged in a hands-on sculpting activity that resulted in printing 3D models. Learners also used iPads for a painting activity, which was then compared with the VR sculpting task. The survey results showed that the Makerspace, and using VR in particular, was a success. Positive outcomes included facilitating task motivation, fostering speaking and artistic creativity, enabling deeper learning and focus on the task, assisting with cultural development, and enjoying learning by doing/making. Suggestions for future Makerspace projects in language labs are discussed.

This article takes as its focus the doing of pedagogic affect. We are not so much concerned with what pedagogic affect "is" as what it "does" and how it might do more. We revisit Spinozist concepts of affect, as taken up by Deleuze and Braidotti, in the context of affirmative ethics. Bringing assemblage thinking together with empirical material generated through two qualitative research projects, we map affect-ethics relations within a classroom-citizenship-test assemblage and a kinetic-fungi-tower-sculpture assemblage. Pedagogic affect emerges as constitutive of ethical subjectivities in a nexus of affect, pedagogy and power. We argue that attending to affective and material-discursive relationality in all pedagogic processes affords a practice of response-able pedagogy and invites an ethics of affirmation that augments the affective capacities of learner- and teacher-bodies, enlarging their potential to engage in ethical action.

This conceptual article uses new materialism, and its particular focus on material things, as a lens of analysis in social studies education in order to demonstrate alternative ways in which social studies education researchers and teachers might engage in inquiry. Historically, social studies curriculum and teaching have centered human agency and its domination of the material, natural world. However, this article argues that an attendance to things, and to the relational-material entanglements we find ourselves in, might guide us toward a reconsideration of how particular ideals and concepts are (and ought to be) represented in social studies curriculum, teaching, and learning. This article models how social studies analyses of material things in past and current events might take shape, exploring how natural things like Hurricane Maria and COVID-19, as well as human-made things like statues, parks, and textbooks, are both agentic and capable of impacting--diminishing or enhancing--the agency of human beings. We discuss how social studies teachers and teacher educators might enact such a focus in their classrooms, offering examples of how natural and human-made things might be integrated into social studies curriculum and teaching.

This conceptual article is anchored on critical phenomenology to challenge the monopolisation of visual arts by the sense of vision, thus depriving visually impaired people of aesthetic value beyond ordinary cognitive faculties. In this study, we discuss the forms of painting, drawing and sculpting defined as Visual Arts referring to appreciation only by vision; thus, excluding the visually impaired as unable to appreciate or create by sight. This exclusiveness has dominated and directed art aesthetics and ethics, allowing aesthetic criteria research projects and educational curricula to be established and, conventionally, maintain their static existence unchallenged. Furthermore, vision exclusiveness limits creative thinking and artistic inspiration. This article demonstrates the need and importance of broadening students' artistic conceptualisation of inclusiveness in Visual Arts by exploring three fields of humanities education, i.e., academic, educational and sociocultural. The article challenges established stereotypes by introducing innovative approaches and opening alternative channels of creative and critical thinking in higher art education. From a sociocultural viewpoint in the South African context, the analysis questions the validity of certain firmly rooted stereotypical concepts about art values and standards by encountering the visually unimpeded and impaired. While the research broadens students' artistic conceptualisation of inclusiveness in Visual Arts, it simultaneously promotes the concept of hephapreneurship (hepha+preneurship), a neologism inspired by the Greek god, Hephaestus, protector of arts and crafts, himself handicapped. The term does not draw attention to the inabilities of persons with visual impairment, but their creative abilities through encouragement and motivation. By direct and open exposure to the problem, the research promotes the importance of arts education as a challenging platform for interaction between two, by definition, opposed realities.

In this article, Sue Uhlig highlights the mixed-media artwork of vanessa german. german uses everyday objects like bottle caps, spoons, and coins assembled en masse to create different assemblages, including power figure sculptures. Through these re-collected objects of the past, german shapes new associations in the present and helps direct future narratives in how they are written, uttered, or imagined. In addition to her mixed-media artwork, german's commitment to socially driven work with community is important for contemporary discourse on social justice and the Black Lives Matter movement. In this resource, Uhlig heeds the call to implement an anti-racist curriculum by amplifying Black visual culture and lifting Black voices, centering an African aesthetic of crafts media and nontraditional materials, and to actively disrupt racism through an anti-racist approach. Uhlig does so by focusing on three goals. First, she introduces art educators to the art of contemporary Black artist vanessa german, highlighting her role as a citizen artist. Second, she focuses on german's artistic practices using nontraditional media to create power figures and assemblages that celebrate the power of art. Third, she provides anti-racist curriculum connections geared for 8th grade and above. Throughout this instructional resource, german's voice is highlighted from a video interview Uhlig had with her specifically for this resource.

Models of creative problem solving are predicated upon mental states to explain everything from the outcome of problem-solving experiments to the emergence of artistic creativity. We present two converging perspectives that describe a profoundly different ontological description of creativity. Our analysis proceeds from a distinction between first-order problem solving, where the agent interacts with a physical model of the problem and second-order problem solving, where the agent must cogitate a solution to a problem that is presented as a verbal description of a state of the world but where the agent does not or cannot transform physical elements of a problem. We acknowledge the recent evidence that foregrounds the importance of working memory in problem solving, including insight problem solving. However, we stress that the impressive psychometric success is obtained with a methodology that only measures second-order problem solving; we question whether first-order problem solving is equally well predicted by measures of cognitive or dispositional capacities. We propose that if mental simulation is replaced by the opportunity to engage with a physical model of a problem then the environment can provide affordances that help the participant to solve problems. In the second part of the paper, we present the subjective experience of an artist as he monitors the microdecisions that occur during the morphogenesis of a large, clay, sculptural installation. The testimony is a vivid demonstration that creative action occurs, not in the brain, but in the movement between the hand and the clay. Insight becomes outsight.

The introduction of Western education to Nigeria has brought in its wake great strides toward development. Changes in Benin dates far back to the dawn of the 20th century. This paper investigates the critical role of education in development. The paper integrates interview data collected from bronze casters in Benin. The first section of the paper discusses sustainable development in Nigeria involving an infrastructure that supports accessible educational system and Benin social values. The second part of the paper discusses the present dispensation of bronze casting by Olotan casters of Benin. The paper identifies education as being critical to sustainable development. Some characteristics connected to development in the practice of bronze casting in Benin include visioning, relaxing of age old practices and acceptance of western influences.

It is important to celebrate our heroes and heroines, who in diverse ways, bring development to nations, peoples and places. These important personalities should be identified and acknowledged by the beneficiaries of their labor, and be given the due recognition. It is in light of this that Ho Polytechnic, now Ho Technical University, decided to label the names of her heroes and heroines on the various structures in honor of their contributions towards the success of the Institution. The main aim of this study is to create the awareness that three dimensional or relief sculpture, could be the appropriate ways of keeping visual records of renowned personalities, or important historical figures of an Institution, instead of only graphical representations of their names on buildings. The main tools used in this research were interviews and the internet to identify and ascertain the facts about the Ho Polytechnic's heroes and heroines. The study stressed the use of busts and relief sculptures to portray images of the heroes and heroines of the Ho Polytechnic which is backed by their concise histories.

Modern methods of biometric identification are increasingly applied in order to attribute works of art. They are based on developments in the 19th century anthropological methods. So, this article describes how the successional anthropological methods were applied for the identification of Benvenuto Cellini's portraits. Objective comparison of facial parameters was used for a scientific method of face-biometrical identification. For purposes of biometric identification of Benvenuto Cellini's face through anthropological comparison 12 works of art were selected; in each of the selected portraits the following six anatomic points were marked, according to the Perrot's method were calculated ratio, which were analyzed. The biometric parameters of faces under comparison by the Perrot's method are represented as an arithmetic mean of the values of angles and indicators. The main characteristic facial details of Cellini's works, such as the shape of nose, eyes, protruding lower lip, and eyebrows are identified. [Note: The issue number (4) displayed on the PDF is incorrect. The correct citation is v11 n17.]

The community engagement project described in this article took the form of the re-invention and re-interpretation of a historic symbol (Diana the elephant) on the Potchefstroom Campus of North-West University (NWU), South Africa. In 2015, the Faculty of Education Sciences invited staff and students to reinterpret the elephant (a symbol of education, longevity, wisdom, care, stamina, memory) in a new and more multicultural, multilingual, inclusive and environmentally conscious South Africa. The participatory process described, and the related outcomes, involved learning by students and academics across disciplines (the conceptualisation, design, engineering and creation of the structure) and collaboration between academics, children and adults from the community, all with a strong service-learning dimension in relation to teacher education.

Today several contemporary artists are using their artistic talents to help bring attention to the immigration debate. Westover School, the independent school where author Sara Poskas teaches, decided to address these issues by inviting one such artist--award-winning artist and architect Mohamad Hafez, a native-born Syrian, raised in the Kingdom of Saudi Arabia, to oversee a term-long project. Drawing from his own life experiences, Hafez has become a leading voice for refugees around the globe. In creating this project, the school, together with Hafez, addressed the concept of what makes a "home," as well as what the loss--and gain--of a home means. Hafez collaborated with Poskas, to oversee the term-long course, Exploration and Expression, in which he asked each student to depict their own unique concept of home using found objects. Eventually this project grew in scope, involving the wider school community. In the end, Hafez's work with the class turned out to be much more than just an artist residency. By involving faculty from several disciplines from the beginning, and having an open-door policy so that students, faculty, and administrators could join during the process, the project grew far beyond a sculpture project to include substantive learning in history, immigration, geography, world religions, and memoirs.

This article outlines an activity that uses sculpture with pre-service teachers to facilitate the creation and articulation of their educational philosophies. The author describes the purpose and added benefits of this activity. A short review of relevant literature embeds arts based practices in historical foundations as well as in a growing current research base that encompasses depth psychology and holistic learning. A description of the activity and prompt are provided and the article concludes with thoughts on the benefits of using the arts in pre-service teacher classrooms.