Making sense. What can we learn from experts of tactile knowledge?

Groth, Camilla; Mäkelä, Maarit; Seitamaa-Hakkarainen, Pirita

doi:10.7577/formakademisk.656

Cited by 13 publications

(12 citation statements)

References 7 publications

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“…To deepen the discussions, the second author helped each student individually to throw clay on the potter's wheel while blindfolded. This exercise was designed to reduce the powerful impact of sight and let other senses experience the material (Groth, Mäkelä, Seitamaa-Hakkarainen, 2013 ).…”

Section: Figurementioning

confidence: 99%

Studying Material Interactions to Facilitate a Sense of Being with the World

Aktaş¹,

Groth²

2020

Proceedings of DRS

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Material interactions are fundamental to design and craft education; however, they might also provide opportunities to reflect on sustainable behaviour in general. In this paper, we present an interdisciplinary undergraduate course in which students interacted with clay and wool. By engaging novices in material-based craft processes, we examined renewed ways of experiencing the materials to reconsider our everyday material interactions and our dependency and responsibilities in regard to materials in general. Through this example, we discuss the potential of craft practice as an educational platform to discuss materiality and to facilitate a deeper and more holistic understanding of the consequences of our material behaviour beyond the creative practices. The students' reflections over the five weeks touched upon their renewed appreciation of materials, and their changed interactions with materialsmoving towards a dialogical stance rather than only using them as a means to an end.

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Section: Figurementioning

confidence: 99%

Studying Material Interactions to Facilitate a Sense of Being with the World

Aktaş¹,

Groth²

2020

Proceedings of DRS

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“…105-106). Due to the traditional hierarchy of the five senses, the tactile sense seems to be subordinated to visual and audio (verbal) senses (Groth et al, 2013); however, it is through the sense of touch (with all parts of our bodies) that we communicate with our surroundings in the most intimate ways (Steinslie, 2010). Embodied ways of knowing are mistakenly and unfairly repressed by verbal forms of knowing (Ingold, 2013b).…”

Section: Embodied Learningmentioning

confidence: 99%

More-than-human perspectives in understanding embodied learning

Fredriksen

2020

FormAkademisk

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Abilities to learn through embodied interactions with environments are biologically imprinted in both humans and many other species in order to preserve survival of the species. By combining data from studies with young children’s and a foal’s (a newborn horse’s) experiential learning, the author shows how both humans and other-than-human learn thought self-initiated actions, embodied intra-action with their environments and considerate choices of action. The article suggests that a justification of embodied learning as crucial for survival across species could motivate deconstruction of dualisms between embodied and verbal, between human and other-than-human, and promote more holistic understanding of learning. In the times of emerging ecological challenges, embodied forms learning can cultivate ecological awareness and provide conditions for education for ecological sustainability.

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“…Data, both visual and written, generated by critical friends and OBL team members is considered in this paper. Critical friends participated in a tactile-based craftwork activity (Groth et al, 2013) with accompanying freewriting (Elbow, 1998). OBL team members undertook various activities to explore their practice.…”

Section: Image 2: An Exhibition Of Artefacts: Paper Bag Artefacts To Prompt Reflection Image 3: An Exhibition Of Artefacts: Displaying Thmentioning

confidence: 99%

Considering Craft- and Arts-Based Practitioner Inquiry Activities as a Prompt for Transforming Practice

Childs

Mapasa

Ward

2020

Educ. res. soc. change.

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Craft- and arts-based procedures, as examples of aesthetic communication, have the potential to inspire new ways of being and doing in the context of student support activities in higher education environments. In this article, we share our experiences of using craftwork and arts-infused activities to examine our practice. In our research undertaking, we collaborated creatively in order to scrutinise and question our taken-for-granted and usual student support practices. The purpose of our inquiry was to engage with specific craft- and arts-based procedures in order to discover how transformation of practice, prompted by creative activism, could be realised. To achieve this, we developed an innovative, Crafting Connections, procedure. This hands-on technique adds to the creative repertoire available to scholars and practitioners. Material sense making employing this craftwork process and arts-based activities facilitated the exploration of student support practices. Using visual activism and a transformative activist stance as theoretical perspectives, images, crafted artefacts, and collage work were scrutinised. This positioned us to make an argument for the coalescing of understanding and prompting of transformed practice informed by creative action and insight. Through craft- and arts-based practitioner inquiry activities, we gained insights regarding ways of creating a transformative learning space for students and staff to grow towards their goals and realise their intentions in a mutually beneficial manner. Our reflections further revealed that it is essential for staff to balance nurturing with respect for agency as a key action in the student support process.

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Making sense. What can we learn from experts of tactile knowledge?

Cited by 13 publications

References 7 publications

Studying Material Interactions to Facilitate a Sense of Being with the World

Studying Material Interactions to Facilitate a Sense of Being with the World

More-than-human perspectives in understanding embodied learning

Considering Craft- and Arts-Based Practitioner Inquiry Activities as a Prompt for Transforming Practice

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