Notice bibliographique
Résumé
A/r/tography: Rendering Self through Arts-based Living Inquiry Rita L. Irwin and Alex de Cosson (2004). Vancouver, BC: Pacific Educational Press. 220 pages. ISBN 1-895766-70-2Reviewed by Barbara BickelThe University of British ColumbiaIn recent seminar, curriculum historian and theorist William Pinar spoke of the growing renown of a/r/tography in North America. It does not come as surprise then that he has written the Foreword to the first edited compilation of a/r/tographic work. Pinar highlights scholars who have preceded and informed this integrative scholarly practice: Green, Huebner, Eisner, Grumet, Aoki and others. Pinar recognizes this book as a significant advance in the sector of scholarship and research ... characterized as understanding curriculum as aesthetic (Pinar, cited p. 23). The influence of Aoki, in particular, is present as the a/r/tographers live and render the in-between spaces (represented by the slashes in the word a/r/tography) of borderlands in this arts-based of living inquiry.Irwin's Introduction offers an engaging theoretical overview of a/r/ tography with its integration of theoria, praxis, and poesis, or theory/ research, teaching/learning, and art/making (p. 28). Although Irwin does not have chapter in the collection, I found myself returning to her Introduction numerous times as I moved through the chapters of the book. It provides rich contextual ground that adds new insights into understanding a/r/tography with each re-read.Irwin likens the life of the artist/researcher/teacher to life that embraces metissage existence that integrates knowing, doing, and making,... that desires an aesthetic experience found in an elegance of flow between intellect, feeling, and practice (p. 29). She encourages artists/researchers/teachers to embrace multilectical view (p. 28) that moves beyond dialogic opposition through opening third space for meaning-making; not favoring any one category or discipline, yet existing between and amongst them all. The a/r/tographers in this first collection are visual artists, researchers and teachers, who are committed to living life of deep meaning enhanced through perceptual practices that reveal what was once hidden, creat[ing] what has never been known, and imaginfing] what [they] to achieve (p. 36).A/r/tography as living inquiry incorporates the transformative practices of action research and autoethnography. It combines and unites the visual and the textual, allowing doubling of meaning to emerge from the and the writing, which is distinct and complementary. Irwin offers the idea of theory as a/r/tography where Art is the visual reorganization of experience.... Research is the enhancement of meaning... and... Teaching is performative knowing in meaningful relationships with learners (p. 21). She argues that theory includes the discussion and analysis of text, combined with visual imagery which emerges from educational experience.Irwin and de Cosson have organized the book into three parts: (1) Explorations of Self: Fragments and Meaning; (2) Self Process: Learning and Praxis; and (3) History and Self: Temporal Spaces. Visual images of each author's complement and extend the text aesthetically. Throughout the book, the contributors reflect autoethnographically on their roles as artists/researchers/teachers and engage the complicated conversations that arose through their a/r/tographic process. Part One is woven with the thread of personal revelation. Sylvia Wilson explores the narratives hidden behind the public face of the teacher, that of mothering, loss and hope (p. 42). She maneuvers this delicate terrain with an emergent understanding of art not just as an investigative process and research but as spiritual as well (p. 57). Stephanie Springgay pulls the inquiry thread into troubling sutures of the abject body and the ecstatic step towards.. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».