The implications and practices of two transcultural artists : Gu Xiong and Xu Bing in Chinese immigrant descendants’ art education
Bibliographic record
Abstract
This study has investigated the problems that Montreal Chinese immigrant students encountered during their learning Chinese culture as they are also attempting to integrate into local culture. A research approach was taken to determine whether the study of two transcultural artists, Xu Bing and Gu Xiong, can help the students learn their own culture and the local culture. From the case study, it was found that the two artists' work and their attitudes have a great potential to help students bridge the host culture and their heritage culture. I have also designed lessons with power point presentations about these two artists and tried to use them in the teaching practices at a Chinese weekend school. However, I was not able to implement this teaching approach in the school due to their little awareness and interest in art and the economic concerns with their children's future career selection. From cultural art activities in both Chinese and English schools, I found Banks (1989) level one and two approaches could stimulate students' interests in cultures and arts but do not much help students understand how the local culture and other cultures are interconnected and interrelated. Although the contributions and additive approaches represent possible beginnings for helping students to understand art from Chinese culture and other cultures in general, when I tried to move further to a higher level of cultural integration in the Chinese school I was not successful. The implication from the case study of these transcultural artists demonstrated that their work could provide linkage between Chinese culture and North American culture. It also related to Chinese immigrant students' life. In my thesis, I tried to demonstrate that the transcultural artist approach could reinforce a cross-cultural understanding especially for Chinese immigrant students to learn the relationship between their own culture and the local culture. I also tried to explore whether we can move from lower level approaches to the higher level approach identified by Banks (1989) to reflect sociocultural diversity in the curriculum by studying these two transcultural artists, Gu Xiong and Xu Bing.
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".