Search Results (33)

This paper explores the potential of interdisciplinary teaching that combines science and fine art to foster students’ responsible engagement with environmental and social challenges, positioned as an important contribution to sustainability. Within a participatory action research project conducted over five cycles in a Slovenian primary school, the Model of Interdisciplinary Teaching in Science and Fine Art (MITSFA) was developed. It integrates problem-based science tasks, experimental work, reflective discussions, and art assignments with a strong communicative and esthetic dimension. The paper analyses activities that encouraged scientific inquiry, critical thinking, and visual interpretation of complex phenomena, ranging from material properties to sustainable spatial planning. Empirical data include students’ artworks, interviews, written reflections, and the teacher’s research diary. Findings suggest that combining scientific exploration with visual expression deepens understanding, fosters emotional engagement, and promotes environmental and social awareness. Students showed greater sensitivity to complexity, ability to recognize layered meanings, and readiness to express their worldview through art. It can be concluded that meaningful learning emerges where scientific and artistic processes are interconnected, highlighting the teacher’s role as a creative facilitator bridging investigation and interpretation. The study demonstrates how integrating science and fine art in primary education directly supports education for sustainable development by cultivating environmental awareness and responsibility. Full article

This article undertakes a cross-cultural comparative inquiry into the motif of “women’s weaving” in medieval Daoism and Christianity. Although the two traditions developed with minimal historical contact, both elevate women’s textile labor into a central metaphor for cosmogenesis, sacred order, and individual salvation. Nevertheless, their hermeneutic trajectories diverge in essential ways. Working within a tripartite analytical framework (intellectual roots, artistic images, ritual practices) to argue that Daoism interprets “women’s weaving” as a proactive technique of transformation and nurture, based on a cosmology of immanent huasheng lun. In this reading, the image is affiliated with the cosmic creativity of nüxian, the inner transformation of their body, and the autonomous pursuit of transcendence. By contrast, within Christianity’s transcendent theological horizon of creatio ex nihilo, “women’s weaving” is configured primarily as an ethical discipline of responsive obedience, closely tied to the mystery of the Incarnation, the imitatio Dei, and communal spiritual exercises and charity under monasticism. The cross-cultural resonance of this motif, I contend, is grounded in the “men’s ploughing and women’s weaving” economic formation, patriarchal gender order, and shared symbolic cognition; its decisive bifurcation arises from contrasting deep cultural structures—namely, cosmology, conceptions of the body, soteriology, and church–state arrangements. Through this micro-case, the article further argues that the sacralization of secular gender roles constitutes an agentic cultural choice, one that indexes distinct civilizational pathways in understanding creation, nature, the body, and freedom. Full article

In this project, Anishinaabe artists and knowledge carriers worked with non-Indigenous classroom teachers to explore the cultural significance and mathematics of making wiigwaas makakoon (birch bark baskets). The artists spent two weeks in two grade 6 classrooms teaching students the process of basket making. They combined Indigenous pedagogy and intentionally designed inquiry tasks in order to generate mathematically related concepts. To make cultural–mathematical connections, we looked to Battiste’s characteristics of Indigenous pedagogy and explored how the learning that took place was holistic, part of a lifelong process, experiential, rooted in language and culture, spiritual, communal, and an integration of Indigenous and Eurocentric knowledges. Mathematically, students explored measurement with non-standard units, bisected angles without the use of a protractor, and explored the best way to optimize the capacity of their baskets. This work is an example of integrating Indigenous knowledge and heritage into elementary mathematics instruction. Full article

Teaching is among the most fulfilling yet psychologically demanding professions. Expanding administrative responsibilities, technological adaptation, and increasingly diverse student needs have intensified workloads and contributed to widespread burnout and attrition. For arts educators, these pressures are compounded by the challenge of sustaining multiple professional identities as an educator, researcher, and artist (ERA) within institutional systems. Grounded in Structural Symbolic Interactionism and Social Identity Theory, this autoethnographic inquiry examines how integrating these identities within a portfolio career can enhance professional efficacy and personal well-being. Using reflective narrative analysis framed through the perspective of the educator–researcher–artist, this study emphasizes identity security as central to sustaining creativity, engagement, and career longevity. Findings suggest that balanced engagement across artistic, pedagogical, and scholarly domains mitigates identity fragmentation and reduces the risk of vocational burnout. The article concludes with a call for institutional frameworks that legitimize creative and research activity as integral to educational practice. Supporting such multidimensional engagement enables educators to maintain authenticity, motivation, and resilience in contemporary learning environments. Full article

This article commences from a transdisciplinary research setting where students, artists, activists, and researchers come together to investigate medieval travelling accounts. The article is structured in two main parts. The first part presents an exploration of the theoretical framework of an hermeneutics of charity and suspicion as well as a development of a methodology that probes at the “cracks” of colonial pedagogical and scholarly structures. In the second part, the article uses critical inquiry and shared learning experiences to examine Marco Polo’s The Travels, focusing on his descriptions of dancing. Specifically, it investigates what Polo’s text conveyed—and omitted—about the relationship between intimacy, eroticism, and dance for a European audience. Combining auto-ethnographic reflections with stories from the communal learning process, the article invites readers to consider how collective inquiry reshapes our understanding of historical texts. In addition to questioning Polo/Rustichello’s portrayal of religious dance through his mercantile and sexualised gaze, the author also challenges some previous scholarly interpretations of Polo as an agent of European colonial endeavours. Finally, the paper offers a method for rethinking how researchers approach dance and university education, as well as practical tools for how historical accounts can be explored in a way that prevents discernment from overshadowing what can be gained from attunement. Full article

Street art increasingly reshapes aesthetic hierarchies by introducing previously marginalised media into the public sphere. A compelling example is the artistic practice of the Polish artist NeSpoon (Elżbieta Dymna), whose work merges the visual language of traditional lace with the communicative strategies of contemporary urban art. Active since the late 2000s, NeSpoon combines stencils, ceramic lace imprints, and large-scale murals to translate the intimacy of handcraft into the visibility of public space. Her works function as both aesthetic interventions and acts of civic pedagogy. This study employs a qualitative visual research design combining multi-site digital inquiry, iconological and semiotic analysis, and mini focus group (N = 22). Three purposefully selected cases: Łódź, Belorado, and Fundão, were examined to capture the site-specific and cultural variability of lace murals across Europe. The analysis demonstrates that lace functions as an agent of cultural negotiation and a medium of heritage literacy, understood here as embodied and place-based learning. In Łódź, it monumentalises textile memory and women’s labour embedded in the city’s industrial palimpsest. In Belorado, micro-scale responsiveness operates, strengthening the local semiosphere. In Fundão, lace enters an intermedial dialogue with azulejos, negotiating the boundary between craft and art while expanding local visual grammars. The study introduces the conceptualisation of the monumentalisation of intimacy in public art and frames heritage literacy as an embodied, dialogic, and community-oriented educational practice. Its implications extend to feminist art history, place-based pedagogy, urban cultural policy, and the preventive conservation of murals. The research elucidates how domestic craft once confined to the private interior operates in public space as a medium of memory, care, and inclusive aesthetics. Full article

The integration of artificial intelligence (AI) in education offers novel opportunities to enhance critical thinking while also posing challenges to independent cognitive development. In particular, Human-Centered Artificial Intelligence (HCAI) in education aims to enhance human experience by providing a supportive and collaborative learning environment. Rather than replacing the educator, HCAI serves as a tool that empowers both students and teachers, fostering critical thinking and autonomy in learning. This study investigates the potential for AI to become a collaborative partner that assists learning and enriches academic engagement. The research was conducted during the 2024–2025 winter semester within the Pedagogical and Teaching Sufficiency Program offered by the Audio and Visual Arts Department, Ionian University, Corfu, Greece. The research employs a hybrid ethnographic methodology that blends digital interactions—where students use AI tools to create artistic representations—with physical classroom engagement. Data was collected through student projects, reflective journals, and questionnaires, revealing that structured dialog with AI not only facilitates deeper critical inquiry and analytical reasoning but also induces a state of flow, characterized by intense focus and heightened creativity. The findings highlight a dialectic between individual agency and collaborative co-agency, demonstrating that while automated AI responses may diminish active cognitive engagement, meaningful interactions can transform AI into an intellectual partner that enriches the learning experience. These insights suggest promising directions for future pedagogical strategies that balance digital innovation with traditional teaching methods, ultimately enhancing the overall quality of education. Furthermore, the study underscores the importance of integrating reflective practices and adaptive frameworks to support evolving student needs, ensuring a sustainable model. Full article

Drawing from the philosophies of pragmatism and somaesthetics, as developed by Richard Shusterman, this inquiry argues that performance holds a unique ontological status, one that emphasizes participation, shared meaning making, and the aesthetic qualities of ordinary, lived experience. As a philosopher trained as a dancer, I share some insights from my own experience as a performer offering a first-person aesthetic experience as a tool for conceptual inquiry. This experience allows the inquiry to explore the distinction between “scene” and “spectacle”, positioning the scene as a space of co-creation, in contrast to the distant, objectifying gaze encouraged by spectacle. By examining participatory projects and firsthand artistic experiences, I try to illustrate how performance can dissolve the boundaries between art and life, proposing a model of art that is shared, embodied, deeply connected to the rhythms of the everyday and gives foundation to a political transformation. Full article

The article examines my artist’s struggle for inner freedom in practice-led artistic research through the medium of drawing. This inquiry, framed within a Catholic perspective, investigates the idea that the quest for inner freedom is vital for artistic work that aims to create and communicate the ineffable. This article focuses on my strive to reach deeper levels of spiritual experience and to work from that state of consciousness. I explore the artist’s role as a mediator, connecting the invisible, intuitively understood dimensions, and making them visible through artistic creations. I conducted research by closely observing the artmaking process and the conditions in which it is undertaken. Research methodologies specific to the artistic field (visual arts) and the qualitative narrative research method were predominantly used. The process of preparation for the drawing by engaging in contemplative practice is also a subject of inquiry. The article highlights contemplative practices as tools for achieving inner freedom and unlocking creative potential. Full article

Meteorites have intrigued humanity for centuries, representing our enduring pursuit of knowledge and exploration of the cosmos’ enigmas. These celestial objects have not only influenced artistic expression and the formation of myths but have also fostered scientific inquiry. In this regard, meteorites are crucial to space research, offering valuable information about the early solar system, the formation of planets, and the development of organic compounds. Their analysis aids in deciphering cosmic processes and identifying resources that may support future space missions, making them essential for advancing planetary sciences. Meteorites are also cultural heritage items, with most known samples preserved in natural history museums. This paper deals with the Martian meteorites collected to date, focusing on NWA 16788, the largest individual Martian meteorite recovered so far. Full article

This review explores how intuitive processes drive innovation, which we define as novel ideas, inventions, or artistic creations that cannot be logically derived from existing knowledge or sensory data. Although intuitive processes are not yet fully recognized as a formal area of scientific research, this paper examines current approaches to their study and modeling. It highlights the necessity of integrating unconventional modeling methods with neuroscience to gain deeper insights into these processes. Key experimental studies investigating extrasensory abilities—such as remote viewing, precognition, and telepathy—are reviewed, emphasizing their potential relevance to innovation. We propose that combining these unconventional modeling approaches with insights from systems neurology can provide new perspectives on the neural mechanisms underpinning intuition and creativity. This review emphasizes the critical need for further research into intuitive processes to address complex global challenges. It calls for a more open, interdisciplinary approach to scientific inquiry, promoting the exploration of unconventional forms of knowledge generation and their neural correlates. Full article

In the mid-seventeenth century, Chinese Chan master Yinyuan Longqi 隱元隆琦 (Jp. Ingen Ryūki, 1592–1673), accompanied by several disciples, traveled to Japan and established Ōbaku Zen, a new sect of Zen Buddhism in Tokugawa Japan. Ōbaku art, particularly portrait paintings of Ōbaku abbots and their spiritual predecessors, became critical representations of the sect and greatly influenced later Japanese Buddhist art. While much of the existing scholarship focuses on the artistic and stylistic aspects of Ōbaku portraiture, this paper emphasizes its religious context and doctrinal dimensions. Building on Elizabeth Horton Sharf’s inquiry into the “meaning and function” of Ōbaku portrait painting, the paper investigates how Ōbaku doctrine is expressed through these images. Using the Triptych of Three Zen Masters: Linji, Bodhidharma, and Deshan as a case study, this paper explores the role of portraiture in visually conveying Ōbaku teachings and the religious aspirations of those Chinese immigrant monks. By examining the integration of image, inscription, and seal as a unified “pictorial trinity”, the paper argues that Ōbaku portraiture embodies the sect’s distinct doctrine, rooted in Ming-era Chan practices such as beating, shouting, and strict dharma transmission. Moreover, the prominence of Bodhidharma in Ōbaku portraits, as illustrated in the triptych, reflects these Chinese immigrant monks’ desire to emulate Bodhidharma in spreading the dharma and expanding their sect’s influence in a new land. Full article

Approaches that are transdisciplinary and participatory can help to address complex socio-ecological issues by integrating multiple disciplinary perspectives while taking into account the different needs and experiences of community members and other stakeholders. Despite this promise, such approaches are rarely applied within the scientific community, as researchers and public actors often lack the training, practice and reference cases required to handle the working relationships and translations of terminology, ideas and values across multiple bodies of knowledge. A case study described in this manuscript depicts a group of researchers, artists and citizens consciously engaged in the construction of a transdisciplinary process as part of a 40-day ‘citizen science’ experiment focussed on assessing soil fertility in the urban area of Milan, Italy. The group drew from recognised scientific approaches, applied agronomic methodologies, artistic practices and technological tools, integrating them into a hybrid process of collective and participatory inquiry. As a quantitative outcome of the experiment, a dataset of bio-chemical parameters was generated, which was enriched by agronomic interpretations but also by artistic and reflective materials. Importantly, the process developed transdisciplinary and participatory skills, as it created a potentially replicable procedure of engagement, analysis and presentation for use in other citizen science settings. This article presents the context, the multiple objectives of the research and the applied approach and its timeline. Described in detail are the process of designing and conducting the experiment by involving an extended research community—including both junior and senior researchers—in progressive steps. Quantitative and qualitative results are provided. The findings are meant to contribute case material and methods to inform the advancement of transdisciplinary research approaches within the scientific community as well as examples of ways to transcend the boundaries of science to include artists and community stakeholders. The aspiration is to inform and inspire concrete application of transdisciplinary and participatory methods in concert to address complex socio-environmental challenges. Full article

We argue that an epistemology of martial arts is at least as complex as advanced epistemological positions available to the philosophy of science. Part of the complexity is a product of the epistemic relation between the knower and known, or the scientist and the object of inquiry. In science, we measure things without changing them and, sometimes, complex systems can change as we measure them; but, in the epistemology of sport that we are interested in, each measurer is also an object of inquiry. As such, each martial arts practitioner has to use various epistemic tools to measure a responsive system. We proceed in three steps. First, we discuss three epistemological frameworks in the philosophy of science—perspectivism, productivism, and distributed cognition. Second, we develop an epistemology of martial arts that features components from each of those epistemic frameworks. Third, we close the paper with a brief discussion about the unique complexity available to the martial artist, focusing on the responsive measurements that occur between two systems. Full article

This article explores the implementation of Connected Art Practice in diverse learning environments, serving as an immersive entry point for students and researchers to develop collaborative transdisciplinary skills. This innovative approach integrates audio, educational, and sustainability research, employing sound-interaction methods applied to tangible objects. Participants engage in exploring the interplay between objects representing interests or values, fostering the creation of a visual and linguistic network of interconnectedness. Inspired by artistic research, particularly Dérive, the practice provides experiences of connectedness to others and the environment, intertwined with reflections and discussions that foster a community of inquiry. This community collaboratively designs shared practices or projects, encouraging a holistic approach to transformative learning, addressing heterogeneity, complexity, authenticity, critical awareness, and emotional connectedness. All three case studies utilized qualitative analysis in artistic and academic settings. Datasets were collected in case study two from group discussion, participant observation, press releases and documentary photographs. In case studies one and three, audio–visual recordings, participant observation, field notes, and photo-documentation were collected. This study demonstrates that “Connected Art Practice” enhances competences in artistic expression, communication, and collaboration across disciplinary, social, and cultural boundaries. Specifically, it contributes to creative reinvention, personal sharing, self-reflection, and the capacity to co-design diverse projects. The paper concludes by discussing findings and pointing out the essential qualities of Connected Art, providing insights and resources for educational and research institutions seeking to foster transdisciplinary engagement and transformative learning in their curricular activities. Full article