Search Results (10)

The failure of top-down approaches to education policy in England draws attention to the importance of context and foregrounds the need to help teachers to see themselves as practitioner–researchers, scholars and researchers capable of conducting systematic and trustworthy research into the improvement of their educational practice from the ground up and on the inside. This empirical, small-scale, qualitative study presents accounts of the lived experiences of 12 practitioner–researchers as they engage in the national practitioner research programme (PRP). The PRP offers intensive MPhil/PhD research training in which the evocative powers of aesthetic experience, culture and the arts are purposefully introduced to support practitioner–researcher–scholar identity formation and to encourage teachers to heighten the vitality of pedagogy and curriculum content by putting the cultural resources of society to work to make key ideas and concepts in education and educational research more accessible to all learners. Methods include 12 semi-structured interviews of 45–60 min, observation, field notes, case studies and extracts from MPhil/PhD theses. An objective of PRP research is to contribute to understanding how educational change and improvement might be done differently, including how persistent divisions, and barriers to teachers’ successful engagement in educational research and improvement, might be dismantled and dissolved through the strategic development of system-wide, HE-supported practitioner research. This article examines and calls into question the commonly held view that the arts are basically only instrumentally useful for their impact upon something else, such as the development of critical thinking and creativity. Main findings suggest that the use of aesthetic experience and the arts create epistemic-shortcuts which can not only help practitioners to overcome “imposter syndrome” but also enable them to access key ideas theories and concepts, theories and ideas in education and educational research more easily from the ground up, in context-attuned ways. Full article

Ease of cognitive processing is an important predictor of aesthetic liking. However, many acclaimed artworks are fairly complex and require substantial cognitive effort. Are they aesthetically liked despite or because of this increased cognitive challenge? The present study pursued this question experimentally. The high syntactic complexity of Heinrich von Kleist’s narratives provided the test case. According to literary scholars, this high syntactic complexity should support increased levels of how “suspenseful,” “intense,” “interesting,” and evocative of a sense of “urgency” the texts are perceived, and it should thereby also support higher overall aesthetic liking. This expectation is in line with recent models in empirical aesthetics according to which higher ease of processing and higher cognitive challenge are not mutually exclusive, but can conjointly drive aesthetic liking to higher levels. The standard hypothesis of cognitive fluency instead predicts a disfluency-driven negative effect on aesthetic liking. We tested these two predictions in two studies by presenting excerpts from Kleist’s narratives in their original vs. syntactically simplified versions to participants. Results differ substantially depending on how the target variables are statistically modeled. If ease of processing and cognitive challenge are modeled separately as predictors of the aesthetically evaluative ratings, higher ease of processing is a strong positive and higher cognitive challenge a largely negative predictor. However, when the two complementary cognitive variables are modeled conjointly, they are both positive predictors of the aesthetically evaluative ratings. Their predictive power differs, however, significantly. Only the positive effect of ease of processing is pervasive across all readers. That of cognitive challenge is substantially modified by individual differences. Specifically, it was observed for readers who (1) are of higher age, (2) like to read narratives in general, and (3) reported prior positive experiences with Kleist. Supporting the ecological validity of our findings, readers meeting these criteria are more likely than others to actually read Kleist outside the laboratory. Full article

In recent years, many studies have examined “novel foods” from various perspectives; however, the theoretical framework of social representations has been underutilized in this research. This paper denotes an initial attempt to study the socio-symbolic impact of synthetic foods using this framework. Specifically, the study aims to explore how different audiences—such as carnivores versus vegetarians—interpret unfamiliar foods, focusing on a new food technology: synthetic meat. The research seeks to describe and compare the social representations of cultured meat that are co-constructed and shared among these social groups (n = 350). The study adopts the structural approach, analyzing both the structure and content of the social representations in question. This was achieved through a mixed-methods strategy, which included hierarchical evocation, a food neophobia scale, checklists, open-ended questions, and a projective sensory analysis technique. Data analysis employed both qualitative and quantitative methods. The main findings indicate the significant roles of generative processes, cognitive polyphasia, and sensory anchors in the co-construction of social representations of cultured meat. The use of chemical-genetic objectification, metaphors, and clichés reflects ongoing debates about the possible implications of synthetic meat consumption for the environment and society. Our findings encourage consideration of social knowledge and cultural variables in food studies. Full article

Affect theory, non-representational theory, and assemblage theory have been among the most impactful developments in the theoretical humanities in the wake of, and in reaction to, poststructuralism. These interlocking bodies of theory and critical practice call into question two concepts foundational for biblical hermeneutics, namely, interpretation and representation. In literary studies, the poststructuralist “death of the author” has been succeeded by a post-poststructuralist “death of the interpreter”. How might biblical exegesis be reimagined on the far side of this double demise? Non-representational theory, meanwhile, in tandem with affect theory, has dismantled traditional understandings of representation; this article argues that traditional biblical scholarship, epitomized by biblical commentary, is driven by a representation compulsion. Assemblage theory, for its part, more than any other body of thought, reveals the immense complexity of the act of reading, not least biblical reading—after which even explicit evocations of contemporary contexts in contextual biblical hermeneutics amount to skeletally thin descriptions. These and other related lines of inquiry impel the rethinking of academic biblical reading attempted in this article. Full article

The affordability of equipment and availability of development tools have made immersive virtual reality (VR) popular across research fields. Gesture-based user interface has emerged as an alternative method to handheld controllers to interact with the virtual world using hand gestures. Moreover, a common goal for many VR applications is to elicit a sense of presence in users. Previous research has identified many factors that facilitate the evocation of presence in users of immersive VR applications. We investigated the user experience of Four Seasons, an immersive virtual reality simulation where the user interacts with a natural environment and animals with their hands using a gesture-based user interface (UI). We conducted a mixed-method user experience evaluation with 21 Korean adults (14 males, 7 females) who played Four Seasons. The participants filled in a questionnaire and answered interview questions regarding presence and experience with the gesture-based UI. The questionnaire results indicated high ratings for presence and gesture-based UI, with some issues related to the realism of interaction and lack of sensory feedback. By analyzing the interview responses, we identified 23 potential presence factors and proposed a classification for organizing presence factors based on the internal–external and dynamic–static dimensions. Finally, we derived a set of design principles based on the potential presence factors and demonstrated their usefulness for the heuristic evaluation of existing gesture-based immersive VR experiences. The results of this study can be used for designing and evaluating presence-evoking gesture-based VR experiences. Full article

A positive experience in response to a piece of music or a work of art (hence ‘music/art’) has been linked to health and wellbeing outcomes but can often be reported as indescribable (ineffable), creating challenges for research. What do these positive experiences feel like, beyond ‘positive’? How are loved works that evoke profoundly negative emotions explained? To address these questions, two simultaneously occurring classes of experience are proposed: the ‘emotion class’ of experience (ECE) and the positive ‘affect class’ of experience (PACE). ECE consists of conventional, discrete, and communicable emotions with a reasonably well-established lexicon. PACE relates to a more private world of prototypical aesthetic emotions and experiences investigated in positive psychology. After a review of the literature, this paper proposes that PACE consists of physical correlates (tears, racing heart…) and varied amounts of ‘hedonic tone’ (HT), which range from shallow, personal leanings (preference, liking, attraction, etc.) to deep ones that include awe, being-moved, thrills, and wonder. PACE is a separate, simultaneously activated class of experience to ECE. The approach resolves long-standing debates about powerful, positive experiences taking place during negative emotion evocation by music/art. A list of possible terms for describing PACE is proposed. Full article

This exploratory paper aims to discuss how community is fostered in semi-public restrooms on a college campus. While previous research has been undertaken in similar semi-private environments, this paper differs by simultaneously offering the researchers’ reflective insights in tandem with participants’ input on the research question. We begin by unpacking the challenges around Participatory Design (PD) activities that are undertaken in sensitive and private interior environments. Gathering perceptions of these sensitive spaces required methods that allowed for both anonymity and a communal approach through the use of provocative and evocative probes such as comment boxes and graffiti wall posters. This paper not only catalogues the findings of this research but also documents the difficulties in utilizing a participant-led approach, gaining access to sites and participants, and countering our own biases throughout the study’s construction. Through researcher accounts and participatory data analysis, the researchers offer a focused reflection on a possible new frontier for advancing PD methods in sensitive environments through playful probes. The contribution of this paper offers six lessons on the efficacy of using probes in semi-private environments, with playfulness as a primary driver of engaging participants. Full article

The aim of the research here presented is to describe and compare the social representations of entomophagy co-constructed and circulating among different groups of consumers. Social representations theory (SRT) allows us to understand a social reality that the individual builds based on his own experience in everyday life symbolic exchanges, whose primary function is to adapt concepts and abstract ideas using objectification and anchoring processes. We carried out this research within the structural approach methodological framework. We explored the structure (central core and peripheral schemes) and the content (information, opinions, attitudes, and beliefs) of the social representations of entomophagy by using mixed methodological strategies (hierarchized evocations, validated scales, check-list, projective tool, open-ended questions). Data were processed employing different R packages. The main results show an essential role played by generative processes (objectification and anchoring) as well as cognitive polyphasia and thémata in the co-construction of the social representations of entomophagy. Data could help in understanding the sensory characteristics of “insects as food” that should be used or avoided, for example, in communication aimed to promote entomophagy. Full article

“The contemporary” is a phrase in frequent use in artworld discourse as a placeholder term for broader, world-picturing concepts such as “the contemporary condition” or “contemporaneity”. Brief references to key texts by philosophers such as Giorgio Agamben, Jacques Rancière, and Peter Osborne often tend to suffice as indicating the outer limits of theoretical discussion. In an attempt to add some depth to the discourse, this paper outlines my approach to these questions, then explores in some detail what these three theorists have had to say in recent years about contemporaneity in general and contemporary art in particular, and about the links between both. It also examines key essays by Jean-Luc Nancy, Néstor García Canclini, as well as the artist-theorist Jean-Phillipe Antoine, each of whom have contributed significantly to these debates. The analysis moves from Agamben’s poetic evocation of “contemporariness” as a Nietzschean experience of “untimeliness” in relation to one’s times, through Nancy’s emphasis on art’s constant recursion to its origins, Rancière’s attribution of dissensus to the current regime of art, Osborne’s insistence on contemporary art’s “post-conceptual” character, to Canclini’s preference for a “post-autonomous” art, which captures the world at the point of its coming into being. I conclude by echoing Antoine’s call for artists and others to think historically, to “knit together a specific variety of times”, a task that is especially pressing when presentist immanence strives to encompasses everything. Full article