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The immense feeling that is captured in Rothenberg's work—and in Ahtila's, in a more reserved way—is so strong that it breaks through the representational boundaries of the forms the artists choose. In Ahtila's case, it means creating multiple simultaneous interwoven visual narratives that play in counterpoint against the single spoken text. In Rothenberg's case, it means emphasizing the hors champ and bringing the tactile aspect of the work into prominence, correspondingly downplaying visual acuteness. Through this analysis of these artworks, whose achievements I compared with my own in Made Flesh, I came up with three key observations that are now helping me improve my own work: One: A linear narrative feels too simple. Nor does a linear form relate sufficiently to my body of visual work, which does not use straightforward or single narrative as a communicative device. Two, and relatedly: Made Flesh must represent internal experience more fully, balancing the clearly articulated external realities. As it stands now, the visual aesthetic I've created is very transparent, clear, and mimetic of external reality. Along the same lines, and so three: the work needs more fragmentation, more 'hors champ'. That is to say, my work needs more indications of the world beyond the one that I render. Somehow, I've created a world that is too closed, too contained: a world that seems to resist death, to resist mourning, to be keeping out the experience of the collapse and fragmentation of mourning even while it narrates it. In other words, I seem to have fallen into the trap of the paradox of representation, which creates a world in the face of death and loss, where no world can in fact sustain. In reviewing the common qualities of these adjustments, I realized that essentially they all amounted to a need in my work for greater acknowledgement and reflection of the disruptive, the disowned, the disquieting, that is, the uncanny. I return to Freud for a closer consideration of the uncanny, and find that he maintains that in the world of the arts as opposed to what he describes as real-life experience [, , p. So my challenge is augmented. In both art and life, though, Freud associates the uncanny with the return of personal feelings of childhood that have been repressed and forgotten p. Pushed away, reviled, these repressed feelings often have a quality of solitude, silence and darkness p. This same. After this minute of set-up discussion, we look with Rothenberg at one unfinished oil painting that is the focus of discussion for the remaining two minutes of the film. It's large, perhaps six feet high by eight wide, the image featuring a white dog crouching at the left side of the canvas, held by two large blue hands, the right hand extended from a long angled arm. From the bottom edge of the canvas, the toes of two red sneakers appear. While the dog appears disproportionately small compared to the gigantic human elements, in fact, given the size of the canvas, the dog could be just about life-sized. The background of the work is heavily worked in tones of white and off-white, into which to dog's paleness virtually disappears. In fact, the stone white ground comprises the vast majority of the pictorial space of the image, the figural elements taking up just a tiny portion of surface area. Rothenberg tells us the story of this piece, her voice halting and full of feeling, "We had this And I was holding her before the doctor did that. As she looks at her own work, Rothenberg sees the struggles that she has had to represent the feeling—the sadness and loss—that she wanted to convey. She speaks of her own attempts to bring the representation in alignment with the feeling, the problems being not in the depiction of the dog, but in the orientation of the hands and feet, the parts of herself that protrude into the painting: I have had the arm everywhere you see this darker tone, I've had the arm there. Like this. Then I couldn't figure out where my, the feet should be. Then I couldn't figure out where the arm might be coming out of the body. And finally I decided to stop worrying about it. All I wanted was that dog held there and my sneakers grounding the bottom of the painting. I felt the loss of this dog quite a lot, so And I tried to recover It's just completely personal. There is much that I love about this painting and Rothenberg's description of it, much that it helps me to understand about representing the death of a dog and its aftermath. The surface is crucial here — Rothenberg's characteristically heavily re-worked and touched up surface. In describing Rothenberg's sense of touch, art critic Mark Stevens writes, "There is an elegant coming-apart-at-the-seams in the appearance of her brushstroke that refuses to lay claim to the image or to any complete meaning" Stevens, , p. The meaning of the work in question is alluded to by Rothenberg in the interview: her emotional connection with her dog. I appreciated the lovely little hesitation when she mentioned, after describing how deeply she felt the loss of the dog, that she "tried to. Of course, the uncanny is not the only experience at the heart of life, art or research. It seems, then, that the work of mourning can be seen as something that starts and stops and is interceded upon by joy. Taking up the work of mourning may require, then, the acknowledgement that the actions of the living can never truly capture the absence of the dead, that those of us who remain behind, alive, are complicit with the process of life itself, which dances us onward. This reality is described by philosopher Gillian Rose who counters Derrida's assertion of the endlessness of the work of mourning, stating, "The work of mourning is difficult but not interminable; beginnings may be made in the middle" , p. Ahtila's Hour of Prayer embodies this truth. In the second part of her film, the narrator leaves Finland for an artist's residency in Benin. In the dust and heat of Africa, the narrator experiences a daily ritual. Just before dawn, the bells of the church would toll, waking the community including the local dogs, who would run towards the church and bark in response to the sound of the peals. As the narrator put it, "Every morning I awoke to this canine prayer. I just lay there, eyes still closed, smiling at the dogs praying. Ahtila, Correspondingly, the panel of my own work that most pleases me suggests both sleep and a kind of prayer, also by the two dogs, who feel themselves at home together in my office regardless of their state of being and oblivious to my work of mourning. Perhaps, moving continually along the möbius through art to research and back again, delighting in its twists and curls, I can begin again from this middle of where I am now, both in my practices and in my life. I remain an artist associated with the university. As such, I hope I rise to the challenge articulated by Sullivan, in his exploration of artistic research: By taking on the challenge of research within the framework of the university setting, and doing so according to the integrity of visual arts practice, perhaps the artist-theorist can claim the right to create and critique issues of human significance within the context of the arts. References Ahrens, J. Comics and the city: Urban space in print, picture and sequence. Ahtila, E. Hour of prayer [a four channel projected installation with 6 channel DD 5. How we grieve: Relearning the world. Auping, M. Susan Rothenberg: Moving in place. Austin, J. How to do things with words. Sbisa Eds. Barone, T. Arts-based research. Los Angeles: Sage Publications. Barrett, E. Barrett and B. Bolt Eds. London: I. Bresler, L. Toward connectedness: Aesthetically based research. Studies in Art Education 48 1 , Britzman, D. Lost subjects, contested objects: Toward a psychoanalytic inquiry of learning. Butler-Kisber, L. Collage as analysis and representation. Knowles, T. Luciani, A. Nielsen Eds. Halifax, NS: Backalong Books. Collage as inquiry. Cole Eds. Thousand Oaks, CA: Sage. Qualitative inquiry: Thematic, narrative and arts-informed perspectives. London: Sage. Carter, P. Material thinking: The theory and practice of creative research. De Freitas, N. Towards a definition of studio documentation: working tool and transparent record. Paris: Les éditions de minuit. Denzin, N. Introduction: The discipline and practice of qualitative research. Lincoln Eds. Los Angeles: Sage. Derrida, J. By force of mourning. Critical Inquiry, 22, — The work of mourning. Brault, Ed. Dittmer, J. Comic book visualities: A methodological manifesto on geography, montage and narration. Transactions of the Institute of British Geographers 35 2 , Ernst, M. Paris: Gallimard. Escher, M. Möbius II Red Ants [woodblock print]. Freud, S. Mourning and melancholia J. Strachey, Trans. Dickson Ed , On metapsychology: The theory of psychoanalysis pp. New York and London: Penguin. The Uncanny D. McLintock, Trans. London: Penguin Books. Gray, C. Inquiry through practice: Developing appropriate research strategies. Strandman Ed. Discussions on art and design research Taideteollisen Korkeakoulun Julkaisusarja. B, Visualising research: A guide to the research process in art and design. Aldershot: Ashgate. Groensteen, T. The system of comics. Grosz, E. Volatile bodies: Toward a corporeal feminism. Bloomington: Indiana University Press. Hannula, M. Haraway, D. Situated knowledges: The science question in feminism and the privilege of partial perspective. In Simians, cyborgs and women: The reinvention of nature pp. New York: Routledge. Haseman, B. A manifesto for performative research. Hoptman, L. Collage now: The seamier side. In Phillips, L. Jentsch, E. Zur Psychologie des Unheimlichen. Psychiatrisch-Neurologische Wochenschrift 8 22 25 Aug. Klebesadel, H. In later work, Schön theorized the relative benefits of reflection in practice, which takes place quickly and in the moment, and reflection on practice, a deliberate and considered activity after the fact, to deconstruct the practice through critical recollection and identify behavioural changes that could potentially improve the outcomes of another, similar instance. The entwined working of reflection in and on practice is the dynamic means by what a practitioner develops, bringing past experience to bear on new situations. Schön's work was updated with specific reference to practicebased research in the arts by Steven Scrivener , who described an intricate system of reflection-in-action and -practice RIAP and reflection-on-action and -practice ROAP p. He proposed that, "Each surprise during working, together with its associated frame, refuted theory of action, surfaced tacit knowledge, revised theory of action, revised frame and subsequent action, should be reflected on both with regard to its contribution to the project and its implications for future action and practice" p. Relatedly, documentation has been proposed as a key methodological tool of research-creation, a way of tracking learning for further consideration and review. Similarly, Finnish artist-researcher Nithikul Nimkulrat writes, "The aim of this documentation is to make the creative process somewhat transparent by capturing each step the practitioner-researcher takes in the process, both consciously and unconsciously" , p. The field of education also has an understanding of the value of documentation to learning, notably through the Reggio Emilia approach to early childhood education. While this was written with teachers' documentation in mind, the artistresearcher faces related challenges of creating meaningful documentation: that of finding and sticking to a useful system; of actually capturing moments of learning rather than. The question of how one might usefully document one's own reflective learning is a larger one than I will address here. Documentation and reflection are of course essential to a process of researchcreation, with the consequent reflexivity being a basic tenet of postmodern standpoint theory Haraway, , p. However, reflection and documentation are not, I contend, sufficient. Both processes rely on the individual to see beyond her own biases and limitations, bootstrapping her way to innovation and improvement. No question that this can be eminently achievable. But an emphasis on self-reliance overlooks the fact that learning is fundamentally dialogical and that such dialogue may be most effectively achieved with an attuned other. Especially with the imperative that works of art-as-research "include a fundamental, public, communicative contribution that is worth preserving" Nevanlinna, , p. In order for anyone to not only take part in a practice, but to take part well, it is not enough for someone to rely on their own interpretation of whether they are doing well, they must submit to the standards and criticism of other people. As noted on pages of this text, according to the earlier SSHRC definition of research-creation, the research and any works created "must meet peer standards of excellence and be suitable for publication, public performance or viewing. However, instead of or in addition to such dialogic learning, I propose a kind of further orientation to collage as method, a juxtaposition of other artists' works with one's own in a way that could be seen as a kind of data collection and analysis. It is important that the artist-research choose works that are aligned with her own, that there be sufficient thematic or formal preoccupations in common for a rigorous analysis of the factors of success in others' works to be usefully applied to one's own work. Sullivan, in his theorizing of art as research , describes the kind of analytic process that is at the heart of a research endeavour: Identifying similarities and difference among ideas, concepts, definitions, interpretations, and theoretical views is one of the most common methods of analysis used in research. A basic requirement is to locate common points or areas. In essence, one is looking for common interests and different views. As a component of the analytic phase, one in which one checks one's own progress and self-corrects, this juxtaposition of one's own artwork with others' is more extensive and in-depth than the self-positioning, due diligence work a researcher does in a literature review. I am proposing a kind of critical, comparative visual analysis, a kind of collage procedure in which other artists' work can serve as a lens through which to better understand one's own and to hone one's own visions and practices, a kind of triangulation through others' achievements. Kathleen Vaughan, Double page spread, Made Flesh, digital collage, dimensions variable, in progress. While there are various approaches that one might adopt to effect the 'rub', the critical visual analytic mode that I prefer is that of Gillian Rose , who articulates three different sites at which meaning is made in visual work: the site s of production of the image, that is, the specific circumstances, time, and location where the work was made; the site of the image itself, which can include its formal, sensory, phenomenological or affective aspects; and the site of audiencing, or the process by which an image has its meanings renegotiated by a specific viewer or set of viewers , p. Rose further proposed that a critical viewer can explore each of these three sites from any one or more of three modalities that can contribute to the critical understanding of visual works: the technological, the compositional, and the social, this latter being Rose's shorthand for "the range of economic, social and political relations, institutions and practices that surround an image and through which it is seen and used" p. With Rose's schema in mind, I conducted a critical visual analysis of artworks created by two contemporary women artists who have an orientation to juxtaposition and the use of fragments and, moreover, who used these devices to explore the death of a beloved dog: Eija-Liisa Ahtila and Susan Rothenberg. The artwork in question is The Hour of Prayer , a minute four-channel work projected onto an angled structure of four screens, a sculptural installation in its own right. Her first person narrative, relayed in the piece by actress Laura Malmivaara, begins in January in New York City in an evening snowstorm. Over the sounds of dense traffic starting and stopping through slushy roads, and against four screens of different footage, some shot from above as though from a hotel room window, and some from street level, where New Yorkers of all kinds struggle through the bad weather, the unnamed narrator speaks about a nightmare she had when visiting the city. In her dream, she couldn't find Luka. As she speaks, the images on the four screens shift quickly, reflecting the busy city rhythm in a sequence of New York street scenes. Then the action moves indoors, with slower footage of our narrator in her hotel room preparing to go to bed. Falling asleep, the unnamed narrator has a nightmare in which she can't find her dog. Once Ahtila has established the parameters of her storytelling device—the visit to New York in winter, the dream, the dog—we go along for the ride as, next, two screens go black. On one of the remaining two, we see the protagonist addressing the camera against a dark ground in the first time she speaks directly to the viewer, while on another screen we see semi-transparent slow-motion footage of her dog running, superimposed on the reflected image of the hotel room in which she sleeps. She speaks, saying, "A few days later, when I was returning home, I thought maybe things in the dream were somehow reversed, that while in my dream I had somehow picked up the dog's anxiety about my being away, that despite all his efforts he couldn't find me" Ahtila, In simple, heartfelt language, the protagonist describes her strong connection to Luka, an accidental injury he experiences while out walking with the narrator, the discovery of his bone cancer and his radical medical treatment. In a rather reflective, calm voice, the narrator recalls her desperation to keep her dog alive. She said, "I prayed that we could keep Luka boy at least for the summer. And then later when Luka died on the eleventh of August, I blamed myself for not praying to have him at least until Christmas" Ahtila, Counterpoint to the straightforward storytelling is the rich and dynamic interplay of images. At times, all four screens are used to extend a panorama. But Ahtila also breaks up the screen space, using a single or double black screen as a compositional, conceptual, and emotional tool, to separate the speaker from the world she evokes to focus our concentration in on specific details, to leave just a little room for the viewer to enter the frame. It occurred to me that the black screens might also indicate the un-doing Kathleen Vaughan — A Möbius 48Paradigm — Page 20 of 28 January 15, There is much resonance and power of juxtaposition as used by Ahtila in Hour of Prayer. Juxtaposition implies that no single element is complete on its own -- with metaphorically rich implications for considerations of mourning, for in bereavement we feel partial, lost without the absent loved one. The deliberate display of this fragmentation, of this partiality, is one of the compositional devices of American painter Susan Rothenberg, especially in her recent paintings of dogs. In her large, gestural paintings Rothenberg represents deeply felt, occasionally shocking aspects of her daily life, including her canine companions, their miscellaneous doggie activities and, ultimately, the imminent death of one beloved canine companion. She places the dog at the right of the panel, cropped so that her nose and her right paw disappear off the edge of the frame. Considering how important paws and nose are to a dog's engagement with the world, it is striking that Rothenberg has excluded two of Gert's key perceptual and relational capacities from the painted world. They exist in the world outside the painting, in the world that in filmmaking is known as the hors champ, whose invisible presence is felt even if material aspects are not seen on the hors champ, see Deleuze, , p. We are left instead with a fragment of Gert, whose compelling and oddly human figure emerges from a roughly worked ground of dark brown, the hewn and over-hewn touch a Rothenberg signature. A yellow dog also appears in Rothenberg's work, Yellow Studio. This painting, too, uses fragments—the dog with the cropped nose, the artist whose truncated arms hold an illustrated book and whose body is replaced by a reading lamp. Along the top edge of the frame are some non-specific studio furnishings—possibly a small table or easel, a shelf. Given that this piece is called the Yellow Studio we in fact see little of the usual attributes of studio life, paintings, artists' materials, or even a horizon or floor line that defines the space. These elements, too, exist in the hors champ, the off-screen space. The film begins with Rothenberg in a chair, smoking, discussing questions of beauty in her artwork, indicating her hope that her paintings "can be emotional moments for people. Burbank, personal communications, June 18, Perhaps Rothenberg's on-screen remark that this work is "just completely personal" suggests that she might not be intending or willing to sell the painting. I infer that Rothenberg was trying to recover herself as much as she was trying to bring the dog she loved back into her life in painted form. The immense feeling that is captured in Rothenberg's work—and in Ahtila's, in a more reserved way—is so strong that it breaks through the representational boundaries of the forms the artists choose. In Ahtila's case, it means creating multiple simultaneous interwoven visual narratives that play in counterpoint against the single spoken text. In Rothenberg's case, it means emphasizing the hors champ and bringing the tactile aspect of the work into prominence, correspondingly downplaying visual acuteness. Through this analysis of these artworks, whose achievements I compared with my own in Made Flesh, I came up with three key observations that are now helping me improve my own work: One: A linear narrative feels too simple. Nor does a linear form relate sufficiently to my body of visual work, which does not use straightforward or single narrative as a communicative device. Two, and relatedly: Made Flesh must represent internal experience more fully, balancing the clearly articulated external realities. As it stands now, the visual aesthetic I've created is very transparent, clear, and mimetic of external reality. Along the same lines, and so three: the work needs more fragmentation, more 'hors champ'. That is to say, my work needs more indications of the world beyond the one that I render. Somehow, I've created a world that is too closed, too contained: a world that seems to resist death, to resist mourning, to be keeping out the experience of the collapse and fragmentation of mourning even while it narrates it. In other words, I seem to have fallen into the trap of the paradox of representation, which creates a world in the face of death and loss, where no world can in fact sustain. In reviewing the common qualities of these adjustments, I realized that essentially they all amounted to a need in my work for greater acknowledgement and reflection of the disruptive, the disowned, the disquieting, that is, the uncanny. I return to Freud for a closer consideration of the uncanny, and find that he maintains that in the world of the arts as opposed to what he describes as real-life experience [, , p. So my challenge is augmented. In both art and life, though, Freud associates the uncanny with the return of personal feelings of childhood that have been repressed and forgotten p. Pushed away, reviled, these repressed feelings often have a quality of solitude, silence and darkness p. This same. After this minute of set-up discussion, we look with Rothenberg at one unfinished oil painting that is the focus of discussion for the remaining two minutes of the film. It's large, perhaps six feet high by eight wide, the image featuring a white dog crouching at the left side of the canvas, held by two large blue hands, the right hand extended from a long angled arm. From the bottom edge of the canvas, the toes of two red sneakers appear. While the dog appears disproportionately small compared to the gigantic human elements, in fact, given the size of the canvas, the dog could be just about life-sized. The background of the work is heavily worked in tones of white and off-white, into which to dog's paleness virtually disappears. In fact, the stone white ground comprises the vast majority of the pictorial space of the image, the figural elements taking up just a tiny portion of surface area. Rothenberg tells us the story of this piece, her voice halting and full of feeling, "We had this And I was holding her before the doctor did that. As she looks at her own work, Rothenberg sees the struggles that she has had to represent the feeling—the sadness and loss—that she wanted to convey. She speaks of her own attempts to bring the representation in alignment with the feeling, the problems being not in the depiction of the dog, but in the orientation of the hands and feet, the parts of herself that protrude into the painting: I have had the arm everywhere you see this darker tone, I've had the arm there. Like this. Then I couldn't figure out where my, the feet should be. Then I couldn't figure out where the arm might be coming out of the body. And finally I decided to stop worrying about it. All I wanted was that dog held there and my sneakers grounding the bottom of the painting. I felt the loss of this dog quite a lot, so And I tried to recover It's just completely personal. There is much that I love about this painting and Rothenberg's description of it, much that it helps me to understand about representing the death of a dog and its aftermath. The surface is crucial here — Rothenberg's characteristically heavily re-worked and touched up surface. In describing Rothenberg's sense of touch, art critic Mark Stevens writes, "There is an elegant coming-apart-at-the-seams in the appearance of her brushstroke that refuses to lay claim to the image or to any complete meaning" Stevens, , p. The meaning of the work in question is alluded to by Rothenberg in the interview: her emotional connection with her dog. I appreciated the lovely little hesitation when she mentioned, after describing how deeply she felt the loss of the dog, that she "tried to. Of course, the uncanny is not the only experience at the heart of life, art or research. It seems, then, that the work of mourning can be seen as something that starts and stops and is interceded upon by joy. Taking up the work of mourning may require, then, the acknowledgement that the actions of the living can never truly capture the absence of the dead, that those of us who remain behind, alive, are complicit with the process of life itself, which dances us onward. This reality is described by philosopher Gillian Rose who counters Derrida's assertion of the endlessness of the work of mourning, stating, "The work of mourning is difficult but not interminable; beginnings may be made in the middle" , p. Ahtila's Hour of Prayer embodies this truth. In the second part of her film, the narrator leaves Finland for an artist's residency in Benin. In the dust and heat of Africa, the narrator experiences a daily ritual. Just before dawn, the bells of the church would toll, waking the community including the local dogs, who would run towards the church and bark in response to the sound of the peals. As the narrator put it, "Every morning I awoke to this canine prayer. I just lay there, eyes still closed, smiling at the dogs praying. Ahtila, Correspondingly, the panel of my own work that most pleases me suggests both sleep and a kind of prayer, also by the two dogs, who feel themselves at home together in my office regardless of their state of being and oblivious to my work of mourning. Perhaps, moving continually along the möbius through art to research and back again, delighting in its twists and curls, I can begin again from this middle of where I am now, both in my practices and in my life. I remain an artist associated with the university. As such, I hope I rise to the challenge articulated by Sullivan, in his exploration of artistic research: By taking on the challenge of research within the framework of the university setting, and doing so according to the integrity of visual arts practice, perhaps the artist-theorist can claim the right to create and critique issues of human significance within the context of the arts. References Ahrens, J. Comics and the city: Urban space in print, picture and sequence. Ahtila, E. Hour of prayer [a four channel projected installation with 6 channel DD 5. How we grieve: Relearning the world. Auping, M. Susan Rothenberg: Moving in place. Austin, J. How to do things with words. Sbisa Eds. Barone, T. Arts-based research. Los Angeles: Sage Publications. Barrett, E. Barrett and B. Bolt Eds. London: I. Bresler, L. Toward connectedness: Aesthetically based research. Studies in Art Education 48 1 , Britzman, D. Lost subjects, contested objects: Toward a psychoanalytic inquiry of learning. Butler-Kisber, L. Collage as analysis and representation. Knowles, T. Sus numerosas publicaciones incluyen obras sobre las naturalezas muertas, en particular sobre las de tema musical de Evaristo Baschenis. Boucher lives in Long Beach, California. Desde entonces Cadwell se ha preocupado por mantener la obra de Holmes viva a través de publicaciones y lecturas de su trabajo. Germano Celant Germano Celant, renombrado historiador de arte y teórico, autor y comisario de exposiciones, es reconocido internacionalmente por sus estudios sobre Arte Povera. Su colaboración subraya la tensión inherente en esta colección: entre las figuras religiosas votivas de cera, el arte manierista y los gabinetes de curiosidades y el Siglo de las Luces. Gretchen Edgren Antes de retirarse de la revista en agosto de , Gretchen Edgren fue editora principal de Playboy. Desde este puesto, asignó, editó y supervisó textos de diversas secciones de la revista y como articulista en Playboy también entrevistó a numerosas figuras importantes, incluyendo a Erica Jong y Clint Eastwood. Desde su retiro, Edgren ha sido editora colaboradora de Playboy. Ha publicado numerosos libros sobre el arte en el cambio de siglo. A partir de la exposición sobre Egon Schiele que organizó en , ha dedicado toda su atención al Modernismo vienés exponiendo regularmente las obras de Schiele, Klimt y Kokoschka en su galería de Londres. Gabel Los Angeles-based editor and writer J. Actualmente reside en Kioto. Ha sido director de Christie's y comisariado exposiciones en museos de Londres, París y Tokio. Tras su habilitación en el año , trabaja a escala internacional en la investigación y enseñanza académicas, y dirige diversos proyectos editoriales. Madonna Gauding Madonna Gauding is a mandala artist, author, illustrator and designer. She has written widely on meditation, Buddhism and healing; her previous work includes the best-selling World Mandalas. Fotógrafo en activo desde , también ha adquirido renombre como periodista y crítico, con numerosas publicaciones en su haber. Retrato de una ciudad , Robert Doisneau y Eugène Atget. París He has fourteen albums released under his own name, including the jazz trilogy Say That! The author of over 30 guidebooks on various European destinations, his countless journeys across Europe—by car, train, bus and bicycle—have taken him from Northern Ireland to Istanbul, and from Portugal to the Arctic Circle. David Gerstein David Gerstein es un historiador estadounidense especializado en animación y cómics, escritor y editor de historietas que ha trabajado intensamente con The Walt Disney Company y sus asociados. Gerstein ha trabajado con Disney en los esfuerzos para localizar los cortos perdidos Oswald the Lucky Rabbit y Laugh-O-gram y para preservar la tira de periódico de Mickey Mouse. También participó en videos domésticos y programas de dibujos animados históricos para Thunderbean Animation, Cartoons On Film y otros. En fundaron BUTT después de una cita de trabajo entre copas en el célebre bar Spijker de esta ciudad. BUTT volvió a meter la sexualidad en el saco de la homosexualidad, lo que causó un gran revuelo en el mundo editorial gay. Su popularidad se consagró definitivamente en , cuando TASCHEN publicó un compendio de los cinco primeros años de la revista que se convirtió en un éxito de ventas absoluto. Kahlil Gibran Born in Lebanon, Kahlil Gibran — emigrated to America as a boy and spent most of the rest of his life there, as an artist, poet and writer. His most famous work is The Prophet , which has reprinted well over times and has sold several million copies. Fue autor de numerosos libros, entre los que se incluyen estudios sobre Bruegel, Gauguin, Duchamp y Calder. En , H. Sander L. Gilman Sander L. Comenzó a mostrar su trabajo en la década de , cuando formaba parte del movimiento Nouvelle École de París. Sus libros de poesía y memorias sobre el arte del siglo XX incluyen el éxito de ventas Vida con Picasso , así como Interface: The Painter and the Mask y Picasso y Matisse Vive y trabaja en Nueva York. En , se unió al equipo de Christo en Nueva York. Eric Godtland Eric Godtland es un coleccionista compulsivo confeso. Trabajando desde sus bases en los distritos de Haight-Ashbury y Potrero Hill de San Francisco, Eric se obsesiona con todo lo que sea desnudo femenino, hawaiano, musical o moderno. Paul Goldberger Paul Goldberger es el crítico de arquitectura, ganador del premio Pulitzer, de The New Yorker , donde escribe desde la columna "Sky Line", y es autor de diversos libros, entre ellos del reciente Why Architecture Matters Da conferencias ampliamente sobre arquitectura, diseño, conservación histórica y ciudades y ha enseñado tanto en la Escuela de Arquitectura de Yale como en la Escuela de Postgrado de Periodismo en la Universidad de California, Berkeley. His definitive biography of the artist Warhol will be published in He holds a doctorate from Oxford University. Peter Gössel Peter Gössel dirige una agencia de diseño para museos y exposiciones. Jean-Paul Goude Jean-Paul Goude born is a French graphic designer, illustrator, photographer and advertising film director. He created several well-known campaigns for brands such as Perrier, Citroën and Chanel. Linda Granfield Linda Granfield es una autora muy difundida, sobre todo por su libro Circus: An Album , con el que obtuvo seis premios. Gracias al consejo de su médico —buscar un hobby para distenderse- Grannis organizó un laboratorio en el garage de su casa y comenzó a fotografiar a los surfistas de la Hermosa Beach, vendiendo las fotos por un dólar cada una. Pronto sus fotos aparecieron en todas las revistas de surf y se transformaron en el sello inconfundible de la escena californiana de los Falleció el día 3 de febrero de John Grant John Grant spent a dozen years as a publishing editor before becoming a full-time writer and freelance editor. He has published numerous books of both fiction and non-fiction. John Gray John Gray es filósofo político, especializado en filosofía analítica e historia de las ideas. Gray colabora asiduamente con el periódico The Guardian, el suplemento literario de The Times y es crítico literario del New Statesman. 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Journal of Research Practice 3 1, Article M6. Given Ed. Ondaatje, M. Pickover, C. The möbius strip: Dr. August Möbius's marvelous band in mathematics, games, literature, art, technology, and cosmology. New York: Thunder's Mouth Press. Poggi, C. In defiance of painting: Cubism, futurism, and the invention of collage. Making teaching visible: Documenting individual and group learning as professional development. Cambridge, MA: Project Zero. Project Zero and Reggio Children. Making learning visible: Children as individual and group learners. Reggio Emilia, Italy: Reggio Children. Prouvost, L. Farfromwords: car mirrors eat raspberries when swimming through the sun, to swallow sweet smells. Rose, G. Mourning becomes the law: Philosophy and representation. Cambridge: Cambridge University Press. Visual methodologies, 3rd edition. Rosler, M. Collage: The unmonumental picture p. Rothenberg, S. The yellow studio [Painting]. Gert [Painting]. Schön, D. The reflective practitioner. New York: Basic Books Inc. Educating the reflective practitioner: Toward a new design for teaching and learning in the professions. Scott, D. Refashioning futures: Criticism after postcoloniality. Scrivener, S. Working Papers in Art and Design 1. Definition of terms. Other criteria. New York: Oxford University Press, Stevens, M. Essential hesitations. Parkett 43, Sullivan, G. Art practice as research: Inquiry in visual arts 2nd ed. Pieced together: Collage as an artist's method of interdisciplinary research. International Journal of Qualitative Methods, 4 1. Finding home: Knowledge, collage, and the local environments Unpublished doctoral dissertation. York University, Toronto, ON. Vaughan, K. Collage as form, collage as method: An approach to interdisciplinary qualitative research using visual art practices and theory. Creating ruins: From image to object in making Unwearable Clothing. Worden, D. The shameful art: McSweeney's Quarterly Concern, comics, and the politics of affect. Cómic, currículum en la escuela secundaria y APPS. Cómic, currículum enand la escuela secundaria y APPS. Comic,enhigh school curriculum APPS. Cómic, currículum la escuela secundaria y APPS. Comic, high school curriculum and APPS. Fotografí Resumen. Si apro narrativo determinado para persuadir y entretener al lector. Si a mejorar y enriquecer el proceso de enseñanza-aprendizaje. The comic uses a graphic-narrative aims and entertain the reader. If persua method. In thi. All this with the aaim of improving resources with didactic purpose. Key words. Key words Abstract The sequential graphic narrative, ie. Comic, art education, artistic research, high school, visual curriculum facts or stories about superheroes, politics, sex, etc. El cómic como APP. Porque el sistema educativo tiene y debe aprovechar esta revolución tecnológica para su propio beneficio, ya que la educación no se puede permitir que el ritmo tecnológico al que avanza la sociedad llegue al punto de que sea inalcanzable en el aula Marín, Los adolescentes han aprendido de una forma autodidacta muy eficiente el uso de estas aplicaciones. Pero el problema radica en el uso que se le da normalmente a las APPs, que por lo general suele estar destinado a aplicaciones de entretenimiento y distracción. En las siguiente tabla se muestra algunas de las ventajas o desventajas que podrían tener las APPs respecto a esta cuestión:. Falta de formación del profesorado Material insuficiente y desactualizado Falta de inversión económica por parte de la Administración Falta de interés por parte del M. Aunque podríamos añadir algunos efectos como el de ampliar el texto pasando los dedos, o incorporar sonido a los bocadillos audiocómic , algunos efectos especiales al mover el dispositivo iPad, tablet, smartphone, etc. Esto quiere decir que el uso del cómic como APP no tiene mas sentido que el de la propia lectura como tal, pero para ello ya existen los libros electrónicos pdf, epub, etc. Aunque este formato no llega a considerarse exactamente como una APP sino como un libro multi-touch, permite añadir elementos de interactividad tales como tutoriales, elementos 3D, ventanas emergentes, lenguaje html, etc. Resultados y contraste de la investigación. Los de Bachillerato no lo tienen tan claro y la mayoría parece estar en desacuerdo, algo que se contradice con la respuesta de antes. Mortadelo y Filemón Ninguno Astérix y Obélix 2. Los Simpson Doraemon Shin chan 9. Eisner, W. Barcelona: Norma Editorial. Ende, M. Madrid: Alfaguara. García, S. Barcelona: Glénat. Madrid: Sinsentido. Vigo: Faktoría K de libros. Propuestas para repensar la investigación en educación. Educatio Siglo XXI. Marín, R. Barcelona: Grao. Archidona: Aljibe. Bilbao: Astiberri. Rodríguez, J. Barcelona: Gustavo Gili. Referencias Abad Molina, J. Madrid: Universidad Complutense de Madrid. Alonso, M. Madrid: Universidad Antonio Nebrija. Barcelona: Norma. The second section addresses the contiguity of image and text, while the third section develops some issues about the narrative language of comics and graphic novels. Furthermore, I place comics in visual ethnography and mention some examples of comic-based educational research projects. Finally, I expose some ideas about the auto-biographical, the relationship among reality and fiction, subjectivity, and reflexivity in graphic narrative research. This practice is relational and in movement, a dynamic process of relating to others with our singularities and differences. I create comics narratives to narrate scenes of the creative process shared with participants. This allows me to play to elaborate my feelings and thoughts regarding difficulties. Play could be considered a serious vital process that implies taking risks, experimenting, and going through potential threats and dangers Bloustien, ; Bloustien and Peters, Play is an affective and cognitive process of representation and identification used to give meaning, and relief uncertainty Handelman, ; Taussig, Affect has to do with the way that images are felt through our body Featherstone, The game of telling stories may facilitate negotiation and the construction of identity as a result of the continuous exploration of possibilities of representation through images Bloustien, It is needed an ethical commitment and a critical perspective involved in the game of creating narratives in educational research. This creative game, allows me to elaborate my experiences, take distance from my emotions, conciliate my contradictory feelings, and become aware of my implication and my influences in the art workshop. The decision to create comic stories also responds to the solution to several research problems such as confidentiality and anonymity. The challenge to create a visual ethnography through comic implies considering reality and fiction very close. Furthermore, fiction might lead to a metaphoric visual language that conveys affect and complex emotions. The narrative language of comics and graphic novels The art of comics has been defined as an artistic expressive medium formed by a sequence of images, drawings and words that tell a story or represent an idea Eisner, , with the intention to convey information and obtain an aesthetic answer from the reader McCloud, Authors seem to prefer other names instead of graphic novel. Reading comics implies visual literacy, hypertextuality and intertextuality. In relation to visual literacy, Mackey and McClay state that reading graphic novels imply intellectual and emotional learning challenges. Graphic novels use symbolic representations, metaphors, allegories and other literary figures as a way of aesthetic inquiry. One of the key elements in comics is the glutter, the in-between space among comic units or strips, which gives the reader the opportunity to interpret the rhythm and relation of scenes, actions, and ideas. Hypertextuality is based in the relationship between image and text, and the juxtaposition of multiple layers of meanings Morgan y Andrews, ; Dresang, ; Purves, In this direction, Cromer and Clark understand hypertextuality as a potential of freedom of interpretation of open meanings, which requires a high tolerance to ambiguity in the reader. From visual culture, intertextuality can be understood as the complex interrelation of meanings evoked by the visual, the auditory, the literary, spacial and psychic dinamics of spectatorship Rogoff, In a similar direction Mitchell stressed the fallacy of the hegemony of the visual over other discourses, and invited us to consider diverse cultural discourses as interrelated. Visual ethnography: from photography, video, and media to comics For Pink 22 , ethnography does not have a simple definition, and cannot be considered a group of methods to collect data. She understands ethnography as a process of creation and representation of social, cultural, and individual knowledge based in personal experiences of ethnographers. Her approach does not stand for objectivity, but for the reflexivity of the ethnographer to give account of the intersubjective participatory or collaborative process of construction of knowledge Pink, Nevertheless, authors such as Bloustien question this assumptions and stress affect evoked by visual representations. Pink 5 encourages researchers to apply visual images and technologies in a creative way, without following patterns or methodological recipes. In order to use visual images in social sciences, Pink states that it is necessary to abandon the idea of objectivity and to reject the idea of the superiority of written language in ethnography 6. Images do not necessarily substitute words; different media might coexist with other sensorial elements in the research. Contemporary ethnographic approaches in visual sociology focus in the collaboration between researchers and informants Pink, Furthermore, collaboration extends to the relations between the visual, the textual, performance, and the production of images and words. In this regard, McQuire states that the ambiguity of the meanings of images question the modern notion of truth. The uncertainty of the meanings if visual images questions the idea of one pure untouchable finality, and stress the relevance of subjectivity in the process of construction of meanings. Even though Pink does not mention comics as an ethnographic medium, there are research projects that are using comics as a way to convey research results, conclusions, and reflections. Comics-based Educational Research There are diverse comic-based educational research projects that are interesting for my work. Jones and illustrated by James F. Woglom, who explore the concepts of body and place from feminist pedagogies. The work of Nick Sousanis uses the comic Unflattenin as a research that explores the relationship between images and text. Another comic author doing research through this artistic medium is Jarod Roselló, who reflects on his hybrid Cuban-american identity through the story of the Well Dressed Bear www. Their study asseses the accessibility and use of the information services and technology services in terms of cultural and social diversity of the University of Oslo. The conclusions of the study are presented in a comic book. Finally, even though it is not a research project, I find the comic book To teach: The Journey, In Comics an essential reference in comi-based educational research. William Ayers and Ryan Alexander-Tanner narrate the experience of Ayers as an elementary teacher, and invite us to understand education from complexity and love. The auto-bio-graphic: reality-fiction, subjectivity-reflexivity In the late years there has been a proliferation of autobiographical graphic novels. Some autobiographic novels have received serious academic attention, such as Maus Spiegelman, , and Persépolis Satrapi, For Nancy K. Miller , the objective of autobiography is to understand oneself in relation to others, and place ourselves in a net of embodied relations. Some authors have made their fictional narratives with personal elements in fictionalized stories. In this stories there cannot be a clear distinction between reality and fiction. Other works can be placed between reality and subjective experience, such as The Photographer , by Didier Lefèvre, Emmanuel Gruibert and Frédéric Lemercier. This work invites us to consider the relationship between the iconic image of drawings, the photographic image, and their relationship with the text. 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Volatile bodies: Toward a corporeal feminism. Bloomington: Indiana University Press. Hannula, M. Haraway, D. Situated knowledges: The science question in feminism and the privilege of partial perspective. In Simians, cyborgs and women: The reinvention of nature pp. New York: Routledge. Haseman, B. A manifesto for performative research. Hoptman, L. Collage now: The seamier side. In Phillips, L. Jentsch, E. Zur Psychologie des Unheimlichen. Psychiatrisch-Neurologische Wochenschrift 8 22 25 Aug. Klebesadel, H. Critique as signature pedagogy in fine arts. Gurung, N. Haynie Eds. Sterling, VA: Stylus. Kotzee, B. Studies in Continuing Education 34 1 , Kroeger, J. Documentation: A hard to reach place. Early Childhood Education Journal 33 6 , McCloud, S. Understanding comics: The invisible art. New York: HarperPerennial. Reinventing comics: How imagination and technology are revolutionizing an art form. McNiff, S. Opportunities and challenges in arts-based research. Mesch, C. Vostell's ruins: Dé-collage and the mnemotechnic of the postwar city. Art History 23 1 : Miller, W. Susan Rothenberg: Emotions [Documentary short film]. Art Is "artistic research" a meaningful concept? Kiljunen and M. Hannula Eds. Helsinki: Academy of Fine Arts. Nimkulrat, N. The role of documentation in practice-led research. Journal of Research Practice 3 1, Article M6. Given Ed. Ondaatje, M. Pickover, C. The möbius strip: Dr. August Möbius's marvelous band in mathematics, games, literature, art, technology, and cosmology. New York: Thunder's Mouth Press. Poggi, C. In defiance of painting: Cubism, futurism, and the invention of collage. Making teaching visible: Documenting individual and group learning as professional development. Cambridge, MA: Project Zero. Project Zero and Reggio Children. Making learning visible: Children as individual and group learners. Reggio Emilia, Italy: Reggio Children. Prouvost, L. Farfromwords: car mirrors eat raspberries when swimming through the sun, to swallow sweet smells. Rose, G. Mourning becomes the law: Philosophy and representation. Cambridge: Cambridge University Press. Visual methodologies, 3rd edition. Rosler, M. Collage: The unmonumental picture p. Rothenberg, S. The yellow studio [Painting]. Gert [Painting]. Schön, D. The reflective practitioner. New York: Basic Books Inc. Educating the reflective practitioner: Toward a new design for teaching and learning in the professions. Scott, D. Refashioning futures: Criticism after postcoloniality. Scrivener, S. Working Papers in Art and Design 1. Definition of terms. Other criteria. New York: Oxford University Press, Stevens, M. Essential hesitations. Parkett 43, Sullivan, G. Art practice as research: Inquiry in visual arts 2nd ed. Pieced together: Collage as an artist's method of interdisciplinary research. International Journal of Qualitative Methods, 4 1. Finding home: Knowledge, collage, and the local environments Unpublished doctoral dissertation. York University, Toronto, ON. Vaughan, K. Collage as form, collage as method: An approach to interdisciplinary qualitative research using visual art practices and theory. Creating ruins: From image to object in making Unwearable Clothing. Worden, D. The shameful art: McSweeney's Quarterly Concern, comics, and the politics of affect. Cómic, currículum en la escuela secundaria y APPS. Cómic, currículum enand la escuela secundaria y APPS. Comic,enhigh school curriculum APPS. Cómic, currículum la escuela secundaria y APPS. Comic, high school curriculum and APPS. Fotografí Resumen. Si apro narrativo determinado para persuadir y entretener al lector. Si a mejorar y enriquecer el proceso de enseñanza-aprendizaje. The comic uses a graphic-narrative aims and entertain the reader. If persua method. In thi. All this with the aaim of improving resources with didactic purpose. Key words. Key words Abstract The sequential graphic narrative, ie. Comic, art education, artistic research, high school, visual curriculum facts or stories about superheroes, politics, sex, etc. El cómic como APP. Porque el sistema educativo tiene y debe aprovechar esta revolución tecnológica para su propio beneficio, ya que la educación no se puede permitir que el ritmo tecnológico al que avanza la sociedad llegue al punto de que sea inalcanzable en el aula Marín, Los adolescentes han aprendido de una forma autodidacta muy eficiente el uso de estas aplicaciones. Pero el problema radica en el uso que se le da normalmente a las APPs, que por lo general suele estar destinado a aplicaciones de entretenimiento y distracción. En las siguiente tabla se muestra algunas de las ventajas o desventajas que podrían tener las APPs respecto a esta cuestión:. Falta de formación del profesorado Material insuficiente y desactualizado Falta de inversión económica por parte de la Administración Falta de interés por parte del M. Aunque podríamos añadir algunos efectos como el de ampliar el texto pasando los dedos, o incorporar sonido a los bocadillos audiocómic , algunos efectos especiales al mover el dispositivo iPad, tablet, smartphone, etc. Esto quiere decir que el uso del cómic como APP no tiene mas sentido que el de la propia lectura como tal, pero para ello ya existen los libros electrónicos pdf, epub, etc. Aunque este formato no llega a considerarse exactamente como una APP sino como un libro multi-touch, permite añadir elementos de interactividad tales como tutoriales, elementos 3D, ventanas emergentes, lenguaje html, etc. Resultados y contraste de la investigación. Los de Bachillerato no lo tienen tan claro y la mayoría parece estar en desacuerdo, algo que se contradice con la respuesta de antes. Mortadelo y Filemón Ninguno Astérix y Obélix 2. Los Simpson Doraemon Shin chan 9. Eisner, W. Barcelona: Norma Editorial. Ende, M. Madrid: Alfaguara. García, S. Barcelona: Glénat. Madrid: Sinsentido. Vigo: Faktoría K de libros. Propuestas para repensar la investigación en educación. Educatio Siglo XXI. Marín, R. Barcelona: Grao. Archidona: Aljibe. Bilbao: Astiberri. Rodríguez, J. Barcelona: Gustavo Gili. Referencias Abad Molina, J. Madrid: Universidad Complutense de Madrid. Alonso, M. Madrid: Universidad Antonio Nebrija. Barcelona: Norma. The second section addresses the contiguity of image and text, while the third section develops some issues about the narrative language of comics and graphic novels. Furthermore, I place comics in visual ethnography and mention some examples of comic-based educational research projects. Finally, I expose some ideas about the auto-biographical, the relationship among reality and fiction, subjectivity, and reflexivity in graphic narrative research. This practice is relational and in movement, a dynamic process of relating to others with our singularities and differences. I create comics narratives to narrate scenes of the creative process shared with participants. This allows me to play to elaborate my feelings and thoughts regarding difficulties. Play could be considered a serious vital process that implies taking risks, experimenting, and going through potential threats and dangers Bloustien, ; Bloustien and Peters, Play is an affective and cognitive process of representation and identification used to give meaning, and relief uncertainty Handelman, ; Taussig, Affect has to do with the way that images are felt through our body Featherstone, The game of telling stories may facilitate negotiation and the construction of identity as a result of the continuous exploration of possibilities of representation through images Bloustien, It is needed an ethical commitment and a critical perspective involved in the game of creating narratives in educational research. This creative game, allows me to elaborate my experiences, take distance from my emotions, conciliate my contradictory feelings, and become aware of my implication and my influences in the art workshop. The decision to create comic stories also responds to the solution to several research problems such as confidentiality and anonymity. The challenge to create a visual ethnography through comic implies considering reality and fiction very close. Furthermore, fiction might lead to a metaphoric visual language that conveys affect and complex emotions. The narrative language of comics and graphic novels The art of comics has been defined as an artistic expressive medium formed by a sequence of images, drawings and words that tell a story or represent an idea Eisner, , with the intention to convey information and obtain an aesthetic answer from the reader McCloud, Authors seem to prefer other names instead of graphic novel. Reading comics implies visual literacy, hypertextuality and intertextuality. In relation to visual literacy, Mackey and McClay state that reading graphic novels imply intellectual and emotional learning challenges. Graphic novels use symbolic representations, metaphors, allegories and other literary figures as a way of aesthetic inquiry. One of the key elements in comics is the glutter, the in-between space among comic units or strips, which gives the reader the opportunity to interpret the rhythm and relation of scenes, actions, and ideas. Hypertextuality is based in the relationship between image and text, and the juxtaposition of multiple layers of meanings Morgan y Andrews, ; Dresang, ; Purves, In this direction, Cromer and Clark understand hypertextuality as a potential of freedom of interpretation of open meanings, which requires a high tolerance to ambiguity in the reader. From visual culture, intertextuality can be understood as the complex interrelation of meanings evoked by the visual, the auditory, the literary, spacial and psychic dinamics of spectatorship Rogoff, In a similar direction Mitchell stressed the fallacy of the hegemony of the visual over other discourses, and invited us to consider diverse cultural discourses as interrelated. Visual ethnography: from photography, video, and media to comics For Pink 22 , ethnography does not have a simple definition, and cannot be considered a group of methods to collect data. She understands ethnography as a process of creation and representation of social, cultural, and individual knowledge based in personal experiences of ethnographers. Her approach does not stand for objectivity, but for the reflexivity of the ethnographer to give account of the intersubjective participatory or collaborative process of construction of knowledge Pink, Nevertheless, authors such as Bloustien question this assumptions and stress affect evoked by visual representations. Pink 5 encourages researchers to apply visual images and technologies in a creative way, without following patterns or methodological recipes. In order to use visual images in social sciences, Pink states that it is necessary to abandon the idea of objectivity and to reject the idea of the superiority of written language in ethnography 6. Images do not necessarily substitute words; different media might coexist with other sensorial elements in the research. Contemporary ethnographic approaches in visual sociology focus in the collaboration between researchers and informants Pink, Furthermore, collaboration extends to the relations between the visual, the textual, performance, and the production of images and words. In this regard, McQuire states that the ambiguity of the meanings of images question the modern notion of truth. The uncertainty of the meanings if visual images questions the idea of one pure untouchable finality, and stress the relevance of subjectivity in the process of construction of meanings. Even though Pink does not mention comics as an ethnographic medium, there are research projects that are using comics as a way to convey research results, conclusions, and reflections. Comics-based Educational Research There are diverse comic-based educational research projects that are interesting for my work. Jones and illustrated by James F. Woglom, who explore the concepts of body and place from feminist pedagogies. The work of Nick Sousanis uses the comic Unflattenin as a research that explores the relationship between images and text. Another comic author doing research through this artistic medium is Jarod Roselló, who reflects on his hybrid Cuban-american identity through the story of the Well Dressed Bear www. Their study asseses the accessibility and use of the information services and technology services in terms of cultural and social diversity of the University of Oslo. The conclusions of the study are presented in a comic book. Finally, even though it is not a research project, I find the comic book To teach: The Journey, In Comics an essential reference in comi-based educational research. William Ayers and Ryan Alexander-Tanner narrate the experience of Ayers as an elementary teacher, and invite us to understand education from complexity and love. The auto-bio-graphic: reality-fiction, subjectivity-reflexivity In the late years there has been a proliferation of autobiographical graphic novels. Some autobiographic novels have received serious academic attention, such as Maus Spiegelman, , and Persépolis Satrapi, For Nancy K. Miller , the objective of autobiography is to understand oneself in relation to others, and place ourselves in a net of embodied relations. The free organ concerts will be held every Tuesday at Paradis Live Farsund. Paradis Live is an out-door festival at Farsund Resort. Grieg in Bergen festival. Certainly the program seen below represents several of… Read more. He has been touring and releasing music since the late… Read more. Brad Paisley. Cancelled: Canal Street - Arendal music festival. Canal Street, Arendal's fabulous music festival, offers an event where place, culture and history form the musical meet between artist and audience. Gladmat Sing-along at the Border. The great success from last summer continues! Welcome to "Det glade langbord" at Domkirkeplassen! We are continuing our long Gladmat tradition this year as well, gathering new and old friends of… Read more. Jon Balke solo. Jon Balke's solo recordings comprise a special subset of his work, informed by the improvisational daring and compositional imagination that has… Read more. Outdoor concert with the popular Norwegian rapper OnklP. Soft Ride. Concert with duo Soft Ride in the backyard of Revolver. Sondre Lerche. Dampsaga kulturhus gir dere en skikkelig godbit, midt i sommeren. En intimkonsert med Sondre Lerche kan fort bli en "var du der?? Sondre Lerche - Konsert og sofaprat inkl. The summers best festival at the skerries and in the small town Lillesand. When the water sport competitions are over, the festival continues with… Read more. How does our lives in Norway compare… Read more. Concert with Norwegian band, Deathcrush. Det glade langbord fredag. Jazz harmonies in a wonderful classical ensemble that takes us on a journey in jazz and classical music! Morten Myklebust. Concert with Morten Myklebust in the backyard of Revolver. More information on SALT's homepage. The Saint Olav Festival. For a week in July, Stiklestad is… Read more. Torstein Flakne i Palmehaven. CIA duo Én rockeduo - to gitarer - to stemmer - to trommer. Frederik Willmow Band. Jan Erik Moe - Blues Sommer 2. Jan Erik Moeer en legende innen blues i Norge. Med en lokal og god… Read more. Minikonsert med eMMa. Velkommen til gratis minikonsert med eMMa! Sirkus Shopping inviterer til gratis minikonserter. Med store opplevelser i en trivelig og tilgjengelig… Read more. Morten Abel Duo. Tommy Tokyo. Concert with Tommy Tokyo in the backyard of Revolver. Local business fair with activities and entertainment for young and old, food and drinks and plenty of special offers! Traditional lunch 'vassgraut'… Read more. Sokneprest Arne Groven Under konserten… Read more. JazzRamp presents: We Are. Concert with Swedish-Norwegian jazz trio We Are. If further evidence was needed that Rammstein currently rank amongst the greatest bands in the world, the matter should finally be put to rest… Read more. Ofte setter han… Read more. Rammstein ekstrakonsert! Concert with Norwegian band Valentourettes. The Valentourettes came together in for the purpose of performing Joachim Nielsen's songs at… Read more. Concert at the "mystical" nature park Ravnedalen beneath the precipitous Ravneheia. During the summer months there are frequent concerts,… Read more. Trondheim International Olavsfest. Olaf, but has evolved from a church festival to something with a wider scope. Sjangeren strekker seg fra… Read more. Show No. Terje Nordgarden plays Revolver with his new critically acclaimed album Korsvei, the first album in Norwegian. Eikerapen Roots Festival The festival combines top artists with great atmosphere. Entertainment for the whole family, there is also a street market. For more information,… Read more. Making learning visible: Children as individual and group learners. Reggio Emilia, Italy: Reggio Children. Prouvost, L. Farfromwords: car mirrors eat raspberries when swimming through the sun, to swallow sweet smells. Rose, G. Mourning becomes the law: Philosophy and representation. Cambridge: Cambridge University Press. Visual methodologies, 3rd edition. Rosler, M. Collage: The unmonumental picture p. Rothenberg, S. The yellow studio [Painting]. Gert [Painting]. Schön, D. The reflective practitioner. New York: Basic Books Inc. Educating the reflective practitioner: Toward a new design for teaching and learning in the professions. Scott, D. Refashioning futures: Criticism after postcoloniality. Scrivener, S. Working Papers in Art and Design 1. Definition of terms. Other criteria. New York: Oxford University Press, Stevens, M. Essential hesitations. Parkett 43, Sullivan, G. Art practice as research: Inquiry in visual arts 2nd ed. Pieced together: Collage as an artist's method of interdisciplinary research. International Journal of Qualitative Methods, 4 1. Finding home: Knowledge, collage, and the local environments Unpublished doctoral dissertation. York University, Toronto, ON. Vaughan, K. Collage as form, collage as method: An approach to interdisciplinary qualitative research using visual art practices and theory. Creating ruins: From image to object in making Unwearable Clothing. Worden, D. The shameful art: McSweeney's Quarterly Concern, comics, and the politics of affect. Cómic, currículum en la escuela secundaria y APPS. Cómic, currículum enand la escuela secundaria y APPS. Comic,enhigh school curriculum APPS. Cómic, currículum la escuela secundaria y APPS. Comic, high school curriculum and APPS. Fotografí Resumen. Si apro narrativo determinado para persuadir y entretener al lector. Si a mejorar y enriquecer el proceso de enseñanza-aprendizaje. The comic uses a graphic-narrative aims and entertain the reader. If persua method. In thi. All this with the aaim of improving resources with didactic purpose. Key words. Key words Abstract The sequential graphic narrative, ie. Comic, art education, artistic research, high school, visual curriculum facts or stories about superheroes, politics, sex, etc. El cómic como APP. Porque el sistema educativo tiene y debe aprovechar esta revolución tecnológica para su propio beneficio, ya que la educación no se puede permitir que el ritmo tecnológico al que avanza la sociedad llegue al punto de que sea inalcanzable en el aula Marín, Los adolescentes han aprendido de una forma autodidacta muy eficiente el uso de estas aplicaciones. Pero el problema radica en el uso que se le da normalmente a las APPs, que por lo general suele estar destinado a aplicaciones de entretenimiento y distracción. En las siguiente tabla se muestra algunas de las ventajas o desventajas que podrían tener las APPs respecto a esta cuestión:. Falta de formación del profesorado Material insuficiente y desactualizado Falta de inversión económica por parte de la Administración Falta de interés por parte del M. Aunque podríamos añadir algunos efectos como el de ampliar el texto pasando los dedos, o incorporar sonido a los bocadillos audiocómic , algunos efectos especiales al mover el dispositivo iPad, tablet, smartphone, etc. Esto quiere decir que el uso del cómic como APP no tiene mas sentido que el de la propia lectura como tal, pero para ello ya existen los libros electrónicos pdf, epub, etc. Aunque este formato no llega a considerarse exactamente como una APP sino como un libro multi-touch, permite añadir elementos de interactividad tales como tutoriales, elementos 3D, ventanas emergentes, lenguaje html, etc. Resultados y contraste de la investigación. Los de Bachillerato no lo tienen tan claro y la mayoría parece estar en desacuerdo, algo que se contradice con la respuesta de antes. Mortadelo y Filemón Ninguno Astérix y Obélix 2. Los Simpson Doraemon Shin chan 9. Eisner, W. Barcelona: Norma Editorial. Ende, M. Madrid: Alfaguara. García, S. Barcelona: Glénat. Madrid: Sinsentido. Vigo: Faktoría K de libros. Propuestas para repensar la investigación en educación. Educatio Siglo XXI. Marín, R. Barcelona: Grao. Archidona: Aljibe. Bilbao: Astiberri. Rodríguez, J. Barcelona: Gustavo Gili. Referencias Abad Molina, J. Madrid: Universidad Complutense de Madrid. Alonso, M. Madrid: Universidad Antonio Nebrija. Barcelona: Norma. The second section addresses the contiguity of image and text, while the third section develops some issues about the narrative language of comics and graphic novels. Furthermore, I place comics in visual ethnography and mention some examples of comic-based educational research projects. Finally, I expose some ideas about the auto-biographical, the relationship among reality and fiction, subjectivity, and reflexivity in graphic narrative research. This practice is relational and in movement, a dynamic process of relating to others with our singularities and differences. I create comics narratives to narrate scenes of the creative process shared with participants. This allows me to play to elaborate my feelings and thoughts regarding difficulties. Play could be considered a serious vital process that implies taking risks, experimenting, and going through potential threats and dangers Bloustien, ; Bloustien and Peters, Play is an affective and cognitive process of representation and identification used to give meaning, and relief uncertainty Handelman, ; Taussig, Affect has to do with the way that images are felt through our body Featherstone, The game of telling stories may facilitate negotiation and the construction of identity as a result of the continuous exploration of possibilities of representation through images Bloustien, It is needed an ethical commitment and a critical perspective involved in the game of creating narratives in educational research. This creative game, allows me to elaborate my experiences, take distance from my emotions, conciliate my contradictory feelings, and become aware of my implication and my influences in the art workshop. The decision to create comic stories also responds to the solution to several research problems such as confidentiality and anonymity. The challenge to create a visual ethnography through comic implies considering reality and fiction very close. Furthermore, fiction might lead to a metaphoric visual language that conveys affect and complex emotions. The narrative language of comics and graphic novels The art of comics has been defined as an artistic expressive medium formed by a sequence of images, drawings and words that tell a story or represent an idea Eisner, , with the intention to convey information and obtain an aesthetic answer from the reader McCloud, Authors seem to prefer other names instead of graphic novel. Reading comics implies visual literacy, hypertextuality and intertextuality. In relation to visual literacy, Mackey and McClay state that reading graphic novels imply intellectual and emotional learning challenges. Graphic novels use symbolic representations, metaphors, allegories and other literary figures as a way of aesthetic inquiry. One of the key elements in comics is the glutter, the in-between space among comic units or strips, which gives the reader the opportunity to interpret the rhythm and relation of scenes, actions, and ideas. Hypertextuality is based in the relationship between image and text, and the juxtaposition of multiple layers of meanings Morgan y Andrews, ; Dresang, ; Purves, In this direction, Cromer and Clark understand hypertextuality as a potential of freedom of interpretation of open meanings, which requires a high tolerance to ambiguity in the reader. From visual culture, intertextuality can be understood as the complex interrelation of meanings evoked by the visual, the auditory, the literary, spacial and psychic dinamics of spectatorship Rogoff, In a similar direction Mitchell stressed the fallacy of the hegemony of the visual over other discourses, and invited us to consider diverse cultural discourses as interrelated. Visual ethnography: from photography, video, and media to comics For Pink 22 , ethnography does not have a simple definition, and cannot be considered a group of methods to collect data. She understands ethnography as a process of creation and representation of social, cultural, and individual knowledge based in personal experiences of ethnographers. Her approach does not stand for objectivity, but for the reflexivity of the ethnographer to give account of the intersubjective participatory or collaborative process of construction of knowledge Pink, Nevertheless, authors such as Bloustien question this assumptions and stress affect evoked by visual representations. Pink 5 encourages researchers to apply visual images and technologies in a creative way, without following patterns or methodological recipes. In order to use visual images in social sciences, Pink states that it is necessary to abandon the idea of objectivity and to reject the idea of the superiority of written language in ethnography 6. Images do not necessarily substitute words; different media might coexist with other sensorial elements in the research. Contemporary ethnographic approaches in visual sociology focus in the collaboration between researchers and informants Pink, Furthermore, collaboration extends to the relations between the visual, the textual, performance, and the production of images and words. In this regard, McQuire states that the ambiguity of the meanings of images question the modern notion of truth. The uncertainty of the meanings if visual images questions the idea of one pure untouchable finality, and stress the relevance of subjectivity in the process of construction of meanings. Even though Pink does not mention comics as an ethnographic medium, there are research projects that are using comics as a way to convey research results, conclusions, and reflections. Comics-based Educational Research There are diverse comic-based educational research projects that are interesting for my work. Jones and illustrated by James F. Woglom, who explore the concepts of body and place from feminist pedagogies. The work of Nick Sousanis uses the comic Unflattenin as a research that explores the relationship between images and text. Another comic author doing research through this artistic medium is Jarod Roselló, who reflects on his hybrid Cuban-american identity through the story of the Well Dressed Bear www. Their study asseses the accessibility and use of the information services and technology services in terms of cultural and social diversity of the University of Oslo. The conclusions of the study are presented in a comic book. Finally, even though it is not a research project, I find the comic book To teach: The Journey, In Comics an essential reference in comi-based educational research. William Ayers and Ryan Alexander-Tanner narrate the experience of Ayers as an elementary teacher, and invite us to understand education from complexity and love. The auto-bio-graphic: reality-fiction, subjectivity-reflexivity In the late years there has been a proliferation of autobiographical graphic novels. Some autobiographic novels have received serious academic attention, such as Maus Spiegelman, , and Persépolis Satrapi, For Nancy K. Miller , the objective of autobiography is to understand oneself in relation to others, and place ourselves in a net of embodied relations. Some authors have made their fictional narratives with personal elements in fictionalized stories. In this stories there cannot be a clear distinction between reality and fiction. Other works can be placed between reality and subjective experience, such as The Photographer , by Didier Lefèvre, Emmanuel Gruibert and Frédéric Lemercier. This work invites us to consider the relationship between the iconic image of drawings, the photographic image, and their relationship with the text. The term autobiographical might evoke an intimate and personal approach, but in a relational perspective there is a social element referred to others. Autobiographical relational research allow us to recuperate, re-present, re-tell experiences of difficulty, loss, and vulnerability, regenerating meaning in the process of telling stories. Images and text are not just illustrative one of the other, but are interconnected, intertwined, and their relationship creates new meanings. Figura 2. El concepto de juego ha de ser comprendido como un proceso vital extremadamente serio, que involucra riesgo y experimentación, y que a veces puede vivirse como potencialmente amenazador y peligroso Bloustien, ; Bloustien and Peters, Esto abre posibilidades que son normalmente escondidas de nuestra visión Bloustien, El juego supone un proceso doble afectivo y cognitivo de representación e identificación que todas las personas usan para darle sentido a sus palabras, y para negociar y aliviar la incertidumbre Handelman, ; Taussig, En el juego de contar historias se produce un desplazamiento radical del yo, porque generamos conocimiento del yo y del mundo a través de identificaciones de similitud y diferencia Taussig, El juego creativo de transformar las narrativas del cuaderno de campo en historietas me permite elaborar mi experiencia, tomar distancia de las emociones, conciliar mis sentimientos contradictorios, y reconocer mi implicación y mi influencia en el taller. La decisión de crear historietas responde a la solución de varios problemas en la investigación, como la preservación de la confidencialidad y del anonimato. Realizar una etnografía visual a través del cómic es un reto que supone aceptar que realidad y ficción pueden estar muy cerca, y que la ficción permite un lenguaje metafórico visual directo que permite transmitir afectos y emociones complejas. En su lectura interviene la intertextualidad, la alfabetización visual y la hipertextualidad. Cabe recordar el esencialismo visual que Bal detectaba en la cultura visual para cuestionar el privilegio de la visión y de la imagen y su pureza sobre otros sentidos. Es necesario reconocer que cualquier estímulo sensorial puede involucrar otros sentidos, por lo que conviene comprender lo visual como una forma sinestética holística, incorporada, e impura de conocimiento a través de la sensualidad y la percepción sensorial. Mitchell señalaba la falacia de la hegemonía de lo visual en la cultura visual sobre otros discursos como el oral, la escritura, la textualidad o la lectura, y nos invitaba a considerar todos estos de forma interrelacionada. Lo visual y lo textual tienen un poder mutuo para construir narrativas que nutren conceptos, fantasías y creencias. Para Pink 22 , la etnografía no tiene una definición sencilla, ni es sólo un conjunto de métodos para la colección de datos, sino un proceso de creación y representación de conocimiento social, cultural e individual, que se basa en la experiencia personal de las personas etnógrafas. Esto se debe a que se presupone que la etnografía transmite evidencias que muestran resistencias a ideologías dominantes. Reconociendo que esto no es así a priori, lo interesante de la etnografía visual puede ser dar cuenta del poder del afecto evocado a través de las representaciones visuales Bloustien, Es necesaria una interrelación. Esto implica un giro epistemológico en el que la comprensión de la construcción de sentido es transformado irreversiblemente. Pink no menciona las posibilidades del cómic en la etnografía visual, pero algunos proyectos investigadores se proponen utilizar el arte de la historieta para comunicar resultados de investigación. Investigación educativa basada en el cómic. Figura 3. Entre los diversos estudios educativos basados en el cómic, es de interés la aportación de James F. Woglom y Stephanie R. El objetivo del cómic de Jones y Woglom a es que los estudiantes que se forman para trabajar como profesores reconozcan sus cuerpos como lugares centrales de cambio crítico, dentro y fuera de las instituciones. Otra investigación de interés basada el cómic es la tesis doctoral de Nick Sousanis sobre la relación entre lo visual y lo textual con un formato íntegro de cómic Universidad de Columbia, Nueva York. Su trabajo busca ampliar las formas de indagación académica a través de la relación de la imagen y el texto, proponiendo el cómic como medio serio de investigación. Por ejemplo, en el post del 5 de Diciembre de , Sousanis relfexiona sobre el espacio, las perspectivas y la ilusión de tridimensionalidad e infinito en un medio artístico de dos dimensiones. Su identidad americano-cubana en el contexto de los. En su web www. La investigación empírica cualitativa tiene como objetivo evaluar la accesibilidad y uso de los servicios de información y servicios de nuevas tecnologías en términos de diversidad cultural y social. Las entrevistas semiestructuradas, la observación participante y la comunicación informal con empleados y estudiantes, dan lugar a las historietas que reflejan los resultados de la investigación. Cada uno de los ocho capítulos del cómic trata de un aspecto de la vida de Ayers como profesor de educación infantil, su experiencia como padre, y el trabajo de otros educadores innovadores. La visión del libro propone una pedagogía centrada en el alumnado, una educación creativa, social, investigadora y holística al mismo tiempo que confronta y vence las fuerzas que estandarizan y deshumanizan el arte de la enseñanza. Los autores narran experiencias desde la motivación de los educadores por la enseñanza: la complejidad de la infancia, el misterio de la enseñanza, teniendo como tema central el amor. Para la crítica feminista Nancy K. Otros historietistas se han alejado de la autobiografía personal y han construido sus relatos ficticios con ciertos elementos personales, pero ficcionalizados; es el caso de autores como Gilbert, Jaime Hernandez, Daniel Clowes, Chris Ware, Charles Burns, Seth , Adrian Tomine o Jessica Abel García, Entre la realidad y la experiencia subjetiva puede situarse El fotógrafo , de Didier Lefèvre, Emmanuel Gruibert, y Frédéric Lemercier. Esta obra es especialmente interesante para esta investigación por el uso que hace del dibujo y la fotografía. Para Kind , los actos interpretativos artísticos son necesarios porque dejan algunas cosas sin decir y otras quedan expresadas de forma ambigua, lo que genera aperturas para futuras exploraciones y hallazgos p. Aun así, la responsabilidad de la autoría de la investigación la producción artística y la escritura recae sobre la persona o el equipo investigador, lo que requiere de un compromiso ético, político y estético. Referencias Aoki, T. Ayers, W. New York: Teachers College Press. Bakhtin, M. The dialogic imagination: Four essays by M. Austin: University of Texas Press. Bal, M. Visual essentialism and the object of visual culture, Journal of Visual Culture 2 1 : 5- Arts-based educational research. Jaeger Ed. Bickel, B. Sousanis, N. Etiquetas: brujas, bruja, gato, gatito, deletrear, libro, libros, sentado, té, café, cacao, elaborar cerveza, calavera, caliente, pila, negro, gris, morado, rosa, verde, adorable, felino, familiar, animal, halloween, animales, otoño, gatos, pagano, wicca, wiccan, femenino, oculto, brujo, samhain. De nikury. Etiquetas: arriba, disney, globos, pixar, negro, rojo, amarillo, verde, azul, morado, rosa, animación, película, dibujos animados, niños, fiesta, mosca, volador, aire, caliente, américa, inglaterra, viaje, monstruos, cía, hallazgo, nemo, dentro, fuera, friki, enredado, selva, libro, cenicienta, nieve, blanco. De JEGS. De Tamara Lance. De eschavox. 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As background to this work, I also delved into theories of comics McCloud,; Dittmer, ; Groenstein, —which in their juxtaposition of panels I see as very much linked to collage. And I built, of course, of my history of artistic research bdsm munch universidad estación tx has previously engaged questions of loss and mortality Vaughan, I sketched out the broad arc of the work and began. However, after creating eight panels and exhibiting three as large-scale digital prints, I began to feel dissatisfied with the work.

The panels themselves were wrought as I would wish, were technically and aesthetically achieved. And it was not that I was resisting doing bdsm munch universidad estación tx work of mourning as embodied by this project. It rather seemed that I was not finding my strategies of representation sufficient. They did not invoke enough of the complexity, mystery or poetry of grief, seeming much too cut and dried.

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And so I stopped work on the graphic novel and — taking up my second, methodological question — considered what procedures would enable me to discover what I needed to do to right what seemed off-kilter about this work.

En este caso, elegí explorar los aspectos que just click for source relacionan con la situación de la imagen misma, primordialmente sus cualidades formales y afectivas.

De manera similar, analicé las pinturas de perros de Rothenberg: la que se muestra en el video, así como otras dos obras completas, Gert y The Yellow Studio Dos, y en relación con lo anterior, bdsm munch universidad estación tx trabajo debe.

Qualitative and Artistic Research In very broad strokes, qualitative research is variously described as inquiry that utilizes interpretation ButlerKisber,p. An approach to research that combines creative and academic research practices, and supports the development of knowledge and innovation through artistic expression, scholarly investigation, and experimentation.

The creation process is situated within the research activity and produces critically informed work in a variety of bdsm munch universidad estación tx art forms. La estética visual que he creado es muy transparente, clara y mimética de la realidad externa. En otras palabras, parece que he caído en la trampa de la paradoja de la representación, que crea un mundo aun cuando nada bdsm munch universidad estación tx sostiene.

A mí, reflexionar exclusivamente en mi propio proceso me hubiera dejado con un mundo demasiado pequeño con el cual comprometerme y hubiera requerido que fuera yo la fuente primordial de mi propio aprendizaje.

Me apresuro a decir que no busco hacer esto a expensas del aspecto artístico de la ecuación, el desasosiego, el cual puede brindar misterio y relevancia como complemento bdsm munch universidad estación tx a la claridad del pensamiento basado en la investigación. As for the relationship between these forms of inquiry, some artist-theorists would wish to keep an arts practice entirely distinct from qualitative inquiry: British explicator of practice Estelle Barrett contended that practice-based research is "a new species of research"p.

And of course, many traditionally aligned qualitative researchers would disdain any assertion of common ground with research conducted through the arts.

After she had graduated from Greenwich High School inStephanie Mcmahon had attended the Boston University and in the year,she had earned herself a degree in Communications. Chubby blonde mom wears sexy dress for the blowjob night.

At the same time, the connections abound and are recognized even by those who work to tease out differences. Carter for instance, notes that creativity and imagination are at the heart of all research, and traces this recognition through the history of philosophypp.

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Admitting "a soft distinction" between the practices, arts education theorist Liora Breslerp. Bdsm munch universidad estación tx from my own vantage point in recognizing both the separate and the related aspects of these practices, I would propose that the relationship between qualitative research and research-creation might be productively expanded beyond the dualism.

And that both topographical mathematics and psychoanalysis might help.

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In aiming to visualize the relationship between qualitative and artistic research and understand it better in my own work, I searched for a model that demonstrates "that there can be a relation between two 'things' Characteristic of the möbius strip is the fact that "a bug can crawl from any point on such a surface to any other point without ever crossing an edge Pickover,p.

Escher visualized in his conundrum-based creations, such as the woodblock print of red ants on the move First explained in the 19th century by German mathematician Bdsm munch universidad estación tx Möbius, a möbius can be created by taking a strip of paper, twisting it once or more and joining the two ends.

This visualization of a möbius-in-the-making may bdsm munch universidad estación tx why I consider it an effective representation for the relationship read article art and research: each.

First, combining narrative and visuality, the graphic novel form would allow me to unfold a story through time, important to my evocation of an internal process. And finally I could take Fig.

Kathleen Vaughan,unexpected Second doubleaffinity spread, Made Bdsm munch universidad estación tx, digitalwhat collage, dimensions variable, in progress advantage of comics' for representing is called "difficult knowledge" Britzman,p.

Perhaps because a work can drawing, Exploring the loss beloved animal companion a standard poodle capitalizeand on text. As background to this work, I alsochange delvedof into theories of winter comicsto McCloud, Made Flesh addresses two research questions, one conceptual, the other methodological.

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Their study asseses the accessibility and use of the information services and technology services in terms of cultural and social diversity of the University of Oslo. The conclusions of the study are presented in a comic book. Finally, even though it is not a research project, I find the comic book To teach: The Journey, In Comics an essential reference in comi-based educational research. William Ayers and Ryan Alexander-Tanner narrate the experience of Ayers as an elementary teacher, and invite us to understand education from complexity and love. The auto-bio-graphic: reality-fiction, subjectivity-reflexivity In the late years there has been a proliferation of autobiographical graphic novels. Some autobiographic novels have received serious academic attention, such as Maus Spiegelman, , and Persépolis Satrapi, For Nancy K. Miller , the objective of autobiography is to understand oneself in relation to others, and place ourselves in a net of embodied relations. Some authors have made their fictional narratives with personal elements in fictionalized stories. In this stories there cannot be a clear distinction between reality and fiction. Other works can be placed between reality and subjective experience, such as The Photographer , by Didier Lefèvre, Emmanuel Gruibert and Frédéric Lemercier. This work invites us to consider the relationship between the iconic image of drawings, the photographic image, and their relationship with the text. The term autobiographical might evoke an intimate and personal approach, but in a relational perspective there is a social element referred to others. Autobiographical relational research allow us to recuperate, re-present, re-tell experiences of difficulty, loss, and vulnerability, regenerating meaning in the process of telling stories. Images and text are not just illustrative one of the other, but are interconnected, intertwined, and their relationship creates new meanings. Figura 2. El concepto de juego ha de ser comprendido como un proceso vital extremadamente serio, que involucra riesgo y experimentación, y que a veces puede vivirse como potencialmente amenazador y peligroso Bloustien, ; Bloustien and Peters, Esto abre posibilidades que son normalmente escondidas de nuestra visión Bloustien, El juego supone un proceso doble afectivo y cognitivo de representación e identificación que todas las personas usan para darle sentido a sus palabras, y para negociar y aliviar la incertidumbre Handelman, ; Taussig, En el juego de contar historias se produce un desplazamiento radical del yo, porque generamos conocimiento del yo y del mundo a través de identificaciones de similitud y diferencia Taussig, El juego creativo de transformar las narrativas del cuaderno de campo en historietas me permite elaborar mi experiencia, tomar distancia de las emociones, conciliar mis sentimientos contradictorios, y reconocer mi implicación y mi influencia en el taller. La decisión de crear historietas responde a la solución de varios problemas en la investigación, como la preservación de la confidencialidad y del anonimato. Realizar una etnografía visual a través del cómic es un reto que supone aceptar que realidad y ficción pueden estar muy cerca, y que la ficción permite un lenguaje metafórico visual directo que permite transmitir afectos y emociones complejas. En su lectura interviene la intertextualidad, la alfabetización visual y la hipertextualidad. Cabe recordar el esencialismo visual que Bal detectaba en la cultura visual para cuestionar el privilegio de la visión y de la imagen y su pureza sobre otros sentidos. Es necesario reconocer que cualquier estímulo sensorial puede involucrar otros sentidos, por lo que conviene comprender lo visual como una forma sinestética holística, incorporada, e impura de conocimiento a través de la sensualidad y la percepción sensorial. Mitchell señalaba la falacia de la hegemonía de lo visual en la cultura visual sobre otros discursos como el oral, la escritura, la textualidad o la lectura, y nos invitaba a considerar todos estos de forma interrelacionada. Lo visual y lo textual tienen un poder mutuo para construir narrativas que nutren conceptos, fantasías y creencias. Para Pink 22 , la etnografía no tiene una definición sencilla, ni es sólo un conjunto de métodos para la colección de datos, sino un proceso de creación y representación de conocimiento social, cultural e individual, que se basa en la experiencia personal de las personas etnógrafas. Esto se debe a que se presupone que la etnografía transmite evidencias que muestran resistencias a ideologías dominantes. Reconociendo que esto no es así a priori, lo interesante de la etnografía visual puede ser dar cuenta del poder del afecto evocado a través de las representaciones visuales Bloustien, Es necesaria una interrelación. Esto implica un giro epistemológico en el que la comprensión de la construcción de sentido es transformado irreversiblemente. Pink no menciona las posibilidades del cómic en la etnografía visual, pero algunos proyectos investigadores se proponen utilizar el arte de la historieta para comunicar resultados de investigación. Investigación educativa basada en el cómic. Figura 3. Entre los diversos estudios educativos basados en el cómic, es de interés la aportación de James F. Woglom y Stephanie R. El objetivo del cómic de Jones y Woglom a es que los estudiantes que se forman para trabajar como profesores reconozcan sus cuerpos como lugares centrales de cambio crítico, dentro y fuera de las instituciones. Otra investigación de interés basada el cómic es la tesis doctoral de Nick Sousanis sobre la relación entre lo visual y lo textual con un formato íntegro de cómic Universidad de Columbia, Nueva York. Su trabajo busca ampliar las formas de indagación académica a través de la relación de la imagen y el texto, proponiendo el cómic como medio serio de investigación. Por ejemplo, en el post del 5 de Diciembre de , Sousanis relfexiona sobre el espacio, las perspectivas y la ilusión de tridimensionalidad e infinito en un medio artístico de dos dimensiones. Su identidad americano-cubana en el contexto de los. En su web www. La investigación empírica cualitativa tiene como objetivo evaluar la accesibilidad y uso de los servicios de información y servicios de nuevas tecnologías en términos de diversidad cultural y social. Las entrevistas semiestructuradas, la observación participante y la comunicación informal con empleados y estudiantes, dan lugar a las historietas que reflejan los resultados de la investigación. Cada uno de los ocho capítulos del cómic trata de un aspecto de la vida de Ayers como profesor de educación infantil, su experiencia como padre, y el trabajo de otros educadores innovadores. La visión del libro propone una pedagogía centrada en el alumnado, una educación creativa, social, investigadora y holística al mismo tiempo que confronta y vence las fuerzas que estandarizan y deshumanizan el arte de la enseñanza. Los autores narran experiencias desde la motivación de los educadores por la enseñanza: la complejidad de la infancia, el misterio de la enseñanza, teniendo como tema central el amor. Para la crítica feminista Nancy K. Otros historietistas se han alejado de la autobiografía personal y han construido sus relatos ficticios con ciertos elementos personales, pero ficcionalizados; es el caso de autores como Gilbert, Jaime Hernandez, Daniel Clowes, Chris Ware, Charles Burns, Seth , Adrian Tomine o Jessica Abel García, Entre la realidad y la experiencia subjetiva puede situarse El fotógrafo , de Didier Lefèvre, Emmanuel Gruibert, y Frédéric Lemercier. Esta obra es especialmente interesante para esta investigación por el uso que hace del dibujo y la fotografía. Para Kind , los actos interpretativos artísticos son necesarios porque dejan algunas cosas sin decir y otras quedan expresadas de forma ambigua, lo que genera aperturas para futuras exploraciones y hallazgos p. Aun así, la responsabilidad de la autoría de la investigación la producción artística y la escritura recae sobre la persona o el equipo investigador, lo que requiere de un compromiso ético, político y estético. Referencias Aoki, T. Ayers, W. New York: Teachers College Press. Bakhtin, M. The dialogic imagination: Four essays by M. Austin: University of Texas Press. Bal, M. Visual essentialism and the object of visual culture, Journal of Visual Culture 2 1 : 5- Arts-based educational research. Jaeger Ed. Bickel, B. Sousanis, N. New York: Berghahn. Bloustien, G. In Milne, E-J. Handbook of participatory video, pp. Altamira Press: Lanham, Maryland. London: Palgrave Macmillan. Diamond, C. The postmodern educator: arts-based inquiries and teacher development. New York: Peter Lang. Dresang, E. Radical change: Books for youth in a digital age. New York: H. Figura 5. Egan, S. Mirror talk: genres of crisis in contemporary autobiography. Eisner, E. The enlightened eye: qualitative inquiry and the enhancement of educational practice. New York: Macmillan. Featherstone, M. Body, Image and Affect in Consumer Culture. Gunning, T. Or, Faking Photographs. Hammersley, M. Handelman, D. Irwin, R. Jones, S. Teaching Bodies in Place. Teachers College Record 8 Graphica comic arts-based educational research. Harvard Educational Review, 83 1 : Josephides, L. James, J. Hockey and A. Dawson eds. Kaare, B. Lundby Ed. Kind, S. Lefèvre, D. Barcelona: Sins Entido Levinson, P. London: Routledge. Lister, M. Mackey, M. Entender el cómic: el arte invisible, Bilbao: Astiberri. McEachern, C. Ethnography in Anthropology and Cultural Studies. McGuigan, J. Cultural Methodologies. McQuire, S. Miller, N. Journal of the Modern Language Association of America, 2 : — Mitchell, W. Showing seeing: a critique of visual culture. Journal of Visual Culture 1 2 : Morgan, W. City of text? Metaphors for hypertext in literary education. Changing English, 6 1 , Pink, S. Doing Visual Ethnography. Images, Media and Representation in Research. Purves, A. Flies in the web of hypertext. Reinking, M. McKenna, L. Kieffer Eds. Handbook of literacy and technology: Transformations in a post-typographic world pp. Mahwah, NJ: Lawrence Erlbaum. Rogoff, I. The Visual Culture Reader. Routledge: New York, pp. Roselló, J. Sontag, S. On Photography. New York: Dell. Springgay, S. Qualitative Inquiry, 11 6 , Taussig, M. Mimesis and Alterity. Triggs, V. Whitlock, G. I am not there - modes of presence of the author in Comics-Based Research. Enrico Beccari Universidad de Barcelona g. My concerns about this specific, artistic aspect began when I had to deal with a series of difficulties, both conceptual and practical, that I had to solve in order to progress with my doctoral thesis — a narrative approach to visual culture, developed as a graphic novel ish project. Since I had taken the methodological decision of making my presence explicit in my research, I had to manage if, when and how to portray the visual representations of myself. Here, I explore the many types of my self-portraits, and I also look for other examples, drawn from other academic articles from authors who use sequential art as a communicative strategy, and from graphic novels that deal with social and educative themes. The author thus focuses on other actors, or on other concepts. As such, it may have a rethorical scope beyond the sheer need of coming back to verbal language to expose concepts that would be hard to represent through images. Finally, on a deeper level, there is the overall absence of the author, as the use of the sign verbal or graphic indicates. The sign is, in many senses, both presence and absence. In many sense, the simple visual presence of the researcher makes impossible for the reader to ignore him. It is a veil on the absence, yet this veil must mean something, and the researcher has to think about what does he want it to mean. Note: Given the particular format of this essay, I have opted for using endnotes instead of the usual in-text notes. The Toppling. How the Media inflated a minor moment in a long war. Abbey Road [LP]. Abbey Road London: Apple Records. In Clandinin, D. Composing diverse identities: Narrative inquiries into the interwoven lives of children and teachers. Crane-Williams, R. Can You Picture This? Kindly let me understand so that I may just subscribe. As I website possessor I conceive the written content here is really excellent, thankyou for your efforts. I was wondering if you ever considered changing the page layout of your site? Its very well written; I love what youve got to say. But maybe you could a little more in the way of content so people could connect with it better. Youve got an awful lot of text for only having 1 or 2 pictures. Maybe you could space it out better? Wonderful website. Plenty of helpful info here. I am sending it to several friends ans also sharing in delicious. 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Etiquetas: frankenstein, pop, rosa caliente, painterzini, horror, clasicorror, rosa, monstruo, halloween, nicklorenzini. De NickLorenzini. Etiquetas: hula hoop, retro, chica ilustrada, aro, hula, hula hooper, tonelero, feliz, femenino, cosas de chicas, rosa caliente. De Dominique O'Leary. The sign is, in many senses, both presence and absence. In many sense, the simple visual presence of the researcher makes impossible for the reader to ignore him. It is a veil on the absence, yet this veil must mean something, and the researcher has to think about what does he want it to mean. Note: Given the particular format of this essay, I have opted for using endnotes instead of the usual in-text notes. The Toppling. How the Media inflated a minor moment in a long war. Abbey Road [LP]. Abbey Road London: Apple Records. In Clandinin, D. Composing diverse identities: Narrative inquiries into the interwoven lives of children and teachers. Crane-Williams, R. Can You Picture This? Visual Arts Research, 38 1. Illinois: University of Illinois Press. Delisle, G. Pyongyang: A Journey in North Korea. Hall, Stuart. London: Hutchinson, LeJeune, P. Suplementos Anthropos, 9. Barcelona: Editorial Anthropos Madrid Manrique, M. Understanding Comics. New York: Harper Paperbacks. Hacer comics. Bilbao: Astiberri McMillan, S. The Beginning of the American Fall. New York: Seven Stories Press. Robinson-Cseke, M. Politics of Art Making. Sacco, J. Seattle: Fantagraphics. Wallis, J. Graphic Affects. Título Visual. Visual Title. Colored pencils, acrylic, ink and pencil on paper. Drawings reworking the los cuadernos de viaje. Dibujo de estudio Drawing in Studio. Fotografía, Photography, dibujo arqueológico y archaeological drawing dibujo del natural and drawing from life. Analytical drawings from nature that dealt with similar topics: the figures of the priests in others temples or elsewhere. Fotografías de figuras de sacerdotes en el arte egipcio. Photographs of priests figures in Egyptian art. How do they relate, the drawings I do now the figures of the priests with the drawings of those same figures, which were made in the Pharaonic era? Bibliografía References Andreu-Lanoë, G. Damiano-Appia, M. Gómez Molina, J. Robins, G. Serino, F. Resumen Visual. Andrea Rubio Fotoensayo compuesto por seis fotografías digitales de la autora. Figure 1. Visual Abstract. Educational metaphors. Photo-essay composed by six digital photographs. RESUMEN A través de esta serie de esculturas realizo una propuesta de investigación educativa basada en las artes visuales utilizando la escultura como método de investigación, como medio expresivo y como lenguaje. Las metodologías de enseñanza que se pueden extraer de los procesos artísticos, tanto creativos como perceptivos, son la base de esta propuesta y nuestro interés es desarrollar nuevas formas metodológicas de enseñanza basadas en las artes. Through a series of sculptures, I made a proposal based on educational research in the visual arts using sculpture as a research method, as an expressive medium and as language. Teaching methodologies that can be drawn from both creative and perceptive artistic processes are the basis of this proposal and our interest is to develop new teaching methodology based in the arts. These sculptures are not designed to illus-. Andrea Rubio. El muñeco. Compuesto con tres fotografías digitales de la autora. Figure 2. The doll. Composed with three digital photographs. Figure 3. Estas esculturas no tratan de ilustrar una idea, sino de hacer que el propio concepto escultórico sea la esencia metodológica educativa. Una escultura sólo se sostiene en las ideas que proporciona y en las experiencias que propicia. A sculpture only functions to provide ideas and experiences that are conducive to learning. I understand artistic creation as a generator of aesthetic experiences as something that evidences, proves, asks, perhaps responds, which encompasses a process of learning, research , and a conclusion that is also open to the interaction of ideas alien to the process. Our take is an artistic and educational and hence political position, a reflection on educational issues, pedagogical and conceptual sculptural structure that is designed to encourage and lead to the creation of new visual metaphors, new teaching ideas and proposals art and through art. Thus, this paper proposes four visual metaphors about education, not only as artistic products, but as a mechanism of projection and implementation of educational content. We propose the sculptural metaphor as a method to challenge our ideas about education. The main objective of this research is to suggest four sculptural metaphors for the concept of education. The four pieces were made using concepts similar to those of contemporary art, integrating sculptures, installations and participatory processes. At the methodological level, we try to develop the field of Artistic Research Methodologies and Research based on Visual Arts through objects, arrangements, and participatory actions. This research report uses the visual discourse to show the research process. The results have been exhibited as art pieces in the Exhibition Hall of the Faculty of Fine Arts at the Complutense University of Madrid and, in this article, are in the form of visual discourse. El presente informe de investigación utiliza el discurso visual para dar cuenta de dicho proceso indagador. Los resultados han sido expuestos como piezas artísticas en la Sala de Exposiciones de la Facultad de Bellas Artes de la Universidad Complutense de Madrid y en éste artículo se. How do you educate a doll? Can we rethink education if we. Figura 4. Compuesto con dos fotografías digitales de la autora. Figure 4. Composed with two digital photographs. The proposed object is an object without color, without ornamentation, and without content. How do you generate color? El objeto propuesto es un objeto vacío de color , de ornamentación, de contenido: en blanco. Este proyecto fue concebido en forma de taller. Sólo recibían esta directriz: tenían que educarlo. Un mes después se recibieron los muñecos de vuelta. Y los resultados eran variados. La mayoría los habían intervenido física y visualmente. Una de las participantes le hizo una funda con precio en la que se leían los. This project was created as a workshop. During that time, they had one simple guideline: they had to educate it. One of the participants made a case that had a label on it which enumerated the new knowledge that the doll now had. Another doll was returned completed rolled up in bubble wrap. A month later, the dolls were given back. The results were varied. Most had made physical and visual alterations. One of the participants made a case with priced in which the knowledge he now had his dummy were read. Otherwise, the doll had a funnel on his head and three wires to the three primary colors coming through the funnel and out the eyes and mouth as a whirlwind of colors. Another came completely wrapped in plastic bubbles, which are used to protect the. El molde. Figure 5. The mold. En otro caso, el muñeco tenía un embudo en la cabeza y tres hilos con los tres colores primarios entrando por el embudo y saliendo por los ojos y la boca en forma de un torbellino de colores. Después de recibir los muñecos educados, se hizo un molde de la mano de cada participante en el taller y una reproducción de su propia mano en escayola. Así, las piezas se muestran de forma en que cada mano tiene colgada de sí misma el muñeco que ha educado. Pero, si lo. After receiving the educated dolls, each participant made a mold and plaster model of their own hand. So , the pieces are shown how each hand has hung herself the doll has educated. Molds, in certain sculptural processes, are basically used to reproduce. They are not usually the ultimate goal of sculptural creation, but rather, are used as an intermediate to create another object. But if we consider it as the final object, interesting ideas arise regarding education. What if we consider the purpose of the education process itself? What is the relationship between the mold and certain pedagogies? What interferences occur between the concepts of mold and education? What are our educational molds? To work with this concept we made copies of. Figura 6. Figure 6. Para trabajar este concepto se realizaron moldes de algunas de las copias de manos que se habían realizado en el anterior proyecto y también moldes directos de manos de personas relacionadas con la educación. También se hicieron moldes de los muñecos de tela blancos. Esta vez los moldes fueron realizados con un material que permite numerosas reproducciones y no sólo una como ocurría en el anterior proyeto. Así de un mismo molde se pueden sacar infinitas copias: un mismo docente educa a innumerables estudiantes bajo una misma pedagogía. Y a su vez estas copias, estos moldes, pueden llegar a ser docentes. Aprender desde la respuesta que encontramos a las preguntas que nos generamos desde nosotros mismos. Vamos resolviendo nuestras dudas, nuestras propias preguntas, nuestros nudos. Molds of white rag dolls were also made. This time the molds were made of a material that allows for numerous reproductions, unlike the previous project. Therefore, with the same mold, one can make infinite copies: one teacher educates many students under the same pedagogy. And at the same time, these copies, these molds, can become teachers. For this reason, the mold is a part of piece and not just a mere tool used in order to reach the final product. The mold as a part of the educative process is now a part of the education. How does the learning process relate to the knot? How does unknotting relate to understanding? Is it the student who questions his own concepts and beliefs through the knotted thread, trying to find solutions? Or is the teacher who does it for him? For this project I made a torso modeling with clay and then make a mold and reproduction in polyester resin. I put transparent colored threads into the resin that traversed the structure of the figure. The threads became entangled, and formed complicated structures and knots, seeming to look for a way out of the structure in order to find resolution. Figure 7. Para este proyecto realizamos el modelado de un torso con barro para después hacer un molde y una reproducción en resina de polyester. Los hilos y los nudos salen desde dentro del torso hacia el exterior y es desde sus manos desde donde se intenta resolver ese nudo, aprender al deshacer, al hacer. It is not the teacher who teaches about concepts; concepts are the threads, inside and outside of the student. It is through these tools with which you have been endowed, you learn, untie, and are able to generate new tools of your own for learning and teaching. Si analizamos el sistema educativo español pronto veremos que es un sistema basado en la homogeneización de la comprensión de la realidad y sus procesos, con unas rígidas estructuras que no favorecen el desarrollo personal de los estudiantes,. If we analyze the Spanish education system, we will soon see that it is based on the homogenization of the understanding of reality and its processes with rigid structures that do not encourage the personal development of students, the system does not take into account the diversity within them, and their individual and group needs. Thus, we needed to invent an interactive work that recreated the system. What is the overall educational process that occurs within formal education like? What are the bureaucratic structures of state education like and what are the impacts of these structures in relation to education? We decided to do an installation that harbored these ideas, which allowed us to generate an experience as close as possible to the actual experience. The route was built with wooden cubicles joined by a very thin translucent plastic, thus creating a tunnel. As they, the students, progressed on the course, they had to make decisions as to whether to take one path. Figura 8. El nudo. La diseñamos como un camino lineal y de un sólo sentido, dividido en diferentes etapas por las que se va pasando en la vida de estudiante: educación infantil, educación primaria, secundaria, bachillerato, formación profesional, universidad A medida que se avanzaba en el recorrido había que tomar decisiones para coger un camino u otro. Figure 8. The knot. With thanks! I have read some just right stuff here. Definitely value bookmarking for revisiting. 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I built,a beloved of course, of teach my history of artistic research pleasures of living with others? I sketched and represent mourning?

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Further, for Derrida, the work of mourning is 'interminable, inconsolable, irreconcilable'p. With these and other theories of mourning Attig, in mind, I'm currently exploring the limits and possibilities of an artwork of mourning a dog in Made Flesh.

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Austin's ideas of performativity in which speech acts accomplish the utterance they voice as in the statement, "I do", in the traditional western marriage ceremony. Haseman proposes performative research as inquiry in which "the symbolic data works performatively.

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It not only expresses the research, but in that expression becomes the research itself" Haseman,p. Kathleen Vaughan, Page in progress, Made Bdsm munch universidad estación tx, digital collage, dimensions variable, in progress. The panels themselves were wrought as.

Crucial, of course, is both the twisting the theorizing and the will to bring the ends together the read more. But the whole is more — and more strange — than the sum of its parts: in fact, I propose that the strangeness of the möbius figure suggests a quality of the uncanny, which, can further help us understand the relationship between qualitative research practices and artas-research.

Bdsm munch universidad estación tx connected the uncanny to that which is frightening and arouses feelings of repulsion and distress p.

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This act of strangeness through dissonance or juxtaposition recalls, I propose, not only the möbius form, but also the practice of collage. After all, collage is historically and currently an artistic practice of bringing together divergent elements, and has recently emerged as a method used by both qualitative research and practice-based research.

Collage Collage is evoked by qualitative researchers as a useful method, specifically as an arts-based bdsm munch universidad estación tx of framing data differently.

Bdsm munch universidad estación tx

Methods specialist Lynn Butler-Kisber, who has written extensively about the value of collage in educational researchvivastreet erótico desnudo masaje, proposes that collage can be used as a reflective tool, as a basis of elicitation, and as a way of conceptualizing a response to a research questionpp.

She suggests that collage "has attracted attention because it is a user-friendly medium, one in which the basic skills of cutting bdsm munch universidad estación tx sticking that are acquired early click here life can bdsm munch universidad estación tx used" and is mindful of the influence of pervasive visual culture on an orientation to the visual in research practices p.

In these days of ubiquitous digital screens, each featuring multiple visual elements just for instance, the jumbo subway platform screens seen by mass transit users in Montreal and Toronto, who encounter simultaneous video content, streamed weather information, train arrival times, and news headlines and our own splitscreen on-line multi-tasking streaming 'television' media while answering e-mails or sending textsone could have grounds for believing that "everything is collage," as notable Canadian author Michael Ondaatje has suggestedp.

Kathleen Vaughan, Single page, Made Flesh, digital collage, dimensions variable, in progress. Of course, collage has a long and abiding discourse of practice in visual arts.

About years ago, artists Pablo Picasso and Georges Braque, working independently each fractured painting's pictorial space by adhering to the surface of their works bdsm munch universidad estación tx, chair caning, and other attributes of modernity's mass production Poggi, Then and since, collage has often been linked with cultural transformation, or at the very least with dissent and cultural critique Mesch, As states contemporary American artist Indeed, according to art critic Laura Hoptman, writing about the multi-disciplinary collages in the influential New Museum exhibition, Unmonumental, Two-dimensional expressions of the carnage of a suicide bomb attack, a roar of protest from an enraged crowd, the collision of signs in an urban landscape, the apocalyptic moment when art is finally subsumed bdsm munch universidad estación tx popular culture, contemporary collage work seeks to create a space between the rarefied museum and the chaos outside.

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I am aligned with those who from surrealist Max Ernstp. My own considerations explore collage as a method for researchcreation Vaughan,often using my own practice as a basis for theorizing, as here. Bdsm munch universidad estación tx writing linked to the method in creating the Unwearables, a body of textile sculptures addressing questions of family relation, loss, and mourning, I stipulated nine characteristics of collage as a method of artist's research5 Vaughan,pp.

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These characteristics are now ensconced as bdsm munch universidad estación tx basic orientation of my practice as an artist and researcher. Click have enacted them in subsequent projects of researchcreation, such as the body of work currently underway. Denzin and Lincoln would identify the next stage of theorizing, its fourth phase, as, that of naming the methods of collecting and analyzing datap.

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Bdsm munch universidad estación tx it is that which I articulate here. In recognizing the relationship between qualitative research and research-creation as a möbius, I aim to invoke and adapt the qualitative orientation to. But I also recognize that I need to find new procedures at this point in my research-creation process, something that can move me out of this stuck impasse of dissatisfaction with my project and into clearly seen steps for improvement. These nine characteristics are that the research 1 is embodied in creative practice; 2 uses juxtaposition; 3 is interdisciplinary; 4 bdsm munch universidad estación tx linked to daily life and grounded in particular experiences; 5 is conducted by a situated artist-researcher; 6 is oriented to cultural critique and transformation; 7 is open-ended, with outcomes being bdsm munch universidad estación tx as of the moment rather than definitive; 8 exists in multiple, provisional, and interdependent outcomes; and 9 consists of work that reflects, reveals, and documents the process of its own making.

Currently, many commonly accepted procedures of research-creation are based in the twin pillars of reflection and documentation. The orientation to reflection builds from the work of Donald Schön, who suggested that for those of us who are practice-oriented professionals in arts, teaching, nursing, etc.

It seems right to say that our knowing is in our action" By reflecting on her actions, the practitioner learns from and read more her practice.

In later work, Schön theorized the relative benefits of reflection in practice, which takes place quickly and in the moment, and reflection on practice, a deliberate and considered activity after the fact, to bdsm munch universidad estación tx the practice through critical recollection and identify behavioural changes that could potentially improve the outcomes of another, similar instance.

The entwined working of reflection in and on practice is the dynamic means by what a practitioner develops, bringing past experience to bear on new situations.

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Schön's work was updated with specific reference to practicebased research in the arts by Steven Scrivenerwho described an intricate system of reflection-in-action and -practice RIAP and reflection-on-action and -practice ROAP p. He go here bdsm munch universidad estación tx, "Each surprise during working, together with its associated frame, refuted theory of action, surfaced tacit knowledge, revised theory of action, revised frame and subsequent action, should be reflected on both with regard to its contribution to the project and its implications for future action and practice" p.

Relatedly, documentation has been proposed as a key methodological tool of research-creation, a way of tracking learning for further consideration and review. Similarly, Finnish artist-researcher Bdsm munch universidad estación tx Nimkulrat writes, "The aim of this documentation is to make the creative process somewhat transparent by capturing each step the practitioner-researcher takes in the process, both consciously and unconsciously"p.

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The field of education also has an understanding of the value of documentation to learning, notably through the Reggio Emilia approach to early childhood education. While this was written with teachers' documentation in mind, the artistresearcher faces related challenges of creating meaningful documentation: that of finding and sticking to a bdsm munch universidad estación tx system; of actually capturing moments of learning rather than.

The question of how one might usefully document one's own reflective learning is a larger one than I will address here. Bdsm munch universidad estación tx and reflection are of course essential to a process of researchcreation, with the consequent reflexivity being a basic tenet of see more standpoint theory Haraway,p.

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However, reflection and documentation are bdsm munch universidad estación tx, I contend, sufficient. Both processes rely on the individual to see beyond her own biases and limitations, bootstrapping her way to innovation and improvement. No question that this can be eminently achievable.

But an emphasis on self-reliance overlooks the fact that learning is fundamentally dialogical and that such dialogue may be most effectively achieved with an attuned other. Especially with the imperative that works of art-as-research "include a fundamental, public, communicative contribution that is worth preserving" Nevanlinna,p.

In order for anyone to not only take part in a practice, but to take part well, it is not enough for someone to rely on their own interpretation of whether they are doing well, they must submit to the standards and criticism of other bdsm munch universidad estación tx.

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As noted on pages of this text, according to the earlier SSHRC definition of research-creation, the research and any bdsm munch universidad estación tx created "must meet peer standards of excellence and be suitable for publication, public performance or viewing.

However, instead of or in addition to such dialogic learning, I propose a kind of further orientation to collage as method, a juxtaposition of other artists' works with one's own in a way that could be seen as a kind of data collection and analysis.

It is important that the artist-research choose works that are aligned with her own, that there be sufficient thematic or formal preoccupations in common for a rigorous analysis of the factors of success in others' works to be usefully applied to one's own work. Sullivan, in his theorizing of art as researchdescribes the kind of analytic process that is at the heart of a research endeavour: Identifying similarities and difference among ideas, concepts, definitions, interpretations, and theoretical views is one of the most common methods article source analysis used in research.

A basic requirement is to locate common points or areas. In essence, one is looking for common interests and different views. As a component of the analytic phase, one in which one checks one's own progress and self-corrects, this juxtaposition of one's own artwork with others' is more extensive and in-depth than the self-positioning, due diligence work a researcher does in a literature review.

I bdsm munch universidad estación tx proposing a kind of critical, comparative visual analysis, a kind of collage procedure in which other artists' work can serve as a lens through which to better understand one's own and to hone one's own visions and practices, a kind of triangulation through others' achievements.

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Kathleen Vaughan, Double page spread, Made Flesh, digital collage, dimensions variable, in progress. Bdsm munch universidad estación tx there are various approaches that one might adopt to effect the 'rub', the critical visual analytic mode that I prefer is that of Gillian Rosewho articulates three different sites at which meaning is made in visual bdsm munch universidad estación tx the site s of production of the image, that is, the specific circumstances, time, and location where the work was made; the site of the image itself, which can include its formal, sensory, phenomenological or affective aspects; and the site of audiencing, or the process by which an image has its meanings renegotiated by a specific viewer or set of viewersp.

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Rose further proposed that a critical viewer can explore each of these three sites from any one or more of three modalities that can contribute to the critical understanding of visual works: the technological, the compositional, and the social, this latter being Rose's shorthand for "the range of economic, social and political relations, institutions and practices that surround an image and through which it is seen and bdsm munch universidad estación tx p. With Rose's schema in mind, I conducted a critical visual analysis of artworks created by two contemporary women artists who have an orientation to juxtaposition and the use of fragments and, moreover, who used these devices to explore the death of a beloved dog: Eija-Liisa Ahtila and Susan Rothenberg.

The artwork in question is The Hour of Prayera minute four-channel work projected onto an angled structure of four screens, a sculptural bdsm munch universidad estación tx in its own right.

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Her first person narrative, relayed in the piece by actress Laura Malmivaara, begins in January in New York City in an evening snowstorm. Over the sounds of dense traffic starting and stopping through slushy roads, and against four screens of different footage, some shot from above as though from a hotel room window, and some from street level, where New Yorkers of all kinds struggle through the bad weather, the unnamed narrator speaks about a nightmare she had when bdsm munch universidad estación tx the city.

In her link, she couldn't find Luka. As she bdsm munch universidad estación tx, the images on the four screens shift quickly, reflecting the busy city rhythm in a sequence of New York street scenes.

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Then the action moves indoors, with slower footage of our narrator in her hotel room preparing to go to bed. Falling asleep, the unnamed narrator has a nightmare in which she can't find her dog. Once Ahtila has established the parameters of her storytelling device—the visit to New York in winter, the dream, the dog—we go along for the ride as, next, two screens go black.

On one of the remaining two, we bdsm munch universidad estación tx the protagonist addressing the camera against a dark ground in the first time she speaks directly to the viewer, while on another screen we see semi-transparent slow-motion bdsm munch universidad estación tx of her dog running, superimposed on the reflected image of the hotel room in which she sleeps.

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She speaks, saying, "A few days later, when I was returning home, I thought maybe things in the dream were somehow reversed, that while in my dream I had somehow picked up the dog's anxiety about my being away, that despite all bdsm munch universidad estación tx efforts he couldn't click me" Ahtila, In simple, heartfelt language, the protagonist describes her strong connection to Luka, an accidental injury he experiences while out walking with the narrator, the discovery of his bone cancer and his radical medical treatment.

In a rather reflective, calm voice, the narrator recalls her desperation to keep her dog alive. She said, "I prayed that we could keep Luka boy at least for the summer. And then later when Luka died on the eleventh of August, I blamed myself for not praying to have him at least until Christmas" Ahtila, Counterpoint to the straightforward storytelling is the rich and dynamic bdsm munch universidad estación tx of images.

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At times, all four screens are used to extend a panorama. But Ahtila also breaks up the screen space, using a single or double black screen as a compositional, conceptual, and emotional tool, to separate the speaker from the world she evokes to focus our concentration in on specific details, to leave just a little room for the viewer to enter the frame.

It click to see more to me that bdsm munch universidad estación tx black screens might also indicate the un-doing Kathleen Vaughan — A Möbius 48Paradigm — Page 20 of 28 January 15, There is much resonance and power of juxtaposition as used by Ahtila in Hour of Prayer.

Juxtaposition implies that no single element is complete on its own -- with metaphorically rich implications for considerations of mourning, for in bdsm munch universidad estación tx we feel partial, lost without the absent loved one. The deliberate display of this fragmentation, of this partiality, is one of the compositional devices of American painter Susan Rothenberg, especially in her recent paintings of dogs.

In her large, gestural paintings Rothenberg represents deeply felt, occasionally shocking aspects of her daily life, including her canine companions, their miscellaneous doggie activities and, ultimately, the imminent death of one beloved canine companion.

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She places the dog at the right of the panel, cropped click that her nose and her right paw disappear off the edge of the frame. Considering how important paws and nose are to a dog's engagement with the world, it is striking that Rothenberg has excluded two of Gert's key perceptual and relational capacities from the painted world.

They exist in the world bdsm munch universidad estación tx the painting, in the world that in filmmaking is known as the hors champ, whose invisible presence is felt even if material aspects bdsm munch universidad estación tx not seen on the hors champ, see Deleuze,p.

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We are left instead bdsm munch universidad estación tx a fragment of Gert, whose compelling and oddly human figure emerges from a roughly worked ground of dark brown, the hewn and over-hewn touch a Rothenberg signature.

A yellow dog also appears in Rothenberg's work, Yellow Studio. This painting, too, uses fragments—the dog with the cropped nose, the artist whose truncated arms hold an illustrated book and whose body is replaced by a reading lamp.

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Along the top edge of the frame are some non-specific studio furnishings—possibly a small table or easel, a shelf. Given that bdsm munch universidad estación tx piece is called the Yellow Studio we in fact see little of the usual attributes of studio life, paintings, artists' materials, or even a horizon or floor line that defines the space.

These elements, too, exist in the hors champ, the off-screen space.

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The film begins with Rothenberg in a chair, smoking, discussing questions of beauty in her artwork, indicating her hope that her paintings "can be bdsm munch universidad estación tx moments for people. Burbank, personal communications, June 18, Perhaps Rothenberg's on-screen remark that this work is "just completely personal" suggests that she might not be intending or willing to sell the painting.

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I infer that Rothenberg was trying to recover herself as much as she was trying to bring the dog she loved back into her life in painted form.

The immense feeling that is captured in Rothenberg's work—and in Ahtila's, in a more reserved way—is so strong that it breaks through the representational boundaries of the forms the artists choose.

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In Ahtila's case, it means creating multiple simultaneous interwoven bdsm munch universidad estación tx narratives more info play in counterpoint against the single spoken text.

In Rothenberg's case, it means emphasizing the hors champ and bringing the tactile aspect of the work into prominence, correspondingly bdsm munch universidad estación tx visual acuteness.

Through this analysis of these artworks, whose achievements I compared with my own in Made Flesh, I came up with three key observations that are now helping me improve my own work: One: A linear narrative feels too simple. Nor does a linear form relate sufficiently to my body of visual work, which does not use straightforward or single narrative as a communicative device.

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Two, and relatedly: Made Flesh must represent internal experience more fully, balancing the clearly articulated external realities. As it stands now, the visual aesthetic I've created is very transparent, clear, and mimetic of external reality.

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Along the same lines, and so three: the work needs more fragmentation, more 'hors champ'. That is to say, my work needs more indications of the world beyond the one that I render. Somehow, Bdsm munch universidad estación tx created a world that is too closed, too contained: a world that seems to resist death, to resist mourning, to be keeping out the experience of the collapse and fragmentation of mourning even while it narrates it.

In other words, I seem to have fallen into the trap of the paradox of representation, which creates a world in the face of death and loss, where no world can in fact sustain. In reviewing the common qualities of these adjustments, I realized that essentially bdsm munch universidad estación tx all amounted to a need in my work for greater acknowledgement and reflection of the disruptive, the disowned, the disquieting, that is, the uncanny.

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I return to Freud for a closer consideration of bdsm munch universidad estación tx uncanny, and find that he maintains that in the world of the arts as opposed to what he describes as real-life experience [,p. So my challenge is augmented. In both art and life, though, Freud associates the uncanny with the return of personal feelings of childhood that have been repressed and forgotten p.

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Critique as signature pedagogy in fine arts. Gurung, N. Haynie Eds. Sterling, VA: Stylus. Kotzee, B. Studies in Continuing Education 34 1 , Kroeger, J. Documentation: A hard to reach place. Early Childhood Education Journal 33 6 , McCloud, S. Understanding comics: The invisible art. New York: HarperPerennial. Reinventing comics: How imagination and technology are revolutionizing an art form. McNiff, S. Opportunities and challenges in arts-based research. Mesch, C. Vostell's ruins: Dé-collage and the mnemotechnic of the postwar city. Art History 23 1 : Miller, W. Susan Rothenberg: Emotions [Documentary short film]. Art Is "artistic research" a meaningful concept? Kiljunen and M. Hannula Eds. Helsinki: Academy of Fine Arts. Nimkulrat, N. The role of documentation in practice-led research. Journal of Research Practice 3 1, Article M6. Given Ed. Ondaatje, M. Pickover, C. The möbius strip: Dr. August Möbius's marvelous band in mathematics, games, literature, art, technology, and cosmology. New York: Thunder's Mouth Press. Poggi, C. In defiance of painting: Cubism, futurism, and the invention of collage. Making teaching visible: Documenting individual and group learning as professional development. Cambridge, MA: Project Zero. Project Zero and Reggio Children. Making learning visible: Children as individual and group learners. Reggio Emilia, Italy: Reggio Children. Prouvost, L. Farfromwords: car mirrors eat raspberries when swimming through the sun, to swallow sweet smells. Rose, G. Mourning becomes the law: Philosophy and representation. Cambridge: Cambridge University Press. Visual methodologies, 3rd edition. Rosler, M. Collage: The unmonumental picture p. Rothenberg, S. The yellow studio [Painting]. Gert [Painting]. Schön, D. The reflective practitioner. New York: Basic Books Inc. Educating the reflective practitioner: Toward a new design for teaching and learning in the professions. Scott, D. Refashioning futures: Criticism after postcoloniality. Scrivener, S. Working Papers in Art and Design 1. Definition of terms. Other criteria. New York: Oxford University Press, Stevens, M. Essential hesitations. Parkett 43, Sullivan, G. Art practice as research: Inquiry in visual arts 2nd ed. Pieced together: Collage as an artist's method of interdisciplinary research. International Journal of Qualitative Methods, 4 1. Finding home: Knowledge, collage, and the local environments Unpublished doctoral dissertation. York University, Toronto, ON. Vaughan, K. Collage as form, collage as method: An approach to interdisciplinary qualitative research using visual art practices and theory. Creating ruins: From image to object in making Unwearable Clothing. Worden, D. The shameful art: McSweeney's Quarterly Concern, comics, and the politics of affect. Cómic, currículum en la escuela secundaria y APPS. Cómic, currículum enand la escuela secundaria y APPS. Comic,enhigh school curriculum APPS. Cómic, currículum la escuela secundaria y APPS. Comic, high school curriculum and APPS. Fotografí Resumen. Si apro narrativo determinado para persuadir y entretener al lector. Si a mejorar y enriquecer el proceso de enseñanza-aprendizaje. The comic uses a graphic-narrative aims and entertain the reader. If persua method. In thi. All this with the aaim of improving resources with didactic purpose. Key words. Key words Abstract The sequential graphic narrative, ie. Comic, art education, artistic research, high school, visual curriculum facts or stories about superheroes, politics, sex, etc. El cómic como APP. Porque el sistema educativo tiene y debe aprovechar esta revolución tecnológica para su propio beneficio, ya que la educación no se puede permitir que el ritmo tecnológico al que avanza la sociedad llegue al punto de que sea inalcanzable en el aula Marín, Los adolescentes han aprendido de una forma autodidacta muy eficiente el uso de estas aplicaciones. Pero el problema radica en el uso que se le da normalmente a las APPs, que por lo general suele estar destinado a aplicaciones de entretenimiento y distracción. En las siguiente tabla se muestra algunas de las ventajas o desventajas que podrían tener las APPs respecto a esta cuestión:. Falta de formación del profesorado Material insuficiente y desactualizado Falta de inversión económica por parte de la Administración Falta de interés por parte del M. Aunque podríamos añadir algunos efectos como el de ampliar el texto pasando los dedos, o incorporar sonido a los bocadillos audiocómic , algunos efectos especiales al mover el dispositivo iPad, tablet, smartphone, etc. Esto quiere decir que el uso del cómic como APP no tiene mas sentido que el de la propia lectura como tal, pero para ello ya existen los libros electrónicos pdf, epub, etc. Aunque este formato no llega a considerarse exactamente como una APP sino como un libro multi-touch, permite añadir elementos de interactividad tales como tutoriales, elementos 3D, ventanas emergentes, lenguaje html, etc. Resultados y contraste de la investigación. Los de Bachillerato no lo tienen tan claro y la mayoría parece estar en desacuerdo, algo que se contradice con la respuesta de antes. Mortadelo y Filemón Ninguno Astérix y Obélix 2. Ernst, M. Paris: Gallimard. Escher, M. Möbius II Red Ants [woodblock print]. Freud, S. Mourning and melancholia J. Strachey, Trans. Dickson Ed , On metapsychology: The theory of psychoanalysis pp. New York and London: Penguin. The Uncanny D. McLintock, Trans. London: Penguin Books. Gray, C. Inquiry through practice: Developing appropriate research strategies. Strandman Ed. Discussions on art and design research Taideteollisen Korkeakoulun Julkaisusarja. B, Visualising research: A guide to the research process in art and design. Aldershot: Ashgate. Groensteen, T. The system of comics. Grosz, E. Volatile bodies: Toward a corporeal feminism. Bloomington: Indiana University Press. Hannula, M. Haraway, D. Situated knowledges: The science question in feminism and the privilege of partial perspective. In Simians, cyborgs and women: The reinvention of nature pp. New York: Routledge. Haseman, B. A manifesto for performative research. Hoptman, L. Collage now: The seamier side. In Phillips, L. Jentsch, E. Zur Psychologie des Unheimlichen. Psychiatrisch-Neurologische Wochenschrift 8 22 25 Aug. Klebesadel, H. Critique as signature pedagogy in fine arts. Gurung, N. Haynie Eds. Sterling, VA: Stylus. Kotzee, B. Studies in Continuing Education 34 1 , Kroeger, J. Documentation: A hard to reach place. Early Childhood Education Journal 33 6 , McCloud, S. Understanding comics: The invisible art. New York: HarperPerennial. Reinventing comics: How imagination and technology are revolutionizing an art form. McNiff, S. Opportunities and challenges in arts-based research. Mesch, C. Vostell's ruins: Dé-collage and the mnemotechnic of the postwar city. Art History 23 1 : Miller, W. Susan Rothenberg: Emotions [Documentary short film]. Art Is "artistic research" a meaningful concept? Kiljunen and M. Hannula Eds. Helsinki: Academy of Fine Arts. Nimkulrat, N. The role of documentation in practice-led research. Journal of Research Practice 3 1, Article M6. Given Ed. Ondaatje, M. Pickover, C. The möbius strip: Dr. August Möbius's marvelous band in mathematics, games, literature, art, technology, and cosmology. New York: Thunder's Mouth Press. Poggi, C. In defiance of painting: Cubism, futurism, and the invention of collage. Making teaching visible: Documenting individual and group learning as professional development. Cambridge, MA: Project Zero. Project Zero and Reggio Children. Making learning visible: Children as individual and group learners. Reggio Emilia, Italy: Reggio Children. Prouvost, L. Farfromwords: car mirrors eat raspberries when swimming through the sun, to swallow sweet smells. Rose, G. Mourning becomes the law: Philosophy and representation. Cambridge: Cambridge University Press. Visual methodologies, 3rd edition. Rosler, M. Collage: The unmonumental picture p. Rothenberg, S. The yellow studio [Painting]. Gert [Painting]. Schön, D. The reflective practitioner. New York: Basic Books Inc. Educating the reflective practitioner: Toward a new design for teaching and learning in the professions. Scott, D. Refashioning futures: Criticism after postcoloniality. Scrivener, S. Working Papers in Art and Design 1. Definition of terms. Other criteria. New York: Oxford University Press, Stevens, M. Essential hesitations. Parkett 43, Sullivan, G. Art practice as research: Inquiry in visual arts 2nd ed. Pieced together: Collage as an artist's method of interdisciplinary research. International Journal of Qualitative Methods, 4 1. Finding home: Knowledge, collage, and the local environments Unpublished doctoral dissertation. York University, Toronto, ON. Vaughan, K. Collage as form, collage as method: An approach to interdisciplinary qualitative research using visual art practices and theory. Creating ruins: From image to object in making Unwearable Clothing. Worden, D. The shameful art: McSweeney's Quarterly Concern, comics, and the politics of affect. Cómic, currículum en la escuela secundaria y APPS. Cómic, currículum enand la escuela secundaria y APPS. Comic,enhigh school curriculum APPS. Cómic, currículum la escuela secundaria y APPS. Comic, high school curriculum and APPS. Fotografí Resumen. Si apro narrativo determinado para persuadir y entretener al lector. Si a mejorar y enriquecer el proceso de enseñanza-aprendizaje. The comic uses a graphic-narrative aims and entertain the reader. If persua method. In thi. All this with the aaim of improving resources with didactic purpose. Key words. Key words Abstract The sequential graphic narrative, ie. Comic, art education, artistic research, high school, visual curriculum facts or stories about superheroes, politics, sex, etc. El cómic como APP. Porque el sistema educativo tiene y debe aprovechar esta revolución tecnológica para su propio beneficio, ya que la educación no se puede permitir que el ritmo tecnológico al que avanza la sociedad llegue al punto de que sea inalcanzable en el aula Marín, Los adolescentes han aprendido de una forma autodidacta muy eficiente el uso de estas aplicaciones. Pero el problema radica en el uso que se le da normalmente a las APPs, que por lo general suele estar destinado a aplicaciones de entretenimiento y distracción. En las siguiente tabla se muestra algunas de las ventajas o desventajas que podrían tener las APPs respecto a esta cuestión:. Falta de formación del profesorado Material insuficiente y desactualizado Falta de inversión económica por parte de la Administración Falta de interés por parte del M. Aunque podríamos añadir algunos efectos como el de ampliar el texto pasando los dedos, o incorporar sonido a los bocadillos audiocómic , algunos efectos especiales al mover el dispositivo iPad, tablet, smartphone, etc. Esto quiere decir que el uso del cómic como APP no tiene mas sentido que el de la propia lectura como tal, pero para ello ya existen los libros electrónicos pdf, epub, etc. Aunque este formato no llega a considerarse exactamente como una APP sino como un libro multi-touch, permite añadir elementos de interactividad tales como tutoriales, elementos 3D, ventanas emergentes, lenguaje html, etc. Resultados y contraste de la investigación. Los de Bachillerato no lo tienen tan claro y la mayoría parece estar en desacuerdo, algo que se contradice con la respuesta de antes. 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Pushed away, reviled, these repressed feelings often have a quality of solitude, silence and darkness p. This same.

After this minute of set-up discussion, we look with Rothenberg at one unfinished oil painting that is the focus of discussion for the remaining two minutes of the film. It's large, perhaps six feet high by eight wide, the image featuring a white dog crouching at the left side of the canvas, held by two large blue hands, the right hand extended from a long angled arm.

From the bottom edge of the canvas, the toes of two red sneakers appear. While the dog appears disproportionately small compared to the gigantic human elements, in fact, given the size of the canvas, the dog could be just about bdsm munch universidad estación tx. The background of the work is heavily worked in tones of white and off-white, into bdsm munch universidad estación tx to dog's paleness virtually continue reading. In fact, the stone white ground comprises the vast majority of the pictorial space of the image, the figural elements taking up just a tiny portion of surface area.

Rothenberg tells us the story of this piece, her voice halting and full of feeling, "We had this De Ellador.

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Politics of Art Making. Sacco, J. Seattle: Fantagraphics. Wallis, J. Graphic Affects. Título Visual. Visual Title. Colored pencils, acrylic, ink and pencil on paper. Drawings reworking the los cuadernos de viaje. Dibujo de estudio Drawing in Click. Fotografía, Photography, dibujo arqueológico y archaeological drawing dibujo del natural and drawing from life.

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Analytical drawings from nature that dealt bdsm munch universidad estación tx similar topics: the figures of the priests in others temples or elsewhere. Fotografías de figuras de sacerdotes en el arte egipcio. Photographs of priests figures in Egyptian art. How do they relate, the drawings I do now the figures of the priests with the drawings of those same figures, which were made in the Pharaonic era? Bibliografía References Andreu-Lanoë, G.

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Damiano-Appia, M. Gómez Molina, J. Robins, G.

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Serino, F. Resumen Visual. Andrea Rubio Fotoensayo compuesto por seis fotografías digitales de la autora. Figure 1.

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Visual Abstract. Educational metaphors. Photo-essay composed by six digital photographs. RESUMEN A través de esta serie de esculturas realizo una propuesta de investigación educativa basada en las artes visuales utilizando la escultura como método de investigación, como medio expresivo y como lenguaje. Las metodologías de enseñanza que se pueden extraer de los procesos artísticos, tanto creativos bdsm munch universidad estación tx perceptivos, bdsm munch universidad estación tx la base de esta propuesta y nuestro interés es desarrollar nuevas formas metodológicas de enseñanza basadas en las artes.

Through a series of sculptures, I made a proposal based on educational research in the visual arts using sculpture as a research method, as an expressive medium and as language.

Teaching methodologies that can be drawn from both creative and perceptive artistic processes are the basis of this proposal and our interest is to develop new teaching methodology based in the arts.

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These sculptures are not designed to illus. Andrea Rubio. El muñeco.

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Compuesto con tres fotografías digitales de la autora. Figure 2. The doll.

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Composed with three digital photographs. Figure 3. Estas esculturas no tratan de ilustrar una idea, sino de hacer que el propio concepto escultórico sea la esencia metodológica educativa.

Una escultura sólo se sostiene en las ideas que proporciona y en las experiencias que propicia. A sculpture only functions to provide ideas and experiences that are conducive to learning.

"I'd be dead,'' she said.

I understand artistic creation as a generator of aesthetic experiences as something that evidences, proves, asks, perhaps responds, which encompasses a process of learning, researchand a conclusion that is also open to the interaction of ideas alien to the process.

Our take is an artistic and educational and hence political position, a reflection on educational issues, pedagogical and conceptual sculptural structure that is designed to encourage and lead to the creation of new visual metaphors, new teaching ideas https://hit.quickweightlossforwomen.pw/forum-2020-07-08.php proposals art and through art.

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Thus, this paper proposes four visual metaphors about education, not only as artistic products, but as a mechanism of projection and implementation of educational content. We propose the sculptural metaphor as a method to challenge our ideas about education.

Inhalt A-Z.

The main objective of this research is to suggest four sculptural metaphors for the concept of education. The four pieces were made using concepts similar to those of contemporary art, integrating sculptures, installations and participatory processes.

At the methodological level, we try to develop the field of Artistic Research Methodologies and Research based on Visual Arts through objects, arrangements, bdsm munch universidad estación tx participatory actions.

This research report uses the visual discourse to show the research process.

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The results have been exhibited as art pieces in the Exhibition Hall of the Bdsm munch universidad estación tx of Fine Arts at the Complutense University of Madrid and, in this article, are in the form of visual discourse.

El presente informe de investigación utiliza el discurso visual para dar cuenta de dicho proceso indagador. Los resultados han sido expuestos como piezas artísticas en la Sala de Exposiciones de la Facultad de Bellas Artes de la Universidad Complutense de Madrid y en éste artículo se.

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How do you educate a doll? Can we rethink education if we. Figura 4. Compuesto con dos fotografías digitales de la autora.

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Figure 4. Composed with two digital photographs. The proposed object is an object without color, without ornamentation, and without content.

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How do you generate color? El objeto propuesto es un objeto vacío de colorde ornamentación, de contenido: en blanco.

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Este proyecto fue concebido en forma de taller. Sólo recibían esta directriz: tenían que educarlo. Un mes después se recibieron los muñecos de vuelta. Y los resultados eran variados. La mayoría los habían intervenido física y visualmente.

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Una de las participantes le hizo una funda con precio en la que se leían los. This project was created as a workshop. During that time, they had one simple guideline: they had to educate it. One of the participants made a case that had a label on it which enumerated the new knowledge that the doll now had.

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Another doll was returned completed rolled up in bubble wrap. A month later, the dolls were given back. The results were varied. Most had made physical and visual bdsm munch universidad estación tx. One of the participants made a case with priced in which the knowledge he now had his dummy were read.

Otherwise, the doll had a funnel on his head and three wires to the three primary colors coming through the funnel and out the eyes and mouth as a whirlwind of colors. Another came completely wrapped in plastic bubbles, which are used to protect the. El molde. Figure 5.

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The mold. En otro caso, el muñeco tenía un bdsm munch universidad estación tx en la cabeza y tres hilos con los tres colores primarios entrando por el embudo y saliendo por los ojos y la boca en forma de un torbellino de colores. Después de recibir los muñecos educados, se hizo un molde de la mano de cada participante en link taller y una reproducción de su propia mano en escayola.

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Here, las piezas se muestran de forma en que cada mano tiene colgada de sí misma el muñeco que ha educado.

Pero, si lo. After receiving the educated dolls, each participant made a mold and plaster model of their own hand. Sothe pieces are shown how each hand has hung herself the doll has educated.

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Molds, in certain sculptural processes, are basically used to reproduce. They are not usually the ultimate goal of sculptural creation, but rather, are used as an intermediate to create another object. But if we consider it as the final object, interesting ideas arise regarding education.

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What if we consider the purpose of the education process itself? What is the relationship between the mold and certain pedagogies? What interferences occur between the concepts of mold and education?

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What are our educational molds? To work with this concept we bdsm munch universidad estación tx copies of. Figura 6. Figure 6. Para trabajar este concepto se realizaron moldes de algunas de las copias de manos que se habían realizado en el anterior proyecto y también moldes directos de manos de personas relacionadas con la educación.

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También se hicieron moldes de los muñecos de tela blancos. Esta vez los moldes fueron realizados con un material que permite numerosas reproducciones y no sólo una como ocurría en el anterior proyeto.

Así de un mismo molde se pueden sacar infinitas copias: un mismo docente educa a innumerables estudiantes bajo una misma pedagogía. Y continue reading su vez estas copias, estos moldes, pueden llegar a ser docentes.

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Molds of white rag dolls were also made.

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This time the molds were bdsm munch universidad estación tx of a material that allows for numerous reproductions, unlike the previous project. Therefore, with the same mold, one can make infinite copies: one teacher educates many students under the same pedagogy.

And at the same time, these copies, these molds, can become teachers. For this reason, the mold is a part of piece and not just a mere tool used in order to reach the final product.

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The mold as a part of the educative process is now a part of the education. How does the learning process relate to the knot?

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How does unknotting relate to understanding? Is it the student who questions his own concepts and beliefs through the knotted thread, trying to find solutions? Or is the teacher who does it for him? For this project I made a torso modeling with clay and then make a mold and reproduction in polyester resin.

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I put transparent colored threads into the resin that traversed the structure of the figure. The threads became entangled, and formed complicated structures and knots, seeming to look for a way out of the structure in order to find resolution. Figure 7.

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Para este proyecto realizamos el modelado de un torso con barro para después hacer un molde y una reproducción en resina de polyester. Los hilos y los nudos salen desde dentro del torso hacia el exterior y es desde sus manos desde donde se intenta resolver ese nudo, aprender bdsm munch universidad estación tx deshacer, al hacer.

It is not the teacher who teaches about concepts; concepts read article the threads, inside and outside of the student.

It is through these tools with which you have been endowed, you learn, untie, and are able to generate new tools of your own for learning and teaching. Si analizamos el sistema educativo español pronto veremos que es un sistema basado en la homogeneización de la comprensión de la realidad y sus procesos, con unas bdsm munch universidad estación tx estructuras que no favorecen el desarrollo personal de los estudiantes.

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If we analyze the Spanish education system, we will soon see that it is based on the homogenization of the understanding bdsm munch universidad estación tx reality and its processes with rigid structures that do not encourage the personal development of students, the system does not take into account the diversity within them, and their individual and group needs. Thus, we needed to invent an interactive work that recreated the system.

What is the overall educational process that occurs within formal education like? What are the bureaucratic structures of state education like and what are the impacts of these structures in relation to education?

We decided to do an installation that harbored these ideas, which allowed us to generate an experience as close as possible to the actual experience.

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The route was built with wooden cubicles joined by a very thin translucent plastic, thus creating a tunnel. As they, the students, progressed on the course, they had to make decisions as to whether to take one path. Figura bdsm munch universidad estación tx. El nudo.

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La diseñamos como un camino lineal y de un sólo sentido, dividido en diferentes etapas por las que se va pasando en la vida de estudiante: educación bdsm munch universidad estación tx, educación primaria, secundaria, bachillerato, formación profesional, universidad A medida que se avanzaba en el recorrido había que tomar decisiones para coger un camino u otro. Figure 8. The knot.

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Deviations bdsm munch universidad estación tx made of roads that were more difficult to navigate, and although they should have the possibility of rejoining the normal path, obstacles such as strings made it difficult. The same thing happened after high school.

The paths converged into open spaces with several possible solutions that you could choose according to your wealth or social class. You could decide between going to labor markets going to stopperforming an advanced cycleorif you had enough money, going to college. As they walked down the tunneled path, it narrowed and became smaller. After leaving the University, they bdsm munch universidad estación tx to keep going by kneeling or crawling.

After that final stretch, a blinding spotlight was shone on the participants to represent the receival of a diploma that accredited them as being educated.

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Thus, the education process was over. The concepts that emerged yet completed.

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Educational metaphors through sculpture are the materialization of ideas, questions and even some answers. These conceptual, educational and artistic structures can be drawn up new possibilities and proposals.

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Figura 9. Figure 9. Lo mismo pasaba al terminar el bachillerato.

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Así podías decidir entre mercado laboral ir al parorealizar bdsm munch universidad estación tx ciclo superior, osi tenías dinero suficiente, ir a la universidad.

Así al salir de la Universidad era necesario ir de rodillas o a gatas. Después de ese tramo final colocamos un foco apuntando a la salida que cegaba a los participantes a la vez que les hacíamos entrega de un diploma que les acreditaba como educados. El proceso de educación había terminado.

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Los conceptos de los que surgieron y a la vez completaron. De estas estructuras conceptuales, educativas y artísticas se pueden extraer nuevas posibilidades y.

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