Researching The Teaching Of Drawing

The Drawing Laboratory at NSCAD University was founded with funding from the Social Sciences and Humanities Research Council of Canada in 2005 as a collaboration between psychological scientists from Dalhousie and drawing instructors at NSAD. The Drawing Lab is thus a unique place where scientists and artists collaborate on interdisciplinary research about the complex intellectual and practical act of drawing from observation. By bringing the scientific method to bear on how drawing processes unfold, those involved seek to improve drawing education while furthering research on the cognitive processes involved in drawing. The chapters in this book describe that research. ‘Perceptual and Cognitive Processes in Drawing from Observation’ will hold much interest for drawing instructors and students, psychologists and neuroscientists with a specialism in art, as well as those with a general interest in art and science. Authors of this volume are Amanda Burk, John Christie, Tim Fedak, Raymond Klein, Geniva Liu, Bryan Maycock, Mathew Reichertz and Jack Wong.

The Drawing Laboratory at NSCAD University was founded with funding from the Social Sciences and Humanities Research Council of Canada in 2005 as a collaboration between psychological scientists from Dalhousie and drawing instructors at NSAD. The Drawing Lab is thus a unique place where scientists and artists collaborate on interdisciplinary research about the complex intellectual and practical act of drawing from observation. By bringing the scientific method to bear on how drawing processes unfold, those involved seek to improve drawing education while furthering research on the cognitive processes involved in drawing. The chapters in this book describe that research. 'Perceptual and Cognitive Processes in Drawing from Observation' will hold much interest for drawing instructors and students, psychologists and neuroscientists with a specialism in art, as well as those with a general interest in art and science.

The Drawing Laboratory at NSCAD University was founded with funding from the Social Sciences and Humanities Research Council of Canada in 2005 as a collaboration between psychological scientists from Dalhousie and drawing instructors at NSAD. The Drawing Lab is thus a unique place where scientists and artists collaborate on interdisciplinary research about the complex intellectual and practical act of drawing from observation. By bringing the scientific method to bear on how drawing processes unfold, those involved seek to improve drawing education while furthering research on the cognitive processes involved in drawing. The chapters in this book describe that research. 'Perceptual and Cognitive Processes in Drawing from Observation' will hold much interest for drawing instructors and students, psychologists and neuroscientists with a specialism in art, as well as those with a general interest in art and science.

In this meditation/how-to guide on drawing as an ethnographic method, Andrew Causey offers insights, inspiration, practical techniques, and encouragement for social scientists interested in exploring drawing as a way of translating what they "see" during their research.

Picturing research: drawing as visual methodology offers a timely analysis of the use of drawings in qualitative research. Drawing can be a method in itself, as in the research area of Visual Studies, and also one that complements the use of photography, video, and other visual methodologies. This edited volume is divided into two sections. The first section provides critical commentary on the use of drawings in social science research, addressing such issues of methodology as the politics of working with children and drawing, ethical issues in working with both adults and children, and some of the interpretive considerations. The second section, in its presentation of nine research-based case-studies, illustrates the richness of drawings. Each case study explores participatory research involving drawings that encourages social change, or illustrates participant resilience. These case studies also highlight the various genres of drawings including cartoons and storyboarding. The book draws on community-based research from a wide variety of contexts, most in South Africa, although it also includes work from Rwanda and Lesotho. Given the high rates of HIV&AIDS in sub-Saharan Africa, it should not be surprising that many of the chapters take up concerns such as the preparation of teachers and community health workers in the age of AIDS, and the experiences of orphans and vulnerable children. Moving further afield, this book also includes work done with immigrant populations in Canada, and with tribunals in Somalia and Australia. Picturing research is an important resource for novice and experienced researchers interested in employing qualitative methodology that encourages rich (yet low-tech) visible data and that offers a participatory, enabling experience for participants and their communities.

Creative research methods can help to answer complex contemporary questions which are hard to answer using conventional methods alone. Creative methods can also be more ethical, helping researchers to address social injustice. This bestselling book, now in its second edition, is the first to identify and examine the five areas of creative research methods: • arts-based research • embodied research • research using technology • multi-modal research • transformative research frameworks. Written in an accessible, practical and jargon-free style, with reflective questions, boxed text and a companion website to guide student learning, it offers numerous examples of creative methods in practice from around the world. This new edition includes a wealth of new material, with five extra chapters and over 200 new references. Spanning the gulf between academia and practice, this useful book will inform and inspire researchers by showing readers why, when, and how to use creative methods in their research. Creative Research Methods has been cited over 500 times.

This book examines the transformative potential of collaborative teacher research. Specifically, Kalin shares the perspectives of educators as they investigate the teaching and learning of drawing within their own elementary classrooms and within the context of an action research group. The innovative a/r/tographic design of the project provides a rich balance between the arts and educational research, as it allows for the complex unfolding of relational transformation, alongside the artistic renditions of each person exploring their understandings of drawing. The products and processes of this book provide alternative approaches for the design of future pre-service and in-service programs that aim to serve teachers as learners rather than teachers as teachers. In this vein, the book offers worthy insights into how the arts and collaborative action research groups assist participants in finding other ways of seeing, imaging, and knowing the world. The book will appeal to practitioners, teacher educators, educational researchers, as well as those interested in professional development, complexity thinking, curriculum studies, collaborative action research, and arts-based educational research methodologies.

This book argues for the essential use of drawing as a tool for science teaching and learning. The authors are working in schools, universities, and continual science learning (CSL) settings around the world. They have written of their experiences using a variety of prompts to encourage people to take pen to paper and draw their thinking – sometimes direct observation and in other instances, their memories. The result is a collection of research and essays that offer theory, techniques, outcomes, and models for the reader. Young children have provided evidence of the perceptions that they have accumulated from families and the media before they reach classrooms. Secondary students describe their ideas of chemistry and physics. Teacher educators use drawings to consider the progress of their undergraduates’ understanding of science teaching and even their moral/ethical responses to teaching about climate change. Museum visitors have drawn their understanding of the physics of how exhibit sounds are transmitted. A physician explains how the history of drawing has been a critical tool to medical education and doctor-patient communications. Each chapter contains samples, insights, and where applicable, analysis techniques. The chapters in this book should be helpful to researchers and teachers alike, across the teaching and learning continuum. The sections are divided by the kinds of activities for which drawing has historically been used in science education: An instance of observation (Audubon, Linnaeus); A process (how plants grow over time, what happens when chemicals combine); Conceptions of what science is and who does it; Images of identity development in science teaching and learning.