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Learning by Feeling: Excursions into the Affective Landscape

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Title: Learning by Feeling: Excursions into the Affective Landscape
Language: English
Authors: Katherine Burlingame (ORCID 0000-0002-1152-0189)
Source: Journal of Geography in Higher Education. 2023 47(5):706-718.
Availability: Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals
Peer Reviewed: Y
Page Count: 13
Publication Date: 2023
Document Type: Journal Articles
Reports - Descriptive
Education Level: Higher Education
Postsecondary Education
Descriptors: College Students, Geography, Educational Research, Active Learning, Emotional Response, Emotional Experience, Affective Behavior, Psychological Patterns, Experience, Geographic Concepts, Geographic Location, Teaching Methods
DOI: 10.1080/03098265.2021.1977917
ISSN: 0309-8265
1466-1845
Abstract: Learning by doing has become a common phrase in the scholarship of teaching and learning as research continues to emphasize the benefits of active student engagement in higher education. Instead of passive vessels to be filled with information, students become the architects of their own education. While traditional ways of teaching focus on what students should learn, there is now more interest in "how" they should learn. With the emotional turn in geography, research has increasingly focused on the lived experience and the emotional and affective dimensions of space and place. However, the question often remains as to how to bring such research into an active learning environment that extends beyond the classroom. Instead of learning by doing, learning by "feeling" is presented as a new way of teaching emotional geographies. Student projects from two courses in landscape geography reveal how excursions into the affective landscape help students explore emotional geographies through more creative, reflective, affective, and active learning assessment strategies.
Abstractor: As Provided
Entry Date: 2024
Accession Number: EJ1405941
Database: ERIC
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  Value: <anid>AN0174522150;jgh15nov.23;2024Jan02.04:35;v2.2.500</anid> <title id="AN0174522150-1">Learning by feeling: excursions into the affective landscape </title> <p>Learning by doing has become a common phrase in the scholarship of teaching and learning as research continues to emphasize the benefits of active student engagement in higher education. Instead of passive vessels to be filled with information, students become the architects of their own education. While traditional ways of teaching focus on what students should learn, there is now more interest in how they should learn. With the emotional turn in geography, research has increasingly focused on the lived experience and the emotional and affective dimensions of space and place. However, the question often remains as to how to bring such research into an active learning environment that extends beyond the classroom. Instead of learning by doing, learning by feeling is presented as a new way of teaching emotional geographies. Student projects from two courses in landscape geography reveal how excursions into the affective landscape help students explore emotional geographies through more creative, reflective, affective, and active learning assessment strategies.</p> <p>Keywords: Emotion; fieldtrips; reflective writing; affective learning; landscape geography</p> <hd id="AN0174522150-2">Introduction</hd> <p>Despite a concern in the early 2000s with the lack of work on emotion in geography (Anderson & Smith, [<reflink idref="bib2" id="ref1">2</reflink>]), the emotional turn in the last two decades has revived humanistic research. Exploring "how we feel – as well as think – <emph>through</emph> 'the body'" (Davidson & Milligan, [<reflink idref="bib13" id="ref2">13</reflink>], p. 523, original emphasis), a growing body of scholarship on emotional geographies combines "the insights of geography, gender studies, cultural studies, sociology, anthropology, and other disciplines to understand how the world is mediated by feeling" (Thien, [<reflink idref="bib43" id="ref3">43</reflink>], pp. 450–451). Closely linked to the affective turn, emotional geographies also provide a pathway to new theoretical understandings of the multi-sensorial, embodied interactions between humans and the world around us. For example, non-representational – or to some, <emph>more-than-representational</emph> – theory (Lorimer, [<reflink idref="bib27" id="ref4">27</reflink>]; Waterton, [<reflink idref="bib53" id="ref5">53</reflink>]) allows for the investigation of places "not just seen, but heard, smelled, and touched" (Lorimer, [<reflink idref="bib27" id="ref6">27</reflink>], p. 86). Others have used phenomenology to explore the complexities in, for example, belonging (Tolia-Kelly, [<reflink idref="bib48" id="ref7">48</reflink>]), memory (Lorimer, [<reflink idref="bib28" id="ref8">28</reflink>]; Tolia-Kelly, [<reflink idref="bib50" id="ref9">50</reflink>]; Wylie, [<reflink idref="bib56" id="ref10">56</reflink>]), and affective, embodied encounters (Burlingame, [<reflink idref="bib8" id="ref11">8</reflink>]; Tilley, [<reflink idref="bib47" id="ref12">47</reflink>]). Such research has also given way to new methods such as participatory drawing or photography (Ryan, [<reflink idref="bib40" id="ref13">40</reflink>]; Tolia-Kelly, [<reflink idref="bib48" id="ref14">48</reflink>], [<reflink idref="bib49" id="ref15">49</reflink>]) as well as creative styles of writing (Burlingame, [<reflink idref="bib9" id="ref16">9</reflink>]; Jones, [<reflink idref="bib25" id="ref17">25</reflink>]; Lorimer & Parr, [<reflink idref="bib29" id="ref18">29</reflink>]; Shepherd et al., [<reflink idref="bib42" id="ref19">42</reflink>]; Wylie, [<reflink idref="bib55" id="ref20">55</reflink>]).</p> <p>Though these approaches indicate both scholarly value and academic rigor, there continues to be a reluctance (and sometimes resistance) in the wider academic community to reach out beyond traditional academic structures and styles of research and writing (Askins, [<reflink idref="bib3" id="ref21">3</reflink>]). Sometimes referred to as dull, mechanical, and inaccessible (Burlingame, [<reflink idref="bib9" id="ref22">9</reflink>]; DeLyser, [<reflink idref="bib14" id="ref23">14</reflink>]; Elwood, [<reflink idref="bib15" id="ref24">15</reflink>]; Tierney, [<reflink idref="bib46" id="ref25">46</reflink>]), these styles are characterized by a dehumanized, or <emph>disenchanted</emph> (Woodyer & Geoghegan, [<reflink idref="bib54" id="ref26">54</reflink>]), subject "cloaked behind a veil of claimed objectivity" (Cloke et al., [<reflink idref="bib10" id="ref27">10</reflink>], p. 24). Since affective and emotional approaches are placed at the intersections between creative, reflective, and critical engagement, it can be difficult and even daunting to bring the <emph>feeling</emph> subject out of the shadows.</p> <p>Given these enduring barriers, there is a lack of literature on how to bring emotional geographies into the classroom to help students push academic and scholarly boundaries in their own research and writing. Therefore, with this paper I aim to develop a more robust teaching and learning environment for emotional geographies. An active learning approach of learning by <emph>feeling</emph> is proposed through the form of "feel-trips" (Golubchikov, [<reflink idref="bib19" id="ref28">19</reflink>]) and creative art projects. Student work and evaluations from two landscape geography courses on both graduate and undergraduate levels collected over several years reveal the effectiveness of employing more unconventional learning assessment strategies in the teaching and learning of emotional geographies.</p> <hd id="AN0174522150-3">Emotional geographies</hd> <p>Geography has a long history of struggling with feelings (Bondi et al., [<reflink idref="bib6" id="ref29">6</reflink>]). While humanistic geographers in the 1970s lamented the side effects of suppressing emotions in geographical research (Tuan, [<reflink idref="bib51" id="ref30">51</reflink>]), it was not until the emotional turn in geography in the early 2000s that there was a wider movement challenging the claim that "knowledge is, and should be, an abstract, disembodied, purely rational and objective construct" (Jones, [<reflink idref="bib25" id="ref31">25</reflink>], p. 207). Through this long-awaited turn, emotions were finally recognized for the fundamental role they play in the human experience, and new realms of research emerged to help explore and represent these new forms of knowledge (Davidson & Milligan, [<reflink idref="bib13" id="ref32">13</reflink>]; Thrift, [<reflink idref="bib45" id="ref33">45</reflink>]). In particular, the study of affect provided a more nuanced platform to investigate both feelings and emotions (Matthis, [<reflink idref="bib32" id="ref34">32</reflink>]) given that it explores the "<emph>how</emph> of emotion" (Thien, [<reflink idref="bib43" id="ref35">43</reflink>], p. 451, original emphasis) and plays a key role in understanding the lived experiences and entanglements between minds, bodies, and the physical world (Ahmed, [<reflink idref="bib1" id="ref36">1</reflink>]; Conradson, [<reflink idref="bib11" id="ref37">11</reflink>]; Matthis, [<reflink idref="bib32" id="ref38">32</reflink>]).</p> <p>Alongside this shift, there was also a need to restructure and rethink theoretical and epistemological explorations of how research in emotional geographies is conducted, gathered, and represented. In particular, there is often an unrecognized or unacknowledged array of emotions encountered in the research and writing processes ranging from the passionate drive and curiosity for the research subject to the ability to think critically and reflect on others' and one's own ideas (Bondi, [<reflink idref="bib5" id="ref39">5</reflink>]). A study by Melvin Shaw ([<reflink idref="bib41" id="ref40">41</reflink>]), for example, uncovered the broad range of scientists' emotional reflections on the research process that are most often left out of the writing process. Without an outlet to express their joys, frustrations, and curiosities, researchers tend to fall back on a standardized style of academic writing, stripped of any individualism behind the words (Burlingame, [<reflink idref="bib9" id="ref41">9</reflink>]; Cloke et al., [<reflink idref="bib10" id="ref42">10</reflink>]). This has subsequently affected the ability of research in geography to reach out to other disciplines and audiences beyond academia. It is therefore even more difficult to bring reflective and emotional elements into the classroom, which indicates a need to further explore the complexities of teaching and learning emotional geographies.</p> <hd id="AN0174522150-4">The emotional learner</hd> <p>Given that education plays a vital role in shaping "our values, beliefs, and who and what we become" (Boler, [<reflink idref="bib4" id="ref43">4</reflink>], p. xvii), teachers of emotional geographies play an important role in helping students recognize the deep impact their own emotions and lived experiences can have on how they encounter and represent the people and places they study. However, traditional lecture formats have often treated students as "passive vessels" (Vandiver & Walsh, [<reflink idref="bib52" id="ref44">52</reflink>], p. 32) to be filled up with knowledge that is memorized and then repeated back with little to no critical thinking or active engagement. Learning by doing has therefore been increasingly emphasized as a way to help students move from <emph>what</emph> research is to <emph>how</emph> to conduct research as well as a more reflective engagement with <emph>why</emph> they are doing it (Askins, [<reflink idref="bib3" id="ref45">3</reflink>]; Vandiver & Walsh, [<reflink idref="bib52" id="ref46">52</reflink>]). This aligns with research on affective learning that encourages concrete, lived experiences to help students move from surface to deep learning (Harrison et al., [<reflink idref="bib21" id="ref47">21</reflink>]; Thorpe, [<reflink idref="bib44" id="ref48">44</reflink>]) by activating students' imaginations and fostering reflective and critical thinking skills (Buissink-Smith et al., [<reflink idref="bib7" id="ref49">7</reflink>]; Holton, [<reflink idref="bib22" id="ref50">22</reflink>]; Krathwohl et al., [<reflink idref="bib26" id="ref51">26</reflink>]).</p> <p>While research on employing active learning strategies is plentiful, few have explored the emotional component tethered to student learning, and this is particularly important for learning in emotional geographies. Helping students pay more attention to the range of emotions they may encounter enhances their capacity to conduct emotional research and allows for more open reflection on their own positionality and experiences, "how [they] think and feel about what [they] do," and the value it can have for others (Bondi, [<reflink idref="bib5" id="ref52">5</reflink>], p. 242). To accomplish this, different learning strategies can be employed. Reflective writing in online journals, for example, allows students to more authentically reveal themselves and their own thinking processes about the subject matter, and it encourages reflection on their own learning beyond traditional academic assessments (Haigh, [<reflink idref="bib20" id="ref53">20</reflink>]). Considering the fact that teachers' interests and motivations as researchers are not "switched off in the classroom" (Askins, [<reflink idref="bib3" id="ref54">3</reflink>], p. 10), it can also be beneficial for students to learn about the emotions their teachers have encountered.</p> <p>Establishing a space of learning where students feel comfortable expressing themselves and exploring their own thoughts and emotions through active and reflective learning strategies has been linked to numerous positive outcomes. For example, students develop a more positive attitude to learning, a deeper understanding of course material, a better ability to make connections to real-world situations, and a higher level of confidence in being active in class and interacting with classmates (Vandiver & Walsh, [<reflink idref="bib52" id="ref55">52</reflink>]). Through this process, students also develop a wider range of critical thinking skills that ultimately help them to challenge, reflect on, and question the material they learn (Moon, [<reflink idref="bib33" id="ref56">33</reflink>]). Bringing more emotional and reflective elements into the classroom also helps to challenge dominant structures that have long placed emotional femininity and subjectivity against masculinity and objectivity (Boler, [<reflink idref="bib4" id="ref57">4</reflink>]).</p> <p>While there are countless active learning strategies one might employ to explore emotional geographies within the classroom, the following section introduces a learning by <emph>feeling</emph> approach that can help extend active learning in emotional geographies beyond the classroom.</p> <hd id="AN0174522150-5">Feel-trips</hd> <p>Geography is a discipline based in experiential learning (Fuller et al., [<reflink idref="bib16" id="ref58">16</reflink>]; Gold, [<reflink idref="bib18" id="ref59">18</reflink>]; Golubchikov, [<reflink idref="bib19" id="ref60">19</reflink>]; Hope, [<reflink idref="bib23" id="ref61">23</reflink>]). If knowledge is gained through active engagement with the world, it is imperative to understand the pedagogical benefits of learning outside of the classroom. Fieldtrips, for example, have long served as a way to apply classroom material in the real world (Fuller et al., [<reflink idref="bib16" id="ref62">16</reflink>]; Nadelson & Jordan, [<reflink idref="bib34" id="ref63">34</reflink>]; Rickinson et al., [<reflink idref="bib38" id="ref64">38</reflink>]). Though fieldtrips are credited with fostering more engaged, interested, and attentive students (Hope, [<reflink idref="bib23" id="ref65">23</reflink>]), few have explored the experiential and emotional effects of such excursions on the students themselves. Especially in geography, for example, the concept of <emph>place</emph> is not something to be merely studied, observed, and theorized, it is also something to be experienced through affective, embodied encounters (Lorimer, [<reflink idref="bib27" id="ref66">27</reflink>]). Visiting places on a fieldtrip can therefore often "invoke or provoke particular feelings and emotions ... and sensitivities" from students who have different understandings and experiences of "inclusion or exclusion, aesthetic or disharmony, [or] comfort or discomfort" (Golubchikov, [<reflink idref="bib19" id="ref67">19</reflink>], p. 155).</p> <p>Proposing the term <emph>feel-trips</emph>, Oleg Golubchikov ([<reflink idref="bib19" id="ref68">19</reflink>]) explores how to employ other forms of affective learning through excursions (see also Holton, [<reflink idref="bib22" id="ref69">22</reflink>]; Jonasson, [<reflink idref="bib24" id="ref70">24</reflink>]). Beyond simply highlighting significant features, moving the students between different areas, and pausing for on-site mini-lectures, feel-trips provide an opportunity for students to develop critical reflexivity by exploring their own thoughts and feelings in the different places they visit. This process also serves a larger purpose as it allows students to develop new modes of thinking, debate and critically reflect on others' ideas, and challenge and interrogate dominant narratives (Davidson et al., [<reflink idref="bib12" id="ref71">12</reflink>]; Golubchikov, [<reflink idref="bib19" id="ref72">19</reflink>]). Richard Phillips, for example, brought a group of undergraduate students from Britain to New York City to help them explore alternative pathways of learning (Phillips, [<reflink idref="bib37" id="ref73">37</reflink>]). Students were sent out on "missions" across the city to explore more playful and multi-sensory methods they had been reluctant to employ in formal, graded assignments. In an attempt to get the students to take more risks, Phillips maintained that nothing about the creative project was forced, and students still had the freedom to choose "more structured and conventional methods" (Phillips, [<reflink idref="bib37" id="ref74">37</reflink>], p. 622). Not surprisingly, the students who chose a more playful, creative project all reported enjoying themselves, which in turn inspired them to "learn actively with enthusiasm and a sense of discovery" (Phillips, [<reflink idref="bib37" id="ref75">37</reflink>], p. 628). Linking students' unexpected moments out in the field with the concept of enchantment, Phillips argues for more playful, experimental fieldwork that explores alternative pathways for how to <emph>do</emph> geography (Phillips, [<reflink idref="bib37" id="ref76">37</reflink>]).</p> <p>In a learning by feeling curriculum, feel-trips serve as a useful first step. However, it is not always as simple as taking students to a place and assuming they inherently benefit from participating. Students must have the opportunity to reflect on their thoughts, feelings, and experiences. Yet, these unfiltered emotions are often lost through the lens of graded assessment (Marvell & Simm, [<reflink idref="bib31" id="ref77">31</reflink>]; Nairn, [<reflink idref="bib35" id="ref78">35</reflink>]). Taking a reflexive stance can also be interpreted differently by students (Glass, [<reflink idref="bib17" id="ref79">17</reflink>]), which makes assessment particularly difficult. Therefore, it is vital to develop new forms of assessment that help students tap into those initial, unfiltered emotions while still fulfilling the learning outcomes for the course.</p> <p>Following Golubchikov's <emph>feel-trips</emph> (Golubchikov, [<reflink idref="bib19" id="ref80">19</reflink>]), I offer an example of how excursions – in tandem with creative projects – can help students apply course material in real-world situations while reflecting on their own multi-sensory and emotional encounters beyond the constraints of traditional assessment.</p> <hd id="AN0174522150-6">Excursions into the affective landscape</hd> <p>Considering the need for new forms of assessment for student learning in emotional geographies, I decided to employ a learning by feeling approach for two courses in landscape geography. For the first course, conducted in the fall semesters of 2017 and 2018, 54 master's students in sustainability studies were taken on an excursion into Söderåsen National Park in Sweden. The excursion included both group elements and time for the students to explore on their own. Students were asked to photograph whatever caught their attention.</p> <p>The creative project was assigned during the qualitative methodologies portion of the course. I kept the instructions to a minimum, as I did not want to restrict the students' creativity. To help prompt ideas, I asked the students to think more specifically about the photos they took in the national park including why they took them and what the photos might tell them about their previous experiences and perceptions of natural landscapes. For the project itself, they were asked to create something that expressed or represented their emotional, embodied encounters within the landscape through, for example, poetry, art, music, or theatre. For the reflective component, they were asked to think about autoethnography as a way to critically consider their own experiences in connection with the course material. Through this process, they were challenged to develop their own personal narrative style (see Nash, [<reflink idref="bib36" id="ref81">36</reflink>]) to recognize their own role as writers and <emph>storytellers</emph>, and to think about how such an exercise might help them to make their research more interesting and accessible to a wider audience. The only guidance they were given was to avoid a simple description of the landscape, and I prompted them with several questions including: How did it make you feel? Did anything seem out of place? Were there noises? Did you touch or smell anything? What was your experience walking/moving through the landscape? Did you observe anyone else around you? How might this experience differ for someone else?</p> <p>To offer inspiration, two written passages were provided (one non-fiction and one academic). The first was from Sara Maitland's <emph>A Book of Silence</emph> where she reflects on her experience overlooking a rural landscape in the Galloway region of Scotland:</p> <p>It was stunning countryside ... huge empty spaces and golden grass blowing, and here and there patches of bright green sward. ... And nothing: miles and miles of nothing and no one. The clouds in procession bore down towards me from the north with the sun dodging them almost playfully. More hills for ever away into a blue mist and the wind, coming and going with moments of real calm. I felt strong and free. ... I thought, "Earth hath not anything to show more fair." It was one of those memorably happy moments (Maitland, [<reflink idref="bib30" id="ref82">30</reflink>], p. 228, original emphasis).</p> <p>The other passage came from Paul Robbins' <emph>Political Ecology: A Critical Introduction</emph> as he explores forests in Brandenburg, Germany:</p> <p>It is dark, quiet, and feels far removed from the orderly arrangements of the nearby poppy fields, canals, and autobahn. My first feeling is the weight of the growth, the darkness of primal nature ... and the sense that I am "in the woods" is undeniable. ... [Yet, as he looks more closely at the orderly lines of trees, he realizes it] conveys the feeling of a sterile and overworked cornfield, laid bare by the ravages of a rather narrow set of political and economic demands. ... This is no forest at all, but the dream of an engineer, a social construction of what a forest should look like (Robbins, [<reflink idref="bib39" id="ref83">39</reflink>], p. 99, original emphasis).</p> <p>For the seminar, groups of up to five people had two hours to present their projects, discuss their experiences in relation to each other and the assigned readings, and to discuss the following questions: Do you think this project was helpful? Did you find it challenging? How might a more creative approach that considers your personal experience in the field and your role as a researcher contribute to your future research? Beyond this reflection, what other qualitative methods can you use/do to "read" the landscape and access less traditional forms and sources of knowledge? What have you learned from this lecture/exercise about qualitative methodology with respect to environmental and sustainable studies that you might not have thought about before? After this, we came together as a class. Each group shared some of their main discussion points, which we further reflected upon, and there was time for those who wished to share their presentations in front of everyone.</p> <p>For the second course, which took place in the fall semesters of 2019 and 2020, 18 bachelor's students in human geography were taken on "an archaeological walk through time" in the Swedish city of Lund for a course exploring the material, symbolic, and affective dimensions of landscapes. The goal was to explore the city with a different perspective. I brought the students to different places and asked them to look around for something strange or out of the ordinary. They became detectives for the day – exploring underground church ruins, searching for remaining foundations of a monastery, looking for clues of the old city wall, and investigating different street layouts and building designs. The excursion ended at a local café for a reflective discussion. For their creative project, the students were asked to submit a reflection in whatever format they chose to represent their thoughts from the excursion in relation to the course themes. The limits set on course hours unfortunately did not allow for a follow-up seminar, but students received feedback on their assignments.</p> <p>Both of the creative projects were specifically linked with course themes and learning outcomes. Because the bachelor's students were tasked with learning how to explore the different layers of landscapes, they received less detailed instructions so they could be more free in how they expressed and represented their experiences. The master's students, however, received more specific instructions because their projects needed to be connected with reflective discussions on qualitative methodologies. The ultimate goal for both projects was to help students think differently about their experiences in landscapes and how they represent them by exploring other forms of research and writing outside of traditional scientific styles. In both instances, the assignments were assessed as Pass/Fail.</p> <hd id="AN0174522150-7">Learning by feeling</hd> <p>All student work and evaluations from both courses were collected together for analysis, and excerpts have been drawn from selected works with permission. Since all students were required to submit a written reflection alongside their work, the analysis is representative of all participants. Students have been identified as MS (master's student) or BS (bachelor's student) with the year they took the course. I also include student reflections and concerns expressed during the introduction to the excursion and creative project as well as selected reflections from course evaluations once the courses were completed. These serve as a useful comparison to reveal positive learning outcomes and the effectiveness of a learning by feeling approach.</p> <hd id="AN0174522150-8">Imaginative experience</hd> <p>During their excursions into the landscape, students were encouraged to explore beyond what meets the eye, to think about how the landscape has changed over time, who has the power to make decisions, and who is affected by these changes. Students therefore often used their imaginations to visualize what the landscape might have been like in the past or to find more creative ways of exploring unseen or overlooked elements.</p> <p>One student, for example, explored what the city of Lund was like during the Middle Ages, and reflected on how it has changed over time through a fictional story. He imagined himself as a monk transported into the future after an indulgent night of libations with his monastic brethren to find the medieval city changed. The cathedral had been rebuilt, unfamiliar buildings lay everywhere, and people were dressed in strange clothing: "Women in trousers!" (BS, 2020). He captured the distress and the loss of a sense of place and belonging one might encounter in finding their home drastically different. Fortunately, in the monk's case, it was just a dream.</p> <p>By imagining themselves in different settings and using different perspectives, the students explored emotions that might not have been evident during a typical excursion. For example, within the national park, one student wondered what life would be like if she were smaller and how it might change her perspective of the forest: "What if I see a big pool instead of a little drop of water?" (MS, 2017). The students also used their imaginations by incorporating more interactive elements through board games, audio and video recordings, and theatrical and musical performances.</p> <hd id="AN0174522150-9">Flashbacks and nostalgia</hd> <p>While some students used their imaginations to transport themselves to different times or scales of perception, other reflections were more nostalgic – tethered to childhood memories. One student's story, for example, included a series of reflections about the forest that triggered flashbacks of memories associated with the landscapes that he explored around his home as a child. Other students felt like there was something missing, and expressed a nostalgic longing for their home landscapes. For example, though the forest reminded one student of being back home "with mountains blanketed in snow" and days spent by the river with her family, she still lamented:</p> <p>It wasn't the wild of open space and unblemished skies, which make me feel that there has to be something more because the stars are too beautiful and the cactus breeze so seductive that I can feel something more than just air filling my lungs and something more than just shimmering light piercing the never-ending sky (MS, 2017).</p> <hd id="AN0174522150-10">Sense of self and rethinking "home"</hd> <p>Other students thought more critically about how the experience affected their sense of self and belonging. While one student wrote that being in the national park "gave me something back again, my energy – my self again" (MS, 2018), another student felt like he didn't belong. Pointing out a preference for cliffs, waves, and the sea, he wrote:</p> <p>Decipher the Landscape they told us with glee</p> <p>Honestly it was mostly lost on me.</p> <p>I'm not a fan of walking, especially up hills,</p> <p>Trees, rocks and hydrology give me no thrills (MS, 2018).</p> <p>Some also began to question the familiar landscapes of their homes by viewing them through a more critical lens. Several students on the Lund excursion, for example, grew up in the city, yet they were surprised by hidden places and parts of the history they did not know about. They expressed feeling like strangers in their own homes, and they wondered why they never looked deeper into some of the details and aspects of the city they walked through every day.</p> <p>Another student who had visited the national park was prompted to think about the control and manipulation of landscapes at the expense of indigenous people. With roots in an indigenous minority group in northern Sweden whose landscapes are constantly seized and threatened by external control, the student questioned how resource extraction and the valuation of the perceived "wilderness" are often prioritized over indigenous rights:</p> <p>They came here to find this land</p> <p>A land that already had community</p> <p>Languages, food and living</p> <p>All that eventually got banned</p> <p>But their eyes could only see</p> <p>Minerals, wood and energy</p> <p>So nature finally got a value</p> <p>A monetary hand</p> <p>...</p> <p>Thus they want to visit, the untouched land</p> <p>The place where you find peace</p> <p>Or visit the never seen man</p> <p>Is this where you find oneness and exclude our hand?</p> <p>...</p> <p>The land that used to be free</p> <p>Is now hard to sustain</p> <p>With our hands tied</p> <p>Only seeing the withering outside (MS, 2017).</p> <hd id="AN0174522150-11">Student reflections</hd> <p>At the start of the project, the bachelor's students looked for clarification that it really was as open-ended as it seemed, and they expressed excitement about the possibility of doing something different. Perhaps the lack of a follow-up seminar allowed the students to feel more comfortable expressing themselves without feeling vulnerable in front of their peers. For the master's students, who faced this vulnerability, there was a clear divide in reactions to the project before and after it was completed. At first, they were particularly concerned about the prospect of opening themselves up on a personal level, and they questioned the usefulness of such a project for the rest of the course and study program that would still predominantly involve traditional assessment tasks. Another apprehension emerged from a sense of "forced" creativity and the subjectivity behind what being <emph>creative</emph> might mean. Noting they had never been asked to do something like this project before, several students asked how they would be graded and what would constitute a passing assignment.</p> <p>In recognizing their concerns, I assured the students that this project was open-ended in all ways, and I just wanted them to <emph>try</emph>. They did not have to like doing it or think it was useful, but I wanted them to try to do something different from what they were accustomed to in more traditional course assessments. The point of the project was to explore their <emph>own</emph> thoughts and reflections on the excursion and course themes, which meant there was no correct way of doing so. The creativity of the project was only in relation to its unconventional nature outside of traditional assessment tasks. They were free to interpret what creativity meant to them in whatever capacity. The master's students emailed me their projects a few days before the seminar, and I only asked them to revise their work if they had left themselves out of it. I also encouraged them to write an additional reflection if they were uncomfortable with the project – to explain why it made them uncomfortable and to note if anything changed once they completed it. Finally, to reduce their anxieties in sharing personal work with classmates, I allowed the master's students to choose their own groups for the seminar so they could work with whom they felt most comfortable.</p> <p>In contrast to the concerns and anxieties expressed before completing the projects, once the projects were completed, the students' responses on course evaluations were overwhelmingly positive. Students offered a variety of feedback including an appreciation for the assignment noting that it was "unconventional," "engaging," and "creative." Others noted that it was a welcome addition to their education to have the chance to use their senses and face their own subjectivity. One student said, it was "great to feel something for a bit." Another commented that they were initially hesitant about the assignment, but in the end it was nice to be reminded that "if we do the research, heart and brain should be involved, not only one." For other students it provided a better understanding of the uses and benefits of qualitative research and the different ways to conduct an academic study. Another student appreciated learning a "completely different method of experiencing and evaluating the landscape." Finally, many students pointed out that the assignment could be useful for future work because they gained a new perspective on communicating research and "the power of connecting with our inner experiences."</p> <p>The wide range of positive comments in the course evaluations signifies the strength of a learning by feeling approach. In particular, the "before and after" juxtaposition of student reactions to the feel-trips and creative projects indicates that the initial hesitation was merely a fear of the unknown. While the students were more comfortable with traditional assessment tasks, challenging them to take a risk in unfamiliar territory resulted in numerous positive outcomes for student learning. For example, having more control over how they engaged with, and reflected on, course themes allowed the students to explore new forms of knowledge, consider the role of their own subjectivity and emotions in the research and writing processes, and build more confidence to participate in class. Facing the unfiltered emotions and experiences of their classmates also led the students to question their own perceptions and challenge dominant narratives.</p> <p>Overall, the students expressed a wide range of emotional depth reflecting on who they are and where they come from while exhibiting a deeper understanding and creative interpretation of course themes. Particularly in the sustainability studies program, the success of the learning by feeling approach reveals the importance of highlighting and engaging with the deeply embedded layers of emotion across all disciplines.</p> <hd id="AN0174522150-12">Conclusion</hd> <p>Emotional geographies bring together a wide range of disciplines that seek to understand the role of feelings in the world and our interactions within it. The human experience is fundamentally intertwined with emotion, and for this reason, emotions should not be excluded from the learning environment in higher education. Given the rise in research on affect and emotion, more emphasis must be placed on teaching and learning emotional geographies to help students recognize their own role as researchers and the array of emotions they may encounter throughout their studies and future careers. By pulling back the veil of objectivity, the <emph>feeling</emph> subject can be positioned at the nexus between creative and critical approaches – anchored in academic and scholarly inspiration while reaching out to engage with other disciplines and a wider readership.</p> <p> <emph>Feeling</emph> is an inherent part of the research and writing process, and bringing students out into the field has revealed "a causal link between student affective response (emotions, feelings and values) and deep learning" (Hope, [<reflink idref="bib23" id="ref84">23</reflink>], p. 170). Through feel-trips, students directly encounter their own thoughts and feelings in the different places they visit, helping them to develop critical reflexivity and explore new modes of thinking to challenge and question dominant structures. Offering concrete, lived experiences also adds a sense of purpose and meaning behind the material students learn by engaging with real-world issues (Thorpe, [<reflink idref="bib44" id="ref85">44</reflink>]). Furthermore, asking the students to reflect on feel-trips helps to activate their imaginations – particularly in finding more innovative ways to conduct research and communicate their ideas outside of traditional academic formats.</p> <p>If conducting fieldwork is at the heart of geography (Gold, [<reflink idref="bib18" id="ref86">18</reflink>]) and affective encounters are essential for teaching and learning emotional geographies, employing a learning by feeling assessment component through feel-trips and creative projects provides an effective and useful tool, which ultimately helps students become more aware of their emotions and the role those emotions play in their own learning, research, and writing – both within the classroom and beyond.</p> <hd id="AN0174522150-13">Disclosure statement</hd> <p>No potential conflict of interest was reported by the author(s).</p> <ref id="AN0174522150-14"> <title> References </title> <blist> <bibl id="bib1" idref="ref36" type="bt">1</bibl> <bibtext> Ahmed, S. 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Transactions of the Institute of British Geographers, 34 (3), 275 – 289. https://doi.org/10.1111/j.1475-5661.2009.00351.x</bibtext> </blist> </ref> <aug> <p>By Katherine Burlingame</p> <p>Reported by Author</p> </aug> <nolink nlid="nl1" bibid="bib13" firstref="ref2"></nolink> <nolink nlid="nl2" bibid="bib43" firstref="ref3"></nolink> <nolink nlid="nl3" bibid="bib27" firstref="ref4"></nolink> <nolink nlid="nl4" bibid="bib53" firstref="ref5"></nolink> <nolink nlid="nl5" bibid="bib48" firstref="ref7"></nolink> <nolink nlid="nl6" bibid="bib28" firstref="ref8"></nolink> <nolink nlid="nl7" bibid="bib50" firstref="ref9"></nolink> <nolink nlid="nl8" bibid="bib56" firstref="ref10"></nolink> <nolink nlid="nl9" bibid="bib47" firstref="ref12"></nolink> <nolink nlid="nl10" bibid="bib40" firstref="ref13"></nolink> <nolink nlid="nl11" bibid="bib49" firstref="ref15"></nolink> <nolink nlid="nl12" bibid="bib25" firstref="ref17"></nolink> <nolink nlid="nl13" bibid="bib29" firstref="ref18"></nolink> <nolink nlid="nl14" bibid="bib42" firstref="ref19"></nolink> <nolink nlid="nl15" bibid="bib55" firstref="ref20"></nolink> <nolink nlid="nl16" bibid="bib14" firstref="ref23"></nolink> <nolink nlid="nl17" bibid="bib15" firstref="ref24"></nolink> <nolink nlid="nl18" bibid="bib46" firstref="ref25"></nolink> <nolink nlid="nl19" bibid="bib54" firstref="ref26"></nolink> <nolink nlid="nl20" bibid="bib10" firstref="ref27"></nolink> <nolink nlid="nl21" bibid="bib19" firstref="ref28"></nolink> <nolink nlid="nl22" bibid="bib51" firstref="ref30"></nolink> <nolink nlid="nl23" bibid="bib45" firstref="ref33"></nolink> <nolink nlid="nl24" bibid="bib32" firstref="ref34"></nolink> <nolink nlid="nl25" bibid="bib11" firstref="ref37"></nolink> <nolink nlid="nl26" bibid="bib41" firstref="ref40"></nolink> <nolink nlid="nl27" bibid="bib52" firstref="ref44"></nolink> <nolink nlid="nl28" bibid="bib21" firstref="ref47"></nolink> <nolink nlid="nl29" bibid="bib44" firstref="ref48"></nolink> <nolink nlid="nl30" bibid="bib22" firstref="ref50"></nolink> <nolink nlid="nl31" bibid="bib26" firstref="ref51"></nolink> <nolink nlid="nl32" bibid="bib20" firstref="ref53"></nolink> <nolink nlid="nl33" bibid="bib33" firstref="ref56"></nolink> <nolink nlid="nl34" bibid="bib16" firstref="ref58"></nolink> <nolink nlid="nl35" bibid="bib18" firstref="ref59"></nolink> <nolink nlid="nl36" bibid="bib23" firstref="ref61"></nolink> <nolink nlid="nl37" bibid="bib34" firstref="ref63"></nolink> <nolink nlid="nl38" bibid="bib38" firstref="ref64"></nolink> <nolink nlid="nl39" bibid="bib24" firstref="ref70"></nolink> <nolink nlid="nl40" bibid="bib12" firstref="ref71"></nolink> <nolink nlid="nl41" bibid="bib37" firstref="ref73"></nolink> <nolink nlid="nl42" bibid="bib31" firstref="ref77"></nolink> <nolink nlid="nl43" bibid="bib35" firstref="ref78"></nolink> <nolink nlid="nl44" bibid="bib17" firstref="ref79"></nolink> <nolink nlid="nl45" bibid="bib36" firstref="ref81"></nolink> <nolink nlid="nl46" bibid="bib30" firstref="ref82"></nolink> <nolink nlid="nl47" bibid="bib39" firstref="ref83"></nolink>
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  Label: Document Type
  Group: TypDoc
  Data: Journal Articles<br />Reports - Descriptive
– Name: Audience
  Label: Education Level
  Group: Audnce
  Data: <searchLink fieldCode="EL" term="%22Higher+Education%22">Higher Education</searchLink><br /><searchLink fieldCode="EL" term="%22Postsecondary+Education%22">Postsecondary Education</searchLink>
– Name: Subject
  Label: Descriptors
  Group: Su
  Data: <searchLink fieldCode="DE" term="%22College+Students%22">College Students</searchLink><br /><searchLink fieldCode="DE" term="%22Geography%22">Geography</searchLink><br /><searchLink fieldCode="DE" term="%22Educational+Research%22">Educational Research</searchLink><br /><searchLink fieldCode="DE" term="%22Active+Learning%22">Active Learning</searchLink><br /><searchLink fieldCode="DE" term="%22Emotional+Response%22">Emotional Response</searchLink><br /><searchLink fieldCode="DE" term="%22Emotional+Experience%22">Emotional Experience</searchLink><br /><searchLink fieldCode="DE" term="%22Affective+Behavior%22">Affective Behavior</searchLink><br /><searchLink fieldCode="DE" term="%22Psychological+Patterns%22">Psychological Patterns</searchLink><br /><searchLink fieldCode="DE" term="%22Experience%22">Experience</searchLink><br /><searchLink fieldCode="DE" term="%22Geographic+Concepts%22">Geographic Concepts</searchLink><br /><searchLink fieldCode="DE" term="%22Geographic+Location%22">Geographic Location</searchLink><br /><searchLink fieldCode="DE" term="%22Teaching+Methods%22">Teaching Methods</searchLink>
– Name: DOI
  Label: DOI
  Group: ID
  Data: 10.1080/03098265.2021.1977917
– Name: ISSN
  Label: ISSN
  Group: ISSN
  Data: 0309-8265<br />1466-1845
– Name: Abstract
  Label: Abstract
  Group: Ab
  Data: Learning by doing has become a common phrase in the scholarship of teaching and learning as research continues to emphasize the benefits of active student engagement in higher education. Instead of passive vessels to be filled with information, students become the architects of their own education. While traditional ways of teaching focus on what students should learn, there is now more interest in "how" they should learn. With the emotional turn in geography, research has increasingly focused on the lived experience and the emotional and affective dimensions of space and place. However, the question often remains as to how to bring such research into an active learning environment that extends beyond the classroom. Instead of learning by doing, learning by "feeling" is presented as a new way of teaching emotional geographies. Student projects from two courses in landscape geography reveal how excursions into the affective landscape help students explore emotional geographies through more creative, reflective, affective, and active learning assessment strategies.
– Name: AbstractInfo
  Label: Abstractor
  Group: Ab
  Data: As Provided
– Name: DateEntry
  Label: Entry Date
  Group: Date
  Data: 2024
– Name: AN
  Label: Accession Number
  Group: ID
  Data: EJ1405941
PLink https://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=eric&AN=EJ1405941
RecordInfo BibRecord:
  BibEntity:
    Identifiers:
      – Type: doi
        Value: 10.1080/03098265.2021.1977917
    Languages:
      – Text: English
    PhysicalDescription:
      Pagination:
        PageCount: 13
        StartPage: 706
    Subjects:
      – SubjectFull: College Students
        Type: general
      – SubjectFull: Geography
        Type: general
      – SubjectFull: Educational Research
        Type: general
      – SubjectFull: Active Learning
        Type: general
      – SubjectFull: Emotional Response
        Type: general
      – SubjectFull: Emotional Experience
        Type: general
      – SubjectFull: Affective Behavior
        Type: general
      – SubjectFull: Psychological Patterns
        Type: general
      – SubjectFull: Experience
        Type: general
      – SubjectFull: Geographic Concepts
        Type: general
      – SubjectFull: Geographic Location
        Type: general
      – SubjectFull: Teaching Methods
        Type: general
    Titles:
      – TitleFull: Learning by Feeling: Excursions into the Affective Landscape
        Type: main
  BibRelationships:
    HasContributorRelationships:
      – PersonEntity:
          Name:
            NameFull: Katherine Burlingame
    IsPartOfRelationships:
      – BibEntity:
          Dates:
            – D: 01
              M: 01
              Type: published
              Y: 2023
          Identifiers:
            – Type: issn-print
              Value: 0309-8265
            – Type: issn-electronic
              Value: 1466-1845
          Numbering:
            – Type: volume
              Value: 47
            – Type: issue
              Value: 5
          Titles:
            – TitleFull: Journal of Geography in Higher Education
              Type: main
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