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The Pedagogical Power of Paper

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Title: The Pedagogical Power of Paper
Language: English
Authors: Suzanne Rodgers
Source: International Journal of Art & Design Education. 2024 43(4):583-598.
Availability: Wiley. Available from: John Wiley & Sons, Inc. 111 River Street, Hoboken, NJ 07030. Tel: 800-835-6770; e-mail: cs-journals@wiley.com; Web site: https://www.wiley.com/en-us
Peer Reviewed: Y
Page Count: 16
Publication Date: 2024
Document Type: Journal Articles
Reports - Research
Education Level: High Schools
Secondary Education
Descriptors: High School Teachers, High School Students, Art Education, Paper (Material), Art Materials, Artists, Art Teachers, Learning Modalities, Intermode Differences, Instructional Materials, Teaching Methods, Instructional Effectiveness
DOI: 10.1111/jade.12543
ISSN: 1476-8062
Abstract: In this research, I explore the potential of a material-led, embodied pedagogical approach to cultivate diverse modes of thinking, knowing and becoming within a pre-GCSE curriculum. Drawing from my experiences as both an artist and educator, I acknowledge the transformative power inherent in recognising the agency of all forms of matter, whether human or non-human. Through the implementation of a project titled 'To Play,' which utilises paper as a primary pedagogical tool, I engaged Year 9 Art and Design students. Qualitative data collected over a six-week period underpins the analysis, with a particular emphasis on understanding students' experiences with material-led processes. The findings highlight the potential of material-led pedagogies to empower students and challenge anthropocentric perspectives, offering valuable insights for enhancing pre-GCSE art education and harnessing the educational potential of materials. This study contributes to the ongoing discourse in art education by emphasising the importance of embodied, experiential learning approaches that prioritise creativity, exploration and critical engagement with the world around us.
Abstractor: As Provided
Entry Date: 2024
Accession Number: EJ1450804
Database: ERIC
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  Value: <anid>AN0181155106;q0t01nov.24;2024Nov29.03:23;v2.2.500</anid> <title id="AN0181155106-1">The Pedagogical Power of Paper </title> <p>In this research, I explore the potential of a material‐led, embodied pedagogical approach to cultivate diverse modes of thinking, knowing and becoming within a pre‐GCSE curriculum. Drawing from my experiences as both an artist and educator, I acknowledge the transformative power inherent in recognising the agency of all forms of matter, whether human or non‐human. Through the implementation of a project titled 'To Play,' which utilises paper as a primary pedagogical tool, I engaged Year 9 Art and Design students. Qualitative data collected over a six‐week period underpins the analysis, with a particular emphasis on understanding students' experiences with material‐led processes. The findings highlight the potential of material‐led pedagogies to empower students and challenge anthropocentric perspectives, offering valuable insights for enhancing pre‐GCSE art education and harnessing the educational potential of materials. This study contributes to the ongoing discourse in art education by emphasising the importance of embodied, experiential learning approaches that prioritise creativity, exploration and critical engagement with the world around us.</p> <p>Keywords: intra‐actions; material intelligence; material‐led processes; pedagogical approach; play; temporality</p> <hd id="AN0181155106-2">Introduction</hd> <p>This study investigates how material‐led practices in art education can transform the creative process and pedagogical approaches, shifting away from traditional outcome‐led methods to offer alternative, more fluid pathways for learning and artistic exploration. Outcome‐led approaches typically impose a linear, goal‐oriented structure, segmenting time into distinct phases to achieve predefined results. This rigid model often confines processes to strict timelines and prescriptive steps, thereby limiting the temporal fluidity and spontaneity essential for creative exploration.</p> <p>My experiences as an artist and educator, of the possibilities that arise through recognition of 'a power present in <emph>every</emph> body' (Bennett [<reflink idref="bib8" id="ref1">8</reflink>]: 2), convinced me of the potential of an embodied, material‐led pedagogical approach in creating an opening in which different ways of thinking, knowing and becoming can occur. Such an approach creates space for reimagining artistic practice as a fluid interplay of time and materiality, where the creative process is continuously shaped and reshaped by the changing, temporal nature of material engagement. Central to the exploration is the concept of 'intra‐actions' as conceptualised by Barad and Lenz‐Taguchi. Intra‐actions involve 'mutual transformations' and 'becomings‐with' across an 'agentic field' (2014: 82). Lenz‐Taguchi explains that this concept of 'becoming‐with' not only disrupts and destabilises asymmetrical power relations in central binaries but also blurs them 'altogether' (2014: 82). This notion highlights how interactions between students and materials are not merely reciprocal but transformative, reshaping both the materials and the students in the process. By focussing on these evolving and interdependent relationships, this study aims to understand how material‐led processes in education are influenced by and contribute to the dynamic experience of time.</p> <hd id="AN0181155106-3">Motivation</hd> <p>My motivation for this research stemmed from my experiences as an art and design teacher, working with students aged 11–18 years, where I have observed a tendency for practice to be conducted 'in a directed, linear progression towards expressive, yet intended outcomes' (Addison [<reflink idref="bib1" id="ref2">1</reflink>]: 373). This often results in 'representational practice' (Bolt [<reflink idref="bib11" id="ref3">11</reflink>]: 53), driven by thematic considerations. By 'representational practice', I am referring to 'the mimetic skill, that is, the ability to realistically present reality', as stated by Barbara Bolt ([<reflink idref="bib11" id="ref4">11</reflink>]: 54).</p> <p>I believe there is an alternative approach rooted in 'speculative pedagogies' (Atkinson [<reflink idref="bib2" id="ref5">2</reflink>]: 64), which challenge the prevailing norms and invite educators to embrace uncertainty, experimentation and imagination in their teaching practice by stepping away from 'a safe sort of equilibrium that is maintained through a refusal to ask questions about how things really are' (Barone & Eisner [<reflink idref="bib5" id="ref6">5</reflink>]: 15). Tyson Lewis warns:</p> <p>When art education becomes nothing more than an adjunct to functionalist approaches to education or a mere mirror for reflecting back the image of the human to itself, then the experience of things as things is replaced by mere curiosity concerning how we as human actors can better ourselves and fulfil our projects using and manipulating things as pieces of equipment. (2018: 124).</p> <p>By adopting 'speculative pedagogies', we can create an environment that fosters 'learning through experience' (Dewey [<reflink idref="bib15" id="ref7">15</reflink>]: 19), allowing for transformative experiences in art education. Addison suggests that 'in the context of secondary art education in particular, art promises a hybrid, transgressive space, an antidote to the instrumental positivism that elsewhere characterises so much schooling' (2011: 370). Through my research, I have considered the possibilities that arise through the introduction of material‐led practices, where thinking happens through and with materials.</p> <hd id="AN0181155106-4">Research setting</hd> <p>Specifically, this research focuses on students aged 13–14 years, aiming to understand how students acquire knowledge, develop understanding and evolve as art students through the adoption of embodied material‐led practices. Conducted over 6 weeks within a twelve‐week project, the study explored how this approach offers an alternative to traditional outcome‐driven methods in art education. This age group was chosen due to its significance as a preparatory phase for subject choices in the subsequent years. By introducing a material‐led project within the Art and Design curriculum during this phase, I aimed to disrupt and challenge the emphasis on outcome‐driven methods and provide students with an alternative experiential approach to acquiring key artistic skills and working methods.</p> <hd id="AN0181155106-5">Theoretical framework</hd> <p>Drawing on New Materialist theories, which explore the idea that materials and objects have agency and influence in processes of creation and interaction, I explored the extent to which materials can be seen as active participants in the creative process (Barad [<reflink idref="bib3" id="ref8">3</reflink>]). This perspective challenges traditional views by emphasising that materials are not passive but actively shape and influence outcomes through ongoing reconfigurations of practices and 'dynamics of intra‐activity' (Barad [<reflink idref="bib3" id="ref9">3</reflink>]: 827). Rather than being static, material agency involves the continuous potential for innovation and transformation in art education (Barad [<reflink idref="bib3" id="ref10">3</reflink>]; Juelskjær & Schwennesen [<reflink idref="bib23" id="ref11">23</reflink>]).</p> <p>To deepen this understanding, I examined 'material thinking', which highlights the active role of materials in shaping creative processes. Bolt ([<reflink idref="bib10" id="ref12">10</reflink>]) describes material thinking as involving the integration of hand, eye and mind, while Ingold ([<reflink idref="bib21" id="ref13">21</reflink>]) emphasises 'thinking from materials', suggesting that materials are in constant flux. Barad's concept that 'we are not outside observers of the world' (2003: 828) reinforces our entanglement with materials and their transformative potential in creative practices.</p> <hd id="AN0181155106-6">Practical application of theoretical concepts</hd> <p>To effectively ground the practical applications of my study, I integrated several key theoretical concepts into the material‐led pedagogy, providing a framework for understanding the interaction between theory and practice. Bennett's notion of assemblages with 'distributive agency' (2010: 24) played a central role in shaping this integration. According to Bennett, power and influence are spread across various elements, with no single materiality determining the group's trajectory. This concept aligns with Barad and Lenz‐Taguchi's idea of intra‐actions, which emphasises the mutual transformations between materials and their contexts. By applying these theoretical perspectives, the study highlighted the importance of viewing materials and their interactions as dynamic and evolving.</p> <p>Richard Serra's 'Verb List' (Serra [<reflink idref="bib30" id="ref14">30</reflink>]) served as a practical framework for engaging with materials through a series of verbs that describe actions related to materials and processes. Serra's approach was instrumental in reflecting theoretical concepts of material agency and intra‐actions. By focusing on actions rather than predefined forms, students were encouraged to explore materials more fluidly and responsively. This method allowed them to navigate material‐led processes with an emphasis on experimentation and transformation rather than adhering to fixed outcomes.</p> <p>In addition to Serra's framework Latour's concept of 'actants' was incorporated into the classroom through the creation of an 'Actant Exchange'. This practice involved the exchange of materials and tools such as staplers, string and scalpels among students. The 'Actant Exchange' illustrated Bennett's idea of assemblages as ad hoc groupings of diverse elements. It also supported Ingold's emphasis on direct engagement with materials (2013: 22), highlighting how evolving interactions and the dynamic nature of materials shape the creative process. By facilitating these exchanges, the classroom environment became a site of active experimentation and collaborative exploration, reflecting the theoretical concepts in tangible and meaningful ways.</p> <hd id="AN0181155106-7">Research design</hd> <p>Positioning myself as an insider researcher (Sikes and Potts, [<reflink idref="bib31" id="ref15">31</reflink>]; Bell & Waters [<reflink idref="bib7" id="ref16">7</reflink>]), my objective was to gain a deeper understanding of students' embodied experiences through their engagement with materials. My familiarity with the students, curriculum and classroom dynamics, as well as the school environment, allowed me to provide valuable insights and formulate nuanced research questions specific to my classroom.</p> <hd id="AN0181155106-8">Data collection and analysis</hd> <p>As an insider researcher, immersion in the learning environment allowed me to capture the subtle transformations occurring while students engaged with materials. To collect comprehensive data, I used a combination of observations, video and audio recordings, and photographs with the necessary permissions. Observations provided direct insights into student interactions and their engagement with materials. Video and audio recordings allowed me to capture real‐time dynamics and interactions, although I recognised that these recordings could only offer a partial representation of the classroom experience as discussed by Thanem & Knights ([<reflink idref="bib33" id="ref17">33</reflink>]). Photographs documented students' work and material use, adding a further visual layer to the data.</p> <p>To gain a broader understanding, I designed a semi‐structured questionnaire with open‐ended questions, which was distributed electronically to all participating students (Bell [<reflink idref="bib6" id="ref18">6</reflink>]; Cohen <emph>et al</emph>. [<reflink idref="bib13" id="ref19">13</reflink>]). This approach aimed to invite detailed and personal feedback. However, 'because self‐completion questionnaires cannot probe respondents to find out just what they mean by particular responses' (Cohen <emph>et al</emph>. [<reflink idref="bib13" id="ref20">13</reflink>]: 491), qualitative research interviews were conducted with a randomly selected group of students. The interviews were semi‐structured, allowing for tailored questions and responses (Brinkmann & Kvale [<reflink idref="bib12" id="ref21">12</reflink>]). While recognising the limitations of interviews in capturing an absolute truth (Jackson & Mazzei, in Lenz‐Taguchi [<reflink idref="bib25" id="ref22">25</reflink>]: 269), I focused on letting the students' voices speak for themselves and analysed the data through a diffractive approach. This method, inspired by Barad (in Lenz‐Taguchi [<reflink idref="bib25" id="ref23">25</reflink>]: 271), involved exploring the entanglement of various ideas and materialities rather than seeking a singular, objective truth. This multi‐dimensional approach provided a rich, nuanced view of the student's experiences with material‐led processes and the resulting impact on learning.</p> <hd id="AN0181155106-9">Ethical considerations</hd> <p>Recognising the potential power dynamics from my existing rapport with the students, I was aware that some may withhold information due to fear of judgement (Mercer [<reflink idref="bib28" id="ref24">28</reflink>]: 4). To address this, I adhered to BERA guidelines ([<reflink idref="bib9" id="ref25">9</reflink>]) documenting the advantages and potential biases in my ethics form. I also implemented precautionary measures to minimise risks and biases, following Teusner's advice on maintaining 'reflective and reflexive practice' (2022: 6).</p> <hd id="AN0181155106-10">Participant involvement and consent</hd> <p>I invited all 13–14‐year‐old art and design students to participate in the study. Information sheets explained the research purpose and methods, and consent forms were provided for both students and their parents or guardians. All students agreed to participate, though about half opted out of video/audio recording and identifiable photos, and their preferences were respected.</p> <hd id="AN0181155106-11">Challenge</hd> <p>Balancing my dual roles as a teacher and researcher proved challenging. The extensive data collection sometimes conflicted with teaching duties, as noted by Sikes & Potts ([<reflink idref="bib31" id="ref26">31</reflink>]) and Bell & Waters ([<reflink idref="bib7" id="ref27">7</reflink>]). To address the challenges of insider research and balance my roles, I realised the importance of careful planning. Initially, I underestimated the volume of information and found my plan to take detailed notes during each lesson impractical. I considered using video and audio recordings, but they disrupted student interactions, causing students to become self‐conscious and led to performative responses.</p> <p>To manage this, I set clear boundaries by allocating specific times for data collection, observation and analysis separate from my teaching duties. Following Robinson's advice (in Teusner [<reflink idref="bib32" id="ref28">32</reflink>]), I used a research diary to record brief notes on my experiences, observations and reflections. I captured snippets of conversations and key moments, elaborating on them after each lesson. This approach was instrumental in documenting challenges and pivotal moments, necessitating adjustments to my original plans. Flexibility proved to be essential.</p> <hd id="AN0181155106-12">Project design</hd> <p>To explore the potential of material‐led pedagogies in the curriculum for 13–14 year olds, a detailed project design was crucial. Drawing inspiration from Atkinson's 'speculative pedagogies' (2020), the aim was to invent imaginative propositions that could transform both the learner's and the teacher's experience. Atkinson's framework suggests that pedagogy should be seen as a dynamic process, engaging with the present as a space full of potential. Instead of adhering to rigid, outcome‐focused methods, this approach emphasises exploring new possibilities and creating strategies that could guide students and teachers towards future opportunities and novel experiences. This perspective encourages a shift from traditional, fixed methodologies to a more adaptable and exploratory educational practice.</p> <p>While Atkinson's theoretical framework offered valuable insights into transformative learning experiences, implementing it required careful attention to the practical realities of the classroom. Speculative pedagogies emphasise creating new possibilities, but this can be challenging within a curriculum that often prioritises measurable outcomes. The main challenge was balancing the experimental aspects of speculative pedagogies with the practical constraints of the classroom, particularly time limitations. These constraints can impact the depth and feasibility of implementing innovative strategies, making it essential to find a balance between experimentation and practicality.</p> <p>Furthermore, while speculative pedagogies advocate for the creation of novel strategies and ideas, there is a risk they can become overly abstract or disconnected from students' immediate learning needs. Tomin & Collins ([<reflink idref="bib34" id="ref29">34</reflink>]) suggest that grounding pedagogies in complex, interwoven narratives of the past, present and future offers a more integrated approach. This perspective challenges simplistic binaries and enriches our understanding of time and context. By weaving these narratives into the pedagogical approach, possibilities arise to create a more nuanced and contextually relevant learning experience that bridges theoretical concepts with practical application.</p> <p>In contrast, Freire's 'Pedagogy of the Oppressed' emphasises the importance of rooting education in students' lived experiences and struggles. Freire argues for pedagogies that prioritise critical reflection and relevance, addressing students' needs directly and empowering them through meaningful, contextually grounded learning (Freire [<reflink idref="bib17" id="ref30">17</reflink>]). This approach emphasises the significance of connecting educational practices with students' real‐world experiences, ensuring that learning is both relevant and impactful.</p> <p>In the project, I aimed to bridge this gap by integrating material‐led practices that are both innovative and relevant to the students' lived experiences. By doing so, I sought to ensure that the speculative aspects of the pedagogy were not only transformative but also practically applicable, creating a more cohesive and responsive learning environment. This integration ensured that the speculative aspects of the pedagogy were not only transformative but also practically applicable, enhancing the overall effectiveness of the educational approach.</p> <hd id="AN0181155106-13">The project: observations and findings</hd> <p>In analysing the data, I employed the concept of 'becoming‐with' (Lenz‐Taguchi [<reflink idref="bib25" id="ref31">25</reflink>]: 275), which emphasises the dynamic and reciprocal nature of interactions between the researcher and the data. This approach required several months to reveal meaningful insights into students' embodied experiences with materials. By engaging in this iterative process, I was able to uncover how students' interactions with materials evolve, moving beyond static observations to a deeper understanding.</p> <p>The exploration engaged the 'bodymind' to understand the co‐constitutive relationships between discourse and matter (Lenz‐Taguchi [<reflink idref="bib25" id="ref32">25</reflink>]), offering insights into how physical and cognitive engagements with materials shape each other. It facilitated an exploration of new possibilities beyond traditional frameworks, revealing how students' experiences with materials are shaped by complex interactions. Navigating through these insights also meant rejecting an 'Either‐Or philosophy' (Dewey [<reflink idref="bib15" id="ref33">15</reflink>]: 30). Dewey's critique of binary thinking encouraged a more nuanced approach, emphasising the importance of embracing complexity rather than relying on simplistic dichotomies. This shift was crucial in understanding how students engage with material‐led processes, as it allowed for a more comprehensive view of their experiences and interactions with materials over time.</p> <hd id="AN0181155106-14">Navigating freedom and structure: the role of experience in a material‐led pedagogy</hd> <p>The relationship between creative freedom and structured guidance is a complex and vibrant entanglement, and finding a balance between the two became a constant preoccupation during the project. This exploration shifted focus from outcome‐led learning to material‐led processes, thereby redefining the temporal experience of artistic practice. By emphasising fluid and transformative pathways provided by engaging with materials, the project moved beyond rigid structures to embrace more exploratory and temporally flexible approaches. This shift allowed for a more dynamic interaction with time, where students could experience and manipulate the temporal flow of their creative processes in ways that were not possible within a traditional, outcome‐led framework.</p> <p>Central to the project's framework was Dewey's concept of freedom as a form of power, which highlights the necessity of both agency and structured support in creative settings (Dewey [<reflink idref="bib15" id="ref34">15</reflink>]). Dewey's perspective provides a lens for understanding how structured guidance can coexist with creative freedom, offering a more nuanced view of how these elements can be integrated into educational practices. This integration created a space where the temporal dynamics of creative processes were continually shaped by students' autonomy and the available support.</p> <p>In practice, this approach meant creating an environment where students could navigate their creative processes with both autonomy and guidance. The evolving nature of the studio space, which became a site for dynamic material interactions, reflected this shift. At the outset, it was evident that some students found the freedom 'to play' with paper unsettling, while others embraced experimentation. One student reflected, <emph>'This project feels like I can just be free and create what I want. I find it fun but sometimes frustrating to know what to do next, almost like it's been engraved into us to need guidance when we are being creative'</emph>. This reflection highlights the tension between freedom and structure, revealing how the redefined temporal experience influenced students' engagement and perception of their creative processes.</p> <p>At this stage, students were using 'The Playbook' – a magazine – as a framework to explore paper (Fig. 1). The exploration was guided by a list of verbs we co‐developed, inspired by Serra's <emph>Verb List</emph> (1967). I noted what I perceived to be some very lively and excited conversations about imagery in the magazines and the possibilities that presented themselves. However, I observed that some students requested to use their iPad to follow instructions on how to create origami forms. Other students appeared to embrace the freedom 'to play'. One student was overheard saying '<emph>I'm actually in my element'</emph> whilst another excitedly explained to a classmate '<emph>I'm loving the creativity. I'm looking at 'to connect'</emph>.</p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01nov24/jade12543-fig-0001.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12543-fig-0001.jpg" title="1 ccstrip'Playbook' Paper Explorations (2023)." /> </p> <p></p> <p>Realising the limited scope of A4 pre‐printed paper in 'The Playbook', I introduced various paper types such as parcel paper, newsprint and baking parchment. This move highlighted the role of materiality in influencing artistic processes and encouraged students to engage more deeply with materials. Introducing new paper types facilitated a greater variety of forms, reflecting the evolving relationship between materials and practice.</p> <hd id="AN0181155106-16">Freedom and structure</hd> <p>The exploration of creative freedom and structured guidance has significant implications for understanding temporality in art education. When I posed the question, 'How are you finding working in this way?' to students a couple of lessons into the project, their responses provided further insights into their evolving relationship with time in the creative process. A student's reflection, <emph>'I find it enjoyable because I have the freedom to do what I want</emph>', captures the essence of this shift towards a more fluid, temporally flexible approach to artistic processes. This temporal shift aligns with Tim Ingold's notion of form emerging from 'the pattern of regular movement... through practice and experience' (Ingold [<reflink idref="bib22" id="ref35">22</reflink>]: 165). Ingold's concept emphasises that the temporality of creative practice is not static but evolves through ongoing interaction with materials and the environment. The evolving interplay of time and practice illustrates how temporality shapes and is shaped by material processes.</p> <p>Students also drew parallels between their interactions with materials and personal experiences, such as likening it to the unpredictability of walking a dog or cooking without a recipe. This reflects Dewey's concept of an 'experiential continuum' (Dewey [<reflink idref="bib15" id="ref36">15</reflink>]: 27), where past and present experiences intwine to influence material engagement. By focusing on how past experiences inform present engagement with materials, Vygotsky's notion of the brain's capacity to integrate past experiences into new contexts (Vygotsky [<reflink idref="bib35" id="ref37">35</reflink>]: 8) becomes apparent. This supports Addison's notion of our learning and interaction being deeply embodied and shaped by our experiences (Addison [<reflink idref="bib1" id="ref38">1</reflink>]: 375). The temporal aspect of these interactions highlights how creative processes are not only shaped by materiality but also by the ongoing flow of time and experience (Figs. 2 and 3).</p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01nov24/jade12543-fig-0002.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12543-fig-0002.jpg" title="2 ccstripPaper Explorations 1 (2023)." /> </p> <p></p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01nov24/jade12543-fig-0003.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12543-fig-0003.jpg" title="3 ccstripPaper Explorations 2 (2023)." /> </p> <p></p> <hd id="AN0181155106-19">Reflection and rethinking</hd> <p>In response to students' initial need for more structure, I incorporated Josef Albers' material‐led pedagogical approach into the project. The shift involved guiding students to explore paper through simple, intentional acts, inspired by Albers' Bauhaus teachings and our collaborative verb list. One student reflected on the initial uncertainty, stating, <emph>'At first, I struggled without a clear outcome to aim for, but then I began to understand and experiment'</emph>. This pedagogical change, resonating with Lenz‐Taguchi's ideas on 'knowledge produced in intra‐actions' (Lenz‐Taguchi [<reflink idref="bib26" id="ref39">26</reflink>]: 81), facilitated a significant transformation in students' engagement. They began to confidently navigate Albers' concepts, embodying Lenz‐Taguchi's 'becoming with' paper in their explorations and discovering new forms and potentials (Lenz Taguchi, 2012: 82). This shift not only addressed the need for structure but also enhanced students' ability to navigate the creative process with greater confidence and flexibility, illustrating the dynamic interplay between guidance and creative freedom.</p> <hd id="AN0181155106-20">Encouraging play and experimentation</hd> <p>The project highlighted the significance of play and experimentation in art education, allowing students to focus on the process rather than solely on outcomes. This shift in focus was crucial as it allowed students to delve deeper into their creative practices. One student reflected: '<emph>Focusing on the process rather than the result made me appreciate art more deeply. We may lose creative freedom with structured plans, so having no clear aim felt freeing</emph>'.</p> <p>In naming the scheme of work 'To Play', I aimed to infuse a sense of fun and enjoyment into the work. The term 'play' was deliberately chosen to resonate with its definition in the Cambridge dictionary, which describes it as an activity that is enjoyable and entertaining, particularly for children. The emphasis on play aligns with Gielen's ([<reflink idref="bib18" id="ref40">18</reflink>]) observation of its growing importance in artistic training, as it underscores the role of play in fostering creativity and flexibility in learning environments.</p> <hd id="AN0181155106-21">Between knowing and not knowing</hd> <p>In exploring the entanglement between knowing and not knowing, I found that allowing students to use existing knowledge while exploring new possibilities was crucial. As Pacini‐Ketchabaw et al. suggest, 'experimenting with these encounters requires nudging ourselves to experience them differently' (2017: 1), aligning with Fortnum's view that the 'search for the unknown outcome is not only welcome but provides a driving force within the creative process' (2013: 70). In the context of art practice, embracing 'not knowing' can lead to significant moments of discovery and innovation. This concept is supported by various theorists who argue that 'moments that spill and occur in the process [of making]' (Harland [<reflink idref="bib20" id="ref41">20</reflink>]) can be transformative. Foucault captures this dynamic as 'working at the edge of the un‐thought, slowly building a language in which to think it' (Foucault in Fortnum [<reflink idref="bib16" id="ref42">16</reflink>]: 72). These perspectives highlight how engaging with the unknown can encourage experimental exploration and deepen our understanding of the artistic process.</p> <p>However, the reality of this uncertainty posed challenges for some students, revealing a clear discomfort around the perception of not having a predefined plan. During the material explorations, I noted that students often expressed, '<emph>I don't know what I am doing</emph>', but their actions revealed a different kind of knowing, a knowing that arises through handling materials in practice. This form of knowing aligns with what Bolt describes as 'tacit knowledge'—knowledge gained through practice rather than explicit instruction (2006: 29). Ingold further explains that knowing is 'a process of active following, of going along' (2013: 1), highlighting how students' engagement with materials involves an intuitive, evolving understanding rather than a fixed sense of certainty.</p> <p>One student's feeling of discomfort was highlighted when she stated, <emph>'I don't like that I don't know what I am doing; that I don't have a plan of what it is going to look like. It's taking away who I am; it's me! I need to know what I am doing'</emph>. Her unease highlights a struggle with the absence of clear direction and the loss of control over the creative process, echoing Addison's observation that 'feelings are the result of affects, rooted in sensations experienced by and in the body' (2011: 368). Addison further explains that these feelings 'accumulate as a constellation of sensations', which, through repetition, become recognisable and categorisable. This perspective helps us understand that the student's discomfort is not merely about the lack of a predefined plan but about the disruption of her sensory and emotional equilibrium. Her need for clarity reflects a deeper search for stability in her artistic practice, where the sensation of not knowing challenges her established sense of self and competence.</p> <p>In an informal interview, the student also conveyed a feeling of inadequacy when dealing with material‐led processes, elaborating that this conflicted with the identity she had cultivated as a '<emph>perfectionist</emph>'. Fortnum warns that fixing identity can hinder the flow of the artist's development (2013: 79). Despite this, the student acknowledged that engaging with the materials was helping her cope with the lack of a plan, emphasising that 'the creative process can get both teacher and student to reconnect to something that might be experienced as troublesome; it almost invites re‐engagement' (Asbjorg in Addison [<reflink idref="bib1" id="ref43">1</reflink>]: 371).</p> <p>As the entangled layers of the student's affective experiences emerged, they prompted a shift in my perspective on the concept of material thinking, highlighting the need to 'remain resolutely accountable for the role "we" play in the intertwined practices of knowing and becoming' (Barad [<reflink idref="bib3" id="ref44">3</reflink>]: 812). I began to consider the notion of 'difference as <emph>positive</emph>'. 'Positive difference', in Deleuze's relational ontology, 'is like life itself: a continuum and a multiplicity in a constant state of becoming or differentiation in relation to each singular body, as it affects other bodies and is itself affected' (Deleuze in Lenz‐Taguchi [<reflink idref="bib25" id="ref45">25</reflink>]: 270). Lewis observes, 'art education might have a particularly important role to play in unlearning human perceptual styles while opening up students to the possibility of perceptual restylization' (Lewis [<reflink idref="bib27" id="ref46">27</reflink>]: 124). As the student discussed the work it became evident that they were beginning to make sense of 'material thinking' aligning with the 'common assumption that some art forms exist 'in advance' of language' (Fortnum [<reflink idref="bib16" id="ref47">16</reflink>]: 78). This suggests that the process of engaging with materials was facilitating a deeper understanding of artistic concepts that precede verbal expression.</p> <hd id="AN0181155106-22">Material intelligence: paper</hd> <p>We began our paper explorations with a magazine 'The Playbook', not purchased new but rather a magazine that 'had already had a life and a purpose' (Pacini‐Ketchabaw <emph>et al</emph>. [<reflink idref="bib29" id="ref48">29</reflink>]: 25). Students engaged with the paper through various manipulations—ripping, folding, twisting, crumpling, scratching and joining. This hands‐on exploration allowed students to experience the temporal dimension of material interaction, as they observed how their actions over time affected the paper's form and texture. Tables were filled with lively matter and 'a strange combination of delight and disturbance' (Bennett [<reflink idref="bib8" id="ref49">8</reflink>]: xi), in a 'complicated web of dissonant connections between bodies' (2010: 4). This exploration highlighted how temporality in material interactions – how materials change over time—plays a crucial role in the creative process (Bennett [<reflink idref="bib8" id="ref50">8</reflink>]).</p> <p>As more papers with varying properties sourced from around the art studio were introduced, students began to experience 'material thinking' as described by Bolt—recognising how their interactions with materials evolved over time (Bolt [<reflink idref="bib11" id="ref51">11</reflink>]: 163). Students noted temporal aspects in their work, such as the gradual changes in crumpled paper casting shadows and accidental rips creating new forms. These moments underscore Lenz Taguchi's assertion that the material world shapes our thinking as much as we shape it (Lenz Taguchi in Pacini‐Ketchabaw <emph>et al</emph>. [<reflink idref="bib29" id="ref52">29</reflink>]: 25). However, moving beyond representation remained a challenge for some as they grappled with creating non‐traditional forms, reflecting Pacini‐Ketchabaw et al.'s critique of the representational focus in art (Pacini‐Ketchabaw <emph>et al</emph>. [<reflink idref="bib29" id="ref53">29</reflink>]: 13).</p> <hd id="AN0181155106-23">The studio</hd> <p>The studio became a vital element of our explorations, 'taking on a new intensity' (Pacini‐Ketchabaw <emph>et al</emph>. [<reflink idref="bib29" id="ref54">29</reflink>]: 10) and shifting through the project. Initially confined to desks, the paper was twisted around beams, hung from the ceiling and draped over bodies, facilitating a shift from a structured approach to a more fluid interaction with time (Fig. 4). Entanglements between sensing bodies in constant motion, materials and space resulted in 'thingly breakthroughs' (Lewis [<reflink idref="bib27" id="ref55">27</reflink>]: 128). My observations revealed that as students gained confidence, they began to 'play' with and 'think' within the space. This engagement highlighted 'the ongoing capacities of bodies to affect and be affected, [offering] new and different possibilities for understanding' (Dernikos <emph>et al</emph>. [<reflink idref="bib14" id="ref56">14</reflink>]: 14). The fluidity and adaptability of the studio environment fostered a more temporal and immersive experience, where time was experienced through continuous interaction with materials and space.</p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01nov24/jade12543-fig-0004.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12543-fig-0004.jpg" title="4 ccstripStudio Explorations (2023)." /> </p> <p></p> <p>Penny Wilson's concept in 'The Playwork Primer' emphasises that play thrives in 'liminal spaces', which are flexible and adaptable to students' needs (Wilson [<reflink idref="bib36" id="ref57">36</reflink>]: 16). Gielen adds that 'play can only occur between' (Gielen [<reflink idref="bib19" id="ref58">19</reflink>]: 71), suggesting that the dynamic interaction in these spaces is essential. As students interacted with the space, it evolved into what Lenz‐Taguchi describes as 'a collective assemblage' (2014: 85) where the boundaries between materials, bodies and space blur, creating a space where temporality itself becomes an emergent and participatory element.</p> <p>Reflecting on the project, students shared insightful observations about the evolving nature of their understanding. One student remarked, <emph>'Art may not even have, or need, a final result; 'art' could possibly be the process itself'</emph> and another shared. '<emph>It has made me realise how important materials and processes are in art and made me realise how valuable their usage is and how they can be used in many different ways'</emph>. These insights reflect an enhanced understanding of how time, as experienced through the evolving studio environment, contributes to a deeper appreciation of material and process in art. This aligns with Pacini‐Ketchabaw et al.'s idea of 'an affective event' (2018: 8), where the interaction with the space and materials generates new ways of understanding and supports Ingold's perspective on knowledge development through practice and experience (Ingold [<reflink idref="bib21" id="ref59">21</reflink>]: 109).</p> <hd id="AN0181155106-25">Conclusion</hd> <p>My study into 'The Pedagogical Power of Paper' has uncovered significant insights into how material‐led practices can transform artistic development and pedagogical approaches in art education. By shifting from traditional outcome‐led models to material‐led processes, this research highlights the potential of materials as active participants in the learning experience, offering more fluid and dynamic pathways for creativity and exploration. This approach encourages new ways of thinking and becoming, reflecting Dewey's emphasis on the connection between experience and education.</p> <p>Observations from this research highlight the value of engaging with materials in a way that fosters mutual transformation between students and their artistic practices. The idea that 'materials think in us, as we think through them' (Ingold [<reflink idref="bib21" id="ref60">21</reflink>]: 6) and the idea of materials as 'more‐than‐human agents' (Lenz‐Taguchi [<reflink idref="bib26" id="ref61">26</reflink>]: 81) provide a framework for understanding how these interactions foster innovative thinking and artistic growth.</p> <p>The findings suggest that integrating material‐led pedagogies, particularly for students aged 13–16 years, can enrich the learning environment by challenging traditional methods and encouraging a more experimental and open‐ended approach to art education. This research advocates for a pedagogical shift that embraces uncertainty and imagination, facilitating a space where materials and students co‐create new possibilities. Furthermore, by redefining temporal experiences in art education, material‐led practices offer a more nuanced understanding of the interplay between time and artistic practice.</p> <p>In conclusion, this study reveals how material‐led practices can significantly influence artistic development for students aged 13 years and beyond, offering new pathways for understanding and becoming. It calls for a re‐evaluation of current pedagogical strategies, emphasising the transformative potential of materials in shaping both the educational experience and artistic exploration, while also highlighting the significance of incorporating temporal dimensions into art education.</p> <hd id="AN0181155106-26">Acknowledgments</hd> <p>I extend my deepest gratitude to my Art and Design students at Invicta Grammar School, whose participation and creativity have been instrumental to the success of this research. I am equally grateful to the school for its unwavering support and for fostering an environment that encourages artistic exploration and academic inquiry.</p> <ref id="AN0181155106-27"> <title> REFERENCES </title> <blist> <bibl id="bib1" idref="ref2" type="bt">1</bibl> <bibtext> Addison, N. (2011) Moments of intensity: affect and the making and teaching of art, The International Journal of Art & Design Education, Vol. 30, No. 3, pp. 363 – 78.</bibtext> </blist> <blist> <bibl id="bib2" idref="ref5" type="bt">2</bibl> <bibtext> Atkinson, D. (2020) Inheritance, disobedience and speculation in pedagogic practice, in N. Addison & L. Burgess [Eds] Debates in Art and Design Education, 2nd edn. London : Routledge.</bibtext> </blist> <blist> <bibl id="bib3" idref="ref8" type="bt">3</bibl> <bibtext> Barad, K. (2003) Posthumanist performativity: toward an understanding of how matter comes to matter, Signs, Vol. 28, No. 3, pp. 801 – 31.</bibtext> </blist> <blist> <bibl id="bib4" type="bt">4</bibl> <bibtext> Barad, K. (2007) Meeting the universe halfway. Durham, N.C : Duke University Press.</bibtext> </blist> <blist> <bibl id="bib5" idref="ref6" type="bt">5</bibl> <bibtext> Barone, T. & Eisner, E. W. (2012) Arts based research. 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(2006) Materializing pedagogies, in Working Papers in Art and Design. Available from: <ulink href="http://sitem.herts.ac.uk/artdes%5fresearch/">http://sitem.herts.ac.uk/artdes%5fresearch/</ulink> [Accessed: 12th May 2023]</bibtext> </blist> <blist> <bibtext> Bolt, B. (2011) Heidegger reframed. New York : I.B.Tauris & Co. Ltd.</bibtext> </blist> <blist> <bibtext> Brinkmann, S. & Kvale, S. (2018) Doing interviews/svend brinkmann, steinar kvale, 2nd edn. London : SAGE Publications Ltd.</bibtext> </blist> <blist> <bibtext> Cohen, L., Manion, L. & Morrison, K. (2018) Research methods in education. London : Taylor & Francis Group Available from: ProQuest Ebook Central. [Accessed: 27th July 2023].</bibtext> </blist> <blist> <bibtext> Dernikos, B. P., Lesko, N., McCall, D. & Niccolini, A. D. (2020) 'Thinking through the Body' in (2020) Mapping the Affective Turn in Education. Oxon : Routledge.</bibtext> </blist> <blist> <bibtext> Dewey, J. (2015) Experience and Education. New York : Free Press (Original work published 1938).</bibtext> </blist> <blist> <bibtext> Fortnum, R. (2013) Creative accounting, in E. Fisher & R. Fortnum [Eds] On not knowing: how artists think. London : Black Dog Publishing, pp. 70 – 84.</bibtext> </blist> <blist> <bibtext> Freire, P. (1971) Pedagogy of the oppressed. New York : Seabury Press.</bibtext> </blist> <blist> <bibtext> Gielen, P. (2015) Lessons in disproportion: the role of play in arts education and the role of art in education, in B. van Huesden & P. Gielen [Eds] Arts Education Beyond Art: Teaching Art in Times of Change. Amsterdam : Veliz, pp. 134 – 49.</bibtext> </blist> <blist> <bibtext> Gielen, P. (2018) Playing with the rules of play: the spirit of the avant‐garde in arts education, The Journal of Aesthetic Education, Vol. 52, No. 4, pp. 69 – 82.</bibtext> </blist> <blist> <bibtext> Harland, B. (2004) Visual Intellegences Research Project, Seminars: Artists' Seminar: Beth Harland. 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(2007) The Challenges of Insider Research in Educational Institutions: Wielding a Double‐Edged Sword and Resolving Delicate Dilemmas, Oxford Review of Education, Vol. 33, No. 1, pp. 1 – 17 <ulink href="http://www.jstor.org/stable/4618693">http://www.jstor.org/stable/4618693</ulink></bibtext> </blist> <blist> <bibtext> Pacini‐Ketchabaw, V., Kind, S. & Kocher, L. M. (2017) Encounters with Materials in Early Childhood Education. London : Routledge.</bibtext> </blist> <blist> <bibtext> Serra, R. (1967) Richard Serra: Verblist in MOMA. Available at: https://<ulink href="http://www.moma.org/collection/works/152793#:~:text=Serra%20famously%20said%2C%20%22Drawing%20is,of%20his%20early%20sculptural%20practice">www.moma.org/collection/works/152793#:~:text=Serra%20famously%20said%2C%20%22Drawing%20is,of%20his%20early%20sculptural%20practice</ulink>. [Accessed 2 May 2023]</bibtext> </blist> <blist> <bibtext> Sikes, P. & Potts, A. [Eds] (2018) Researching Education from the Inside: Investigating Institutions from Within. London : Routledge.</bibtext> </blist> <blist> <bibtext> Teusner, A. (2022) Qualitative insider research, in P. Atkinson [Ed] Sage Research Methods Foundations. London : SAGE Publications Ltd. https://doi.org/10.4135/9781526421036845676</bibtext> </blist> <blist> <bibtext> Thanem, T. & Knights, D. (2019) Embodied Research Methods. London : Sage Publications Ltd.</bibtext> </blist> <blist> <bibtext> Tomin, B. & Collins, R. B. (2024) Science fiction, speculative pedagogy, and critical hope: counternarratives for/of the future, in S. Tolbert, M. F. G. Wallace, N. Higgins & G. Bazzul [Eds] Reimagining Science Education in the Anthropocene, Vol. 2. Switzerland : Palgrave Macmillan.</bibtext> </blist> <blist> <bibtext> Vygotsky, L. S. (2004) Imagination and Creativity in Childhood, Journal of Russian & East European Psychology, Vol. 42, No. 1, pp. 7 – 97.</bibtext> </blist> <blist> <bibtext> Wilson, P. (2010) The playwork primer. College Park, MD : Alliance for Childhood.</bibtext> </blist> </ref> <aug> <p>By Suzanne Rodgers</p> <p>Reported by Author</p> <p></p> <p>Suzanne Rodgers is a Teacher of Art, Invicta Grammar School, Maidstone, Kent (2015 – Present); Practicing Artist, Kent. Previous Positions: Head of Art, Townley Grammar School, London (2005–2015); Teacher of Art, Saint Martin's School, Brentwood, Essex (2003–2005); Teacher of Art, Thomas Telford School, Telford (1998–2003). Education: UCL, MA Art and Design in Education (2023); Manchester Metropolitan University, PGCE Art and Design Education (1998); Wolverhampton University BA (Hons) Fine Art, Sculpture (1997), Postal Address: Braemar, Teston Road, Offham, Kent, ME19 5PD. ;</p> </aug> <nolink nlid="nl1" bibid="bib11" firstref="ref3"></nolink> <nolink nlid="nl2" bibid="bib15" firstref="ref7"></nolink> <nolink nlid="nl3" bibid="bib23" firstref="ref11"></nolink> <nolink nlid="nl4" bibid="bib10" firstref="ref12"></nolink> <nolink nlid="nl5" bibid="bib21" firstref="ref13"></nolink> <nolink nlid="nl6" bibid="bib30" firstref="ref14"></nolink> <nolink nlid="nl7" bibid="bib31" firstref="ref15"></nolink> <nolink nlid="nl8" bibid="bib33" firstref="ref17"></nolink> <nolink nlid="nl9" bibid="bib13" firstref="ref19"></nolink> <nolink nlid="nl10" bibid="bib12" firstref="ref21"></nolink> <nolink nlid="nl11" bibid="bib25" firstref="ref22"></nolink> <nolink nlid="nl12" bibid="bib28" firstref="ref24"></nolink> <nolink nlid="nl13" bibid="bib32" firstref="ref28"></nolink> <nolink nlid="nl14" bibid="bib34" firstref="ref29"></nolink> <nolink nlid="nl15" bibid="bib17" firstref="ref30"></nolink> <nolink nlid="nl16" bibid="bib22" firstref="ref35"></nolink> <nolink nlid="nl17" bibid="bib35" firstref="ref37"></nolink> <nolink nlid="nl18" bibid="bib26" firstref="ref39"></nolink> <nolink nlid="nl19" bibid="bib18" firstref="ref40"></nolink> <nolink nlid="nl20" bibid="bib20" firstref="ref41"></nolink> <nolink nlid="nl21" bibid="bib16" firstref="ref42"></nolink> <nolink nlid="nl22" bibid="bib27" firstref="ref46"></nolink> <nolink nlid="nl23" bibid="bib29" firstref="ref48"></nolink> <nolink nlid="nl24" bibid="bib14" firstref="ref56"></nolink> <nolink nlid="nl25" bibid="bib36" firstref="ref57"></nolink> <nolink nlid="nl26" bibid="bib19" firstref="ref58"></nolink>
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  Data: In this research, I explore the potential of a material-led, embodied pedagogical approach to cultivate diverse modes of thinking, knowing and becoming within a pre-GCSE curriculum. Drawing from my experiences as both an artist and educator, I acknowledge the transformative power inherent in recognising the agency of all forms of matter, whether human or non-human. Through the implementation of a project titled 'To Play,' which utilises paper as a primary pedagogical tool, I engaged Year 9 Art and Design students. Qualitative data collected over a six-week period underpins the analysis, with a particular emphasis on understanding students' experiences with material-led processes. The findings highlight the potential of material-led pedagogies to empower students and challenge anthropocentric perspectives, offering valuable insights for enhancing pre-GCSE art education and harnessing the educational potential of materials. This study contributes to the ongoing discourse in art education by emphasising the importance of embodied, experiential learning approaches that prioritise creativity, exploration and critical engagement with the world around us.
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            – Type: volume
              Value: 43
            – Type: issue
              Value: 4
          Titles:
            – TitleFull: International Journal of Art & Design Education
              Type: main
ResultId 1