Araştırma Makalesi
BibTex RIS Kaynak Göster
Yıl 2018, Cilt: 7 Sayı: 1, 75 - 93, 01.03.2018

Öz

Kaynakça

  • Aguirre, I. (2005). Teorías y prácticas en Educación Artística. Ideas para una revisión pragmatista de la experiencia estética. Barcelona: Octaedro.
  • American Educational Research Association (2017). AERA: Key Programs. Retrieved November 15, 2017, from http://www.aera.net/About-AERA/Key-Programs.
  • Arnheim, R. (1993). Consideraciones sobre la educación artística. Barcelona: Edi - ciones Paidós.
  • Bagnoli, A. (2009). Beyond the standard interview: the use of graphic elicitation and arts-based methods. Qualitative Research, 9, 547– 70.
  • Banks, M. (2001). Visual methods in social research. London: Sage.
  • Becker, H. (2002). Visual evidence: A seventh man, the specified generalization, and the work of the reader. Visual Studies, 17, 3– 11.
  • Bolton, A., Pole, C. & Mizen, P. (2001). Picture this: researching child workers. So - ciology, 35, 501– 18.
  • Croghan, R., Griffin, C. Hunter, J. & Phoenix, A. (2008). Young people’s constructions of self: Notes on the use and analysis of the photo-elicitation methods. Interna - tional Journal of Social Research Methodology, 11, 345– 56.
  • Darbyshire, P., MacDougall, C. & Schiller, W. (2005). Multiple methods in qualita - tive research with children: more insight or just more? Qualitative Research, 5, 417– 36.
  • Dikovitskaya, M. (2006). Visual culture: the study of the visual after the cultural turn. Massachusetts, MA: MIT Press, Massachusetts Institute of Technology.
  • Edwards, S., & Wood, P. (2012). Visual culture 1850-2010: modernity to globalisa - tion. London, UK: Tate Publishing.
  • Freedman, K. (2006). Enseñar la cultura visual: Currículum, estética y la vida social del arte. Barcelona: Octaedro.
  • Harper, D. A. (2006). Good Company: A tramp life. Updated and expanded edition, Boulder, CO: Paradigm.
  • Harper, D. (2002). Talking about pictures: a case for photo-elicitation. Visual Studies, 17, 13– 26.
  • Jameson, F. (1991). Postmodernism, or the logic of late capitalism. Durham, NC: Duke University Press.
  • Jenks, C. (2015). Visual culture. New York, N.Y: Routledge.
  • Kunimoto, N. (2004). Intimate archives: Japanese-Canadian family photography, 1939-49, Art History, 27, 129– 55.
  • Hodgetts, D., Chamberlain, K. & Radley, A. (2007). Considering photographs never taken during photo-production projects, Qualitative Research in Psychology, 4, 263– 80.
  • Marín, R. (2011). La Investigación en Educación Artística. Educatio Siglo XXI , 29(1), 211-230.
  • Mitchell, W. J. T. (1994). Picture theory: Essays on verbal and visual representation. Chicago: Chicago University Press.
  • National Art Education Association. NAEA Research Commission (2017). Research Agenda.Factors. Retrieved from: https://arteducators-prod.s3.amazonaws.com/- documents/321/e6fe0112-4c68-4f34-b546-1f3ef569e1eb.pdf?1451965976
  • Roldán, J., & Mena, J. (2017). Instrumentos de Investigación Basados en las Artes Visuales en Educación Artística. In Marín, R. & Roldán, J. (Eds.). Ideas visuales. Investigación Basada en Artes e investigación artística. Granada: EUG. Editorial de la Universidad de Granada.
  • Rose, G. (2007). Visual methodologies: An introduction to researching with visual materials. London: Sage.
  • Suchar, C. S. (2006). The physical transformations of Metropolitan Chicago: Chica - go’s central area, in J.P. Koval et al. (eds), The New Chicago: A social and cultural analysis. Philadelphia, PA: Temple University Press.
  • Suchar, C. S. (1997). Grounding visual sociology in shooting scripts. Qualitative So - ciology, 20, 33– 55.
  • The Verge. Sony’s prototype projector turns any table top into a touch-sensitive dis - play: A step toward holograms. Nick Statt. Mar 13, 2016. Retrieved from: https:// www.theverge.com/2016/3/13/11215454/sony-interactive-projector-future-lab- sxsw-2016.
  • Wagner, J. (2007). Observing culture and social life: documentary photography, field- work, and social research. In G.C. Stanczak (ed.). Visual research methods: Im - age, society, and representation (pp. 23– 60), London: Sage.
  • Adler, J. (1989). Origins of sightseeing, Annals of Tourism Research, 16, 7– 29.
  • Araño, J. C. (1996). El Valor del Arte. En: Zehar: Revista de Arteleku-ko Aldizkaria. 30, 22-25.
  • Armstrong, C. (1998) Scenes in a library: Reading the photograph in the book. Lon - don: MIT Press.
  • Barker, M. (2009). Fantasy audiences versus fantasy audiences, in W. Buckland (ed.), Film Theory and Contemporary Hollywood Movies. London: Routledge, 286– 309.
  • Baker, T., & Wang, C. (2006). Photovoice: use of a participatory action research meth - od to explore the chronic pain experience in older adults, Qualitative Health Re - search, 16, 1405– 1413.
  • Banks, M. (2008). Using visual data in qualitative research. London: Sage.
  • Barnard, M. (2001). Approaches to understanding visual culture. Houndmills: Pal - grave Macmillan.
  • Barnet, B.A. (2009). Idiomedia: The rise of personalized, aggregated content, Con - tinuum: Journal of Media & Cultural Studies , 23, 93.
  • Baudrillard, J. (1988). Selected writings, edited by M. Poster. Cambridge: Polity Press.
  • Becker, H. (2004). Afterword: photography as evidence, photographs as exposition, in C. Knowles & J. Sweetman (eds), Picturing the social landscape: visual methods and the sociological imagination. London: Routledge, pp. 193– 7.
  • Becker, H. (1982). Art worlds. Berkeley, CA: University of California Press.
  • Bell, P. (2001). Content analysis of visual images. In T. van Leeuwen & C. Jewitt (eds), Handbook of visual analysis. London: Sage.
  • Berger, J. (2013). Understanding a photograph. London: Penguin Books.
  • Berger, J. (2008). Ways of seeing. London: Penguin Books.
  • Blinn, L. & Harrist, A.W. (1991). Combining native instant photography and photo- elicitation, Visual Anthropology, 4, 175– 92.
  • Bolton, R. (1989). In the American West: Richard Avedon Incorporated. In R. Bolton (ed.), The contest of meaning: Critical histories of photography. London: MIT Press.
  • Buckinghman, D. (2009). Creative visual methods in media research: possibilities, problems and proposals. Media, Culture and Society, 31, 559– 77.
  • Chandler, D. (2007). Semiotics: The basics. Abingdon: Routledge.
  • Debord, G. (1983). Society of the spectacle. Detroit: Black and Red.
  • Duncan, C. (1993). The aesthetics of power: Essays in critical art history. Cambridge: Cambridge University Press.
  • Edwards, E. (2002). Material beings: objecthood and ethnographic photographs, Vis - ual Studies, 17, 67–75.
  • Evans, H. & Evans, M. (2006). Picture researcher’s handbook: An international guide to picture sources and how to use them (8th edition). Leatherhead: Pira Interna - tional.
  • Frosh, P. (2003). The image factory: Consumer culture, photography and the visual content industry. London: Berg.
  • Grady, J. (2004) ‘Working with visible evidence: an invitation and some practical ad - vice’, in C. Knowles & J. Sweetman (eds), Picturing the social landscape: Visual methods and the sociological imagination. London: Routledge.
  • Gray, C. & Malins, J. (2004). visualizing research: A guide to the research process in art and design. New York: Routledge.
  • Harper, D. (2003). Framing photographic ethnography: A case study, Ethnography , 4, 241.
  • Kress, G. & Leeuwen, V. T. (2006). Reading images: The grammar of visual design. London: Routledge.
  • Mannay, D. (2015). Visual, narrative and creative research methods: Application, re - flection and ethics. New York: Routledge.
  • McNiff, S. (2013). Art as research: Opportunities and challenges. Chicago, University of Chicago Press: Intellect Ltd.
  • Smith, H. & Dean, T. R. (2009). Practice-led research, research-led practice in the creative arts (research methods for the arts and humanities). Edinburgh, UK: Ed - inburgh University Press.
  • Sontag, S. (2013). On photography. London: Penguin Books.
  • Sturken, M. & Cartwright, L. (2017). Practices of looking: An introduction to visual culture. Oxford, NY: Oxford University Press.

Visual research methodologies in the field of Art Education: Conceptual analysis and specific theoretical framework of reference

Yıl 2018, Cilt: 7 Sayı: 1, 75 - 93, 01.03.2018

Öz

Art education must be studied rigorously through contemporary visual culture which reflects changes in current society, using visual research methodologies that broaden knowledge in the fields of art and education. This paper presents new formats for observing and analysing visual material in art through visual artistic research methodologies applied to education. These methodologies foster new forms of visual narrative discourse and serve as essential experimentation guides to explore and understand complex art concepts, and how they can be used by researchers and trainee teachers as educational material for contemporary visual culture. This study analyses the current formats used to study photographic or visual material, including interactive documentaries, participant mapping and digital storytelling. We also present the design, justification and implementation of a theoretical and practical review including the creation of visual methodologies and their application in education.


The aim is for students to acquire tools to understand the images of their immediate visual culture and to generate artworks using different forms of artistic representation with an educational application, such as photographic techniques and audio-visual media



Kaynakça

  • Aguirre, I. (2005). Teorías y prácticas en Educación Artística. Ideas para una revisión pragmatista de la experiencia estética. Barcelona: Octaedro.
  • American Educational Research Association (2017). AERA: Key Programs. Retrieved November 15, 2017, from http://www.aera.net/About-AERA/Key-Programs.
  • Arnheim, R. (1993). Consideraciones sobre la educación artística. Barcelona: Edi - ciones Paidós.
  • Bagnoli, A. (2009). Beyond the standard interview: the use of graphic elicitation and arts-based methods. Qualitative Research, 9, 547– 70.
  • Banks, M. (2001). Visual methods in social research. London: Sage.
  • Becker, H. (2002). Visual evidence: A seventh man, the specified generalization, and the work of the reader. Visual Studies, 17, 3– 11.
  • Bolton, A., Pole, C. & Mizen, P. (2001). Picture this: researching child workers. So - ciology, 35, 501– 18.
  • Croghan, R., Griffin, C. Hunter, J. & Phoenix, A. (2008). Young people’s constructions of self: Notes on the use and analysis of the photo-elicitation methods. Interna - tional Journal of Social Research Methodology, 11, 345– 56.
  • Darbyshire, P., MacDougall, C. & Schiller, W. (2005). Multiple methods in qualita - tive research with children: more insight or just more? Qualitative Research, 5, 417– 36.
  • Dikovitskaya, M. (2006). Visual culture: the study of the visual after the cultural turn. Massachusetts, MA: MIT Press, Massachusetts Institute of Technology.
  • Edwards, S., & Wood, P. (2012). Visual culture 1850-2010: modernity to globalisa - tion. London, UK: Tate Publishing.
  • Freedman, K. (2006). Enseñar la cultura visual: Currículum, estética y la vida social del arte. Barcelona: Octaedro.
  • Harper, D. A. (2006). Good Company: A tramp life. Updated and expanded edition, Boulder, CO: Paradigm.
  • Harper, D. (2002). Talking about pictures: a case for photo-elicitation. Visual Studies, 17, 13– 26.
  • Jameson, F. (1991). Postmodernism, or the logic of late capitalism. Durham, NC: Duke University Press.
  • Jenks, C. (2015). Visual culture. New York, N.Y: Routledge.
  • Kunimoto, N. (2004). Intimate archives: Japanese-Canadian family photography, 1939-49, Art History, 27, 129– 55.
  • Hodgetts, D., Chamberlain, K. & Radley, A. (2007). Considering photographs never taken during photo-production projects, Qualitative Research in Psychology, 4, 263– 80.
  • Marín, R. (2011). La Investigación en Educación Artística. Educatio Siglo XXI , 29(1), 211-230.
  • Mitchell, W. J. T. (1994). Picture theory: Essays on verbal and visual representation. Chicago: Chicago University Press.
  • National Art Education Association. NAEA Research Commission (2017). Research Agenda.Factors. Retrieved from: https://arteducators-prod.s3.amazonaws.com/- documents/321/e6fe0112-4c68-4f34-b546-1f3ef569e1eb.pdf?1451965976
  • Roldán, J., & Mena, J. (2017). Instrumentos de Investigación Basados en las Artes Visuales en Educación Artística. In Marín, R. & Roldán, J. (Eds.). Ideas visuales. Investigación Basada en Artes e investigación artística. Granada: EUG. Editorial de la Universidad de Granada.
  • Rose, G. (2007). Visual methodologies: An introduction to researching with visual materials. London: Sage.
  • Suchar, C. S. (2006). The physical transformations of Metropolitan Chicago: Chica - go’s central area, in J.P. Koval et al. (eds), The New Chicago: A social and cultural analysis. Philadelphia, PA: Temple University Press.
  • Suchar, C. S. (1997). Grounding visual sociology in shooting scripts. Qualitative So - ciology, 20, 33– 55.
  • The Verge. Sony’s prototype projector turns any table top into a touch-sensitive dis - play: A step toward holograms. Nick Statt. Mar 13, 2016. Retrieved from: https:// www.theverge.com/2016/3/13/11215454/sony-interactive-projector-future-lab- sxsw-2016.
  • Wagner, J. (2007). Observing culture and social life: documentary photography, field- work, and social research. In G.C. Stanczak (ed.). Visual research methods: Im - age, society, and representation (pp. 23– 60), London: Sage.
  • Adler, J. (1989). Origins of sightseeing, Annals of Tourism Research, 16, 7– 29.
  • Araño, J. C. (1996). El Valor del Arte. En: Zehar: Revista de Arteleku-ko Aldizkaria. 30, 22-25.
  • Armstrong, C. (1998) Scenes in a library: Reading the photograph in the book. Lon - don: MIT Press.
  • Barker, M. (2009). Fantasy audiences versus fantasy audiences, in W. Buckland (ed.), Film Theory and Contemporary Hollywood Movies. London: Routledge, 286– 309.
  • Baker, T., & Wang, C. (2006). Photovoice: use of a participatory action research meth - od to explore the chronic pain experience in older adults, Qualitative Health Re - search, 16, 1405– 1413.
  • Banks, M. (2008). Using visual data in qualitative research. London: Sage.
  • Barnard, M. (2001). Approaches to understanding visual culture. Houndmills: Pal - grave Macmillan.
  • Barnet, B.A. (2009). Idiomedia: The rise of personalized, aggregated content, Con - tinuum: Journal of Media & Cultural Studies , 23, 93.
  • Baudrillard, J. (1988). Selected writings, edited by M. Poster. Cambridge: Polity Press.
  • Becker, H. (2004). Afterword: photography as evidence, photographs as exposition, in C. Knowles & J. Sweetman (eds), Picturing the social landscape: visual methods and the sociological imagination. London: Routledge, pp. 193– 7.
  • Becker, H. (1982). Art worlds. Berkeley, CA: University of California Press.
  • Bell, P. (2001). Content analysis of visual images. In T. van Leeuwen & C. Jewitt (eds), Handbook of visual analysis. London: Sage.
  • Berger, J. (2013). Understanding a photograph. London: Penguin Books.
  • Berger, J. (2008). Ways of seeing. London: Penguin Books.
  • Blinn, L. & Harrist, A.W. (1991). Combining native instant photography and photo- elicitation, Visual Anthropology, 4, 175– 92.
  • Bolton, R. (1989). In the American West: Richard Avedon Incorporated. In R. Bolton (ed.), The contest of meaning: Critical histories of photography. London: MIT Press.
  • Buckinghman, D. (2009). Creative visual methods in media research: possibilities, problems and proposals. Media, Culture and Society, 31, 559– 77.
  • Chandler, D. (2007). Semiotics: The basics. Abingdon: Routledge.
  • Debord, G. (1983). Society of the spectacle. Detroit: Black and Red.
  • Duncan, C. (1993). The aesthetics of power: Essays in critical art history. Cambridge: Cambridge University Press.
  • Edwards, E. (2002). Material beings: objecthood and ethnographic photographs, Vis - ual Studies, 17, 67–75.
  • Evans, H. & Evans, M. (2006). Picture researcher’s handbook: An international guide to picture sources and how to use them (8th edition). Leatherhead: Pira Interna - tional.
  • Frosh, P. (2003). The image factory: Consumer culture, photography and the visual content industry. London: Berg.
  • Grady, J. (2004) ‘Working with visible evidence: an invitation and some practical ad - vice’, in C. Knowles & J. Sweetman (eds), Picturing the social landscape: Visual methods and the sociological imagination. London: Routledge.
  • Gray, C. & Malins, J. (2004). visualizing research: A guide to the research process in art and design. New York: Routledge.
  • Harper, D. (2003). Framing photographic ethnography: A case study, Ethnography , 4, 241.
  • Kress, G. & Leeuwen, V. T. (2006). Reading images: The grammar of visual design. London: Routledge.
  • Mannay, D. (2015). Visual, narrative and creative research methods: Application, re - flection and ethics. New York: Routledge.
  • McNiff, S. (2013). Art as research: Opportunities and challenges. Chicago, University of Chicago Press: Intellect Ltd.
  • Smith, H. & Dean, T. R. (2009). Practice-led research, research-led practice in the creative arts (research methods for the arts and humanities). Edinburgh, UK: Ed - inburgh University Press.
  • Sontag, S. (2013). On photography. London: Penguin Books.
  • Sturken, M. & Cartwright, L. (2017). Practices of looking: An introduction to visual culture. Oxford, NY: Oxford University Press.
Toplam 59 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Eğitim Üzerine Çalışmalar
Bölüm Araştırma Makalesi
Yazarlar

Ana Marqués Ibáñez Bu kişi benim

Yayımlanma Tarihi 1 Mart 2018
Yayımlandığı Sayı Yıl 2018 Cilt: 7 Sayı: 1

Kaynak Göster

APA Ibáñez, A. M. (2018). Visual research methodologies in the field of Art Education: Conceptual analysis and specific theoretical framework of reference. Journal of Teacher Education and Educators, 7(1), 75-93.