international SympoSium PersPectives on Art educAtion

exhibition Centre Heiligenkreuzer Hof Schönlaterngasse 5, 1010 Vienna

00_cover_booklet.indd 1 18.05.15 00:42 Perspectives on Art Education Conversations Across Cultures

Symposium @ Exhibition Centre Heiligenkreuzer Hof M a y 2 8 — 3 0 , 2 0 1 5

austrian Center for Didactics of art, textile & Design SYMPOSIUM institute for art Sciences and art education PERSPECTIVES ON ART EDUCATION Department Didactics of art, textile & Design +43 (1) 71133-2737 organized by [email protected] austrian Center for Didactics of art, textile & Design didactic-art.org institute for art Sciences and art education at the university of applied arts Vienna Copy editing: rachel mason, in cooperation with the art and art education program, marianne Sorge-Grace, Gabriele Kaiser teachers College Columbia university new york, printing: Gugler endorsed by inSea, funded by bmwfw paper: munken lynx rough project management: ruth mateus-Berr & michaela Götsch Cover: amber Graphic Fonts: portrait by Berton Symposium Location Hasebe & Helvetica textbook exhibition Centre of the by max miedinger/linotype university of applied arts Vienna printed in austria Heiligenkreuzer Hof, Schönlaterngasse 5 1010 Vienna Design Get uSeD to it pia Scharler & Gerhard Jordan Contact university of applied arts Vienna oskar-Kokoschka-platz 2, a − 1010 Vienna www.dieangewandte.at this work is subject to copyright. all rights are reserved, whether the whole or part of the material is concerned. For any kind of use, permission of the copyright owner must be obtained. Information & Event Management +43 (1) 71133-2160 [email protected]

00_cover_booklet.indd 2 18.05.15 00:42 PROGRAM

Thursday, May 28 @ Sala terrena (Heiligenkreuzer Hof) 06:00 pm Arrival, Pre-registration 06:30 − 09:00 pm Exhibition opening, Welcome Friday, May 29 @ Refektorium (Heiligenkreuzer Hof) 08:00 am Registration and breakfast 09:00 – 09:30 am opening remarks @ Refektorium Short presentations Session #1 @ Refektorium Short presentations Session #2 @ Sala terrena 09:30 – 09:45 am R. Jochum The Changing Education Artists 09:30 – 09:45 am D. Huylebrouck The Two Cultures in Multicultural Society 09:45 – 10:00 am M. Ave Design Experience Workshop: 09:45 – 10:00 am R. Kroupp Three Aspects of Art Education Sensitising youth to everyday environments and a Suggestion 10:00 – 10:15 am A. Hubin, K. Schneider 10:00 – 10:15 am J. Bényei, Z. Ruttkay The Artist as Educator Digital Museum: A multidisciplinary university course 10:15 – 10:30 am M. Farukuoye The Artist as an Unreliable Narrator: 10:15 – 10:30 am L. Cilleruelo, A. Zubiaga, M. Pena Zabal Desired problems: Globalized Cultures and Polymorphic Views an artistic approach in the field of neural networks 10:30 – 10:45 am Fares Kayali Educating secondary school teachers 10:30 – 10:45 am t. Meyer, K. Schütze Methods of Art (MOA): in game design and game-based learning Discourse and Education 10:45 – 11:00 am E. Wagner, R. Laven Visual literacy: A universal concept? 11:00 − 11:15 am Coffee break @ Refektorium and Sala terrena 11:15 − 12:15 am Discussions with break-out groups 12:15 – 02:00 pm Lunch break Short presentations Session #3 @ Refektorium Short presentations Session #4 @ Sala terrena 02:00 – 02:15 pm K. L. Caroll Teaching and Learning at the Intersection of 02:00 – 02:15 pm M. Wimmer Participatory Research Method and Poverty and Design Education Cultural Competences 02:15 – 02:30 pm S. Pfeifer Learning by creating and presenting exhibitions. 02:15 – 02:30 pm P. Olynyk Evolving Third Culture Thinking The curatorial praxis of ‘staging knowledge’ in art education in Art and Science 02:30 – 02:45 pm L. Kjaer The Artist as Writer 02:30 – 02:45 pm b. Mahlknecht Uncanny Materials. On Research 02:45 – 03:00 pm L. Radovic, R. Mateus-Berr Op-tiles and and (Un)learning History in Art Education interdisciplinarity 02:45 – 03:00 pm D. F. J. Campbell, E. G. Carayannis Research and Art education 03:30 – 03:45 pm Coffee break @ Refektorium and Sala terrena Short workshops Session #1 @ Refektorium Short workshops Session #2 @ Sala terrena 03:45 − 03:55 pm A. Zubiaga, L. Cilleruelo, I. Madariaga 03:45 − 03:55 pm K. Schütze, G. Kolb et al. DIY neural networks Methode Mandy: A Method Called Mandy 04:00 – 04:10 pm Jalka Peace is the Art of Living 04:00 – 04:10 pm M. Ave Nest, Trace and Profile: a first design exercise for pre-school children 04:15 – 05:15 pm Discussion with break-out groups 07:00 – 09:00 pm Jalka Guided Walk on the Vienna Peace Trail Saturday, May 30 Short presentations Session #5 @ Refektorium Short presentations Session #6 @ Sala terrena 09:00 – 09:15 am J. M. Burton 09:00 – 09:15 am E.B. Duarte Automated experience: prototyping Pedagogy as Spaghetti Junction! adaptive artifacts in Art & Design pedagogy 09:15 − 09:30 am T. Widmann, D. Stuhlpfarrer et al. Knotting Hill. Mind is 09:15 – 09:30 am C. Hapt, T. Skhirtladze et al. Mobile Phones in Art Class the nexus from which nature emerges. (2014) As a model of 09:30 – 09:45 am W. Sachsenhofer, A. Karlusch, R. Mateus-Berr et al. 09:30 – 09:45 am S. Salazar Scenes from an art school: The Case for Interdisciplinary Art and Design Education Four pedagogical practices 09:45 – 10:00 am t. Meyer, K. Schütze, G. Kolb 09:45 – 10:00 am g. Höfferer Blended Social Video Learning: Technical What’s Next in Art Education? and Didactic Innovation in Arts Teacher Education 10:00 – 10:15 am A. Falkeis Aspects of Space: 10:00 – 10:15 am i. O. Soganci “The Museum of Innocence”: Architecture for Non-Architecture Students A Modest Model for Better Studio Art Teaching 10:15 – 10:30 am R. Sazdanovic, A. Cooper Teaching the art of mathematics 10:30 − 10:45 am Coffee break @ Refektorium 10:45 − 11:45 am Discussions with break-out groups 11:45 − 12:30 am Student panel @ Refektorium Konrad Cernohous, Julia Galimova, Markus Glatz, Christoph Schwarz 12:30 − 01:00 pm Wrap up Session @ Refektorium PROGRAM Perspectives on STREAMS Art Education What is the role of the artist, Teaching and learning of art in higher education designer and architect in current (at university level) has experienced significant society and what is her/his and challenging cultural, technological, societal extended role as an educator? and economic changes. The Perspectives on Art Stream #1: Education Symposium will address these changes; ARTIST ROLE AS EDUCATOR explore their antecedent approaches and search for meaningful explanations and responses, as they What is the identity of the are relevant for teaching and learning studio art artist-teacher, artist-designer and artist-architect at art and art education today. schools and what is her/his The symposium discusses and explores critically extended role as an educator? the various perspectives of the artist in current Stream #2: society, the necessity for new strategies of ARTIST-TEACHER IDENTITY teaching and learning and the diversity of art education across different nations and art schools. What is the role of the researcher The discussion focuses on the one overarching of art, design and architecture in question: current society and what is her/his How do we define perspectives on art education extended role as an educator? and transfer these to other cultural contexts? Stream #3: How will we change our perspectives in reference RESEARCHER OF ART, to shifting trends in youth culture and diverse DESIGN & ARCHITECTURE: expectations in society in order to educate artists, ROLE AS EDUCATOR designers and architects for purposes of actualizing the imaginative, socially responsible How can different approaches, referring to the learning of art, and respect-guided meaningful art practice, the design and architecture in interdisciplinary collaboration and intellectual higher education, be examined, exchange? compared and transfered to other cultural contexts (social, Artists, designers, architects, artist-teachers and museum, industry etc.)? educators, and scientists will contribute through Stream #4: short presentations and workshops to enhance PERSPECTIVES OF discussions. Students of the Teacher Education LEARNING ART, DESIGN departments are being addressed as an integral and ARCHITECTURE group of the symposium, so as to provide a deeper understanding of their needs and expectations What type of skills does the art teacher at university level for learning and teaching in the arts, for different need today? perspectives and also possible transfers. An Stream #5: exhibition of artworks responding to the theme ARTISTS-TEACHER SKILLS of the symposium introduces to further aspects on art education. What can teachers of art schools at university level learn from 28 SHORT PRESENTATIONS teaching strategies in schools? 4 SHORT WORKSHOPS Stream #6: EXHIBITION TRANSFERABLE SKILLS FR May 29, 2015, SHORT PRESENTATIONs Session #1 @ Refektorium, Chair: R. Mateus-Berr / M. Götsch STREAM #1 ARTIST ROLE AS EDUCATOR

@ 9:30 am @ 10:00 am

The Changing Education of Artists The Artist as Educator Richard JOCHUM Andrea HUBIN, Karin SCHNEIDER Teachers College | Columbia University New York City, USA Institute of Art, Science & Education | University of Applied Arts Vienna, A

Art practice and art education have gone through momentous changes in which Policy papers about art and cultural education, such as the UNESCO Road Map hybridization, specialization, and professionalization were key drivers. These for Arts Education (Lisbon, 2006) and UNESCO Seoul Agenda (Seoul, 2010) offer changes are apparent in the revised role of the arts at research universities, in- guidelines from a global perspective. They stipulate that Education in the Arts cluding the recent debate about PhD qualifications in studio art as the new ter- is a universal tool for activating the creative potential necessary for achieving minal degree for college art teaching, and movements toward increased account- prosperity and enabling learners to deal with diversity peacefully. Such high ability throughout higher education. Art schools used to be vocational schools, expectations may well encourage enthusiasm but they also bring pressures and organized in a vertical hierarchy and self-contained as silos; within a changed suspicion. Starting with a critical re-reading of sources such as the “Road Map” learning and research landscape they have opened up and become horizontal. this presentation will unpack the way some of the wording, concepts and visions These developments in higher art education are an international phenomenon are paradigmatic for dramatic changes in our living and working environments. and consistent with what is happening in other areas of culture and knowledge We will argue that learning and creativity can be seen as new and important production. Where knowledge used to be discipline-based and hierarchical, it productive forces. From this perspective the “artist as educator” becomes a key has become fluid. Where art making used to be grounded in skillful dialogue figure in the current creativity paradigm, and an agent for its rejection. with a specific medium, it has been freed from disciplines and become part of a Keywords Creativity, Diversity, Cognitive Capitalism, Lines of Flight. cultural practice that is all-encompassing. The consequences for the artist’s role in society, art education and education in general are significant. This presenta- MEET ME AT BREAK-OUT GROUP NO 3 (REFEKTORIUM) @ 11:15 tion will address these shifts in the learning landscape and how art education is recalibrating. @ 10:15 am Keywords Higher Education, Educating Artists. MEET ME AT BREAK-OUT GROUP NO 1 (REFEKTORIUM) @ 11:15 The Artist as Unreliable Narrator: Globalized Cultures and Polymorphic Views @ 9:45 am Monika FARUKUOYE Institute of Culture & Society, Social Design – Arts as Urban Innovation Design Experience Workshop: Sensitising University of Applied Arts Vienna, A youth to everyday environments Masayo AVE Vladimir Nabokov claimed that his novel “Lolita” with its morally unreliable MasayoAve creation, Haptic Interface Design Institute | Weißensee narrator reflects the loss of innocence caused by an exile-induced shift away Kunsthochschule Berlin, D from his “innate” way of conceiving the world and expressing himself through language. In film, unreliable narration became a trend around 1999 when films like Design is not about products. It is about a discovery process, sensory experience “The Sixth Sense”, “Fight Club” and “The Matrix” successfully provided viewer and analysing and assessing the quality of the living environment. ‘Experiencing experiences that turned accepted truths within the narration upside down. design’ begins with close observation of forms, colours, patterns and structures Amar Kanwar’s installations use unreliable narration to point to situations that in everyday life and their interrelationships. It focuses on multisensory skills that governmental narrations conceal. It is a question of societal relevance to ask how can be cultivated in everyone from a young age. What kinds of design exercises much globalisation, extended migration and multimedia pervasion have brought are most effective for equipping children and youth with the fundamental design along the need for artists to offer reflections on unreliable societal narrations, skills they need to analyse and assess everyday environments? Drawing on her and artistic modes of educating audiences towards developing polymorphic experience as a professional designer the author created three design exercises views and counter-narratives. In opposition to other practices of violating and implemented them in a Design Experience Workshop: a series of design expectations, the unreliable narrator creates the whole narrative framework lessons for children and youth held in Red Dot Design Museum, Essen as part of for the expectations to be broken, and they are broken in such a manner that EU PROUD project. The aim was to sensitise children and youth to the quality the framework itself is rendered invalid. This poses questions about how to deal of their living environment. The successful outcomes suggest also that the new with intentional deception, and beyond that with ever shifting frameworks of form of design education could reconcile the world of arts, humanities and understanding and communicating that were less prevalent in the past. sciences in children’s everyday experiences. Keywords Unreliable Narration, Globalization, Keywords Design, Education, Children, Youth. Polymorphic Views.

MEET ME AT BREAK-OUT GROUP NO 2 (REFEKTORIUM) @ 11:15 MEET ME AT BREAK-OUT GROUP NO 5 (REFEKTORIUM) @ 11:15 FR May 29, 2015, SHORT PRESENTATIONs Session #2 @ Sala terrena, Chair: D. J. F. Campbell / A. Falkeis STREAM #4 PERSPECTIVES OF LEARNING ART, DESIGN and ARCHITECTURE @ 10:30 am @ 9:30 am

Educating secondary school teachers in The Two Cultures in a game design and game-based learning Multicultural Society Fares Kayali Dirk HUYLEBROUCK Institute of Art, Science and Education Faculty for Architecture |KU Leuven, BEL University of Applied Arts Vienna, A In 1959, In his lecture ‘The Two Cultures,’ C.P. Snow stated that western society This paper will offer detailed insights into principles for teaching game design, is split into two cultures with sciences on one side and humanities on the other. game literacy and game-based learning to secondary school teachers. We have Thus Mathematics, the purest of all sciences, and the Arts, the most liberal of been researching how to instruct future teachers in the creation, use of and re- all humanities studies, are at opposite extremes. The technological world today flection on games in classrooms. The paper outlines some challenges this poses needs both, so how do we teach mathematics to artists? For mathematicians a and describes teaching strategies and resources targeted at game literacy i.e. at short ‘aha-erlebnis’ suffices, but arts students need a more creative approach. improving teachers understanding of how to reflect on games with their stu- Moreover, due to the extensive immigration to Western Europe, ‘universal’ dents, their practical uses and game design methods. Challenges are identified in mathematics often clashes with students’ cultural backgrounds. In the US, the areas of game literacy, technology, media reflection and game application in courses on ‘Black Mathematics’ have been developed for the African-American classrooms. The session will outline practical strategies and instructional mate- community, but this is not the case in Western Europe. The author has writ- rials for teaching game design. ten a book about ‘multicultural mathematics’, and teaches many topics it covers Keywords Game Design, Education, Game-Based Learning. to his architecture students. He also has a theatre presentation called ‘Africa + mathematics’, that combines music and mathematics. The presentation will in- MEET ME AT BREAK-OUT GROUP NO 6 (REFEKTORIUM) @ 11:15 clude some examples of interdisciplinary collaborations involving mathematics and art and will provide examples from the West and from Africa. Keywords Mathematics, Art, Africa, Education.

MEET ME AT BREAK-OUT GROUP NO 7 (REFEKTORIUM) @ 11:15

@ 9:45 am

Three Aspects of Art Education and a Suggestion Rachel KROUPP Kaye Academic College of Education, Beer-Sheva, ISR

There are three main approaches to Art Education. One of them is teaching ‘pure art’, an approach that is widely praised and understood as important for individuals and society. The second is teaching art alongside other kinds of pro- fessional skills, both intra-disciplinary and interdisciplinary. The third is teach- ing “visual culture”, Advocates of this approach recommend combining art and cultural studies as one subject. In the first two approaches, art is understood as a profession in its own right and the benefits gained from this remain unchanged. We believe this is not the case with a postmodernist approach to teaching visual culture. According to Freedman (2003) and Hiese (2004), this approach promotes thinking skills, imagination, memory, multiculturalism, and more. Elliot Eisner (2001) has already pointed out the difficulties this creates for art teachers and, in our opinion, also for the discipline of Art. We suggest that the concept of visual culture is implemented in other ways. We taught a short course to teachers from various cultural fields. They learned to use the internet to locate relevant art works, and incorporate their narrative elements and messages into their lesson content. They engaged with visual culture in this way. This practical training, which took place in two primary schools (a Bedouin and Jewish school), sug- gested a possible new direction. We would like to emphasize that the aim was not to train teachers of other school subjects to become art teachers, but to educate them in the narrative interpretation of art works, in order to enrich their teaching of core subjects. Using this method children can view a range of artworks that are relevant to the lesson content, discuss them and interpret the production of pieces of technological art and provided material for reflection topics they cover (visual culture). Meanwhile, the art teacher continues to focus and development in scientific publications. on lessons in pure art. Keywords Cross-Disciplinary Practice, Making, Keywords Art Education, Visual Arts, Enrichment through Art. Curiosity-Driven Learning.

MEET ME AT BREAK-OUT GROUP NO 8 (SALA TERRENA) @ 11:15 MEET ME AT BREAK-OUT GROUP NO 10 (Sala terrena) @ 11:15

@ 10:00 am @ 10:30 am

Digital Museum: A multidisciplinary Methods of Art (MOA): Discourse and university course Education Judit BÉNYEI, Zsófia RUTTKAY Torsten MEYER, Konstanze SCHÜTZE Moholy-Nagy University of Art & Design Budapest, HUN Institute of Art & Art Theory | University of Cologne, D

Our “Digital Museum” university course was launched in 2010, as a response to The project Methods of Art (MOA) is using video interviews with a growing the challenges and needs of museums in the information age. It is novel in sever- number of contemporary artists from a wide range of fields and backgrounds. al ways. Students develop museum projects in multidisciplinary teams. They are MOA is enquiring into the delicate matter of underlying methods in the “mak- studying Design, Management, Education and Art Theory at our university and ing” and production art. Together with artist Johannes M. Hedinger, the au- Programming at a Technical university, and are introduced to the latest digital thors have developed a set of ten questions for investigating this matter from technologies. They invent solutions that will turn museums into appealing, en- various angles. The questions deliberately ignore the myth of ‘the inexplicable’ in gaging social sites that are attractive to their generation. The course applies a art. In fact they rely on the rather contradictory, over-simplified, (even) intimi- problem solving design methodology. Problems are spotted and possible remedies dating questions artists usually avoid answering or wave aside. In-depth conver- proposed in brainstorming sessions, then the most promising ones are critically sations with the interviewees (artists or artist groups) explore the ‘fundamentals’ reviewed with respect to available resources and other matters, and a detailed of art and hence, circle around – and even play with, the taboo in the profession design is produced. Students play different roles and are responsible for creating around giving straight answers to complicated questions. content and visual designs, programming and project management. At the end Acknowledgements: Johannes M. Hedinger, *1971; artist, art historian, curator, filmmaker, publisher (Zurich, New York), lecturer at Zürcher Hochschule der Künste (Zurich) and University of Cologne and part of the Swiss artist duo of an intense, one-term course, teams present prototypes for museum clients. Com&Com (Venice Biennial, Shanghai Biennial, Singapore Biennale a.o.), known for projects such as: Point de Suisse Some student projects have been developed into applications in everyday use in (2014), What’s Next? Kunst nach der Krise (2013), Lexikon zur zeitgenössischen Kunst (2010). museum settings. In this paper we argue the social case for the course, explain www.johanneshedinger.com, www.com-com.ch our methods and the lessons we have learned and present some projects our stu- Keywords: Artist, Methods, Interview, Resource. dents have developed. Keywords Museums, Design Education, Digital Technologies. MEET ME AT BREAK-OUT GROUP NO 11 (Sala terrena) @ 11:15

MEET ME AT BREAK-OUT GROUP NO 9 (Sala terrena) @ 11:15 @ 10:45 am

@ 10:15 am Visual Literacy: An Universal Concept? Ernst WAGNER, Rolf LAVEN Desired Problems: An Artistic Experience in Academy of Fine Arts, Munich, D | Pädagogische Hochschule, Vienna, A the Field of Neural Networks Lourdes CILLERUELO, Augusto ZUBIAGA, Miriam PEÑA ZABAL ENViL is a network of researchers and curriculum developers with more than University of the Basque Country UPV/EHU, ESP 50 participants in 11 European countries funded by the European Commission (www.envil.eu). ENViL is developing a frame of reference for visual literacy that New models of educational research must take due account of the progressive describes the knowledge, skills and attitudes students have to obtain (and own) integration of the arts within the framework of the scientific disciplines (STEM to be considered visually competent. The competences are related to specific sit- to STEAM). In this context art education practices are understood as sites for uations in daily life as well as domain-specific competences. The framework will channeling and developing many forms of knowledge and know-how, and artistic be inclusive and embrace different historical, societal and ideological contexts methodologies are viewed as essential for defining criteria of excellence, inno- within a normative agenda defined by Human Rights and UNESCO’s develop- vation and technological development. The STE(A)M movement offers a new ment goals. In 2014 ENViL carried out comparative research into how visual conceptual framework that takes ‘desired problems’ as a starting point, and in competences and their dimensions are understood in Visual Arts curricula in 13 which curiosity becomes the driver and guide of knowledge acquisition, and acts European countries. This paper will present and discuss the current results of a springboard for exploring multiple solutions in an ongoing quest for person- ENViL’s research with regard to the following: (1) the comparison of European al satisfaction. The new model empowers imagination and draws attention to visual arts curricula; (2) the framework for visual competences; (3) the possibility the process of experimentation, or ‘making’. In this presentation we describe the of transferring this framework to museum education, heritage education, civic practice of designing and developing neuron prototypes, using simple low-tech education and education for sustainable development. resources that are easily replicated across learning environments. This project Keywords Visual Literacy, Curricula, Europe. enabled us to understand how simple neurons are, and how to configure the networks found in biological organisms in different ways. It has also encouraged MEET ME AT BREAK-OUT GROUP NO 12 (Sala terrena) @ 11:15 FR May 29, 2015, SHORT PRESENTATIONs Session #3 @ Refektorium, Chair: R. Mateus-Berr / Jalka STREAM #6 TRANSFERABLE SKILLS

@ 2:00 pm @ 2:30 pm

Teaching and Learning at the The Artist as Writer Intersection of Poverty and Lise KJAER Design Education The Art Department | The City College of New York, USA Karen Lee CARROLL Writing about art and art practice poses a wide range of questions. Frequently it Center for Art Education | Maryland Institute College of Art, USA is a challenge to describe a work in a way that allows readers to see and discover it on their own terms. A substantial part of the problem lies in the fact that visual The Baltimore Design School project has raised fundamental questions about imagery has a language of its own. It exists without words. It often develops as design education in urban secondary schools where the majority of students are a process that is intuitive and silent. How then does one translate a visual work African American and come from poverty. The Design school, which is entering of art into words? This paper draws parallels between the process of writing and its fifth year, has brought together a community of art and design educators Lev S. Vygotsky’s discussion of “inner” and “exterior” speech, as defined in his and design professionals who are engaged in on-going dialogue about design ed- seminal text, “Thinking and Speech,” published in 1934. Vygotsky likened “inner” ucation. They are questioning how to deal with issues such as what constitutes speech to a field without words and argued that a child’s consciousness develops core learning in design, how to develop discipline specific investigations and as it bridges its “inner” and “exterior” speech. Consideration of Vygotsky’s theory design learning strategies with poverty in mind. This paper elaborates some of in the context of writing about art practice, suggested analogous processes that the issues, questions and teaching strategies that are being explored within this could prove useful for developing new and creative teaching strategies. context and considers how they might inform post secondary design education. Keywords Writing, Art, Post Graduate Theses, Vygotsky. Keywords: Design, Urban Settings, Secondary Schools. MEE T M E AT B REAK- o u t G R o u P n o 3 ( R E F E K t o R i u M ) @ 4 :15 MEET ME AT BREAK-OUT GROUP NO 1 (REFEKTORIUM) @ 4:15

@ 2:45 pm @ 2:15 pm

Op-Tiles in Art Education Learning by creating and presenting Ruth MATEUS-BERR, Lilijana RADOVIC exhibitions. The curatorial praxis of Institute of Art, Science & Education | ‘staging knowledge’ in art education University of Applied Arts Vienna, A Silke PFEIFER Department of Mathematics | Institute of Fine Arts & Cultural Studies | University of Nis, Faculty of Mechanical Engineering, SRB University of Art & Design Linz, A The context for this project, which set out to improve mathematical knowl- ‘Staging Knowledge’ is an innovative exhibition and communication format edge through visual arts, was a Viennese secondary school. We used the theme that has been successfully applied in numerous shows in Austria and abroad labyrinths, Greek myths and pattern to help students transfer visual knowledge with various visitor groups. In these shows, ‘Staging Knowledge’ harnesses all to mathematics. Using reflection and a playful child-centered instructional ap- the available space for presentation of content; and this is achieved through the proach, students studied labyrinth designs on ancient coins exhibited at the pal- use of specially designed wallpaper and carpets reflecting the exhibition theme, ace of Minos Knossos, and created Op-Art styles and designs. We helped them to and through innovative media installations and contemporary art interventions. connect learning in arts and math and improve their understanding of the role of The presentation will report on the author’s PhD project at the University of creative hands-on activity in solving problems in the real world. The key design Art and Design Linz. It will describe the development of the exhibition format concepts were ‘symbol’, ‘pattern’ and ‘symmetry’. The hypothesis underpinning and some experiments in which it was tested out in interdisciplinary projects in the experiment was that integrating mathematics into art teaching facilitates schools and teacher education; and will analyse and reflect on the method and mathematical learning, because the arts have the potential to recapture the won- how it was adapted. It will focus in particular on the processes students, acting der and curiosity of learning. as curators, undertook to designing an exhibition with socially relevant content Keywords Art, Math, Education, Labyrinth, Op-Tiles. and realizing it as a ‘staged room of knowledge’. The presentation sets out to illuminate curatorial praxis in the context of art education in schools. MEET ME AT BREAK-OUT GROUP NO 4 (REFEKTORIUM) @ 4:15 Keywords Exhibition, Curatorial Praxis, Art Education.

MEET ME AT BREAK-OUT GROUP NO 2 (REFEKTORIUM) @ 4:15 FR May 29, 2015, SH ORT PRESENTATIONs Session #4 Thomas Kuhn proposed that it is most productive to explore art and science as @ Sala terrena, Chair: A. Damianisch / M. Götsch products of human activity; and stated that while images are the inevitable out- STREAM #3 RESEARCHER OF ART, DESIGN comes of art making, they function as tools only when they used to advance scien- & ARCHITECTURE: ROLE AS EDUCATOR tific knowledge. This assertion has been challenged, and art and science post-grad- uate and PhD programs exist in numerous research institutions internationally. @ 2:00 pm Keywords Art, Science, Technology, Third Culture. Participatory Research Method and MEET ME AT BREAK-OUT GROUP NO 11 (SALA TERRENA) @ 4:15 Cultural Competences @ 2:30 pm Michael WIMMER Institute of Art, Science & Education | University of Applied Arts Vienna, A Uncanny Materials. On Research and (Un) learning History in Art Education ‘Cultural Competences’ are one of eight key competences listed in the EU-Rec- Barbara MAHLKNECHT ommendations for Lifelong Learning that are a major focus of current develop- Academy of Fine Arts Vienna, A ment strategies in European schools. Nevertheless there is no concise interpreta- tion of what they are. The project leader and his team initiated a participatory In the German speaking context, Education in the Arts has not adopted critical research project called “Learning in, with and through Culture,” that set out to approaches towards canonical positions in its history, nor reflected on the entan- answer the following questions: (1) What do students learn when they engage glements between its histories, discourses and practices. What does researching with culture and the arts? (2) What does culture mean to them? (3) What is a and teaching the history of art education involve? How should we use art educa- competence? And, (4) what are cultural competences? The project is interdis- tion research and transfer it into other contexts? How can we develop the kind of ciplinary and expected to come up with cutting edge results. The team includes critical approach that researches with rather than over history? How can we (un) pupils and teachers from three schools in Vienna, Lower Austria and Carinthia, a learn histories using collaborative and investigative methods? In 2011 as part of a theatre, an opera house and a contemporary art museum. The research coordina- taught course, we researched the history of our own institution. We uncovered tor is supported by partners with expertise in research, school development and information about the foundation of the ‘Meisterschule für Kunsterziehung’ at teacher training to ensure the quality and dissemination of the project findings. the Academy of Fine Arts Vienna in 1945 under the rectorship of Alexander Popp, The project has four phases: (1) Meeting partners and clarifying aims; (2) Detailed who was a member of the Nazi Party (NSDAP). The students researched the ar- planning; (3) Research training & cultural practice and (4) Implementing ‘cul- chives in groups. They used educational and curatorial strategies to examine the tural laboratories’ & research into cultural competences. This presentation will circumstances in which the institute was founded and the implications of this. focus mainly on the research aspect of the project in which students, teachers The findings were disseminated at an Arts Education Conference in Salzburg in and artists, as well as professional researchers, were involved equally in a partic- the form of a booklet, audio installation, blog and performance lecture. ipatory process. Accordingly it will discuss not only the strengths but also the Keywords Research, Teaching, History, Art Education. limitations of the methodology for assessing artistic phenomena and the roles of participants from different professional backgrounds. MEET ME AT BREAK-OUT GROUP NO 12 (SALA TERRENA) @ 4:15 Keywords Cultural Competences, Participatory Research, Cultural Learning. @ 2:45 pm

MEET ME AT BREAK-OUT GROUP NO 10 (SALA TERRENA) @ 4:15 Research and Art education David F. J. CAMPBELL, Elias G. CARAYANNIS @ 2:15 pm Unit for Quality Enhancement (UQE), Department for Art, Textile & Design Evolving Third Culture Didactics | University of Applied Arts Vienna, A School of Business, Department of Information Systems & Technology Thinking in Art and Science Management | George Washington University, USA Patricia OLYNYK Sam Fox School of Design & Visual Arts Art education can be re-invented by adopting a research perspective towards art. Washington University in St. Louis, USA Writing, publishing and research in the sciences follow certain established pat- terns, which vary of course, depending on the discipline and other contextual fac- A recent joint meeting of the National Science Foundation and National En- tors. However, the radical proposition (for further discussion) here is that there dowment for the Arts engaged influential thinkers in exploring various forms of are “orthodoxies” in the sciences that dictate what constitutes good research and inquiry that concern the fields of art and science, with a focus on the acade- writing (publishing). For art education it would be more valuable to conduct re- my. Discussion focused on opportunities for advancing scientific knowledge and search that seeks to re-discover and re-interpret the subject of art itself. Whereas new forms of artistic research, output and collaboration and this suggests that research and publishing in the sciences offer a point of departure, it can be ex- building a sustainable platform for cross-disciplinary discourse and activities that tended with reference to recent developments in artistic research. These new advance third culture thinking is timely and relevant. This presentation will ex- forms of enquiry not only connect science, research and art, but are disruptive plore selected curricula, research models, fellows programs, and collaborations also, in that they challenge traditional forms of research and publishing. (For fur- that support creative work and research at the intersection of art, science and ther contextual information, see: ARIS (http://www.dieangewandte.at/aris). technology with a special focus on a recent Mellon Foundation funded vertical Keywords: Research, Sciences, Art, Methodology. seminar and Art/Science Fellows group. In this seminar faculty and doctoral and MFA students considered the realms of science and art with a view to challenging MEET ME AT BREAK-OUT GROUP NO 7 (REFEKTORIUM) @ 4:15 the notion these are incommensurable realms of knowledge. Science historian Learning Something in ten Minutes Learning Something in ten Minutes FR May 29, 2015, SHO RT WORKSHOPS-Session #1 FR May 29, 2015, SHO RT WORKSHOPS-Session #1 @ REFEKTORIUM, CHAIR: C. KALTENBRUNNER @ REFEKTORIUM, CHAIR: C. KALTENBRUNNER

@ 3:45 pm @ 4:00 pm

DIY neural networks Peace is the Art of Living Augusto ZUBIAGA, Lourdes CILLERUELO, Itsaso MADARIAGA JALKA University of the Basque Country UPV/EHU, ESP Institute of Art, Science & Education | University of Applied Arts Vienna, A

This workshop will take the form of a collaborative exercise in which opto-elec- In this workshop we want to draw attention to peace matters as social compe- tronic circuits that simulate the functioning of biological neurons will be pro- tences. Peace matters are an excellent curriculum topic to encourage democracy duced. Each connected neural unit visibly influences the total network behavior, and citizenship education. Peace is much more than the absence of war. But making the nature of biological computing perceptible to the participants in a when people visualise or describe it they often define it by its opposites “vio- visible way (neuronal pacemakers, afferent and efferent nerve impulses, reflex lence” or “war”. The “negative” seems essential and easiest in order to describe arcs, etc). This system becomes so complex that the immense challenge of trying the “positive”. Why this is an obstacle to developing learning activities and which to address biological computer keys is evident, thus bringing us closer to an aes- strategies can be helpful to cope with this problem will be up for discussion in thetic of the immeasurable, based on analog models that emulate the interaction this workshop. We want to investigate methods of teaching and learning about between the simple and the complex (neuron and neuronal network, individual peace matters that do not need to refer to the negatives of “violence” and “war”. and society). The workshop will include an in-situ demonstration in which a neu- We will present creative activities that introduce peace matters into outdoor ron that has an axon and several excitatory and inhibitory synapses that can be learning processes, take a (virtual) walk on the Vienna Peace Trail to demon- connected via optical fiber will be made physically. Then a set of neurons made strate our learning and teaching strategy and we will introduce various “peace” in advance will be offered to participants, so they can experiment with various themes by asking questions and offering creative exercises. This will embed the connective configurations and draw their own conclusions. learning process in sensory, emotional and intellectual experiences. We under- Keywords: DIY Neurons, Complexity, Opto-electronics, Biology. stand peace as the art of living. Keywords: Learning, Peace issues, Mutual sharing, Experience. MEET ME AT BREAK-OUT GROUP NO 5 (REFEKTORIUM) @ 4:15 MEET ME AT BREAK-OUT GROUP NO 6 (REFEKTORIUM) @ 4:15

FR May 29, 2015 @ 7:00 − 9:00 pm

GUIDED WALK ON THE VIENNA PEACE TRAIL GUIDE: JALKA

Guided walk on the Vienna Peace Trail in English and German

MEETING POINT: @ Entrance / Sala terrena Learning Something in ten Minutes Learning Something in ten Minutes FR May 29, 2015, SHO RT WORKSHOPS-Session #2 FR May 29, 2015, SHO RT WORKSHOPS-Session #2 @ SALA TERRENA, CHAIR: M. GÖTSCH @ SALA TERRENA, CHAIR: M. GÖTSCH

@ 3:45 pm @ 4:00 pm

Methode Mandy: A Method Called Mandy Nest, Trace and Profile: a first design Konstanze SCHÜTZE, Gila KOLB, Kristin KLEIN, exercise for pre-school children Annemarie HAHN, Robert HAUSMANN Masayo AVE Institute of Art & Art Theory | University of Cologne, D MasayoAve creation, Haptic Interface Design Institute Faculty for Cultural Studies, Institute for Art | University of Bremen, D Weißensee Kunsthochschule Berlin, D Faculty for Philosophy | University of Dresden, D “Nest, Trace and Profile” was the first design exercise the Japanese architect and Do you know how to walk through a door properly? Are you aware of the fastest designer Masayo Ave developed for early preschool children. Early pre-school way to tie your shoes, polish your nails or even wash your hair in outer space? children learn about diversity in nature by simply tracing outlines, and the These are some examples of many available tutorials on youtube. With this in unique veins, of various types of leaves they find in the living environment. In mind, imagine “useful” things students would like to learn, given a chance! How- this workshop, participants will experience this simplest of exercises so as gain ever, what are students already able to do while they are forced to follow art a sense of her new approach to design education. It will activate their inborn education curricula? What are the skills they thrive on? What do they expect sense of wonder and revive their childhood delight in the mysteries of the world to be able to do? What are the things they name when they are asked about in which we live. ‘Nesting’ leaves on a sheet of paper is a simple but challenging #havetos, #wanttos and #abletos in the future? Methode Mandy wants to find first step to sharpening the child’s eye for composition. In the following step, out. We believe that institutional art education must constantly re-invent itself. they trace the outlines of leaves as accurately as possible on transparent sheets, But how can we do this without creating new #musts and #havetos? In order to directly laid onto nested leaves. In the final step, they practise cutting out out- find out, we are researching, trying out, inventing, misusing and revising com- lines of leaf forms with scissors. The workshop will feature an innovative display mon and uncommon tools and practices. We have set out to create situations for of children’s work carefully designed, by a “designer-educator,” so as to combine students, teachers and student teachers that will underpin and support constant individual (first) drawings into a unique artwork – together with a collective rethinking and help to establish a drive for innovation. In ten minutes, Methode display of ‘our work’. Mandy will have you discover your #cannots and #cans. Keywords:The First Design Exercise, Pre-school Children. Keywords Literacy, Knowledge, Curricula, Methods. MEET ME AT BREAK-OUT GROUP NO 9 (SALA TERRENA) @ 4:15 MEET ME AT BREAK-OUT GROUP NO 8 (SALA TERRENA) @ 4:15 SA May 30, 2015, SHORT PRESENTATION Session #5 @ Refektorium, CHAIR: A. DAMIANISCH / M. GÖTSCH STREAM #2: ARTIST-TEACHER IDENTITIES STREAM #5: ARTISTS-TEACHER SKILLS @ 9:30 am @ 10:00 am Pedagogy as Spaghetti Junction! Scenes from an art school: Four Judith M. BURTON pedagogical practices Teachers College | Columbia University New York City, USA Stacey SALAZAR Maryland Institute College of Art, USA This presentation argues that teachers of art in higher education in the future will need to re-imagine their pedagogy in terms of a complex system of cross- The author presents four pedagogical practices found in first year college roads, a confluence of thinking and action flowing in multiple directions. Such studio art classes– orchestrating the physical space, structuring the cre- re-imagining will involve teachers’ abilities to reflect on their own personal life- ative process, initiating dialogue, and modelling ways of being an artist world experiences as these are focused in practices of inquiry, imagination and and citizen of the world – that emerged from recent research conducted aesthetic sensibility. The new demands of college/university level teaching will at two art colleges in the United States. Using vignettes collected in di- fold in knowledge of the developmental and socio-cultural lifeworlds of students verse studio settings, the author illustrates a variety of ways professors at as these emerge in the relational practices of maker and material. Future teach- these colleges enacted these practices. In so doing, the author suggests that peda- ers will have to re-think clichés, conventions, elements, techniques and skills, gogical practices in post-secondary studio art classes may be more effective when envisioning materials in more hybrid terms and student’ practices as sources of they are explicit rather than tacit. meaning, questioning and knowledge construction. The multidimensional role Keywords Pedagogy, College, Studio Art. of the college/university art educator as ‘maker-teacher-learner-researcher’ will be embedded in reflective action that conceptualizes the continuity of the art- MEET ME AT BREAK-OUT GROUP NO 3 (REFEKTORIUM) @ 10:45 world in terms of a diversity of contexts that offer both legitimacy and also epistemological grounding that moves forward to the artistic future. @ 10:15 am Keywords Reflection, Development, Materials, Art Education.

MEET ME AT BREAK-OUT GROUP NO 1 (REFEKTORIUM) @ 10:45 Blended Social Video Learning: Technical and Didactic Innovation @ 9:45 am in Arts Teacher Education Gerrit HÖFFERER Knotting Hill. Mind is the nexus from Teacher Training College Vienna – which nature emerges. (2014) As a model of Association of Arts/Textile/Design Teachers of Austria Tanja WIDMANN, Daniel STUHLPFARRER, M. Barthofer, D. Conditt, A. Demmelbauer, L. Egger-Karlegger, I will present a project that employs blended social video learning (BSVL) to M. FoeSSl, S. Hirschvogel, C. Kehrer, G. Wolf investigate the educational potential of arts teachers. The project is informed University of Applied Arts Vienna, A by the critique of representation in cultural analysis, with reference to critical pedagogy, and is investigating the educational potential of ‘photographic perfor- We (a teacher and student group from the Institute of Art, Science and Educa- mance’. Images from Fine Art and Popular Culture that represent aspects of gen- tion at the University of Applied Arts Vienna) will present a specific model of der can be examined critically in a way that is productive for art instruction. The teaching art at university level. This model interfaces critical reflection of (art) goal of the project is to create the most authentic problem situations possible theory and aesthetic forms with the production of a form itself. What kind of for revealing learners’ cognitive processes. We experimented with the approach knowledge production does it promote? What kind of aesthetic forms can it gen- at edubreak®CAMPUS, a special on-line learning environment that employs a erate? As an example and an incentive for discussion, we will show the short film group supporting technology. A group of arts teachers analysed, reflected on and “Knotting Hill”. Mind is the nexus from which nature emerges. The film stages discussed videos via pinpointed video comments – annotations, placed among an aesthetic form that is a proposition, interrogation and enactment at the same the stopped videoframe and shared within the learning group. This made it pos- time (fig.1); yet it is equally important that it is based on collaborative practice. sible to communicate competences and strategies and share knowledge, experi- As such it not only connects varied researches and interests but also brings to ence and reflective processes within the group. the fore the way the different approaches affect each other and generate a specif- Keywords Gender, Blended Social Video Learning. ic outcome, that enables individual practices and heterogeneous perspectives to remain visible while they inform and are informed by the collective undertaking. MEET ME AT BREAK-OUT GROUP NO 4 (REFEKTORIUM) @ 10:45 This model also undermines the insistence on individual singular authorship that persists in art production and art teaching. Issues in contemporary art and (art) theory are the reference point for this adumbrated model of teaching art. In the specific case of “Knotting Hill”, we critically questioned the theory of Speculative Realism which has had a significant impact on recent discussions in the art field and been directly connected with specific aesthetics, such as Post-Internet Art. Keywords Art Teaching, Theory/Practice, Collaborative Practice. MEET ME AT BREAK-OUT GROUP NO 2 (REFEKTORIUM) @ 10:45 @ 10:30 am SA May 30, 2015, SHORT PRESENTATIONS Session #6 @ Sala terrena, CHAIR: R. Mateus-Berr / B. MAHLKNECHT “The Museum of Innocence”: A Modest Stream #4: PERSPECTIVES OF LEARNING ART, Model for Better Studio Art Teaching DESIGN and ARCHITECTURE Ismail Ozgur SOGANCI @ 9:30 am Faculty of Education | Anadolu University, TUR

Nobel award winner novelist Orhan Pamuk created a museum in Istanbul that Automated experience: prototyping was nominated European Museum of The Year by the Council of Europe in 2012. adaptive artifacts in Art & Design Pamuk’s Museum of Innocence functions as a personal, local, and small-scale model for museums that want to present ordinary objects in ways that question pedagogy the notion of a traditional modernist museum. Drawing on some of the theories Eduardo BENAMOR DUARTE Pamuk took into account when he created his museum, this presentation reports Rhode Island School of Design, USA the findings of qualitative research that inquired into the isolation of studio art teaching from the broad repertoire of life. Interviews were conducted with The ability to learn how to digitally generate and analyze art & design informa- ten fourth-year BA students pursuing Art Education at Anadolu University, tion and then use it directly to manufacture buildings, products or art projects, Turkey. The findings challenged the curriculum and the role of studio instructor fundamentally shifts relationships between conception and production – it pro- in relation to dominant modernist meta-narratives about visual arts education vides for an informational flow from ideation to implementation and experi- in Turkey. The presentation will outline new instructional design strategies that ence. While on the one hand the unprecedented production capability of digital offer concrete ways of overcoming the isolation of art education from individual technologies has increased the ability to generate and process information, on student’s lives. the other hand it increasingly detaches users from direct experiences with so- Keywords Art, Education, Studio Instructional Design. cial or material events. This presentation seeks to find out if procedure based approaches towards digital technology applications in art & design education MEET ME AT BREAK-OUT GROUP NO 5 (REFEKTORIUM) @ 10:45 can provide new forms of augmented learning and social interaction mediated by sensor based kinetic architecture. A procedure-based approach engages the informational flow as animated form, and relies on a combination of associative, memory-based and experiential learning methods. The processes in this mod- el contrast with traditional disciplinary-based processes in that the simulation method focuses on students’ experiential knowledge and goes beyond explicitly embracing the generative capabilities of computational algorithm. Examples of procedure-based learning methods include the design and fabrication of senso- ry responsive components carried out at the Rhode Island School of Design. The case-study Adaptive Cork Screen combines the increasing proliferation of generative algorithmic processes with the largely accessible control of automat- ed-environments in the electronics industry. The integration of a new type of control, based on the movement of the user’s body, enables the user (student) to generate (and associate) various degrees of privacy and publicity in real time. The project ultimately aims to take architecture beyond the creation of static forms and into the design of dynamic social, transformable and ephemeral material experimental processes. Keywords Automation, Fabrication, Social, Environment, Pedagogy.

MEET ME AT BREAK-OUT GROUP NO 7 (REFEKTORIUM) @ 10:45 @ 9:45 am @ 10:15 am

Mobile Phones in Art Class What’s Next in Art Education? Christiane HAPT, Simone HINTERMAYER-SCHOLZ, Michael LISZT, Torsten MEYER, Gila KOLB, Konstanze SCHÜTZE Tamar SKHIRTLADZE, Isis VÁRKONYI Institute of Art & Art Theory | University of Cologne, D University of Applied Arts Vienna, A Institute for Art | University of Bremen, D

Abstract: This presentation will address two major issues. First, it will analyze The Next Art will be the art of the Next Society. Sociologist and cultural the- changes in visual representation caused by mobile devices. Second, it will argue orist Dirk Baecker coined the term Next Society (Baecker 2007) in order to de- that contemporary devices, such as mobile phones, are a potent tool for art ed- scribe a society based on the computer and built his argument on the assumption ucation and will demonstrate their importance for teaching and studying art in that nothing influences societal structures and cultural forms as significantly as schools and higher education. We will describe some methods we have developed the respective dominating media technology of their time. In the long run, the in this field together with examples of student activities and inform about the introduction of the computer will affect society as dramatically as the introduc- topics and artistic techniques that match the medium mobile phone and can be tion of language, writing and the printing press. Art and Art Education will not practiced anywhere. be unaffected. Drawing upon Baecker’s ideas – and hence in asking for adequate Acknowledgements: Thanks to Elisabeth Fraller, Ute Eisinger reactions in the field – the invention of a Next Art Education attempts to trans- and Britta Wukitsevits for consultation and proofreading. fer common approaches in art education to future cultural contexts. To address Keywords Mobile Phones, Art Class. this ‘terrain vague’, we suggest a serious shift of focus in favour of “the now” and constant consideration of the potentials of the future. The article presents MEET ME AT BREAK-OUT GROUP NO 8 (SALA TERRENA) @ 10:45 nine fundamental propositions for a NEXT understanding of Art Education and discusses these and the consequences in more detail focusing on two particular @ 10:00 am aspects: ‘risk’ as a potential of the possible, and ‘shifts’, instead of turns, in knowl- edge production. Keywords Next Art Education, Shift, Risk. The Case for Interdisciplinary Art and Design Education MEET ME AT BREAK-OUT GROUP NO 10 (SALA TERRENA) @ 10:45 Ruth MATEUS-BERR, Albrecht KARLUSCH, Wolfgang SACHSENHOFER, P. Mattha, J. Simons, S. Tang @ 10:30 am Institute of Art, Science & Education / Art & Sciences University of Applied Arts Vienna, A Aspects of Space: Architecture Institute for Entrepreneurship & Innovation Vienna University of Economics & Business, A for Non-Architecture Students Anton FALKEIS Institute for Strategic Management Institute of Art, Science & Education – Vienna University of Economics & Business, A Design Architecture Environment | University of Applied Arts Vienna, A Fundamental innovation in universities and research institutes has changed the world – particularly where collaboration between disciplines is involved. Inno- In this presentation will be discussed a program called “Aspects of Space”, a for- vations are driven by collaboration, interdisciplinary research and work, which mat for teaching architecture to non-architecture students. The program adopts is challenging. The incentive system in academia rewards in-depth singularly a theoretical and practical approach to architectural problems and has developed focused research and discourages people from exiting their own (often narrow) tools and strategies to shape the idea of space. Students learn that intervening fields. Despite this, we are involved in an innovative collaboration between one architecturally means taking up a position in spatial as well as political terms. University of Art and Design and one Business University with the aim of foster- This presentation will focus on three projects that have already been executed ing innovation in the crucial area of clean tech and incubate sustainable start-up and published: Body tecture is a research-based project involving architecture, companies. This paper describes two methods (the Applied Design Thinking and structure, performance and choreography. It deals with reconstructing built Lean Start-up Methods) we applied in a project with students from the Depart- architecture by means of body language. Students come to understand spatial ments of Strategic Management and Entrepreneurship and of Art and Design. behavior and communication structures, as well as the geometry of buildings When the Art and Design students collaborated with Business students, they and the structural performance of built objects. As a conceptual tool, it is a generated ideas faster and their ideas were more thoroughly grounded social- 3D version of blind drawing. Surface_volume opens up structured surfaces and ly and economically. Consequently the likelihood of their applications having transforms them into space. Folding enables the surface to become volume lasting impact increased. This paper describes the on-going project, focusing in without being distorted. Originally organized like Millefleurs, the ‘molecules’ particular on topic development in teams and argues a case for students to gain cluster and become tectonic – ultimately forming an urban agglomeration. Mas- insights into interdisciplinary applied work. sive_void deals with boundaries of form and space. Fragmenting the constituent Keywords Interdisciplinary, Business, Art & Design Education. elements of space allows for reinterpretations of spatial boundaries as volume. Consequently, a particle develops into a space of “Piranesian extend”. Keywords Architecture, Spatial Behavior, Learning. MEET ME AT BREAK-OUT GROUP NO 9 (SALA TERRENA) @ 10:45

MEET ME AT BREAK-OUT GROUP NO 11 (SALA TERRENA) @ 10:45 @ 10:45 am

Teaching the art of mathematics Radmila SAZDANOVIC, Andrew COOPER Department of Mathematics | North Carolina State University, USA

While mathematics is thought to be formal, exact, objective, and the arts fluid, creative, subjective, they co-exist in the work of many famous artists and scien- tists. We will explore the two-way relationship between mathematics and arts and how they are taught and learned. Visual aspects of mathematics have been introduced in mathematics courses and are understood to be a valuable tool for motivating students as well as conveying scientific content in a clearer, more SA May 30, 2015, ST UDENT PANEL condensed way. We propose a similar use for mathematics in the studio and art Chair: C. Kaltenbrunner classroom. Mathematics provides a suite of tools – inspirational, conceptual and technological – for the artist or artist-teacher to use. The motto of this approach @ 11:45 am is Mathematical Literacy for Art Literacy. A working knowledge of mathemat- ical theory can be artistically worthwhile in enabling artists to more effectively use 3D printers, CNC cutting, and other computer-based tools. We will use the STUDENT PANEL theory of symmetry, which offers the means to analyze and compare works of all Konrad CERNOHOUS, Julia GALIMOVA, Markus GLATZ, eras, from Paleolithic ornaments to Dali’s paintings, as a case study. It also offers Christoph SCHWARZ artists a formalized way of engaging with the ideas of repetition and variation. University of Applied Arts Vienna, A

MEET ME AT BREAK-OUT GROUP NO 12 (SALA TERRENA) @ 10:45 Students of the Teacher Education Department are being addressed as an inte- gral group of the symposium, so as to provide a deeper understanding of their needs and expectations for learning and teaching in the arts, for different per- spectives and also possible transfers.

STUDENT PANEL @ Refektorium

SA May 30, 2015, W RAP UP SESSION CHAIR: R. Mateus-Berr / J. Poscharnig

@ 12:30 am

WRAP UP SESSION

@ R efek t o r i u m children and youth, spearheading a series of design workshops for CURRICULA children and youth in cooperation VITAE with a variety of design institutes in Europe and Asia. In recent years, she has developed a pilot design ed- ucation program Design Experience May 28–30, 2015, EXH IBITION Workshop for children and youth in @ Sala terrena the course of EU project PROUD in collaboration with the Design Zen- trum Nordrhein Westfalen in Ger- Visual Perspectives on Art Education many. While in Asia, she has been An exhibition assisted by Eva Maria Stadler Masayo Ave commissioned by DesignSingapore Masayo Ave, born in Tokyo in Council to develop and conduct 1962, is an architect and designer the ManyWaysOfSeeing 2012–2014 With works by Masayo Ave, Monika Farukuyoe, Richard Jochum, who has settled in Europe and has series, a new design education pro- Rolf Laven, Ruth Mateus-Berr & Lilijana Radovic*, Ismail Ozgur Soganci, practiced both in Europe and Asia gram for children and early child- Caterina Tiazzoldi & Eduardo Benamor Duarte, Augusto Zubiaga over the past two decades, who is an hood educators in Singapore. embodiment of both cultural and *Seval Altindas, Angel Amasowomwam, Ines Belhai, Rachel Bognar, Amar Harbas, Armin disciplinary synthesis. As the found- Haskic, Anna Hutyra, Stephanie Karall, Juna Kasyk, Corinna Kdolsky, Laurin Korp, Lena Eduardo Benamor Duarte Moormann, Valerie Neubauer, Edward Pasz, Alina Rieder, Elza Schäfer, Lukas Schriefing, er of design studio, MasayoAve cre- Anna Schwarzenberger, Katharina Spitzer, Doreen Srnka, Pauline Strasser, Magdalena ation and Haptic Interface Design was born in Lisbon in 1975. He Susak, Viktoria Susak, Sabrina Szukits, Lydia Teshome, Etnike Tofaj Institute, she brings expertise from is Assistant Professor Rhode Island her international award-winning School of Design and Principal of For this exhibition accompanying the symposium Perspectives on Art Education, design works through her unique Benamor Duarte Architecture. He nine selected artworks are raising questions on art and education and represent- approach: cultivating the sensory earned his Masters of Science in Ad- ing different perspectives on the relation of art, communication and education. value lying hidden within indus- vanced Architecture Design from As the symposium serves as the common ground for the works displayed, we trial materials. Masayo Ave has led GSAPP Columbia University after installed a horizontal platform painted in bright neon in the exhibition space. a number of sensory-based design earning his Bachelors degree in Ar- “Horizontality is a state of being”, says Yves Alain Bois, describing it as an workshops for design students since chitecture and Urban Design from imperfect record of the dynamic nature of operations. The platform refers to the 2001 and today has become one of Faculdade de Arquitectura Univer- relational format of an exhibition, to the discursive format of the symposium and its understanding of art education as a field of communication, aesthetics the most prominent and influen- sidade de Lisboa where he is a PhD and criticality. “Neon” as a colour is a binding element, which is corresponding tial designer-educators. She was candidate in the field of design more to digital networks than to the autonomous sphere of the white cube. appointed guest professor in the process in architecture education. Faculty of Design at the University In 2009 he founded his studio, Ben- of Arts Berlin in 2004-07, extraor- amor Duarte Architecture, focused dinary professor and head of the on design of objects, and spatial en- Product Design Department at the vironments at large. Eduardo Ben- Estonian Academy of Arts in 2007- amor Duarte’s current research and 09, and lately guest professor of the practice identify reflexive systems Textile and Surface Design Depart- that foster the transformation of ment at the Berlin Weißensee Art our living environments based on School in 2012-13. Currently she is the adaptation of a geometrical ab- a lecturer at the Berlin Weißensee stract apparatus in dialogue with a Art School, as well as of the Archi- preexisting material condition; or a tecture Department at Hosei Uni- pre figuration of a thought as a spa- versity and of the Environmental tial typology. Recent architecture, Design Department at the Kanaz- design and installation commissions awa College of Art in Japan. After include group exhibitions at the the intensive years dedicated to Cite’ de l’Architecture et du Patri- students of design at universities, moine, Institut Francais d’Architec- Masayo Ave started in 2006 to de- ture in Paris, University of Memphis vote more time to developing new Art Museum, First Street Garden I design education programmes for Open Art Space, Salone Satellite – Milan Furniture Fair, Temporary Ed. D. in human development from Political Science at the University as Choice Maker’, she makes the Museum for New Design, and Made Harvard University in 1980. Her of Vienna; and a Quality Enhance- case for cultivating artistic behav- Expo in Milan; Doing and Under- research focuses on the artistic-aes- ment Expert and Quality Research- iours. A commissioned work for the going, 125th Anniversary of TC Co- thetic development of children and er at the University of Applied Arts Maryland State Department of Ed- lumbia University, Wanted Design adolescents and the implications Vienna. He studied political science ucation, entitled Better Visual Arts NY and Soho Digital Art Gallery this has for teaching/learning and at the University of Vienna, com- Education, offers a comprehensive in NY; Bienniale Design in Saint the culture in general. In 1995 she pleting his studies with a doctoral overview of theory, research and Etienne and Experimenta Design co-founded the Center for Research degree in 1996. In 2014, Campbell practice. She has authored notewor- in Lisbon. Over the past years Edu- in Arts Education at Teachers Col- habilitated from the University of thy policy papers including “What ardo Benamor Duarte’s work has lege, and in 1996, she founded the Vienna with a Venia Docendi for If They Believed Us? How Well Pre- been published widely in a number Heritage School a comprehensive Comparative Political Science. pared are Art Teachers to Deliver of international magazines, books high school featuring the arts, locat- on the Promises of Art Education?” and newspapers such as Abitare, ed in Harlem, NYC. Her book ‘Con- published by Arts Education Policy AD France, Domus Magazine, Elle versations in Art: The Dialectics of Elias Carayannis Review. Dr. Carroll is a NAEA Dis- Décor, Interni, Ecologik, Frame, La Teaching and Learning’, co-edited is full professor of Science, tinguished Fellow and recipient of Repubblica, Expresso, Vogue Italia, with Mary Hafeli, was published Technology, Innovation and Entre- several national awards including or the publishing houses Gestalten in 2012. She is author of numerous preneurship, co-founder and co-di- National Art Educator of the Year, and Links Books. His work has re- articles and chapters and has two rector at the Global and Entrepre- awarded by the NAEA in 2009. In ceived awards from several institu- books in process of publication. She neurial Finance Research Institute 2004 she was named to MICA’s tions in Portugal and US such as the received the Manuel Barkan Award (GEFRI) and director of research first endowed chair, the Florence Ministério da Cultura – Direcção for excellence in research writing, on science, technology, innovation Gaskins Harper Chair in Art Educa- Geral das Artes, Calouste Gulben- the Lowenfeld Award for lifetime and entrepreneurship, European tion. Her doctorate in art education kian Foundation and Rhode Island achievement in art education, both Union Research Center (EURC) was earned at Teachers College, Co- School of Design. from The National Art Education at the School of Business, George lumbia University. Carroll serves as Association (NAEA), and the Zieg- Washington University in Wash- a Visiting Fellow with the Singapore feld Award for services to interna- ington, D.C. Carayannis’ teaching Teacher Academy for the Arts and Judit Bényei tional art education from the Inter- and research activities focus on the Chair of the Education Committee is associate professor at Mo- national Society for Art Education. areas of strategic government-uni- for the newly established Baltimore holy-Nagy University of Art and Dr. Burton is a Fellow of the Royal versity-industry R&D partnerships, Design School. Design (MOME). She works in the Society for the Arts in Great Brit- technology road-mapping, technol- Department of Pedagogy and Psy- ain, a Distinguished Fellow of the ogy transfer and commercialization, chology and teaches Media Studies, NAEA in the USA. She holds three international science and technol- Lourdes Cilleruelo Media Education, Didactics and distinguished professorships: The ogy policy, technological entrepre- PhD in Fine Arts. Assistant Sociology of Education. She holds Central Academy of Fine Arts in neurship and regional economic professor in Art Education and a PhD in Pedagogy. Her research Beijing, and the South China Nor- development. Director of the Department of Di- fields are Youth and Media, Media mal University in Guangzhou, Chi- dactics in Music, Visual Arts and Literacy and Digital Learning. She na, and the Beaconhouse University Body Expression at University of has been responsible for the Digi- in Lahore, Pakistan. She is a trustee Karen Carroll Basque Country (UPV/EHU). She tal Museum course at MOME with of the Maryland Institute College is the dean of the Center for Art participates in international meet- Zsófia Ruttkay since 2011. of Art in Baltimore, MD, USA. Dr. Education at the Maryland Insti- ings and events in the fields of Burton was presented with the tute College of Art where she over- both Art and Education. Head of 2014 Elliot Eisner Award for Distin- sees masters programs for prepara- the research project “Transforming Judith Burton guished Lifetime Achievement by tion and professional development Education through Art and Media” is professor and director of Art the NAEA. of art educators and community which focuses on researching art and Art Education, Columbia Uni- artists. She also developed a course education as the main element for versity Teachers College. Before in the college teaching of art, now developing transdisciplinary curric- that she was Chair of Art Education David Campbell entitled: Philosophy and Pedago- ula. Currently Lourdes Cilleruelo, of Boston University and taught at is a research fellow (Senior Sci- gy in Post-Secondary Art Educa- Itsaso Madariaga, Augusto Zubiaga, the Massachusetts College of Art. entist) at the Institute of Science tion. She has written extensively in Miriam Peña Zabala are researching She trained originally as a painter Communication and Higher Edu- School Arts with additional articles relationships between Art Educa- at the Hornsey College of Art, and cation Research (WIHO), Faculty in Art Education, Studies, and jour- tion and New Technologies, using as a teacher at the London Univer- for Interdisciplinary Studies (iff), nals in gifted education. As one of recycling, low cost and sustainable sity Institute of Education, both in Alpen-Adria-University of Klagen- seven co-authors of the text, ‘Creat- materials as relevant factors when London, England. She received her furt; Lecturer and Privat-Dozent in ing Meaning through Art: Teacher applying the ‘learning by doing’ approach. They participate in inter- widely published. Among these filmmaking at WerkstattFilm in Vi- Art Education at the University of national meetings and events in the are: Mauthausen Memorial, Mu- enna before she went to Hamburg Applied Arts Vienna. She is a teach- fields of both Art and Education. seum and Documentation Center to conduct MFA Studies in Film er of Arts, Textile Design, Design of Austrian Resistance, Roof Top Directing at the Hamburg Media and Technology at secondary level. Enlargement University of Applied School. A year later, she changed to She worked as a museum educator Andrew Cooper Arts Vienna, Curhaus St. Stephan’s the Master Programme in Fine Arts as well as in the museum planning. holds a BS (2005) and a PhD Square Vienna, ‘Austria Abroad’– at Hamburg University of Fine Arts. Her scientific interests refer to ex- (2011) in Mathematics from Michi- Exhibition Austrian Parliament She completed her MFA as a stu- change processes between scholastic gan State University. In 2011-2013 he Vienna, Active Energy Building, Va- dent of Professor Wim Wenders in and extracurricular fields of practise was Hans Rademacher Instructor duz. The work was exhibited at Ven- the Film Department at Hamburg regarding art education and knowl- of Mathematics at the University ice Biennale, Kuala Lumpur, New University of Fine Arts. She lives in edge transfer. of Pennsylvania. Since 2013 he has York, Vienna. Anton Falkeis started Vienna where she works as an art- held the post of Assistant Professor his academic career as a guest re- ist, filmmaker and as lecturer in the of Mathematics at North Carolina searcher at the University of Tokyo, Department of Social Design – Arts Christiane Hapt State University. His mathematical Japan in 1992 and has been teaching as Urban Innovation, University Simone Hintermayer-Scholz research interests lie in differential and lecturing at several universities of Applied Arts Vienna. Her filmic Michael Liszt geometry and geometric analysis, such as Royal College of Art, Lon- work has been shown at festivals Tamar Skhirtladz particularly in the relationships be- don; ELISAVA, Barcelona; ESAG, like the Pärnu International Doc- Isis Varkonyi tween symmetry and optimization. Paris; Denmark’s Design School, umentary and Anthropology Film In 2011 a group of students and Copenhagen, and at the University Festival in Estonia and the OZU educators of the Department for Art of Applied Arts in Vienna, where Film Festival in Sassuolo, Italy, as and Design Education at the Insti- Alexander Damianisch he was Vice-Dean of the School of well as at exhibitions, as part of in- tute of Art, Science and Education, works at the University of Ap- Architecture from 1999 to 2003. He stallation centred artworks in Ham- University of Applied Arts Vienna plied Arts Vienna, heading the has since taken on a number of re- burg, Germany. Her article on Ken – Rüdiger Breitbach, Christiane Department for Support Art and sponsibilities at the University of Wardrop’s short film “Undressing Hapt, Simone Hintermayer-Scholz, Research; he is involved in strate- Applied Arts Vienna: In 2000, he my Mother” was published in the Klaudia Lässer, Michael Liszt and gic, conceptual and administrative became head of the Department, as Short Film Studies issue 1.1 in 2010. Isis Várkonyi as well as teaching as- tasks. He is also an executive board well as a professor of Special Topics Her artistic interests are centred sistant Tamar Skhirtladze M.A. and member for the International So- in Architecture. Since 2012, he has on structures of poetic expression Professor James Skone – launched ciety for Artistic Research and the also been head of the Department in film and the artistic process per the media project „handy pictures“. Angewandte Innovation Laborato- of Social Design, plus heading their se, which she investigates through The project investigated the topic ry. He lectured at the University of master programme ‘Arts as Urban drawing and writing poetry and of group portrait using the video Durham (GB) and the Lomonossov Innovation’. Since 2013, he has also prose. In her films she addresses function of mobile phones for art University Moscow (Russia), and been head of the Institute of Arts questions of integrity and trans- learning purposes. The success of worked the New Synagogue Berlin and Society. In 2012 he was guest gression of cultural barriers as well the project encouraged some mem- and the Akademie Schloss Solitude professor at Nanjing University of as delimitations of the personal self. bers of the original group to further Stuttgart, where he was responsi- Art China, conducting the experi- develop the methods of initiating ble for the program Art, Science mental studio. He is visiting critic learning through mobile phones to & Business. Until 2011, he was in at University of Liechtenstein and Gerrit Hoefferer be applied in schools as well as with- charge of PEEK at the Austrian ETH Zürich. Anton Falkeis is JSPS lectures at the Teacher Training in the higher education framework. funding scheme for arts-based re- fellow of the Japan Society for the College Vienna. She graduated with search at the FWF. Promotion of Science. He published a Magister-degree in Art Education theoretical papers such as ‘Feature- from the University of Applied Arts Andrea Hubin less City’, ‘Western Style and East- Vienna. She taught Arts, Philosophy Andrea Hubin is an art histo- Anton Falkeis ern Mind’, ‘Film as Preview’, ‘Urban- und Psychology as well as Perform- rian and educator. Currently she studied architecture at the Uni- izing the world’ and ‘Thinking out ing Arts at three grammar schools works as dramatic advisor in the versity of Applied Arts in Vienna, of the urban design toolbox’. in Vienna. Her work focuses on a Kunsthalle Wien. Since 1999 she where he graduated in 1986. He is trans-disciplinary approach to art has developed projects in the field a licensed architect in Austria and education. of art education and experimental Liechtenstein. Together with Cor- Monika Farukuoye interaction with audiences: 2015 nelia Falkeis-Senn he is co-founder was born in Vienna. She com- Klimesch Auspacken, Volkskunde- of falkeis I architects . vienna (1988) pleted an MSc in Computer Sci- Michaela Götsch museum Wien, since 2013 lecturer at and falkeis I architect . vaduz (2011). ence at the Technical University works as a research assistant at University of Applied Arts, Depart- Their architectural work has been Vienna and a two–year training in the Institute of Art Sciences and ment Art, Design, Textile Didactics, 2013 Salon Imaginaire, Kunsthalle Jalka trian school system, which enabled public, private and venture capital Wien, Kabinett für Imaginationen, After decades of extended stays him to pursue all the possibilities of funding. After more than six years Gelehrte Objekte, Volkskundemu- in Barcelona, Berlin, Istanbul and further education. as an entrepreneur he has decided seum Wien, 2008 Secret Service for New York, Jalka is now living and He learned the basics of en- to return to the academic sector to the 5th Berlin biennial, 2007 docu- working in her hometown Vienna. gineering at a technical college share his practical experience and menta 12 – art education and knowl- She holds qualifications in Psy- (HTL), continued for two years continue research. edge transfer project DEUTSCH chology, Psychoanalysis, Science of with technical physics, before, WISSEN. Before, research on educa- Religion and Sexology. Based on her because of a happy accident, he tive concepts of the first documen- work experience as a psychother- started his studies in architecture Fares Kayali ta (1955), 2003–05 basis wien, 2001–03 apist she developed emancipatory (Vienna University of Technology) is a game designer and researcher Wiener Kunstschule, 1999–2003 teaching and learning settings that and industrial design (University of living and working in Vienna, Aus- Generali Foundation Wien. Fur- draw from core therapeutic realiza- Applied Arts Vienna). International tria and holds a PhD in computer thermore research on genealogies of tions. She lectures in social compe- exchange programs enabled him to science. Fares has headed the design constructivist art in Austria and its tences at various universities and spend several years of studying in Ja- of several digital games that were interrelations with concepts of or- other institutions for adult educa- pan, England and the USA. During finalists at IndieCade and the In- nament. Editor of „Leidenschaftlich tion in several European countries. this period he established, together dependent Games Festival and has exakt: Sammlung Dieter und Ger- She furthermore develops and or- with university friends, the inter- presented his work at international traud Bogner im mumok” (Wien/ ganizes European peace projects and nationally successful architecture conferences including Games for Köln 2012). publishes related material and texts. office «propeller z», from which he Change, Game Developers Confer- www.konfliktkultur.at withdrew in 2013. National and in- ence, Games and Learning Society, www.discoverpeace.eu. ternational teaching activities and Games for Health, and the Digital Dirk Huylebrouck lectures support his interest in for- Games Research Association. He spent eight years working at uni- eign countries and his inquisitive works as a postdoctoral researcher versities in the Congo until a dip- Richard Jochum nature regarding life abroad. The at the Vienna University of Tech- lomatic incident between Belgium is a post-conceptual media art- work of “propeller z” won several nology and University of Applied and President Mobutu of Congo in- ist with a strong focus on interac- awards and nominations and has Arts Vienna. Fares lectures in game terrupted his stay. Then he worked tive video, installation, and pro- found its way into most of the rel- design at several Austrian univer- at the University of Aveiro Portugal ject-based art. He received his PhD evant architecture books of recent sities and is principal investigator and the European Division of Mar- in philosophy from the University years. of the game-based learning project yland University, until the majority of Vienna (1997) and an MFA in ‘Sparkling Games’ and the art-based of his American (military) students sculpture and media art from the research project ‘Breaking the Wall were sent to Iraq. He returned to University of Applied Arts in Vien- Albrecht Karlusch – Playful interfaces for Music Audi- Burundi Africa but for only three na (2001). Currently, he is a studio is a researcher in the Entrepre- ence Participation’. His research in- years, because of the genocide in member at the Elizabeth Founda- neurship Center Network (ECN) terests include game design, music neighbouring Rwanda. In 1996, he fi- tion of the Arts and an associate of the University of Economics and and interactivity, serious and posi- nally consented to teach at the Fac- professor of art and art education Business Vienna. He is interested tive impact games, media, and game ulty of Architecture of the KULeu- at Teachers College, Columbia Uni- in new technologies, business mod- art, as well as topics around hu- ven (Belgium). Fortunately, he can versity specializing in new media, elling, finance and learning theory. man-computer-interaction (HCI) at still escape abroad, as he has edits cultural theory, and higher art edu- After he completed his studies in the intersection of health care and a column called ‘The Mathematical cation. He is represented by Gallery economics and computer science at technology. Tourist’ in the journal ‘The Math- Bundo, South Korea. the Vienna University of Technol- http://igw.tuwien.ac.at/fares ematical Intelligencer’ since 1997. http://richardjochum.net ogy he lectured at the University However, he may soon have to flee of Vienna and was a consultant for abroad again because has become various industries for several years. Lise Kjaer (in) famous in Belgium for his work Christoph Kaltenbrunner In 2013, he completed an MBA in received her PhD in Art Histo- discovering or popularizing errors Educated in mechanical engi- Entrepreneurship and Innovation ry from the Graduate Center, City in the Belgian Atomium landmark, neering, architecture and industrial at Danube University Krems and University of New York in 2008. She in the work of Leonardo da Vinci, in design, Christoph Kaltenbrunner at Hong Kong University of Sci- teaches undergraduate and graduate a runway of Brussels Airport, in the has been head of the Department ence & Technology. He has shared courses in twentieth century and interpretation of The Forbidden dae (Design, Architecture and En- his knowledge in guest lectures at contemporary art, art history sur- Fruit on the Mystic Lamb by Jan vironment) at the University of Ap- a number of universities. In 2008 vey and MFA seminars at The City and Hubert Van Eyck, and, most re- plied Arts Vienna since March 2014. he began a career as a founder and College, City University of New cently, in Norbert Francis Attard’s He owes his extensive training and CEO of a start-up for which he York. Her area of research includes Fibonacci artwork. education to the free-of-charge Aus- attracted several million Euro in issues of identity in modern and contemporary art, and global art head of the Art Department at Kaye al publications, conference and Barbara Mahlknecht history. Kjaer’s dissertation ‘Awak- Academic College of Education. symposia participations and art is a cultural researcher, curator, ening the Spiritual: James Turrell Her main research interests are exhibitions. Laven’s major working art educator and teacher. She cur- and Quakerism’ considered the art education and children’s draw- fields are: artistic education, artistic rently holds a position at the Insti- artist’s light installations in view of ings. Rachel’s research is supported projects in schools and universities, tute for Education in the Arts at the his renewed interest in Quakerism, by the Kaye Academic College of theory of artistic thinking to help Academy of Fine Arts Vienna. Her Quaker tenets, history and tradi- Education, and MOFET (under foster young persons’ imaginations work in research, curating, art edu- tion. Her current research involves The Ministry of Education). Her and facilitate students’ success in cation and teaching strongly relates an anthology (co-edited with Dr. studies have been published in ac- school; art for the classroom teacher to postcolonial and feminist cura- Will Wroth) on the scholar Anan- ademic journals and books. Rachel in primary schools, art in secondary torial practices, socially engaged da K. Coomaraswamy’s influence has curated many art exhibitions, classroom and independent studies. art, the exhibition as performative on twentieth century art, tracing among them Paul Klee and Children Aesthetic experiences through arts space and critical art education. She the impact of the writer and cura- Drawing and Sources of Inspiration of as workshop leader and curator. has (co-) conceptualised and (co-) tor’s publications, exhibitions and Immigrant Artists in Israel (Oregon From 2000 to 2008 he worked as realised a variety of projects – e.g. ‘A scholarly involvement with South- State University and Israel). Rachel scientific researcher at the Wien Proposal to Call’ (exhibition, Kun- east Asian art on twentieth century is a member of the International Museum Karlsplatz supervising the sthalle Exnergasse Vienna, 2015); American, Asian and European art Society of Education through Art Franz Cizek estate. Teaching su- ‘Projecting out into the Communi- and art history. Kjaer has previously (InSEA), the Israeli Painters and pervisor: supervising art education ty’ (interview/online project, 2013); received an MFA with Distinction Sculptors Association, and The In- in public school settings. Laven ‘The Subjective Object. (Re)Appro- from the Academy of Fine Arts in ternational Council of Museums attended Austrian Art (Education) priating Anthropological Images’ Warsaw, Poland in 1992. She has ex- (ICOM). Associations such as BÖKWE, AG (exhibition, Grassi Museum Leipzig, hibited internationally in Denmark, Bildende Kunst, ÖFEB, Innviertler 2012); ‘Producing Publics – Presence Finland, Germany, Poland and the Künstlergilde, Stahlpark Rieders- as a Strategic Tool?’ (conference/ United States, and been awarded Rolf Laven bach etc. In 2013, he received as an publication, Galerie für zeitgenös- a Fulbright Scholarship, Bamse is an artist and professor at the award the Habilitation Grant from sische Kunst Leipzig, 2012) et al. Kragh-Jacobsen’s Award, and been Department for Secondary Schools, the Austrian Ministry of Education. a fellow of NIFCA, a Nordic artist Pädagogische Hochschule in Vi- in residency program in Helsinki, enna/Austria (PH Wien). Born in Ruth Mateus-Berr Finland. Along with her scholarly Germany, he studied Sculpture Itsaso Madariaga is professor at the University of work in art history, Kjaer continues (Plastische Vormgeving) in Maas- graduated in Fine Arts from Applied Arts Vienna and an artist her art practice exhibiting sculp- tricht/NL (Rijkshogeschool: Acad- the Institut d’estudis fotogràfics de and design-researcher. She studied tures and installation pieces that emie Beeldende Kunsten) and Vi- Catalunya (IEFC), with a specialisa- Art Education at the University are often time-based, ephemeral and enna (Universität: Akademie der tion in photographic studies. She is of Applied Arts, and English and participatory inviting the viewer to bildenden Künste), graduating in a lecturer in the Department of Di- History at the University of Vi- become a part of the work. 1998. He finished his studies also dactics of Musical, Visual Arts and enna. Her PhD completed in 2002 with a Master’s Degree in 1995 as Body Expression, School of Teacher investigated the design of Carni- a Master in Visual Arts Education Training at the University of Basque val parades in Vienna 1939 and she Gila Kolb and his PhD dissertation in 2004. Country (UPV / EHU). Currently gained a postdoctoral qualification assistant researcher at the Uni- From 1994 to 2012, he worked as Lourdes Cilleruelo, Itaso Madaria- in Design Education in 2011. Her versity of Bremen, Germany. Re- an art teacher at several secondary ga, Miriam Peña Zabala, Augusto research focuses on the interface search focus: Contemporary Art Ed- schools in Vienna and has led since Zubiaga are researching relation- between art/design & science and ucation & critique, literacy in Art 1999 the community college course ships between Art Education and she has published articles and books Education and drawing. ‘Art & Design’ preparing persons New Technologies, using recycling about inter/transdisciplinary art & http://aligblok.de with vocational training and ex- techniques, low cost approaches and design, social design, art & design perience for the entrance exam at sustainable materials in experiential & textile education, multi-sensual universities. Parallel to his work at learning environments. They partic- art & design transfer, mathematics Rachel Kroupp the Pädagogische Hochschule Wien ipate in international meetings and & design & fashion & textiles & has a PhD in Education and a Laven is currently working as a lec- events in the fields of both Art and games, and intercultural and social M.A. in Philosophy. She is a certi- turer at the Faculty of Philosophy Education. projects. Presently she is professor fied art teacher and a graduate in and Education of University Vienna at the Institute of Art Sciences and Museology Studies. Rachel is an and also works as a researcher for Art Education, Institute of Art & art curator and senior lecturer in the Comenius-funded ENViL Society, at the Department of So- art education, an academic advisor Project (European Network Visual cial Design and head of Department for elementary schools, and former Literacy). Numerous internation- for Didactics in Art, Textile, Design. She is an active member of the De- ‘Shift’ (2012), ‘Sujet supposé savoir’ imaging technologies and methods since 2013 and, at the University of sign Research Society, The Interna- (2010), ‘Kunst Pädagogik Forschung’ of collecting, documenting, and Applied Arts Vienna and University tional Society of Education through (2009). exhibiting scientific artifacts, her of Art and Design Linz, since 2014. Art (INSEA) and the research com- www.medialogy.de work addresses how interpretation mittee of Sensory Studies, and is fluctuates between fact and specu- currently an external evaluator of lation. Her installations, sculpture, Barbara Putz-Plecko EU Program P7, Marie Curie Mul- Patricia Olynyk photography and performances op- is vice–rector for Research in ti-ITN project ‘TRADERS’. Pro- is director of the Graduate erate in the spaces between sensing Art and Science at the University of fessor Mateus-Berr teaches Design School of Art and Florence and and knowing, and order and affect. Applied Arts Vienna and directs the Research, Applied Design Thinking, Frank Bush Professor of Art at departments Art and Communica- Art, Design and Textile Education the Sam Fox School of Design and tion Practices, and Textiles (Free, and Team & Presentation Skills. Visual Arts, Washington Universi- Miriam Peña Zabala Applied and Experi- mental Artistic She founded the Applied Design ty in St. Louis. She has also taught Graduate in Fine Arts and lec- Design). She is head of the Institute Thinking LAB Vienna in 2007 and at the University of Michigan in turer in the Department of Didac- of Art Sciences and Art Education. recently initiated interdisciplinary the School of Art & Design in tics in Music, Visual Arts and Body One of her key activities focuses on and intercultural projects. Her per- Ann Arbor, where she became one Expression in the School of Teacher participatory and trans-cultural ar- sonal artwork focuses on interfaces of the first artists in the US to be Training at University of Basque tistic and art-mediating practices. between research and arts, artistic appointed as a research professor Country (UPV/EHU). She is cur- She was a member of the Expert research, performance, staged pho- to a scientific unit. She completed rently writing a thesis on reactivate Commission on Education of the tography and topics such as smart her undergraduate work in Can- Art subjects in the School of Teach- Austrian Federal Ministry of Edu- cities, society, medicine, national ada at the Alberta College of Art er Training. Currently Lourdes Cill- cation, Art and Culture 2007/8 and socialism, racism, mal practice, and Design and received her MFA eruelo, Itsaso Madariaga, Augusto wrote the background report on smell scape, education, silver gener- degree with Distinction from the Zubiaga, Miriam Peña Zabala are cultural education for the Council ation, collaborative artwork. It has California College of the Arts. Ol- researching relationships between of Europe, Paris 2008/9. She repre- featured in numerous exhibitions, ynyk later spent four years as a Art Education and New Technol- sents the University of Applied Arts workshops and publications in Aus- Monbusho Scholar and also a Tokyu ogies, using recycling, low cost and in the doctoral colloquium and in tria and abroad. Foundation Research Scholar in sustainable materials as relevant fac- the research partnership for Art Ed- www.ruth-mateus.at Kyoto, Japan. As former chair of the tors when applying the ‘learning by ucation, again in cooperation with Leonardo Education and Art Forum doing’ approach. They participate in the Zurich University of the Arts (LEAF), the International Society international meetings and events in and the University of Oldenburg. Philip Mattha for the Arts, Science and technolo- the fields of both Art and Education. Philip was born in Berlin (D), gy (Leonardo/ISAST), Olynyk co-or- in 1992 but grew up in Southern ganizes NY LASERs in New York, a Ljiljana Radovic Austria. He studies Industrial De- program that convenes monthly in Silke Pfeifer was born in Nis, Serbia on 28th sign at the University of Applied New York, which includes artists, was born in 1980 in Feldkirch, October 1969. She graduated in Arts Vienna. In 2013 he co-founded scientists, theorists, and curators to Austria. She finished her studies at Mathematics from the University Bergaffe, a sports equipment brand. foster cross-disciplinary dialogues. the Institute of Art Sciences and of Nis (1993), where she gained an He is constantly involved in creative Patricia has exhibited her work Art Education, at the University of M.Sc. in Mathematics (2000) and projects. in solo and group exhibitions at Applied Arts Vienna, in 2005 with a Ph.D. in Mathematics (2004). venues that include Galleria Grafica distinction. After her professional She is currently associate professor Tokio, the Toby Moss Gallery (L.A. experience as assistant to the cu- at the University of Nis. Professor Torsten Meyer International Biennial Invitation- rator at the Generali Foundation Radovic has published more than 30 *1965; Dr. phil., professor for Art al), the Brooklyn Museum of Art, Vienna, she began her career as an papers on symmetry and ornament, Education with a focus on contem- Museo del Corso in Rome, Saita- art teacher at Gymnasium/Real- colour symmetry and antisymmetry, porary media culture at University ma Modern Art Museum in Japan gymnasium Zirkusgasse (a second- ethnomathematics and knot theory of Cologne (Germany). His aca- (Sublime Present), and the National ary school) in Vienna, in 2006. Since and has participated in many inter- demic work focuses on Next Art Academy of Sciences in Washing- 2009 she has worked as curator and national conferences. She collabo- Education and Educational Media ton, DC. (Sensing Terrains). Her researcher at the DA PONTE Re- rated with professor Slavik Jablan Theory. His latest publications in- work examines the ways in which search Center Vienna. In 2015 she on creating a visual-mathematics clude: ‘What’s Next? II. Art Edu- culture and institutional structures finished her PhD-project at the course at BMU Belgrad and co-au- cation’ (2015), ‘Subjekt Medium Bil- shape our knowledge and under- Institute of Fine Arts and Cultural thored with Jablan ‘The Vasarely dung’ (2014), ‘What’s Next? Kunst standing of history, science and the Studies in the University of Art and Playhouse’ published by the Associa- nach der Krise’ (2013), ‘Convention natural world. With a focus on the Design Linz. She has been a lectur- tion for South-Pannon Museums in (2013)’, ‘Next Art Education’ (2013), image and by appropriating medical er at the University of Innsbruck Hungary in 2011. In 2012 she co-ed- ited and authored ‘Experience-cen- ship and Design Thinking since ‘Art Education Journal’. In addition Karin Schneider tered Approach and Visuality In completing graduate studies at St. to MFA and MAT degrees, Stacey Karin Schneider is a historian Education in Mathematics and Gallen University, Switzerland. holds a Doctorate of Education in and educator. Since 2013 she has Physics’, published by Kaposhvar His interest in Design Thinking Art and Art Education from Co- been lecturing in the Department of University, and ‘ADVENTURES was stimulated by participating in lumbia University Teachers College. Art, Design & Textile Didactics at ON PAPER: Math–Art Activities a successful interdisciplinary case Stacey is the recipient of the 2015 the University of Applied Arts Vien- for Experience- centred Educa- study involving the Rotman School Manuel Barkan Memorial Award for na. She has worked at the Academy tion of Mathematics’, published by of Management and Ontario School research in art education and the of Fine Arts from 2010 to 2014, the Eszterházy Károly College (within of Design. After a stint in strategy 2013 MICA Trustee Fellowship for research association Science Com- Tempus project). She is the editor of consulting, his decision to return Excellence in Teaching. munications Research from 2007 to the electronic journal ‘VisMath’ and to academia to study for a PhD 2010 and the Museum for Modern has participated in research projects was fuelled by a desire to better Art Vienna (MUMOK) from 2000 focusing on geometry, education understand the transformation of Radmila Sazdanovic to 2007. Research projects (selec- and visualization. business models and to do inter- gained a diploma from the Fac- tion): Arts-based research projects disciplinary studies on energy sce- ulty of Mathematics, University of MemScreen and Conserved Memories; narios and future business models. Belgrade in 2005 and was awarded a Tricks of the Trade – field studies with Zsófia Ruttkay In 2014 he co-initiated cooperation PhD in Mathematics from George young students; research on chil- is founder and head of the between WU Vienna and the Uni- Washington University in 2010. She dren museums Science with all Senses. Creative Technology Lab at Mo- versity of Applied Arts Vienna and has held postdoctoral positions at Science and Gender in the Making. holy-Nagy University of Art and followed this up by co-organizing a the Mathematical Sciences Research Design Budapest. She holds a PhD seminar entitled ‘Building Start-ups Institute in Berkeley California, the in computer science. Her work in in the Energy Industry’. Thanks to a Columbia University, the Simons Konstanze Schütze academia, and research in computer Marshall Fund grant, he is currently Center for Geometry and Physics, *1981; producer, curator and as- graphics and artificial intelligence researching business model inno- and the University of Pennsylvania sistant researcher at University of have gained her international rec- vation in the automotive industry and has been assistant professor of Cologne, her academic work and ognition. She is fascinated by novel (E-Mobility) with a team at UC Mathematics at North Carolina PhD thesis focuses on non-visual applications at the intersection of Berkeley. He is interested in devel- State University since 2013. She has imagery in Contemporary Art with art, science and technology. She de- opments in artificial intelligence, published articles on the relations a strong interest in Cultural Stud- signed and developed interactive ap- and design & strategy in politics of mathematics to art, culture, and ies, Art Theory, Art Education and plications that, for instance, help to and business. cultural heritage, including the de- the post-digital condition. Her lat- understand the mechanisms of old, velopment and use of geometric est curatorial projects involve: video wooden drawing machines, allow to constructions by medieval artisans. violence (Kunsthaus Dresden, 2012), explore 3d space in a painting by Jan Stacey Salazar Radmila emphasizes a two-way rela- how the fuck did I end up here (stu- van Eyck or the patterns in works by is director of the Master of tionship between mathematics and dionihilbaxter, 2014), It’s All Chi- Victor Vasarely. Currently, she is re- Arts in Art Education program, a visual arts: mathematical objects nese* To Me (DIAF, 2015), official searching ways of using computing low- residency and online program can have aesthetically appealing office (w/RECESS, NY), Pizza Pavil- and sensory technology to enhance integrating artmaking, teaching, visualizations, and visualizations ion (Venice, 2015) museum visits and new approaches and research at the Maryland Insti- can convey mathematical ideas that www.8rly.com to learning. tute College of Art (MICA). Prior would take pages and pages of for- www.storecontemporary.com http://techlab.mome.hu to joining the full-time faculty at mulas and symbols. Her own art MICA, she was the Visual Arts De- has been featured in solo and joint partment chair in a large, suburban exhibitions at the Royal Academy of Johannes Simons Wolfgang Sachsenhofer public high school, the accomplish- Arts in Brussels, the Burrison Gal- was born in Göttingen (D), where is a PhD student at the Uni- ments for which earned her, her lery in Philadelphia, and the Arqui- he grew up and graduated school in versity of Economics and Business teachers and students, national and tectura in Donostia-San Sebastian, 2009. After two semesters of stud- Vienna (WU Vienna). He is study- regional recognition. In addition, among others. Radmila co-organ- ying Urban Planning in Kassel (D), ing business model innovation and for over 15 years she taught college ized the DIMACS Workshop on he started studying Transport Eco- corporate and start-up venturing, studio art – primarily foundation Mathematical and Algorithmic Art nomics in Dresden (D), and graduat- especially in the area of energy painting, drawing, and design – at a at Rutgers University 2009 and the ed with a Bachelor’s degree in 2014. and clean-tech. Since 2014 he is has community college, a large univer- MoSAIC Festival at North Carolina He is currently spending a semester worked for the Energy & Strategy sity, a small liberal arts college, and State University 2015. at Vienna University of Business Think Tank of OMV AG and WU at MICA. Stacey’s research has been and Economics within his Master’s Vienna. He has been active at the published in ‘Studies in Art Edu- programme for Transport Econom- interface of strategy, entrepreneur- cation’, ‘Visual Arts Research’, and ics. He is experienced in web-devel- opment and has been working as a philosophy at the University of Mu- Tanja Widmann tional level, Michael Wimmer has freelancer and tutor for many years. nich and graduated with a PhD in is an artist and writer, and works undertaken consultancy work for art history. In the 1990s, he worked as a Senior Lecturer at the Univer- the Council of Europe, UNESCO as an expert in media, in visual arts sity of Applied Arts Vienna. She and the European Commission. He Ismail Ozgur Soganci education at schools and, since 2005, has published in Texte zur Kunst, is a member of the EU Expert Net- was born in Turkey in 1974. After as an expert in heritage/museum ed- springerin, Afterall, May and several work on Culture and of the scientif- graduating from the Department ucation for the German Association art catalogues. She participated in ic committee for the International of Art Education, Gazi University for Visual Art Teachers (BDK) at the following exhibitions (selec- Conference on Cultural Policy Re- Ankara, he worked as an art teach- national level. He was employed by tion): Sigmund Freud and the Play on search (iccpr). er at different levels of the Turkish the Bavarian Ministry of Education the Burden of Representation (group school system until he was awarded (where he was responsible for art ed- show) 21er Haus, Vienna (A); Unrest an International Graduate Scholar- ucation) from 2000 until 2006; and of Form. Imagining the Political Subject. Augusto Zubiaga ship by the Turkish Ministry of Ed- by the Institute for School Quality (group show) Secession, Vienna (A); PhD in Fine Arts. A multimedia ucation in 1999. In the frame of this and Research in Education in Mu- eine von euch (solo show) at Grazer artist and Assistant Professor in the scholarship he completed a masters nich from 2006 until 2014 (where Kunstverein, Graz (A); Badischer Sculpture Department at the Uni- and doctorate degree in Art Educa- he was responsible for art, film and Kunstverein, Karlsruhe (D); Sapro- versity of Basque Country (UPV/ tion at Arizona State University. In drama education.) He has been a phyt, Wien (A); tranzitdisplay, Prag EHU). In 2000 his work won an 2005, he started teaching at Anad- member of the Board of Culture (CZ); Manifesta8, Murcia (E). Her award at the Audiovisual Creation olu University, Turkey. His recent at the German Commission for book To Make Oneself Similar in Festival of Navarra and was selected research concentrates on links be- UNESCO since 2007. He initiated This Sense was published by West- for the international European Me- tween teaching and various modes an International Network for Re- phalie Verlag in 2010. dia Art Festival. Currently Lourdes of visuality, along with the histor- search in Arts Education (INRAE) Magdalena Barthofer, Dominic Cilleruelo, Itsaso Madariaga, Augus- ical and cultural constructs that linked to UNESCO (UNESCO– Conditt, Anna Demmelbauer, Lau- to Zubiaga, Miriam Peña Zabala are shape them. His artistic work focus- Chairs, UNESCO–Observatories) ra Egger-Karlegger, Maria Foeßl, researching relationships between es on modes of pictorial representa- (www.arts-edu.net) and coedited the Sylvia Hirschvogel, Christina Kehr- Art Education and New Technol- tion in traditional formats such as first 3 volumes of the International er, Daniel Stuhlpfarrer and Georg ogies, using recycling, low cost and drawing, oil painting and book art. Yearbook for Research in Arts Ed- Wolf are (former) students of Tanja sustainable materials as relevant Currently, Soganci is associate pro- ucation (2013–2015). The European Widmann at the Institute of Art, factors when applying the ‘learning fessor at Anadolu University. network of “UNESCO-Observato- Science and Education, University by doing’ approach. They partici- ries” he initiated will be established of Applied Arts Vienna. pate in international meetings and in Genshagen, Germany in Novem- events in the fields of both Art and Sarah Tang ber 2015. He has been appointed as Education. grew up in Vancouver, BC be- adjunct professor at the Hong Kong Michael Wimmer fore moving to Vienna to pursue re- Institute of Education/UNESCO has a background in music edu- search in UX at the award winning Observatory and is responsible for cation and political science and has Institute of Entrepreneurship and initiating the international network directed the Austrian Cultural Ser- Innovation at the Vienna Universi- “European Framework for Visual vice (ÖKS) for many years. He has a ty of Business and Economics. She Literacy” in cooperation with In- broad experience in and knowledge is currently completing a double SEA Europe (www.envil.eu). of education and cultural policy. Masters in Business Strategy and In- Professor Wagner is currently He founded EDUCULT, a Euro- novation Management. Past experi- employed at the Academy of Fine pean applied research institute in ences have ranged from Fortune 100 Arts in Munich (where he is respon- the fields of education and culture companies to start-ups, including sible for teacher training) and at the (www.educult.at) in 2003, and is its Electronic Arts, Tangoo, Johnson UNESCO-Chair in Arts and Cul- director. He is associate professor Controls, 2012 Obama Campaign ture in Education at the University in cultural and educational policy and Netsuite. of Erlangen-Nuremberg where he is at the University of Applied Arts in a lecturer and executive coordinator Vienna and lectures at the Institute (since 2008). He has written more for Theatre and Media Studies, Uni- Ernst Wagner than 200 articles/books. versity of Vienna. He is consultant studied visual arts at the Acad- for the Austrian Ministry of Educa- emy of Fine Arts Munich. He has tion, Culture and Arts and, has been exhibited artwork and taught visual a ministerial committee member for arts in Germany and the United the implementation of “Neue Mit- States. He studied art history and telschule” since 2007. At an interna- Grashofgasse Heiligenkreuzer Hof

REFEKTORIUM

Köllnerhofgasse

Obere Donaustraße

Donaukanal

Sonnenfelsg. gasse Taborstraße latern Praterstraße

SALA TERRENA Schön

Untere DonaustraßeDonaukanal Dampfschiffstr. Franz-Josefs-Kai Gonzagasse

Salzgries

Schwedenplatz Franz-Josefs-Kai

Hoher Markt Fleischmarkt Postgasse

Marc-Aurel-Straße

Sonnenfelsg. Dominikanerbastei

RotenturmstraßeBäckerstraße latern

gasse O. Kokoschka Pl. Vordere Zollamtsstraße

Schön Hintere Zollamtsstraße Hintere

Tuchlauben Biberstraße Wollzeile University of Applied Arts Graben Marxerg. Stubenring

Stephansplatz Weiskirchnerstraße

Singerstraße

Stubenbastei Landstraßer Hauptstr.

Invalidenstraße Am Stadtpark Am

Parkring Ungargasse Wienfluss Coburgbastei

Kärntner Straße REFEKTORIUM

1 2 I

Short Presentations SALA TERRENA

8, 9, 10, 11, 12: 3 Meeting Points for break-out groups

H 4 A toilet B Coffee break C Speakers area 12 Exhibition E F 5 Short G 7 Workshops D 6 A B C 1, 2, 3, 4, 5, 6, 7: 11 Meeting Points for break-out groups

D toilet 8 9 10 E Cloakroam F Registration Short Workshops G Coffee Break H books Short Presentations I Speaker Room ACKNOWLEDGEMENTS

Our heartfelt thanks goes out to our loved ones for their understanding and support throughout this austrian Center for Didactics of art, textile & Design SYMPOSIUMproject; to all presenters for their institute for art Sciences and art education PERSPECTIVESefforts and contributions ON ART EDUCATION on a tight Department Didactics of art, textile & Design schedule; to our chairs for being in +43 (1) 71133-2737 organizedcharge forby the presenters; to our [email protected] austrianevent Centermanager for Anja Didactics Seipenbusch- of art, textile & Design didactic-art.org instituteHufschmied for art Sciencesand Christian and artSchneider, education at thetheir university team (Jasmin of applied Vogl, arts Thomas Vienna Copy editing: rachel mason, in cooperationMitterböck andwith B theenedikt art and Fritz) art as education program, marianne Sorge-Grace, Gabriele Kaiser teacherswell as College their staff Columbia for facilitating university the new york, printing: Gugler endorsedsymposium by inSea, and the funded exhibition; by bmwfw to paper: munken lynx rough projectJalka management: for guiding the ruth walk mateus-Berr on the & michaela Götsch Cover: amber Graphic Vienna Peace Trail; the ZID for Fonts: portrait by Berton Symposiumfacilitating Location technical issues, to Eva Hasebe & Helvetica textbook exhibition CentreMaria Stadler, of the our curator; to our by max miedinger/linotype university webof applied designer arts Arnold Vienna G allhuber for printed in austria Heiligenkreuzercreating Hof, an Schönlaterngasse excellent website; 5 1010 Viennato our reviewers for making difficult Design Get uSeD to it decisions; to our editor Rachel pia Scharler & Gerhard Jordan MasonContact for her exemplary work and enduranceuniversity as wellof applied as to further arts Vienna editorsoskar-Kokoschka-platz Marietta Böning, David 2, a − 1010 Vienna Campbell,www.dieangewandte.at Gabriele Kaiser and this work is subject to copyright. all rights are reserved, whether Marianne Sorge-Grace; last but not the whole or part of the material is concerned. For any kind of use, permission of the copyright owner must be obtained. Informationleast to our & graphicEvent Management designers +43Pia (1) Scharler 71133-2160 and Gerhard Jordan [email protected] their outstanding cooperation and design.

00_cover_booklet.indd 2 18.05.15 00:42 international SympoSium PersPectives on Art educAtion

exhibition Centre Heiligenkreuzer Hof Schönlaterngasse 5, 1010 Vienna

00_cover_booklet.indd 1 18.05.15 00:42