Artwork Scholarship: International Perspectives in Education – serie

How does whiteness sediment worlds? How does it format individuality in the name of a neurotypicality that polices how one bodies and how one comes to know? And how does a poetics of relation shift the very logic of this sedimentation?Edouard Glissant’s poetics of relation are bold in their call to ‘consent not to be a single being’. This transindividual consent, born in the process of worlds crafting themselves in what he would call an ‘aesthetics of the earth’, are felt in Fernand Deligny’s errant lines. These errant lines, traced to move with the complex gestures of autistics over a period of several years in Monoblet, France (1965-1970), offer an alternative to pathology and individual psychological assessment. The Being of Relation brings these two projects into encounter, exploring what else blackness can be at this non-pathological juncture where what is foregrounded is the very being of relation. On the way, trails of whiteness are excavated and interrogated. The aim: to move toward parapedagogies of resistance, in a logic of a poetics of relation, a logic of neurodiversity, minor sociality and the kind of difference without separability that refuses the binary that holds neurotypicality – as whiteness – in place.

Provoking the Field invites debate on, and provides an essential resource for, transnational arts-based scholars engaged in critical analyses of international visual arts education and its enquiry in doctoral research. Divided into three parts – doctoral processes, doctoral practices and doctoral programmes – the volume interrogates education in both formal and informal learning environments, ranging from schools to post-secondary institutions to community and adult education. This book brings together a global range of authors to examine visual arts PhDs using diverse theoretical perspectives; innovative arts and hybrid methodologies; institutional relationships and scholarly practices; and voices from the field in the form of site-specific cases. A compendium of leading voices in arts education, Provoking the Field provides a diverse range of perspectives on arts enquiry, and a comprehensive study of the state of visual arts PhDs in education.

Living Histories is a collection of new scholarship that explores histories of art education through a series of international contexts. The first truly international text highlighting histories of art education, with contributions from over 30 scholars based in 18 countries.Art education holds an important role in promoting historical awareness of the multiple relations that connect pedagogic inquiry with culture, heritage, place and identity, locally and globally. To keep pace with the movements of art and society, Garnet and Sinner consider that art education requires more inclusive and holistic versions of history from transnational perspectives that break down barriers and cross borders in the pursuit of more informed and diverse understandings of the field. The broad focus of this edited collection is to provide both new perspectives of art education from around the world, and to introduce transnationalism into the field as a way to conceptualize the entanglements of historical research in our globalized age. Transnational histories of art education focus on the linkages and flows that shift focus away from the nation-state to other transnational actors such as individuals, communities, institutions and/or organizations. Contributions from scholars and educators based and working in Australia, Austria, Brazil, Canada, Colombia, Croatia, Czech Republic, Finland, India, Iran, Japan, Malta, South Africa, Spain, Trinidad and Tobago, UK, USA and Zimbabwe.Includes chapters that adapt an approach of ‘artwork histories’ to explore the legacies of art education as an anticipatory mode of historical thinking and practice across the visual arts and sites of art education. The book offers an opportunity for authentic engagement and intellectual risk, which includes the rejection of ‘correct’ interpretations of historical problems. As active agents, art education historians are not passive collectors of the past, but engaged in new ways of doing history predicated on cultivating stories that move beyond representation to attend to aesthetic dimensions that bridge historiography, material culture, oral history, art history and teacher education. Living Histories provides an interpretation of historical thinking and consciousness through the interrelations of time and space to provoke critical and creative practices in education.This is the latest book in the Artwork Scholarship series, which aims to invite debate on, and provide an essential resource for transnational scholars engaged in, creative research involving visual, literary and performative arts. With contributors from 18 countries, this book will have a substantial international readership among art educators and those interested in the history of art education, primarily in universities and colleges. It will also be particularly useful for graduate students.It will also appeal to scholars in arts education more broadly - music education, dance education, theatre education scholars, cultural and art historians, art theorists, international educators, and curators.

This edited collection offers global perspectives on the transverse, boundary-blurring possibilities of community arts education.Invoking ‘transversality’ as an overarching theoretical framework and a methodological structure, 55 contributors – community professionals, scholars, artists, educators and activists from sixteen countries – offer studies and practical cases exploring the complexities of community arts education at all levels.Such complexities include challenges created by globalizing phenomena such as the COVID-19 pandemic; ongoing efforts to achieve justice for Indigenous peoples; continuing movement of immigrants and refugees; growing recognition of issues related to equity, diversity and inclusion in the workplace; and the increasing impact of grassroot movements and organizations.Chapters are grouped into four thematic clusters – Connections, Practices, Spaces and Relations – that map these and other intersecting assemblages of transversality. Thinking transversally about community art education not only shifts our understanding of knowledge from a passive construct to an active component of social life but redefines art education as a distinctive practice emerging from the complex relationships that form community.

Constructions of the Real features a wide range of writing from non-fiction and documentary filmmakers who undertake theoretically informed practice and think through making. These global filmmakers and writers straddle the divide between the academy and industry and they reflect on, interrogate and explicate their filmmaking practices in relationship to questions of form, content, and process.The book is in four sections. The first is on intimate, first-person works where memory and identity are explored. The second features responses to and interventions in historical and dominant relationships to place. The third explores multivarious forms of essay films. In the final section, filmmakers discuss the precarity of non-fiction filmmaking in its form and financial rewards. This book is anti-colonial, in that it offers diverse new voices and new practices promoting hybridity and experimentation and makes claims for knowledges that fall outside of traditional scholarship. This book presents the silenced and the marginalized.It engages with current debates about the role of creative scholarship and makes a claim for non-fiction filmmaking as a knowledge-making practice for revealing, critiquing, and interpreting the world.Contributors include Kaveh Abbasian, Judith Aston, Nicholas Andueza, Elisabeth Brun, Joanna Callaghan, Gerda Cammaer, Philip Cartelli, Lorena Cervera, Jill Daniels, Kath Dooley, Aggie Ebrahimi Bazaz, Andréa França, Catherine Gough-Brady, Robert Hardcastle, Alex Johnston, Elizabeth Miller, Ros Mortimer, Kim Munro, Minou Norouzi, Stefano Odorico, Rebecca Ora, Sheersha Perera, Christine Rogers, Isabel Seguí, Jeni Thornley and Masha Vlasova.

This edited collection offers global perspectives on the transverse, boundary-blurring possibilities of community arts education.Invoking ‘transversality’ as an overarching theoretical framework and a methodological structure, 55 contributors – community professionals, scholars, artists, educators and activists from sixteen countries – offer studies and practical cases exploring the complexities of community arts education at all levels.Such complexities include challenges created by globalizing phenomena such as the COVID-19 pandemic; ongoing efforts to achieve justice for Indigenous peoples; continuing movement of immigrants and refugees; growing recognition of issues related to equity, diversity and inclusion in the workplace; and the increasing impact of grassroot movements and organizations.Chapters are grouped into four thematic clusters – Connections, Practices, Spaces and Relations – that map these and other intersecting assemblages of transversality. Thinking transversally about community art education not only shifts our understanding of knowledge from a passive construct to an active component of social life but redefines art education as a distinctive practice emerging from the complex relationships that form community.

The focus of this edited book is to evoke and provoke conceptual conversations between early a/r/tographic publications and the contemporary scholarship of a/r/tographers publishing and producing today. Working around four pervasive themes found in a/r/tographic literature, this volume addresses relationality and renderings, ethics and embodiment, movement and materiality, and propositions and potentials. In doing so, it advances concepts that have permeated a/r/tographic literature to date. More specifically, the volume simultaneously offers a site where key historical works can easily be found and at the same time, offer new scholarship that is in conversation with these historical ideas as they are discussed, expanded and changed within contemporary contexts. The organizing themes offer conceptual pivots for thinking through how a/r/tography was first conceptualized and how it has evolved and how it might further evolve. Thus, this edited book affords an opportunity for all those working in and through a/r/tography to offer refined, revised, revisited or new conceptual understandings for contemporary scholarship and practice.Part of the Artwork Scholarship: International Perspectives in Education series.

The focus of this edited book is to evoke and provoke conceptual conversations between early a/r/tographic publications and the contemporary scholarship of a/r/tographers publishing and producing today. Working around four pervasive themes found in a/r/tographic literature, this volume addresses relationality and renderings, ethics and embodiment, movement and materiality, and propositions and potentials. In doing so, it advances concepts that have permeated a/r/tographic literature to date. More specifically, the volume simultaneously offers a site where key historical works can easily be found and at the same time, offer new scholarship that is in conversation with these historical ideas as they are discussed, expanded and changed within contemporary contexts. The organizing themes offer conceptual pivots for thinking through how a/r/tography was first conceptualized and how it has evolved and how it might further evolve. Thus, this edited book affords an opportunity for all those working in and through a/r/tography to offer refined, revised, revisited or new conceptual understandings for contemporary scholarship and practice.Part of the Artwork Scholarship: International Perspectives in Education series.

By engaging with education, contemporary art and global sustainability goals, this book connects the artistic way of communication with ecological obligations and social issues and promotes a sense of active citizenship. International, empirical and curricular research presents a case for strong learning communities that take a clear political stand in favour of socially engaged art pedagogies.The main aim of is to show how shared spaces for exchange in the fields of art education and continuous professional development can reflect, inspire and integrate sustainability principles that are becoming crucial in today’s world. The authors propose the idea that coordinated action can lead to a more sustainable future by promoting a sense of community, lifelong learning and confidence in the possibility of changing current conditions.Its three parts combine expertise in visual arts education, education for sustainable development, contemporary art practice and sustainability activism. While Part I focuses on literature in the field and the interrelation of different disciplines, Part II provides concrete examples of professional learning communities and pedagogies that can be used to enrich the field of art education. Finally, Part III presents brief case studies illustrating international projects by contemporary artists, curators, environmentalists and others, providing educators with several inspirational models of concrete and creative action.

From the perspective of art educators, museum education is shifting to a new paradigm, which this collection showcases and marks as threshold moments of change underway internationally. The goal in drawing together international perspectives is to facilitate deeper thinking, making and doing practices central to museum engagement across local and global contexts.Museums as cultural brokers facilitate public pedagogies, and the dispositions and practices offered in 33 chapters from 19 countries articulate how and why collections enact responsibility in public exchange, leading cultural discourses of empowerment in new ways. Organized into five sections, a wide range of topics and arts-based modes of inquiry imagine new possibilities concerning theory-practice, sustainability of educational partnerships and communities of practice with, in and through artwork scholarship. Chapters diverse in issues, art forms and museum orientations are well-situated within museum studies, enlarging discussions with trans-topographies (transdisciplinary, transnational, translocal and more) as critical directions for art educators.Authors impart collective diversity through richly textured exposés, first-person accounts, essays and visual essays that enfold cultural activism, sustainable practices and experimental teaching and learning alongside transformative exhibitions, all while questioning – Who is a learner? What is a museum? Whose art is missing?

From the perspective of art educators, museum education is shifting to a new paradigm, which this collection showcases and marks as threshold moments of change underway internationally. The goal in drawing together international perspectives is to facilitate deeper thinking, making and doing practices central to museum engagement across local and global contexts.Museums as cultural brokers facilitate public pedagogies, and the dispositions and practices offered in 33 chapters from 19 countries articulate how and why collections enact responsibility in public exchange, leading cultural discourses of empowerment in new ways. Organized into five sections, a wide range of topics and arts-based modes of inquiry imagine new possibilities concerning theory-practice, sustainability of educational partnerships and communities of practice with, in and through artwork scholarship. Chapters diverse in issues, art forms and museum orientations are well-situated within museum studies, enlarging discussions with trans-topographies (transdisciplinary, transnational, translocal and more) as critical directions for art educators.Authors impart collective diversity through richly textured exposés, first-person accounts, essays and visual essays that enfold cultural activism, sustainable practices and experimental teaching and learning alongside transformative exhibitions, all while questioning – Who is a learner? What is a museum? Whose art is missing?

This collection considers how Canadian art educators are engaging with a new range of approaches to museum education, and why educators are responding to 21st century challenges in ways that are unique to Canada.Organized into three sections, this collection reconceptualizes museums to consider accessibility, differences in lived experiences, and how practices create impactful change. With the overarching concept of relationality between art museums and interdisciplinary perspectives, authors consider methodological, philosophical, experiential and aesthetic forms of inquiry in regional museum contexts from coast-to-coast-to-coast that bring forward innovative theoretical standpoints with practice-based projects in museums, articulating how museums are shifting, and why museums are evolving as sites that mediate different and multiple knowledges for the future. Informed by social justice perspectives, and as catalysts for public scholarship, each chapter is passionate in addressing the mobilization of equity, diversity and inclusivity (EDI) in relation to practices in the field.By weaving the learning potential of interacting with artworks more fully within situated and localized social and cultural communities, the authors present a distinct socio-political discourse at the heart of teaching and learning. Rupturing preconceived ideas and sedimentary models, they suggest a discourse of living futures is already upon us in museums and in art education.

This edited collection highlights ways that arts-educators have taken up important questions around learning with the land through walking practices across spatial, temporal and cultural differences. These walking practices serve as ecopedagogical moments that attune us to human-land and more-than-human relationships, while also moving past Western-centric understandings of land and place. Yet it is also more than this as the book situates this work in a/r/tographic practices taking up walking as one method for engagement.Authors explore walking and a/r/tography in their local contexts. As a result, the book finds that kinship and relationality are significant themes that permeate across a/r/tographic practices focused on ecopedagogy and learning with the land.Unique to this collection is the weaving of groundings that both guide each chapter and emphasize the philosophical commitment of the book. Each grounding is written by scholars or artists with Indigenous backgrounds to Turtle Island (North America) or are scholars who are Indigenous to other countries and places who are now working in Canadian university settings. Many are Elders, cultural stewards, knowledge keepers, and stewards of the land who find themselves immersed in practices that are artful, ecological, and in many instances, involve the practice of walking. Each grounding offers an important lesson or prompt for readers to consider as they engage with the chapters, as well as offering a conceptual re-centring and grounding to the land and the traditional knowledges from the territories on which this collection is being produced and edited.Anishnaabe kwe scholar and artist Anna-Leah King reflects on the teachings of Alfred Manitopeyes, a Saulteaux Elder from Muskcowekwun, Pimosatamowin, who shares that good walking and good talking is more than just a metaphor.Ojibwa scholar and artist Natalie Owl troubles the dictionary definition of anecdotal in relation to walking in the world as an Indigenous woman.Mukwa Musayett, Shelly Johnson, reflects on her relationship to the natural elements, revealing how the winds have helped her learn emotional intimacy – from feelings of grief, frustration, anger, respect, power, love and gratitude. Metis scholar and artist Shannon Leddy invites the reader to a time-travelling walk, tracing the colonial legacies of the land where she now lives in Vancouver, Musqueam Territory, going back to ancient Greece and engaging with Greek mythology, and bringing us to creation itself, as we gestate in our mother’s womb.Cathy Rocke invites readers to her favourite walking path where she focuses her attention to the reciprocal relationships found in nature and considers how they can help us better understand healthy human relationships.Gloria Ramirez reflects on her homeland in the Andean Mountains and how her body is intimately tied to the places she has walked. In a poetic grounding story, Shauneen Pete reflects on the traditional teachings shared by her grandfather from Little Pine First Nation about living and learning with the land.Sheila Blackstock, member of the Gitxsan First Nation, invites readers to join her on a walk along the lakeshore in early springtime, as she reflects on her walking practices that have taught her how to learn from nature. She describes her movements and senses as 'a heart catalogue of understanding how to be in nature'.In this grounding lesson from Peter Cole and Pat O’Riley, the characters of Coyote and Raven invite readers to the Kichwa-Lamista of the High Amazon and the Quechua Andeans in the Sacred Valley of the Incas in Peru. Through story they talk about returning to the land in an era of climate change and learning about traditional lifeways of Indigenous relations that emphasize preserving, maintain, repairing, caring and sharing.In her grounding poem, Yasmin Dean attunes to and shows gratitude to the Earth, as she thoughtfully considers how to open and walk through the gate that leads to the sacred.

Based on over a decade of collective teaching, this volume explores the hybrid use of online and in-person collaboration as a means of offering international experience to university-level arts students. Chapters articulate a collective learning based on the experiences of the International Art Collaborations Network (INTAC), Collective Body group and related programs which the authors and contributors have participated in as educators and students.Illustrated with photographs, screenshots and student projects, the book inspires reflection on teaching methodologies and student artmaking strategies across cultures and languages. Pedagogical and methodological topics trace an evolution of curricular approaches and use of evolving online platforms. Examples of themes and visual strategies demonstrate the power of student-directed collaborative learning. Diverse voices have been gathered through research conducted with educators and alumni connected to INTAC, providing perspectives on working collaboratively in a global context.Student projects exemplify responses to the challenges of communication and creation that come with distanced artistic partnership. Chapters end with suggested points for conversation, whether between educators, students of art education or students entering collaborations. Although based on experiences in the visual arts, the ideas and methods are applicable to others engaging in inter-institutional education or online collaborative practices.Fully illustrated with examples of collaborative art projects, photographs, screenshots, diagrams and posters.

This collection considers how Canadian art educators are engaging with a new range of approaches to museum education, and why educators are responding to 21st century challenges in ways that are unique to Canada.Organized into three sections, this collection reconceptualizes museums to consider accessibility, differences in lived experiences, and how practices create impactful change. With the overarching concept of relationality between art museums and interdisciplinary perspectives, authors consider methodological, philosophical, experiential and aesthetic forms of inquiry in regional museum contexts from coast-to-coast-to-coast that bring forward innovative theoretical standpoints with practice-based projects in museums, articulating how museums are shifting, and why museums are evolving as sites that mediate different and multiple knowledges for the future. Informed by social justice perspectives, and as catalysts for public scholarship, each chapter is passionate in addressing the mobilization of equity, diversity and inclusivity (EDI) in relation to practices in the field.By weaving the learning potential of interacting with artworks more fully within situated and localized social and cultural communities, the authors present a distinct socio-political discourse at the heart of teaching and learning. Rupturing preconceived ideas and sedimentary models, they suggest a discourse of living futures is already upon us in museums and in art education.

An introduction to pedagogy of dissensus.A pedagogy of dissensus is informed by the dissensual characteristics of art. The book includes both theoretical foundations and examples of how the theory is unfolded in different contexts ranging from educational practice to arts-based research. Motivated by the author’s long-held interest in the role of art in society in general and education in particular, it is a vital new contribution to arts-based approaches to education.Referencing philosophers and theorists such as Jacques Rancière, Gert Biesta, Dennis Atkinson, and Helga Eng, Lisbet Skregelid demonstrates why art matters because of its ability to create necessary disturbance and resistance in education. In this book, she argues that art has something to offer education because it challenges existing norms, has no definitive answers, and contributes to new ways of seeing both oneself, others, and one’s surroundings. Placing art at the center and enabling dissensus in education can contribute as a contrast to the dominating policy led by economic ambition and competition.

An introduction to pedagogy of dissensus.A pedagogy of dissensus is informed by the dissensual characteristics of art. The book includes both theoretical foundations and examples of how the theory is unfolded in different contexts ranging from educational practice to arts-based research. Motivated by the author’s long-held interest in the role of art in society in general and education in particular, it is a vital new contribution to arts-based approaches to education.Referencing philosophers and theorists such as Jacques Rancière, Gert Biesta, Dennis Atkinson, and Helga Eng, Lisbet Skregelid demonstrates why art matters because of its ability to create necessary disturbance and resistance in education. In this book, she argues that art has something to offer education because it challenges existing norms, has no definitive answers, and contributes to new ways of seeing both oneself, others, and one’s surroundings. Placing art at the center and enabling dissensus in education can contribute as a contrast to the dominating policy led by economic ambition and competition.

Based on over a decade of collective teaching, this volume explores the hybrid use of online and in-person collaboration as a means of offering international experience to university-level arts students. Chapters articulate a collective learning based on the experiences of the International Art Collaborations Network (INTAC), Collective Body group and related programs which the authors and contributors have participated in as educators and students.Illustrated with photographs, screenshots and student projects, the book inspires reflection on teaching methodologies and student artmaking strategies across cultures and languages. Pedagogical and methodological topics trace an evolution of curricular approaches and use of evolving online platforms. Examples of themes and visual strategies demonstrate the power of student-directed collaborative learning. Diverse voices have been gathered through research conducted with educators and alumni connected to INTAC, providing perspectives on working collaboratively in a global context.Student projects exemplify responses to the challenges of communication and creation that come with distanced artistic partnership. Chapters end with suggested points for conversation, whether between educators, students of art education or students entering collaborations. Although based on experiences in the visual arts, the ideas and methods are applicable to others engaging in inter-institutional education or online collaborative practices.Fully illustrated with examples of collaborative art projects, photographs, screenshots, diagrams and posters.

How can arts-based learning shape the future of education in Ireland?Arts Education in Ireland: From Pedagogy to Practice dissects this question using a rich collection of research and case studies spanning early childhood, primary, secondary and higher education. Through an examination of the evolving role of the arts in the Irish curriculum, this volume showcases how visual arts and interdisciplinary collaborations between educational and cultural institutions are transforming teaching and learning. With contributions from educators, researchers and artists, this collection focuses on key themes such as teacher identity formation, student engagement and the impact of creative pedagogies in developing twenty-first-century skills. It also highlights innovative programs like the Writers in Schools scheme, offering insights into how the arts foster critical thinking and deeper learning experiences.Accessible yet deeply researched, this book is an urgent reference for arts educators, students and researchers worldwide. Whether you are new to arts-based learning or seeking unique perspectives on interdisciplinary education, Arts Education in Ireland provides both theoretical and practical insights into the power of the arts in shaping meaningful learning experiences.

How does whiteness sediment worlds? How does it format individuality in the name of a neurotypicality that polices how one bodies and how one comes to know? And how does a poetics of relation shift the very logic of this sedimentation?Edouard Glissant’s poetics of relation are bold in their call to ‘consent not to be a single being’. This transindividual consent, born in the process of worlds crafting themselves in what he would call an ‘aesthetics of the earth’, are felt in Fernand Deligny’s errant lines. These errant lines, traced to move with the complex gestures of autistics over a period of several years in Monoblet, France (1965-1970), offer an alternative to pathology and individual psychological assessment. The Being of Relation brings these two projects into encounter, exploring what else blackness can be at this non-pathological juncture where what is foregrounded is the very being of relation. On the way, trails of whiteness are excavated and interrogated. The aim: to move toward parapedagogies of resistance, in a logic of a poetics of relation, a logic of neurodiversity, minor sociality and the kind of difference without separability that refuses the binary that holds neurotypicality – as whiteness – in place.

How can arts-based learning shape the future of education in Ireland?Arts Education in Ireland: From Pedagogy to Practice dissects this question using a rich collection of research and case studies spanning early childhood, primary, secondary and higher education. Through an examination of the evolving role of the arts in the Irish curriculum, this volume showcases how visual arts and interdisciplinary collaborations between educational and cultural institutions are transforming teaching and learning. With contributions from educators, researchers and artists, this collection focuses on key themes such as teacher identity formation, student engagement and the impact of creative pedagogies in developing twenty-first-century skills. It also highlights innovative programs like the Writers in Schools scheme, offering insights into how the arts foster critical thinking and deeper learning experiences.Accessible yet deeply researched, this book is an urgent reference for arts educators, students and researchers worldwide. Whether you are new to arts-based learning or seeking unique perspectives on interdisciplinary education, Arts Education in Ireland provides both theoretical and practical insights into the power of the arts in shaping meaningful learning experiences.

This book examines an art studio as a way of thinking and learning through the lens of a cross-Canada journey into artists’ studios. Through examining studio visits and interviews with over 100 painters, and through the theoretical lens of new materialism, the studio is presented as a unique place of learning. In the first section, ‘Studio as Place,’ the journey into artists’ studios is discussed as a form of subjective mapping. A studio is a part of an active and interconnected ecosystem and through artmaking the studio has the capacity to transport us elsewhere. In the second section, ‘Studio as Process,’ studio practice is discussed as emergent, performative, generative and in an ongoing state of ‘not knowing.’ The third section, ‘Studio as Material Thinking’ examines studio practice as affective, material and messy. The final section ‘Studio as Dialogue with the World,’ examines studio processes as relational, imaginative and responsive to our ongoing experiences. To focus on possibilities and potentials rather than conclusions, and generativity rather than closure, the studio is presented through a series of propositions, drawn from ways the artists described their process. These propositions are speculative and highlight the endless possibilities and entanglements of making within the ever-changing ecology of the studio.

This book examines an art studio as a way of thinking and learning through the lens of a cross-Canada journey into artists’ studios. Through examining studio visits and interviews with over 100 painters, and through the theoretical lens of new materialism, the studio is presented as a unique place of learning. In the first section, ‘Studio as Place,’ the journey into artists’ studios is discussed as a form of subjective mapping. A studio is a part of an active and interconnected ecosystem and through artmaking the studio has the capacity to transport us elsewhere. In the second section, ‘Studio as Process,’ studio practice is discussed as emergent, performative, generative and in an ongoing state of ‘not knowing.’ The third section, ‘Studio as Material Thinking’ examines studio practice as affective, material and messy. The final section ‘Studio as Dialogue with the World,’ examines studio processes as relational, imaginative and responsive to our ongoing experiences. To focus on possibilities and potentials rather than conclusions, and generativity rather than closure, the studio is presented through a series of propositions, drawn from ways the artists described their process. These propositions are speculative and highlight the endless possibilities and entanglements of making within the ever-changing ecology of the studio.