ASSESSMENT INSTRUCTIONSThroughout Sessions 1 – 3 we have used the textEncounters with Materials in Early Childhoodto guide our material inquiries and help us understand materials from a conceptual...

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ASSESSMENT INSTRUCTIONS















Throughout Sessions 1 – 3 we have used the textEncounters with Materials in Early Childhoodto guide our material inquiries and help us understand materials from a conceptual viewpoint.







This task is a material inquiry. The goal of the task is to explore one material and document your process. The submission will consist of a series of images and writing showing the process and your thinking while doing it. This work must be informed by the set reading.























NOTE: This assessment can be completed with Generative AI assisted editing. Generative AI can be used to make improvements to the clarity or quality of your work created to improve the final output, but no new content can be created using AI - AI can be used, but your original work with NO AI must be provided in an appendix.



































    1. ARTISTIC LANGUAGE








      1. Read the introductory chapter and the material inquiry chapters 2-5 of Pacini-Ketchabaw Encounters with Materials.






      2. Look at the Material Inquiry document in Session 1.





      3. Choose one material and the chapter on itin the Encounters with Materials book.





      4. Closely read the chapter for the material you have chosen, making notes and reflecting as you read.



      5. Selectone other reading from the unit(either from eReserve or from within sessions 1 – 3) to support your discussion of your artistic process and how it relates to communication and expression.












    2. MATERIAL








      1. Get your hands on the material.



        1. Clay - use actual clay, not playdough, not modelling clay. Use something as close to 'earth' as you can.



        2. Paint - any kind of paint is fine, even paint made from materials around your kitchen or home.



        3. Charcoal - you can buy artist's charcoal, or use charcoal from a fire



        4. Paper - explore the different kinds of paper available, there are more than you'd think!


















    3. INQUIRY





      1. Play with the material See what it can do. Use the Material Inquiry Document (from Session 1) to guide your thinking and provoke your exploration. Try to approach the material without an outcome or product in mind.



      2. Use the ideas from the readings and let them influence what you do and think.



      3. Document your playing and thinking as you go. You can take photographs or video. Draw. Write. Record. Collect rich documentation of your inquiry – both the physical exploration and your thoughts.



      4. Consider personal, social and philosophical perspectives about the material and your experience of it and how you can communicate with and through the material.





















FINAL DOCUMENTATION














    1. Refine your documentation. Include the best parts of your play and exploration and connect what you are doing, thinking and feeling to ideas in the readings. Make clear links, referenced correctly with in-text citations, to the readings.



      1. Choose a program/application to present your written and visual documentation. This could be photos on a Word Doc, PowerPoint, a Padlet, a video, an audio recording or a combination of these - there are many possibilities.









    2. All sources should be referenced correctly,using APA7opens in new window





      , with in-text citations throughout the documentation.

      If the task does not match assessment task instructions, the total grade is a 0 and will be investigated for Integrity breaches




      If the task does not draw from the course materials on VU Collaborate the total grade is a 0 and will be investigated for Integrity breaches

      Include a Reference List at the end.




























TIPS

















  • Use the tips inSession 3in the article aboutProcess-Focussed art








  • Do not include how you followed step-by-step instructions to make something



  • Do not approach the material with an end-product in mind, just play and experiment first!



  • Make frequent connections back to the associated concept inEncounters with Materials in Early Childhood Education,and your other chosen reading. For example, if you are working with clay - how are you thinking about the concept ofecologies? How is clay provoking your thinking about communication and expression? How are you connecting to clay personally, socially, philosophically






Common misunderstandings of this assessment task in the past have included:
















DO NOT














  • Follow step-by-step instructions for making origami (making paper boats or similar)





  • Focus on creating a finished art work






  • Show each step of the process in making a product, but not show how you played and experimented with the material








  • Not connect to the reading in Encounters with Materials in Early Childhood and concepts in that






























Focus on process, not product, for this task.


























Answered 2 days AfterJul 29, 2024

Answer To: ASSESSMENT INSTRUCTIONSThroughout Sessions 1 – 3 we have used the textEncounters with Materials...

Dr Shweta answered on Aug 01 2024
6 Votes
Encounters with Materials in Early Childhood
Introduction:
Today, academicians continue to reiterate the importance of materials in the early stages of children's education development. According to Golomb (1992), Lowenfeld & Brittain (1987), and Matthews (2003), children perceive activities like painting with a brush and interacting with clay as
crucial for their emotional, physical, and social growth. There have been ongoing efforts to acknowledge children's artistic creativity for a long time. Scientists are investigating the use of materials as a means of communication, including in early development institutions. People who integrate the arts into their work typically have a comprehensive understanding of materials and artistic procedures. Some individuals may have an inclination and a longing to interact with the arts as a kind of visual communication but lack a profound cerebral comprehension.
Frequently, individuals tend to see children's artwork as direct representations of their own selves.
Materials are referred to as the fundamental components of the curriculum.
Carter and Curtis (2007) outline a developmental continuum that spans from first inquiry to the formation of mental representations. Frequently, instructions are provided on how to systematically and methodically organize and arrange materials. The items are originally offered to facilitate children's understanding of their qualities and functions.
Subsequently, when children become more familiar with the items, they are provided with positive reinforcement. They can be utilized to symbolize concepts and entities. Materials are referred to as the fundamental components of the curriculum. Carter and Curtis (2007) outline a developmental continuum that spans from first inquiry to the formation of mental representations. Frequently, instructions are provided on how to systematically and methodically organize and arrange materials. The items are originally offered to facilitate children's understanding of their qualities and functions. Subsequently, when children become more familiar with the items, they are provided with positive reinforcement. They can be utilized to symbolize concepts and entities.
Instructors at the newborn and preschool programs in the northern region of Reggio Emilia, Italy have demonstrated a keen focus on both tangible resources and intellectually intricate concepts. The findings of their investigations on materiality offer valuable perspectives, as reported by Ceppi and Zini in 2008. Reggio (2004), Vecchi (2010), and Vecchi & Giudici (2004) Encounters with Materials in Early Childhood Education present a new perspective on materials, examining them from a scientific, rational, or utilitarian standpoint and exploring their predictable characteristics such as color, form, density, mass, and friction and the force of gravity. It helps them to understand between living and non-living entities and various dichotomies, such as inanimate vs. active and self versus other, among others, influence our perception of ourselves as conscious actors who manipulate passive, lifeless substances, frequently without our awareness. As a visual ethnographer, images played a vital role in their interactions with materials. Pictures and images also stimulate their cognitive processes and enhance the visual experience. Therefore, it is recommended to utilize visuals to expand their potential for diverse epistemological approaches and to convey and elucidate thoughts....
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