Concepts of art education curriculum, tendencies and challenges

The communication design field it's considerably changed in the last 20 years and more as well as the role of the designer. Technology has modified the daily work tools and new possible relations between the designer, the commitment and the final user can be underlined. Observing some of the most experimental practices, new visual languages have draw the attention, affected by innovative approaches and mixed competencies. The area of visual identities is especially of interest, not excluding other areas of experimentations. The phenomenon of the so-called dynamic or post-logo identities underlined the possibilities of using more fluid and expressive, variable, context related, processual, performative, non-linear, consistent visual languages instead of the usual and static repetition of a logo or an imposed series of rules (Felsing, 2010). But also their contradictions in making recognizable an organization and in the visual identity daily management. An interesting evolution to be underlined is in the use of the digital tools, not anymore in a passive way but in an active way. Visual designers can build their digital tools basing them on design and esthetic needs. Innovation is in the creative process, instead of in the final result, is in the “way to live our own creativeness” as affirmed precisely by Soddu (1998). The designer is not anymore just the user of ready-made digital tools, becoming himself programmer of customized digital toolboxes by using open source codes like Processing or VVVV or hardware like Arduino. This allows to affirm that visual designers are are becoming designer-producers (Bianchini & Maffei, 2012) too, as its happening for the colleagues of the product design field. Not just a DIY attitude but something that it's changing the control knobs of a design system in all its process and development. As far as technology support is relevant, technical matters are relegated in the background on behalf of abstraction and data parametrization that means on behalf of a meta-design level. The use of programming in creative and visual communication design processes “empowers the designer, freeing he from the constraints of predefined computational tools, and promoting creative freedom in the construction of visual metaphors” (Duro, Machado, Rebelo, 2012). The aim of this paper is to argue this recent evolution in the field of visual identities and in the wider area of communication design practices. DOI: http://dx.doi.org/10.4995/IFDP.2016.3334

In 2012, the Australian Curriculum, Assessment and Reporting Authority (ACARA) embedded seven General Capabilities, including the intercultural understanding capability, to the nationally adopted curriculum that guides school education in Australia. The way in which capabilities have been incorporated varies from state to state, from sector to sector, and from school to school. Currently, there is no study that examines the integration of intercultural understanding into Christian Studies in the context of Lutheran secondary education. This qualitative case study research addresses the research problem: How do Lutheran schools embed the Australian Curriculum capability intercultural understanding within their Christian Studies program? In order to investigate the research problem, two research questions were explored: (1) How do educators implement intercultural understanding in their Christian Studies program on the basis of their Christian Studies Curriculum Framework? (2) In what ways does the Christian Studies program allow for students to develop intercultural understanding? The framework for this study is provided by Dewey’s constructivist approach of inquiry-based learning and student-centred learning, and Vygotsky’s model of social constructivism. These constructivist theories are applied in this study in two ways—by examining the educational practices and materials based on constructivist ideas, and by incorporating a constructivist approach to the interview process. This study is concerned with understanding how students develop intercultural understanding as well as how educators implement this capability into their Christian Studies program and units of work. For a qualitative case study that aligns with the theoretical framework of constructivism, literature from Stake (1995) is employed. Qualitative data were collected from the key documents⎯the Christian Studies Curriculum Framework (CSCF) and the Christian Studies units of work from Years 7–9, and the two semi-structured interviews⎯one with a writer of the CSCF document (2015) and one with a teacher who wrote and implemented the Christian Studies units of work in their school. An inductive approach to the data coding and a thematic analysis were used for this qualitative research, which revealed three key themes. These include (1) curriculum, (2) pedagogy, and (3) culture and religion. Sub-themes identified in curriculum include structure and content, and service-learning. Within the theme of pedagogy several sub-themes were identified⎯inquiry-based learning, student-centred learning which includes authentic learning, reflective learning and collaborative learning, and teachers’ planning. Sub-themes identified within the culture and religion theme were texts and activities. The findings from this research will assist Lutheran schools as well as other religious and non-religious schools to examine ways of incorporating the intercultural understanding capability into their programs as well as discover ways for students to develop intercultural understanding.

Culture, arts and performances have been established between the three in a close relationship. Many works of art inspired by their creativity often come from the traditional or cultural development and to the sense of change and reflection. The Showcase of works of art and creative process, by the new aesthetic concepts and practices of contemporary performance, also gives at the same time new meaning to the culture and values. Research on dance culture in recent years, research and development of new channels. By the choreographer's creative process, motivation and meaning in the works for dance and aesthetics of the analysis, the creation of works by the formation and the impact of further understanding of cultural development. 30 zone, the impact of globalization, Western modern dance with the Western concept of the body gradually for the development of dance in Taiwan have a tremendous impact. However, inter-cultural itself leads to differences, many Western body movements, concepts, and not necessarily suitable for Asians body. This is because of the physical reaction, which is a part of a cultural show. Therefore, in the 1970s, many Taiwanese choreographers gradually find themselves in physical culture and traditional thinking is the art of composition process, the creation of the many good works. Legend of Dance theater Wugou is one of those examples. Choreographer Li-Chen Lin using civilian Zhongyuan Festival and the cultural element of personal life experience on the stage to show the people in Taiwan for the body of cultural identity. Therefore, through this work, it let us to think again, in the development of works of art, that there is not a traditional culture to a new life and meaning and further development of culture methods.

This research try to expose all the kind of human communications in pe,formance art—especially dance. Indeed, human communication is usefulifor creative process of idea exploration. With qualitative approach and interview method to digg various data, this research expose a kind of communication context that built in creative pmcess of dance arts. The Director of one of a masterpiece peiformance art, Kalabendu, HDwi Wahyudiarto, S. Kar, M. Hum. will be the main source.Balancing interaction and adaptation that match with each portion dan responsibility, make creative performance art process so smooth to be done. A democratic culture, full filling in purpose to reach the best, will guarantee a creative independence an searching creativity exploration to gain the beginning aim—that match with the deal in the first outline scenario. Various communication define of seven specific contextual circumstances. That was two persons communication; interview; a little communication group; public communication; organizational communication; mass communication; and inter-cultural communication. Shape of communication that built in art making process more intens to balancing reciprocal communication. Group and personal communication together in linear concept between communicator and communican in gainning the same purpose. Key words: communication contexts, art, democratic, kalabendu.

<p><em>Legong dance as a legacy of Balinese cultural arts, has a long history, from very simple to complex forms. As a result of artistic creativity, legong dance comes with a high aesthetic concept so that it is used as a reference in every work on Balinese dance. Thus the paper aims to reveal the aesthetic concept of the Legong dance which is considered to represent the beauty value of Balinese dance. It can be understood that every dance performance, even though there is no legong dance, is known by the audience as “mebalih” (watching) legong. Based on the above objectives, several problems arise, what is the aesthetic concept, legong dance and what are the elements that make up the aesthetic of the legong dance. Legong dance is a work of dance that is proud of by the community as the identity of Balinese dance. As an identity, the legong dance has been admired by the Balinese people from time to time, so it is placed as a symbol of Balinese dance. In accordance with the problems in this paper, the object of study is the aesthetic concept of the legong dance and the main elements of the Legong dance. To explain the problems being studied, qualitative research methods can be used by emphasizing field research (grounded reaserch) which is analyzed by aesthetic theory and identity theory. The results of this paper will be able to explain the meaning of Legong dance aesthetics, which is built from elements of motion, appearance and story. These elements are present as one unit in the form of the lagong dance.</em></p>

The traditional theoretical frameworks and assumptions about intercultural technical communication are no longer adequate to describe and teach intercultural communication now frequently happening through digital networks. My dissertation proposes to use the theory of cosmopolitanism as it has been recently applied in several social science fields as a framework for pedagogical project design in order to teach intercultural communication skills applicable in the global age. The dissertation describes a transcultural online pedagogical project between Hungarian and U.S. students that I designed according to the principles of cosmopolitan theory. In this project, students were introduced to the basic tenets of cosmopolitanism and were asked to create blogs about themselves and their varied identities and languages. Students were also asked to comment on the blogs written by students in the other country. For this dissertation, I analyzed the blogs and comments created during the project to find out how students represented their identities and interacted with each other in this online learning environment. Students’ identity representations are discussed within the framework of Burke and Stets’ identity theory. The categories of student identity, sports identity, and national identity are examined in detail by applying discourse analysis with the purpose of identifying structures of expectations as delineated by Tannen. In addition, students’ rhetorical strategies in the comment section that follow the principles of cosmopolitan communication are also described. Based on the findings of this research, I conclude the dissertation by proposing a model for the cosmopolitan communication process in this globally networked learning space that is not only applicable to similar projects but can also inform the process of transforming the teaching of transcultural technical communication making it more applicable to the increasingly global and digital workplace.

We present the work developed in last years in the Workshops of Creativity of the Major Classroom, Granada University, which participants have been fundamentally women between 50 and 70 years old. The perspective of work uses an artistic practice related with art education and feminist process. In the workshops the approximation has been looked to the commonness of these women, from a learning interested for checking critically the cultural production in art, with the intention of demythologizing the plastic creation, the construction of feminine identity and of waking up in the participants the attitude and the interest to explore and to expand his own identity.

Creativity is an essential aspect of design thinking. Being able to describe creativity and creative processes is important for developing future designers. While much research has been undertaken describing creativity in design, there is very little investigating how creativity and creative thinking varies across disciplines. A coding scheme involving six separate codes was developed initially from the literature, refined and then used to describe how creativity and creative thinking was apparent in the DTRS 10 datasets of Junior Industrial Design, Graduate Industrial Design, Mechanical Engineering, Choreography and Entrepreneurship. Based on this analysis, conclusions on how creativity and creative thinking varied across the datasets were also reached. It was found that while all datasets analyzed included Process, Product and Press codes, how these were identified in the data varied. The three Personal codes were only identified in three of the datasets. This research has implications for investigating how to develop creativity and creative thinking skills in all designers.

‘Interaction of Cultures through Design’Cross-Cultural Design (CCD) Learning Model: The development and implementation of CCD design education in South Korean higher education.

Introduction Jane Jackson Section I: Foundations of Language and Intercultural Communication * The history and development of the study of intercultural communication and applied linguistics Judith N. Martin, Thomas K. Nakayama and Donal Carbaugh * Culture, communication, context and power Adrian Holliday * Language, identity and intercultural communication Kimberly A. Noels, Tomoko Yashima and Rui Zhang * Interculturality and intercultural pragmatics Istvan Kecskes * Conceptualizing intercultural (communicative) competence and intercultural citizenship Michael Byram Section II: Core Themes and issues Culture and verbal/nonverbal communication and culture * Linguaculture and transnationality: the cultural dimensions of language Karen Risager * Intercultural rhetoric and intercultural communication Dwight Atkinson * Nonverbal communication: The messages of emotion, action, space and silence David Matsumoto and Hyi-sung Hwang * Speech acts, facework and politeness: Relationship-building across cultures Winnie Cheng Language, identity, and intercultural communication * Gender, language, identity and intercultural communication Xingsong Shi and Juliet Langman * Cultural identity, representation and Othering Fred Dervin * Other-language learning, identity and intercultural communication in contexts of conflict Constadina Charalambous and Ben Rampton * Intercultural contact, hybridity and third space Claire Kramsch and Michiko Uryu Understanding intercultural transitions: From adjustment to acculturation * Beyond cultural categories: communication, adaptation and transformation Young Yun Kim * Acculturating intergroup vitalities, accommodation and contact Howard Giles, Douglas Bonilla and Rebecca B. Speer Intercultural communicative competence: Multiple conceptual approaches * Language: An essential component of intercultural communicative competence Alvino E. Fantini * Understanding intercultural conflict competence: Multiple theoretical insights Stella Ting-Toomey * The intercultural speaker and the acquisition of intercultural/global competence Jane Wilkinson * World Englishes, intercultural communication and requisite competencies Farzad Sharifian Section III: Theory into practice: Towards intercultural (communicative) competence and citizenship * An intercultural approach to second language education and citizenship Peih-ying Lu and John Corbett * Intercultural communicative competence through telecollaboration Robert O'Dowd * Critical language and intercultural communication pedagogy Manuela Guilherme * Intercultural training in the global context Kathryn Sorrells * Multiple strategies for assessing intercultural communicative competence Alvino E. Fantini Section IV: Language and Intercultural Communication in Context * Second language teacher education Michael Kelly * The English as a foreign or international language classroom Phyllis Ryan * The multicultural classroom Jennifer Mahon and Ken Cushner * Education abroad Jane Jackson * Business and management education Prue Holmes * Professional and workplace settings Martin Warren * Translation, interpreting and intercultural communication Juliane House * Culture and health care: Intergroup communication and its consequences Bernadette Watson, Cindy Gallois, David G. Hewett and Liz Jones * Legal contexts Christoph A. Hafner * Tourism Gavin Jack and Alison Phipps Section V: New Debates and future directions * A global agenda for intercultural communication research and practice Malcolm N. MacDonald and John P. O'Regan Index

This research is a qualitative descriptive research which aims to explore students' creative thinking process in completing MST on geometry material. The creative thinking process of each individual is different according to their level so it is necessary to analyze how students' creative thinking process is in completing MST based on level of creative thinking. Researchers refer to the stages of creative thinking developed by Wallas consisting of preparation, incubation, illumination and verification stages. Researchers focused subjects on the 5 levels of creative thinking developed by Siswono in the stages of creative thinking, namely subjects with levels of creative thinking level 4 (very creative), 3 (creative), 2 (quite creative), 1 (less creative), and 0 (not creative). Each level is described starting from the preparation, incubation, illumination and verification stages. Based on the research results, there are differences in creative thinking processes at each level of creative thinking, especially at the verification stage, only students with creative levels 4, 3, and 2 carry out the verification stage; The incubation stage for students with creative levels 2, 1, and 0 takes a long time so that subjects with a long incubation stage are not optimal in completing MST to get many alternative solutions. Keywords: geometry, multiple solution tasks, creative thinking process. DOI: http://dx.doi.org/10.23960/jpmipa/v25i1.pp248-263

Understanding Students' Creative Processes in Solving Open-Ended Statistical Problems Within a Culturally Responsive Environment. Objectives: This study aims to analyze the creative thinking process in solving open-ended problems through Culturally Responsive Teaching (CRT) based on personal experience using SPSS. Methods: This qualitative case study sample consisted of 26 international students from a mathematics education program. Three subjects were selected by purposive sampling to be interviewed based on flexibility, fluency, and novelty. Data were obtained through tests and interviews (triangulation methods), which were analyzed, included data collection, analysis, research findings, and interpretation based on Wallas' theory (preparation, incubation, illumination, and verification). Findings: The four stages appeared in the creative thinking process of the three subjects, but not linearly. In the preparation, the subject showed the ability to understand the problem based on a learning experience. The incubation is characterized by the exploration of strategies, both technical (A1), contextual (A2), and structural-conceptual (A3). Illumination occurs when subjects discover new connections between methods or unexpected analysis results. In the verification stage, they not only check procedures but also encourage reflection on the meaning of the data. This dynamic shows that creative thinking is cyclical and flexible. In the flexibility, three subjects showed different approaches in combining data visualization and statistical tests, with a tendency to move between stages of thinking. On the fluency, subjects were able to generate multiple problem contexts based on learning experiences, but varied in the depth of reflection and strategy used. There were original reconstructions of ideas and problem structures on the novelty, especially when facing bidirectional data, with meaningful interpretations influenced by their respective learning experiences. The CRT appeared strong in the way subjects connected statistical data with learning experiences. It allows students to strengthen the meaning at each stage of creative thinking. The findings emphasize the importance of CRT to develop contextual creative thinking. Keywords: creative thinking, culturally responsive teaching, open-ended problem, SPSS.

Metacognition is influenced the creative thinking process in Computational Physics courses. The Computational Physics is needed in the business and industrial. However, Computational Physics courses are less attractive for students. The challenge in learning Computational Physics is how to help students effectively develop creative and computational thinking skills. Based on the above, the purpose of this study is to determine the effectiveness of the PGOC3ARE learning model to create the students’ creative thinking skills in Computational Physics learning and to determine the effect of using the PGOC3ARE learning model on metacognitive-based creative thinking skills, especially in Computational Physics courses. The research method used was an explanatory sequential design research method. The research sample was taken through simple random sampling, where the sample was divided into an experimental class and a control class. The sampling technique for collecting qualitative data was purposive sampling. Data analysis using comparative test statistics. The result of the research is that the PGOC3ARE model is effective in shaping students’ creative thinking skills, especially in the Computational Physics course. Furthermore, the PGOC3ARE learning model has a significant positive effect on the development of students’ creative thinking skills in the Computational Physics course with base on metacognition.

In solving mathematical problems, the creative thinking process is basically assessed based on two indicators: creative processes and products. The creative process is the stage of creative thinking that includes generating ideas, planning problem solving, and producing problem solving. The process generates creative products should meet the aspects of fluency, flexibility, and novelty. The present study aims at describing the creative thinking process of elementary school students in solving mathematical problems. It involved female student who practiced visual learning style as the subject with the consideration the subject could generate a flexible product, but not an extraordinary product that meets the aspects of fluency and novelty. Data was collected through test and in-depth interview. The validity was done with data triangulation technique. The collected data were analyzed with transcription, categorization, reduction, interpretation and conclusion. The findings indicate that the creative thinking process of elementary school students in mathematical problem solving is realized through generating ideas (reading and examining images in the question) to identify information that is already known, to employ different approaches for planning problem solving, and to produce creative products that meet the aspect of flexibility. Nevertheless, the products have not fulfilled the aspects of fluency and novelty.

This thesis investigated the effectiveness of the “Building Bridges through Interfaith Dialogue in Schools Programme” in promoting intercultural and interreligious understanding, faith, empathy, trust, respect and co-operation between students from different faith, cultural and social backgrounds. This experiential education programme involves students in years ten and eleven and teachers from different schools and backgrounds to meet and dialogue, question and explore each other’s lives and faiths over six sessions in a year. The researcher used a survey questionnaire and guided interviews with 84 students, 16 teachers, 15 facilitators of the small groups and four regional co-ordinators alongside the general capabilities of the new Australian curriculum and various measures of empathy and intercultural understanding to make this assessment. Results revealed a majority of participants had grown significantly in trust, respect and interreligious understanding of the other and their faith tradition through direct engagement with a peer of a different faith background. The small group dialogues and informal conversations over a meal proved to have greatest impact on participants’ learning. The research also found that experiential interfaith education of this nature developed critical and creative thinking skills, challenged inaccurate stereotypes, increased awareness of one’s own values and faith commitments, improved self-confidence and the social capability to work successfully in religiously and culturally diverse teams. In promoting four of the general capabilities of the Australian curriculum, the research confirmed that experiential interfaith education such as the Building Bridges Programme offers an excellent model for educating new generations of Australians in religion, faith and culture, for them to become competent global citizens and leaders in the twenty-first century.