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Mapping Holistic Learning: An Introductory Guide to Aesthetigrams
introduces the concept of aesthetigrams. These are
participant-produced visual maps of aesthetic engagement. The
map-making strategy was originally developed by one of the authors,
Boyd White, to assist him in understanding what his
university-level students were experiencing as they interacted with
artworks. Such interactions are, after all, private,
individualistic, and fleeting. How can a teacher foster
student/teacher dialogue that might lead to enhanced engagement,
much less do research, without a concrete record of such
engagement? Aesthetigrams provide that record. Recently, the
strategy has been adapted to other fields of study-the teaching of
literature, and philosophy for children, as well as the writing of
poetry. Boyd White and Amelie Lemieux are persuaded that the
strategy could be expanded into other disciplines. For example,
might it not be useful for a teacher to know what a student is
feeling and thinking as she struggles with a mathematical concept?
Mapping Holistic Learning is divided into three sections. Chapter 1
addresses the theoretical framework that underpins the authors'
research. The second section, Chapters 2 to 5, provides examples of
aesthetigram usage within the formal education environment, in art
and literature classrooms. The third section, Chapters 6 and 7,
introduces two recent experiments in informal settings-one in an
adult poetry workshop, the other in a philosophy-for-children
workshop. It is not necessary to follow the book in chronological
order. Readers are invited to attend to the chapters that most
closely address their individual interests.
Mapping Holistic Learning: An Introductory Guide to Aesthetigrams
introduces the concept of aesthetigrams. These are
participant-produced visual maps of aesthetic engagement. The
map-making strategy was originally developed by one of the authors,
Boyd White, to assist him in understanding what his
university-level students were experiencing as they interacted with
artworks. Such interactions are, after all, private,
individualistic, and fleeting. How can a teacher foster
student/teacher dialogue that might lead to enhanced engagement,
much less do research, without a concrete record of such
engagement? Aesthetigrams provide that record. Recently, the
strategy has been adapted to other fields of study-the teaching of
literature, and philosophy for children, as well as the writing of
poetry. Boyd White and Amelie Lemieux are persuaded that the
strategy could be expanded into other disciplines. For example,
might it not be useful for a teacher to know what a student is
feeling and thinking as she struggles with a mathematical concept?
Mapping Holistic Learning is divided into three sections. Chapter 1
addresses the theoretical framework that underpins the authors'
research. The second section, Chapters 2 to 5, provides examples of
aesthetigram usage within the formal education environment, in art
and literature classrooms. The third section, Chapters 6 and 7,
introduces two recent experiments in informal settings-one in an
adult poetry workshop, the other in a philosophy-for-children
workshop. It is not necessary to follow the book in chronological
order. Readers are invited to attend to the chapters that most
closely address their individual interests.
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