Index

Program............................................................................................................................. 4
Workshop sessions..................................................................................................................................5
Paper Sessions........................................................................................................................................ 6

Papers.............................................................................................................................. 10
A Journey Beyond Words with Art as a Compass: Tracing a Way to Understand the Presence of
Silence in Art Therapy........................................................................................................................... 11
Alkyd Oil Paints: Art and Chemistry Transdisciplinarity........................................................................ 12
An Epistemology of Plagues. Cortaderia Selloana: Stories of Resistance in Disturbed Lands...............13
ANIMA-VASHKY. Una investigación que integra la metodología cualitativa y basada en las artes
escénicas...............................................................................................................................................15
Artistic Inquiry in Urban Contexts: Visual Artography and AI Perspectives.......................................... 16
Artistic Research: Processes, Documentation and Registration............................................................17
Arts Based Educational Research in Teacher Training: Leveraging Arts-led Methods and New
Technologies......................................................................................................................................... 18
Arts-Based Research: An Alternative for the Co-construction of Knowledge with Marginated Groups
as a Form of Social Justice. A Systematic Review of Qualitative Studies...............................................20
Artwork Scholarship in Action: Podcasting as Glocal Exchange and Public Pedagogy.......................... 21
Between Artistic and Teaching Practice: Towards a Contemporary Approach to Technique in Art
Education.............................................................................................................................................. 22
"Circles and Squares": Experimental Video as a Way of Narrating Teaching Experiences During the
Pandemic.............................................................................................................................................. 23
Clay Experimentation: from Preschool Classrooms to Early Childhood Teacher Training..................... 24
Clowning as Contemplative Practice: An Arts-based Educational Research Approach.........................26
Co-learning Environments Between Artists and Educators in the University's Initial Teacher Training 27
Contributions of Chinese Female A/R/Tographers to Innovation in Traditional Chinese Decorative
Patterns Visual Art Education and Research in China........................................................................... 29
Cuerpo de aprendizaje. Una experiencia de investigación basada en las artes visuales a través de la
performance......................................................................................................................................... 32
(Des)Aceleração – Relational System Between Coherent Light, Bioactive Molecules, Velocity, Glass,
Photoluminescence, Volume, Surface, Algorithm and Programming, in Continuous Variation........... 33
Designing Critical Robots for the Future: Insights from my Artistic Research Experience in Assistive
Robotics at the Institute of Industrial Robotics (IRI UPC-CSIC)............................................................. 35
El cuerpo integrado: cuerpo, voz y emoción, una mirada desde la neurociéncia................................. 36
E-Studio: The Use of Information and Communication Technologies in the Development of Drawing
Competences in Different Educational Environments.......................................................................... 38
Embrace Photobroidery as a Tool for Hybridizing Narratives. Mexican Conversations With the Textile
Cartographies Project........................................................................................................................... 39
From Heritage to "Heritageble": the Register of Living Culture............................................................40
Genealogies of Theoretic-practice Art Based Research: Agencies From Absence to Presence Within
the Portuguese Academic Contexts...................................................................................................... 41

1
Habits and Desires for Caring Encounters Between Artists and Scientists............................................43
Images and Representations for Entropy..............................................................................................44
Improbable Dialogues. Generating Synergies in Artistic Production.................................................... 45
Intermedial Explorations: Bridging Film and Theater through Artistic Practice and Critical Inquiry.....47
Learning Diaries as a Device for Expanding the Inquiry Possibilities of Arts-based Research...............48
Cultural and Playful Heritage: An Autoethnographic Study of Quilombola Children's Games and their
Impact on Child Development and Education.......................................................................................49
Mapping Diversity Through an Art-based Educational Research.......................................................... 51
Neural Dance with the Dancer, Choreographer and Researcher Libety Martínez................................ 53
(Re)sensing the Embodied Experience of Sculpture: Contributions to the Development of Material
Literacy in the Early Stages of Artistic Research....................................................................................55
Performing Circular Musical Graphics: an Experience of Hybridization in Art...................................... 57
Poetic Transcription as a Methodology of Analysis: the Third Voice.................................................... 58
The Community Art Workshop as a Means to See, Think, and Become Aware of Social Situations.....60
The Concept of Void in Embossing Though Sculpture. An Arts-based Educational Research in
Education.............................................................................................................................................. 61
The Exhibition as a Place for Relationship and Dialogue...................................................................... 63
The Influence of Funk at School............................................................................................................65
The Observers’ Plateaus - Introducing the Impasses of Ecology and Geology through AR...................66
The one Meter Cube of Virus and Three Thousand Years of Solitude, or a Year of Collaborations...... 67
Thinking About Drawing in Comics-based Research: Pondering Recurring Challenges and Promising
Strategies.............................................................................................................................................. 69
To Artist at University: Activating Investigative Processes in Teacher Training..................................... 70
Transits and Genealogies in ABR...........................................................................................................71
Un cuarto de baño propio.....................................................................................................................73
Una travesía más allá de las palabras con el Arte como brújula: trazando un camino para la
comprensión de la presencia del silencio en arteterapia......................................................................74
Unraveling Transdisciplinary Creativities: Ethnographic Insights from a Recyclers Cooperative in La
Matanza (Argentina)............................................................................................................................. 75
Vibrant Matter of Inclusion: Welding the Children's Agency with Arts-based Research Methods....... 77
Visual A/R/Tography and Artificial Intelligence (VA+IA): Renewed Clashes Between Visual Images and
Words in Research Contexts................................................................................................................. 78
Weak in Art........................................................................................................................................... 80

Workshops....................................................................................................................... 82
10372 km de lana: una trama colectiva para pensar las intervenciones site-specific.......................... 83
A Workshop of Peers-An Index of Undutifulness.................................................................................. 85
Becoming-Research.............................................................................................................................. 86
Embodiment and Expressive Movement: an Arts-based Methodology for Interior Design Studies.....88
Feminist Perspectives in AR and ABR: Locating Violence and Creating Lines of Flight......................... 89
No-lugares // Non-places......................................................................................................................91
On Parasite Art - Learning from the Neoliberal? Tools and Strategies of Parasite Art.......................... 92
On the Table: Gestures for Rethinking Hegemonic Modes of Seeing................................................... 93

2
Remixing Medias and Playing With the Camera in ScratchJr................................................................ 95
Taller RIFLESSI: explorando la investigación de ANIMA-VASHKY a través de las Artes Escénicas..........96
The Landscape Is a Monster..................................................................................................................98
The Force of Art to Differentiate – Folding, Unfolding and Refolding Children’s Drawings About the
COVID-19 Pandemic.............................................................................................................................. 99
Training the Teachers: Radical and Kinesthetic Imagination in Artistic and Embodied Methods for
Educational Research.......................................................................................................................... 100
Visualizing Literature...........................................................................................................................102

Posters........................................................................................................................... 104
Affective Encounters from Collage: A Transdisciplinary Inquiry of Parenthood in Prison Contexts.... 105
Artificial Intelligence Applied in the Design of Drop Caps for the 21st Century................................. 106
Artistic Works to Understand the Fuzzy Thinking............................................................................... 108
Exploring Diversity, Language and Identity Through Theatre and A/r/tography................................ 109
From Qualitative Study of an Arts-Based Program to Arts-based Research of Qualitative Experiences:
Process and Realist Evaluation to Explore Components of an Arts-based Program Intervention in an
Acute Care Hospital Setting................................................................................................................ 111
Performing Arts in Motion: Bodily Imagination for Developing the Professional Identity of the Future
Physical Education Teachers................................................................................................................112
Wild Arrows and the Production of Life Affirmation in Art and Education Research......................... 115
Working on Students' Conceptual Images in Primary Classrooms......................................................116

Performances & Installations............................................................................................. 118

Displacements (deslocamentos)......................................................................................................... 119
Full of joy and anger: A clowning and buffoonish rebirth ritual......................................................... 121
Leviathan: Temporary Sculptural Intervention....................................................................................122
Sticky Objects of Note: for a Least Literature......................................................................................122

3
Program
Wednesday 20 November
14:30 - Registration (meanwhile, Performance 1: Displacements. Jéssica Makino, Precy
Anne Gabriel Ferreira, and Fernando Vinhota)
15:30 - Conference opening
16:00 - Round table Arts-based methodologies for educational research (Karo Kunde
(mod.), Anita Sinner, Fernando Hernández-Hernández)
17:30 - Coffee Break
18:00 - Workshops session 1
19:30 - End of day

Thursday 21 November
08:00 - Registration
09:00 - Paper session 1
11:00 - Coffee Break
11:30 - Workshops session 2
13:00 - Lunch break
15:00 - Paper session 2
16:30 - Performance 2: Sticky objects of note: for a least literature. Alexander Brauer
17:00 - Round table: Creando escuela a través del patrimonio y las artes. (Chris Arenas
(mod.), Roser Juanola, Joaquín Roldán, Ricardo Marín)
18:30 - End of day

Friday 22 November
08:00 - Registration
09:00 - Paper session 3
11:00 - Coffee Break
11:30 - Workshop session 3
13:00 - Lunch break
15:00 - Poster session
16:00 - Performance 3: Full of joy and anger: A clowning and buffoonish rebirth ritual.
Melissa Lima Caminha
16:30 - Conference Closing
17:30 - End of day

Saturday 23 November - Post-conference trip

09:30-11:30 First group
11:30-13:30 Second group

4
Workshop sessions

Wednesday 20th of November

18:00-19:30 Workshop 1 Workshop 2 Workshop 3 Workshop 4 Workshop 5

Workshop Embodiment and ​Remixing medias and Taller RIFLESSI: Explorando ​Training the Teachers: On the table: gestures for
session 1 Expressive Movement: an playing with the camera in la Investigación de rethinking hegemonic
Radical and Kinesthetic
Arts-based Methodology ScratchJr. Mariona Niell i ANIMA-VASHKY a través de modes of seeing. Luana
Imagination in Artistic and
for Interior Design Studies. Jordi Freixes Andrade, Marcela
las Artes Escénicas. Carmen Embodied Methods for
Montse Morilla Pedersen, Rosinda Casais,
Gloria Sánchez Duque, and Educational Research.
and Melina Scheuermann
Alicia Arias-Camisón Nicoletta Cappello, Dolors
Cañabate, and Liana Daher

Thursday 21st of November

11:30-13:00 Workshop 6 Workshop 7 Workshop 8 Workshop 9

Workshop On Parasite Art - Learning from the 10372 km de lana: una trama Feminist Perspectives in AR and The Force of Art to Differentiate –
session 2 neoliberal? Tools and strategies of colectiva para pensar las ABR: Locating Violence and Folding, Unfolding and Refolding
parasite art. Jakob Wirth intervenciones site-specific. Creating Lines of Flight. Marina Children’s Drawings about the
Didier, and Isabella Chianca Bessa COVID-19 Pandemic. Annika
Guadalupe Pérez
Ribeiro do Valle Hellman

Friday 22nd of November

11:30-13:00 Workshop 10 Workshop 11 Workshop 12 Workshop 13 Workshop 14

Workshop The landscape is a monster. Visualizing Literature. Karo No-lugares // Non-places. A Workshop of Peers-An Becoming-research. Judit
session 3 Laia Solé Coromina and Kunde, Mariona Masgrau Ángela Barrera García Index of Undutifulness. Onsès Segarra, Estíbaliz
Lluís Solé Salas Juanola, Chris Arenas
Delgado, and Ivet Farrés Elpida Karaba, and Valia Aberasturi Apraiz, and
Cullell Papastamou Míriam Peña Zabala

5
Paper Sessions

Thursday 21st of Novembre

Panel 1 Panel 2 Panel 3 Panel 4

9:00 - 11:00 Engagement and community Embodied experiences and Concepts moving with AR and Critical Thinking
based research artistic production ABR
Paper
session 1
"Circles and squares": Experimental (Re)sensing the embodied Artistic research: processes, Weak in Art. Thalia Hoffman
video as a way of narrating teaching experience of sculpture: documentation and registration.
experiences during the pandemic. Juan Pablo Meneses Gutiérrez
contributions to the development of "Radicality" and Arts-based
Joanna Empain and Estibaliz
Aberasturi Apraiz material literacy in the early stages Research: Some Observations.
A journey beyond words with Art as
of artistic research. Helena Elías Sarah Linford
a compass: tracing a way to
The one meter cube of virus and
understand the presence of silence
three thousand years of solitude, or Improbable dialogues. generating Transits and genealogies in ABR.
a year of collaborations. Francisco in art therapy. Mª Piedad
synergies in artistic production. Judit Onsès Segarra, Fernando
Luis Brandão Teixeira do Rego García-Murga Suárez
Manuel Pérez Valero and Rocío Hernández-Hernández
Lara Osuna
The community art workshop as a Images and representations for
means to see, think, and become "Designing Critical Robots for the
entropy. Jorge Marques and
aware of social situations. Alkyd oil paints: Art and Chemistry Future: Insights from my Artistic
Cláudia Amandi
María-Isabel Moreno-Montoro and transdisciplinarity. Mariano Research Experience in Assistive
Marit Dewhurst Espinosa Robotics at the Institute of
The concept of void in embossing
Industrial Robotics (IRI UPC-CSIC)".
Embrace photobroidery as a tool for through sculpture. An arts-based
Between artistic and teaching Mónica Rikić
hybridizing narratives. Mexican educational research in Education.
practice: towards a contemporary
conversations with the Textile Ana Gerez Gracia and Paloma Palau
Cartographies Project. Martha approach to technique in art
Pellicer
Patricia Espíritu Zavalza education. Mirari Echevarrri

El cuerpo integrado: cuerpo, voz y

Neural dance with the dancer, Clowning as contemplative practice:
choreographer and researcher emoción, una mirada desde la

6
 Libety Martínez. Giselda Emérita An arts-based educational research neurociencia. Solange Durán Elicer
Hernández-Ramírez and María approach. Melissa Lima Caminha
Guadalupe Valladares González

Panel 5 Panel 6 Panel 7 Panel 8

15:00 - 16:30 Methods and processes in AR Children and Cultural Diversity Being-with technology Transdisciplinarity
and ABR
Paper
session 2
Genealogies of theoretic-practice Cultural Playful Heritage: An Visual a/r/tography and artificial Counting the cost: Interdisciplinary
art based research: agencies from Autoethnographic Study of intelligence (VA+IA): renewed perspectives on memory, legacy,
Quilombola Children's Games and clashes between visual images and and reparations in the transatlantic
absence to presence within the
their Impact on Child Development words in research contexts. Ricardo slave trade through a
Portuguese academic contexts. and Education. Valéria da Costa Marín Viadel and Joaquín Roldán research-based artistic project.
Helena Elias, Jorge Marques, and Gomes and Jessica Mami Makino Nuno Coelho
Margarida Alves Artistic Inquiry in Urban Contexts:
The influence of Funk at school. Visual Artography and AI Habits and Desires for Caring
A/r/tography to explore educational Julia de Freitas Rodriguez and Perspectives. Paloma Palau Pellicer Encounters between Artists and
transformations with the Art Jessica Mami Makino Scientists. Mariona Moncunill
Thinking: Innovation in basic artistic E-Studio: The use of information Piñas, Maria Fernanda Moscoso,
education in Greece. Carlota Blasco Vibrant Matter of Inclusion: Welding and communication technologies in and Lúa Coderch
Aguirre, Muntsa Calbó Angrill, and the Children's Agency with the development of drawing
Deborah da Rocha Gaspar Arts-based Research Methods. competences in different Unraveling Transdisciplinary
Montserrat Rifà-Valls educational environments. Bea Creativities: Ethnographic Insights
Learning diaries as a device for Tomsic Amon from a Recyclers Cooperative in La
expanding the inquiry possibilities Matanza (Argentina). María
of arts-based research. Fernando Artwork scholarship in action: Schmukler
Hernández Hernández Podcasting as glocal exchange and
public pedagogy. Anita Sinner, Elly The Observers’ Plateaus -
Poetic transcription as a Yazdanpanah, Samia El Sheikh, and Introducing the impasses of Ecology
methodology of analysis: the third Susana Vargas Megia and Geology through Artistic
voice. Miriam González Álvarez Research. Orlando Vieira Francisco

7
 Friday 22nd of November

Panel 9 Panel 10 Panel 11 Panel 12

9:00 - 11:00 ABER in Teacher Training Cuerpo y proceso en la Intermediality Diversity
investigación basada en las
Paper artes (panel in Spanish)
session 3

Clay experimentation: from ANIMA-VASHKY. Una investigación Performing circular musical An Epistemology of Plagues.
preschool classrooms to early que integra la metodología graphics: an experience of Cortaderia Selloana: Stories of
cualitativa y basada en las artes
childhood teacher training. Maria hybridization in art. Marina Buj. Resistance in Disturbed Lands.
escénicas. Carmen Gloria Sánchez
Avariento Adsuara Duque and Alicia Arias Camisón Gabriela Carvalho
Intermedial Explorations: Bridging
To artist at university: activating Cuerpo de aprendizaje. Una Film and Theater through Artistic Mapping diversity through an
investigative processes in teacher experiencia de investigación basada Practice and Critical Inquiry. María Art-based Educational Research.
training. Lutiere Dalla Valle en las artes visuales a través de la García Vera Noemí Peña-Sánchez
performance. María Martínez
Morales "Co-learning environments between
Arts-Based Educational Research in Un cuarto de baño propio. Paola
Teacher Training: Leveraging artists and educators in the Villanueva
Arts-Based Research: An alternative
arts-led methods and New university's initial teacher training".
for the co-construction of
Technologies. Panagiotis Dafiotis Gemma París-Romia Thinking about drawing in
knowledge with marginalised
comics-based research: pondering
groups as a form of social justice. A
Contributions of Chinese Female (Des)Aceleração – Relational system recurring challenges and promising
Systematic Review of Qualitative strategies. Enrico Beccari
A/R/Tographers to innovation in between coherent light, bioactive
Studies. Constanza Burgos-Santos
traditional Chinese decorative molecules, velocity, glass,
patterns Visual Art Education and photoluminescence, volume,
From heritage to "heritable": the
research in China. Xi Zhu, Melissa register of living culture. Marian surface, algorithm and
Lima Caminha, Judit Onsès Segarra Celeste Martins and Deborah da programming, in continuous
Rocha Gaspar variation. André Rangel

The exhibition as a place for

relationship and dialogue. Estibaliz

8
 Aberasturi-Apraiz, Miriam
Peña-Zabala, Alaitz Sasiain
Camarero-Núñez, and Fernando
Herraiz-García

9
Papers

10
A Journey Beyond Words with Art as a Compass: Tracing a Way to Understand
the Presence of Silence in Art Therapy

Mª Piedad García-Murga Suárez (Department of Languages, Arts and Physical Education, Faculty of
Education - Center for Teacher Training, Complutense University of Madrid) mariapig@ucm.es

This proposal presents the research for the elaboration of a master's thesis in the field of art therapy.
The aim is to approach the understanding of silence in its relationship with art therapy. Expert
knowledge is built thanks to the expertise of art therapists in the Spanish context, with a sample
consisting of 17 professionals. The experience of the researcher herself during her traineeship period
is also considered. After reviewing the literature, only a few studies on the subject were found,
highlighting the need for deepening knowledge to improve professional practice. Qualitative
research is proposed, thanks to its techniques and tools, complemented with others from the
Arts-Based Research. Specifically, artistic creation for the enrichment of the field diary, systematized
practice of response art, and the conduction of focus groups and interviews mediated by
photo-elicitation are implemented. The study reveals that the ability to manage silence in art therapy
sessions improves over time due to the experience, supervision, and personal therapeutic work of
the art therapist. Another relevant finding underlines the relevance of the use of artistic language to
favor reflection and dialogue.

Art is the fundamental language that conveys the practice of professionals in their daily work and
facilitates access to knowledge of the non-verbal order, as well as the verbal. Experience has shown
that art precedes the word and can lead to the emergence of verbal discourse on complex topics.
This reinforces the methodological design employed, incorporating art in the conversation and
throughout the whole process of the study in order to rescue the first-person voices of the experts.
In short, and with special emphasis on those areas in which art is the protagonist and "mother
tongue”, one might wonder about the coherence of the use of different media. In this case, artistic
languages prove to be a key tool for the acquisition, processing, and expression of knowledge in the
academic and professional environment.

Thus, the present study poses questions and offers instances about the intermediary capacity of art
in relation to transdisciplinarity and the promotion of critical thinking. In conclusion, we strongly
advocate for the inclusion of Art-Based Research, as well as its techniques applied to qualitative and
other methodological studies. This will definitely contribute to broadening perspectives in higher
education institutions’ research and professionalizing spheres.

Mª Piedad García-Murga Suárez, English Philologist, Teacher in Early Years Education (Extraordinary
Degree Award), and Master’s in Art Therapy and Art Education for Social Inclusion by the UCM. She
developed most of her professional career in Education and specialized in mental health’s clinical and
psychosocial areas of work during her training in art therapy. Within the framework of a FPU grant,

11
she develops her thesis on silence in art therapy for the intervention with children and adolescents
affected by trauma, linked to the consolidated research group EARTDI’s R&D Project BRUNDIBÁR
(Faculty of Education, UCM). She published El Paladar Perdido, her first collection of poems, in 2011
and keeps cultivating poetry and exploring different artistic disciplines. She exhibited plastic works,
performance and video art in various calls and belongs to the collectives Periferias Poéticas and
Sororidades, with which she creates live and shares her poetry in suburban and rural areas.

Alkyd Oil Paints: Art and Chemistry Transdisciplinarity

Mariano Espinosa (Escuela de Diseño y Artes Visuales LCI Barcelona) espinosa_gonzalez@yahoo.es

One of the main drawbacks of oil paint is that it is slow to dry. In view of this, the question is whether
there is any other kind of paint with the properties of oil colour but with a shorter drying time. The
answer is yes, and takes the form of alkyd oil colours, wich are sold by Winsor & Newton as Griffin
Fast Drying Oil Colour.

Alkyd oils are relatively new, not very well-known by most painters and as yet very few studies have
been carried out on them. That’s why I researched them, examining the composition of Griffin alkyd
oil paints, their main qualities (viscosity, surface sheen, flexibility, texture, opacity, permanence and
drying time —which is their more interesting characteristic—), its practical application in visual art
(media, solvents, painting rules, corrections, glaze, varnish, etc.) and how they can be mixed with
other painting procedures such as traditional oils, acrylic, hot wax and various kinds of tempera (egg,
glue and casein).

But some of the artists who paint with Griffin alkyd oils told me they didn't feel comfortable with the
fact that Griffin paints are sold in very small paint tubes and don’t have a wide color range, so some
of the colours they want to paint with are not available. Besides, just because of its relative novelty,
no pictorial techniques and materials handbook can be found which could show an artist how to
produce his/her own alkyd oils, which indeed does happen with acrylics or traditional oils. That’s why
I decided that the next step in my research should be finding an economic and accessible binder by
means of which artists can produce their own alkyd oils in the amount they need and with the
pigments and colours they choose.

But that kind of research wasn’t easy for a single artist. Soon I realized that I should needed the
advice and collaboration of several chemists: first of all a co-director for my thesis, and then after the
people who helped me with all the laboratory tests I had to do in order to find the proper
formulation for the binder of an alkyd oil. A wide sample of alkyd resins were selected and they were
tested through several laboratory analyses and pictorial tests until a combination of alkyd resin and

12
linseed oil, most perfectly suited to the objective of the research, was found. Once this binder was
found, it has been studied in depth by using it to produce paints with a wide range of pigments, and
explaining both their individual formulation and their characteristics. Finally, a palette with the most
suitable pigments for self-producing alkyd oils has been proposed.

Transdisciplinarity between art and chemistry is not unusual in the field of art restoration. But it’s
much more uncommon in painting. So this is the experience and the process I’d like to share in my
panel.

Mariano Espinosa (Logroño, 1978) is a Fine Arts doctor specialized in painting with his thesis “Las
resinas alquídicas aplicadas a la pintura artística”. He has been part of the consolidated research
group “Pintura, dibuix i gravat versus nous procediments i materials” and has published three
academic papers and the book “La pintura alquídica en el arte contemporáneo”. He is currently a
teacher at LCI Barcelona. As an artist he has exhibited individually in museums, galleries and cultural
centers, highlighting his solo exhibitions at CCCB (Barcelona), Museo de La Rioja (Logroño), Museo
Torreón (Haro), Reial Cercle Artístic (Barcelona), Lab 111 (Amsterdam) and Galería Martínez Glera
(Logroño). He has also exhibited in many group exhibitions and has won several scholarships and
painting awards such Beca de la fundación Güell, premio de pintura Sanvisens in Sitges or Muestra de
Arte Joven en La Rioja, among others.

An Epistemology of Plagues. Cortaderia Selloana: Stories of Resistance in

Disturbed Lands

Gabriela Carvalho (i2ADS - Institute for Arts, Design and Society/ FBAUP - Faculdade de Belas Artes
da Universidade do Porto) mariagabrielacarvalho_2022@gmail.com

The proposed communication is based on a report of the encounter between the researcher Gabriela
Carvalho and the plant Cortaderia Selloana (Pampas Grass) in the Iberian Peninsula, from a
multispecies and decolonial feminist perspective. The field of colonial botany is considered with the
aim of recovering a brief history of the plant's migration in the 19th century – originating from South
America – until it became a pest, officially considered an Invasive Exotic Species in Portugal in the
21st century.

Based on the relationship created between researcher and plant, past-present, as well as studies by
writers such as Donna Haraway (Chthulucene), Anna Tsing (Multiespécies), Grada Kilomba

13
(Plantations), Gloria Anzaldua (La frontera), Maria Galindo (Bastardismo ), Val Flores (Fugitividad),
Yuderkis Espinosa (Decolonial feminism), Françoise Vergés (Decolonizing the museum) and Vandana
Shiva (Monocultures of thought), a possible Epistemology of Plagues is outlined as a path to critical
action in the field of arts and academy.

It comes from the idea that to talk about anti-de-colonialism, feminism, anti-racism, resistance and
activism within institutions (whether spaces or concepts) created under the colonial-capitalist
regime, that is, heteropatriarchal, racist, cisnormative, classist and ableist, It is in itself a
contradictory act. It's acting like a virus, a plague, a fungus that always appears to scream imbalance,
the weed that tears up the concrete, that sprouts in wasteland, in ruin. An Epistemology of Plagues
as a ground to operate, think and act in territories of tension from an inside-against that sows micro
transformations with the potential to corrode the colonial and modern structures that support
institutional logic whether in the field of arts or education, or even personal relationships,
subjectivities, pleasure, affections. An invitation to listen to the bastards, the migrants, the whores,
the fat, the unreasonable. Of the beings that survive, rebel and disturb order and human control,
that cross borders, limits, that resist herbicides, chemical weapons of mind control, that spread
uncontrollably in the smallest possible gap, almost always among the ruins.

This is not about presenting answers, resolutions, manuals or examples. But to “perceive the world”
(Tsing), listen to and relate to beings that for millennials have told us about slow resistance “bajo la
tierra”, about life that escapes from the control of those who want to domesticate, control, violate,
explore and of course, produce scalable profits. Because as the philosopher and activist Ailton Krenak
reminds us, “we cannot surrender to the end-of-the-world narrative that has haunted us, because it
serves to make us giving up on our dreams, and within our dreams are the memories of the Earth
and of our ancestors” (2002, p.37). It is urgent to think, create, dream, imagine a more than human
world, beyond the borders that are delimited by the various manifestations of a decadent regime
that insists on remaining standing on the foundations of colonialism. For these reasons, I intend to
present a personal and affective, and therefore political, narrative, germinated from the relationship
I have been cultivating with plagues.

Gabriela Carvalho is a research member in i2ADS, curator and writer. PhD student in Arts at FBAUP
(FCT research scholarship holder) and is interested in the study of monocultures related to plagues
and weeds in the perspective of the Plantationceno as a means for a critical performance in the field
of arts and science. In 2023, did a research residency at Centro de Investigaciones y Estudios de
Género, at Universidad Nacional Autónoma de México. Master in Arts from Universidade do Estado
de Minas Gerais (2018); Bachelor in Visual Arts from Universidade Federal de Minas Gerais (2012).
Work as curator since 2011, having worked on several projects in independent, commercial and
institutional arts spaces. As writer, published poetry and prose texts in collective publications, as:
“VOLTA para tua terra: uma antologia antirracista/antifascista de poetas estrangeirxs em Portugal”
(2021) and “Epistolária: cartas para a desobediência, a beleza e o fim” (2022).

14
 ANIMA-VASHKY. Una investigación que integra la metodología cualitativa y
basada en las artes escénicas

Carmen Gloria Sánchez-Duque (Universidad de Granada) yoyasanchezd@correo.ugr.es

La tesis doctoral titulada "Las Artes Escénicas como Instrumento para Reflexionar sobre Desigualdad,
Feminismo y Violencia de Género en Educación" representa un estudio innovador que examina el
potencial de las artes escénicas, específicamente el teatro de formas animadas, como medio para
abordar temas críticos de género en el contexto educativo. Este proyecto de investigación cualitativa
adopta un enfoque etnográfico y de estudio de caso para explorar en profundidad la experiencia de
niños y niñas de educación primaria que participan en un proceso creativo titulado "ANIMA".

"ANIMA" es un proceso de creación escénica que busca fomentar la reflexión y el diálogo sobre la
desigualdad, el feminismo y la violencia de género a través de las artes escénicas. Durante este
proceso, los niños y niñas colaboran en la creación de ocho obras de teatro de marionetas utilizando
objetos cotidianos, lo que les permite expresar sus perspectivas y experiencias sobre estos temas de
manera creativa y significativa.

La investigadora principal, Carmen Sánchez-Duque, directora de la Compañía Perrobufo, asume un

papel fundamental en la facilitación y dirección de este proceso. Su experiencia en las artes escénicas
y su compromiso con la igualdad de género proporcionan un marco sólido para la investigación.
Sánchez-Duque no solo supervisa el proceso creativo, sino que también participa activamente en las
discusiones y reflexiones que surgen entre los participantes.

A medida que avanza el proceso creativo de "ANIMA", Sánchez-Duque y su equipo de investigación

comienzan a recopilar datos y observaciones que servirán como base para la subsiguiente
investigación educativa basada en las artes. Este estudio busca comprender en profundidad el
impacto de las artes escénicas en la percepción y comprensión de temas de género por parte de los
niños y niñas participantes.

El cúlmine de este proyecto es la creación de la obra escénica "VASHKY", que recoge y amplía las
ideas y reflexiones generadas por los estudiantes durante el proceso de "ANIMA". "VASHKY" no solo
re-presenta las creaciones artísticas de los niños y niñas, sino que también profundiza en las
temáticas exploradas, abriendo la investigación hacia la búsqueda testimonios de mujeres de
diferentes etnias y comunidades, ofreciendo una representación teatral que invita a la reflexión y el
debate sobre la desigualdad de género, el feminismo y la violencia machista, ahora hacia un público
adulto.

La investigación realizada por Sánchez-Duque junto a su equipo, ofrece una contribución significativa
al campo de la investigación educativa y de las artes escénicas. Al proporcionar un espacio para la
expresión artística y la reflexión crítica, destacando la importancia de la creatividad y la expresión en
la promoción del feminismo y la igualdad de género. Se demuestra en este proyecto el potencial
transformador de las artes escénicas como herramienta para abordar cuestiones sociales complejas y
para promover el cambio social.

15
Carmen Gloria Sánchez-Duque is a Professor at the Faculty of Education at Finis Terrae University. Her
research interests are related to the performing arts and their link with education, training actors and
teachers. He has designed teaching materials to promote pedagogical innovation. In addition, she
has experience in qualitative and arts-based research methods, creating theatrical and audiovisual
pieces together with her Perrobufo Company.

Artistic Inquiry in Urban Contexts: Visual Artography and AI Perspectives

Paloma Palau-Pellicer (Department of Arts Education. Faculty of Humanities and Social Sciences.
University of Jaume I, Castellón) ppalau73@gmail.com

Artography, a methodology in arts-based research, provides a unique perspective for exploring

contemporary themes through artistic expression. The photographs of the Kitsilano neighborhood in
Vancouver have attracted particular interest due to their cultural, social, and architectural relevance.
This summary will examine how Artography can be applied to deepen the understanding of this
urban phenomenon.

Kitsilano, a coastal neighborhood in Vancouver, Canada, is renowned for its architectural and cultural
diversity. The photographs of the houses in this neighborhood offer a glimpse into the history and
evolution of the community over time. Through Artography, these images become powerful tools for
understanding the complexities of contemporary urban life.

An intriguing approach to artistic research is to explore how artificial intelligence (AI) can enhance
our understanding and appreciation of these images from an aesthetic and conceptual perspective.
Through visual analysis, it is possible to identify underlying patterns, narratives, and meanings in
these images. Arts-based research merges artistic methods, providing a theoretical and
methodological framework for exploring photographs. The aesthetic experience intertwines with the
act of walking through the streets of Kitsilano, fostering a rich dialogue between artistic research and
urban experience.

References
Roldán, J., Marín-Viadel, R., Mozavarzadeh, M. Morimoto, K., Irwin, R.L. (Eds.) (2023). Visual
methods, a/r/tography & walking. Métodos visuales, a/r/tografía y caminar. Editorial Tirant
Lo Blanch. Colección plural.
Marín-Viadel R. (2023) Artificial intelligence and art education, greeting (AI+E) = Inteligencia Artificial
y educación artística, saludo (IA+EA). University of Granada.

16
Paloma Palau Pellicer, Associate Professor of Visual Arts Education. Professor at the Department of
Education and Specific Didactics (UJI) Castellón. His line of research is oriented to Educational
Research Based on the Arts, visual arthrography, Artistic Teaching and Learning Methodologies in Art
Education with graphic techniques; analysis and criticism of Fine Arts and gender studies in the
artistic field. He has participated in scientific-artistic events with artistic work in conferences,
biennials and exhibition curators. Stays at the National University of Lanús in Buenos Aires (2008),
Université Paris 3-Sorbonne Nouvelle (2010), University of Granada (2013; 2016; 2024), Concordia
University, Montreal (2017), The University of British Columbia, Vancouver (2022).

Artistic Research: Processes, Documentation and Registration

Juan Pablo Meneses Gutiérrez (Universidad Autónoma de San Luis Potosí, México)
pablo.meneses@uaslp.mx

This presentation approaches a methodology to evaluate processes creatives and the production of
contemporary art. The objective is to show how an artist investigates, from the conception of the
idea to the assembly of a piece of art for the registration of the process within artistic research,
through different devices such as: log, reference sheets and evidence of its process, with the aim of
systematizing the information and generating evaluable products within the academic field.

In contemporary artistic practice the artist not only generates “works of art” he also generates
different products that allow him in some way to sequence and manage the information acquired
and processed during its production. In most cases these products are not taken into account as
research evidence and much less as an alternative to becoming the “work of art” itself, only in some
cases these “products” can acquire artistic qualities and could well be an object ready to be exhibited
(archive art, artist's book, collages, logs, photographic material, etc.).

In the academic field, this model serves, first of all, to obtain evidence of the entire development of
the project, allowing the teacher to evaluate each aspect through evaluation instruments (rubrics);
secondly to demonstrate whether there is congruence between what the students propose in their
written project and in the final work presented; and finally, they serve as reinforcement of the new
learning acquired by the Reflect on artistic research, through a methodology of evaluation of
contemporary art, with the aim of reflecting how the artist, when making a piece of art, investigates.

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Juan Pablo Meneses (Puebla, México 1982). He is a candidate for the National System of Researchers
CONAHCYT. https://orcid.org/0000-0002-6731-9687 He works as a full-time research professor at the
Faculty of Housing at the Autonomous University of San Luis Potosí (UASLP). He studied the Doctorate
in Art, Production and Research (UPV, Valencia) (2012-2016), obtaining the Cum Laude mention. As
an artist he has mounted more than 30 group exhibitions in Mexico, Spain, Argentina, the United
States, England and more than 8 individual exhibitions in Mexico, Serbia and Spain. He has carried
out research stays and artistic residencies in Mexico, Serbia, the United States, Spain, Slovakia and
Austria. He has given conferences and courses at the University of Jaén, the Complutense University
of Madrid, the UAC Center for Visual Arts, the Fotovisión Festival, the University of Corhuila in
Colombia and the Royal and Pontifical University of Chiquisaca in Bolivia.

Arts Based Educational Research in Teacher Training: Leveraging Arts-led

Methods and New Technologies

Panagiotis Dafiotis (Aristotle University of Thessaloniki, Faculty of Fine Arts, School of Visual and
Applied Arts) dafiotis@vis.auth.gr

This presentation outlines the ways in which Arts Based Educational Research (ABER) has informed
the Art Teacher Training program in the Aristotle University (AUTH) School of Visual and Applied Arts
in Thessaloniki, Greece. ABER has been employed during my PhD research at the Institute of
education in London (now part of UCL) resulting in one of the first art-led PhDs in Art Education in
the UK, an experience that now informs my practice as University Lecturer responsible for the
Teaching Training Program that concerns Art Students.

My main concern, based on my own research interest and knowledge, is to enhance a synergy
between the Teacher and the Artist identity as well as the respective ways for fostering learning, and
meaning-making. I present the arts-led methodology employed that invests in the creation of Art
Sketchbooks with a strong personal, autobiographical dimension as part of art students’ hands-on
training in respective methods in art education, as well as other approaches in which their artistic
practices and research converge with their nascent educational research and practice.

The main goal is to build a mentality in which the sensibilities and methodological advancements
gained through the art students’ artistic practice will form the basis for their future arts-based
educational approaches as teaching artists. Moreover, I focus on the ways in which during
postgraduate courses, in two Schools of Fine Arts in Greece, art students explore through their

18
artistic creativity connections between art and pedagogy. In this context and as part of EU-funded
research projects (namely, Come2Art and CREAMS) I present the integration of new technologies and
especially Extended Reality (CREAMS project) as tool for the enhancement of art students creativity
both as a tool for their own advancement and as prospective means for supporting their future
school students’ own creative journeys.

In this specific project (i.e. CREAMS) Art Students are provided with Extended Reality (XR) tools and
applications that enable them to organize art exhibitions that do not only use ICT to show their work
but most importantly exploit the capabilities of XR as fulcrum for generating more meaningful
audience engagement, with the inclusion of digital resources that show their research and artworks
in context through the use of multimodal material. The way the digital tools are developing (as this is
an ongoing project) is deeply informed and inspired by the arts-based often autobiographical visual
narratives explored during the Art Teacher Training that is based on ABER and influenced by
a/r/tography.

Panagiotis Dafiotis. I am a Visual Artist and Art Teacher/Educationalist. My main research interest is
in Arts Based Educational Research (ABER) with emphasis on Art and Design Education. I teach at the
Faculty of Fine Arts. School of Visual and Applied Arts of Aristotle University (AUTH) the subject of Art
Education and I am responsible for the Teacher Training Program of the School. I also teach MA
students at AUTH and the UOWM (Department of Applied and Fine Arts, University of Western
Macedonia), where I focus on ABER. I participate in funded EU research Projects that address uses of
new technologies in the domain of art education as well as social inclusion through arts-based
learning. Last but not least I currently codirect (co-supervise) a Doctoral Thesis of a former MA
student, at the Universitat de Girona that investigates ABER.

19
 Arts-Based Research: An Alternative for the Co-construction of Knowledge
with Marginated Groups as a Form of Social Justice. A Systematic Review of
Qualitative Studies

Constanza Burgos-Santos (Departamento de Antropología Social y Psicología Social, Facultad de

Ciencias Políticas y Sociología, Universidad Complutense de Madrid) coburgos@ucm.es

Historically, there have been two paradigms of Social Research that have based their guidelines for
the generation of 'valid' knowledge: the quantitative paradigm and the qualitative paradigm. In the
field of qualitative research, Arts-Based Research has appeared since the late 1980s as an approach
that allows the incorporation of other knowledge that distances itself from - and complements - the
cognitive and rational, giving way to the body-knowledge (Rolnik, 2019) and the emotions and
affections (Verzero, 2021) of people. This paper aims to answer the question about the contribution
of Arts-Based Research to the visibilisation of the voices and experiences of socially excluded groups
who, at times, seem to be left out of the frameworks of knowledge generation.

A Systematic Reviews based on the PRISMA Protocol (Page et al., 2020) was followed to answer the
question, through which 15 studies were identified in different databases.

The information collected was grouped into four categories: i) social problems that have been
investigated with the approach, ii) social groups that have been the focus of attention, iii) main
approaches that support the understanding of the phenomenon identified in the articles (homeless,
indigenous, feminism, LGBTIQQ+ community, migration, memory, etc.) and iv) artistic techniques
that have been used for the development of the studies. The studies carried out from the Arts-Based
Research approach reveal an important alternative with great potential for linking Social Research
with Intervention, incorporating in its application and development possibilities for unravelling
information that integrally constitutes the people who live a specific experience of vulnerability.

Constanza Burgos-Santos, Social worker interested in artistic methodologies for research and social
intervention. Master in Social Work, Pontificia Universidad Católica de Chile and Master in Education
for Social Justice, Universidad Autónoma de Madrid. Currently I am working on my doctorate thesis in
the Sociology and Anthropology program from the Universidad Complutense de Madrid. I have
worked in vulnerable contexts or at risk of becoming it, specifically with children and young people
who have not finish their studies. I am especially interested in contributing to develop research and
social interventions that take into consideration the integrality of the human being: emotions, body
and mind.

20
 Artwork Scholarship in Action: Podcasting as Glocal Exchange and Public
Pedagogy

Anita Sinner (The University of British Columbia) anita.sinner@ubc.ca

Elly Yazdanpanah (The University of British Columbia)
Samia El Sheikh (Helwan University) samia_alsheikh@fae.helwan.edu.eg
Susana Vargas Mejian (Uniandes, Universidad Regional Autónoma de los Andes)
s.vargas609@uniandes.edu.co

In this paper session, we highlight a transnational collaboration taking place between two groups of
students from Canada and Egypt, who collaborated virtually with the Modern Art Museum of Bogota
(MOMBA) for a media-based exhibition with the theme of diaspora and globalization. We aim to
demonstrate how the creation of podcasts, as an artful rendering of this collaboration, embodies a
form of public pedagogy that promotes democracy, accessibility, diversity, and decolonization of art
education in both theory and practice. In this presentation, we share learning opportunities in which
an exchange of ideas, synchronous and asynchronous communication, a novel approach to
teamwork, and informal social interactions across traditional educational boundaries were formed
and practiced by adopting digital and technological capabilities. Drawing from various perspectives,
including those of students, teachers, we share how living inquiry extends beyond the constraints of
the physical classroom, transforming our typical ‘habit of mind’ in a classroom into a more
experiential, responsive, and improvisational journey where the curriculum, as Aoki claims, becomes
"curricula-as-lived-experience." We discuss the pedagogical potential inherent in the processual
practice of students, which led to the development of podcasts as a showcase of their multimodal
collaboration, encompassing text, photos, chats, and videos, not only as a sonic representation of
their experiences.

Anita Sinner is a professor of art education at The University of British Columbia, Canada. She works
extensively with stories as pedagogic pivots, with an emphasis on creative geographies in education.

Elly Yazdanpanah , is a post-doctoral fellow on a New Frontiers research project, Worlding Art
Education Differently, and she is currently with the University of British Columbia.

Samia El Sheikh, is a professor of art education at Helwan University and an exhibiting textile artist.

21
Between Artistic and Teaching Practice: Towards a Contemporary Approach to
Technique in Art Education

Mirari Echavarri (Public University of Navarre, UPNA) mirari.echavarri@unavarra.es

The technique or techniques have traditionally referred to a set of procedures linked to an artistic
discipline, upon which the artist's skill depended. Therefore, it is not surprising that the teaching and
learning of disciplinary and procedural techniques have had, and still have today, a significant
presence in arts education. However, while the notion of technique has evolved alongside artistic
practice –moving away from its disciplinary-procedural connotation but maintaining its procedural
character–, the field of arts education does not seem to have reached a consensus regarding its use.
The technique appears to be linked to the art of the past, but as contemporary artists in the Basque
context show, defining a personal technique is related to developing strategies to process a series of
materials, whether emotional, biographical, economic, contextual, etc. Therefore, these artists’
understanding of the term "technique" is linked to the practical and processual dimension of the
practice of art and its transmission, which goes beyond the disciplinary and procedural frameworks
to which it has traditionally been linked. From an arts-based approach, in this project, I start from the
hypothesis that artistic technique, as a form of practical research is, in itself, the object of
teaching-learning in arts education. As an ongoing research, it will be necessary to analyze in detail
the work of artist-teachers who handle this notion of technique, with particular emphasis on their
strategies and decision-making process. Understanding, in turn, the links between their teaching
work and their artistic practice, the degree of distance that operates between the two, and the
mechanisms of translation and transfer that intervene between one and the other, will reveal the
specific characteristics of each technique. Understanding the figure of the artist-teacher as an agent
committed to the processual nature of his/her work and, therefore, to the development of his/her
own technique, we can think that this figure will have the capacity to facilitate a similar process in
the classroom, generating the ideal conditions so that it is the process itself, the doing itself, that
teaches.

Mirari Echávarri (Pamplona/Iruñea 1988) is a visual artist and educator. She holds a BA in Fine Arts
from the University of the Basque Country, an MA in Teaching from the University of Barcelona, and
an MA in Gender, Media and Culture from Goldsmiths University of London. She is currently pursuing
a PhD at the Public University of Navarre. Her first short film, ‘Bodies #1 Saint Agatha’ 2017, was
screened at Porto/Post/Doc: Film & Media Festival, Cinespaña in Toulouse, and the International
Short Film Festival Oberhausen, among others. In 2022 she co-directed her second short film with
Irati Gorostidi, which premiered at the International Documentary Film Festival Punto de Vista and
won the AAMA Gender Perspective Award at the Granada Young Filmmakers Festival.

22
 "Circles and Squares": Experimental Video as a Way of Narrating Teaching
Experiences During the Pandemic

Joanna Empain (Departament de Didàctica de l'Expressió Musical, Plàstica i Corporal, Facultat de

Ciències de l'Educació, Universitat Autònoma de Barcelona) joannagenevieve.empain@uab.cat
Estibaliz Aberasturi-Apraiz Estitxu (Departamento de Didáctica de la Expresión Plástica, Corporal y
Musical, Facultad de educación, filosofía y antropología, EHU/UPV) estitxu.aberasturi@ehu.eus

This communication proposal takes as its starting point the teaching innovation project "Disrupting
the classroom space in troubled times: experimenting with arts-based research methods to rethink
learning spaces for educational innovation.", a project carried out with two universities (UAB and
UPV/EHU) between January and October 2020. Initially, we proposed to develop pedagogical
strategies through arts-based research (ABR) oriented to the design and experimentation of spaces,
to explore the relationship between learning and the diversity of spaces in the educational contexts.

The objective was to generate interdisciplinary and inter-university spaces for the creation of
knowledge using arts-based research methods, to reflect on the space as a "stage" to create
relationships, connections/disconnections and make visible significant tensions in relation to
learning, the construction of teacher's identity, representation of childhood and adolescence, power
relations and gender positions, among others. The project was developed at a time of global crisis,
which made more evident the need to "disrupt the university spaces" (Vidiella, 2016) as a way to
experiment this back and forth between inside and outside the classroom, between the public space
(the university) and the private space (home). The confinement and virtuality became an obstacle in
the development of the planned activities, leading us to rethink them. In many cases, teaching has
become a need to comply with the content of each subject, but also to use the virtual classroom
space as a space for care for the students, but where do we fit into this equation? Thus the project
gradually transformed, focusing on our own accounts of how we perceived our teaching practice in
these turbulent and uncertain times. From rehearsing with the notion of space, which we
approached in the classroom from different perspectives and methodologies, and after finishing the
projects in the virtual classroom with our students, we created a series of experimental videos using
the idea of “cadavre exquis”, to give an account of the processes of inquiry of each teaching team.

For this communication, we will dwell on the moment when we as teachers feel overwhelmed and
need to re-connect to share our teaching experiences. We will focus on the potential of experimental
video as a process of reconstructing our teaching experiences and the different pedagogical clues
that emerged from this particular process of teaching experience in times of pandemic. We will share
and discuss the results of this research in which "other" teaching methodologies, learning from
everyday life, and breaking into institutional space-time, were key in a context of health crisis.

Joanna Empain earns a PhD in educational sciences (UAB) and is assistant lecturer in the department
of Didactics of Musical, Plastic and Corporal Expression of the Faculty of Educational Sciences(UAB).

23
Her experience as a video artist has led her to specialize in visual and arts-based research
methodologies. Her research interests focus on the body and space relationship, learning spaces,
diversity and the construction of identity from critical, feminist and visual culture perspectives.

Estibaliz Aberasturi-Apraiz has a degree in Fine Arts (1994) and a PhD in Education Sciences,
pedagogy section (2009) from the University of the Basque Country, UPV/EHU. She has been a
university lecturer and researcher at the Faculty of Education, Philosophy and Anthropology of San
Sebastian, UPV/EHU since 1995. Her research and teaching career is mainly associated with teacher
education, pedagogical innovation and research and learning through the visual arts in educational
contexts. She is currently involved in the research project “TRAY-AP: Learning trajectories of
undergraduate students: conceptions, strategies, technologies, and contexts” funded by the Spanish
Government under the code PID2019-108696RB-I00. 2020-2023, where they work with multimodal
research methods. Principal Researcher at Elkarrikertuz (IT1586-22), a consolidated research group in
the Basque University system.

Clay Experimentation: from Preschool Classrooms to Early Childhood Teacher

Training

Maria Avariento-Adsuara (Universitat Jaume I de Castelló, Departament d'Educació i Didàctiques

Específiques, Àrea Didàctica de l'Expressió Plàstica) mavarien@uji.es

This project focuses on using arts-based research methodologies, specifically visual artography, to
develop artistic proposals in the preschool classroom of an educational center in Castelló de la Plana.
The subsequent objective is to transfer this experience to the "Artistic Ceramics Workshop" course of
the Early Childhood Education degree at the Universitat Jaume I. This will allow for a comprehensive
understanding of the possibilities for clay experimentation in children aged 3, 4, and 5 years.

Within the framework of an Educational Innovation Project (PIE), this initiative promotes direct
contact with preschool students, involving the practical application of abstract ideas and contributing
to the creation of concrete materials for future classrooms of teachers in training. This practical and
participatory approach enriches the learning experience of students and provides them with a
deeper understanding of how to apply artistic practices in real teaching environments. Furthermore,
it strengthens their connection with the possibilities of art education, enabling them to effectively
integrate what they have learned in the classroom into their future teaching endeavors.

Experimentation with materials such as clay is closely linked to manipulation, and a deep
understanding of the material is required to design effective proposals that promote learning. In this

24
context, visual artography (Irwin, 2008), a research methodology that combines the roles of teacher,
artist skilled in the technique, and researcher, is employed. Visual artography focuses on this
approach, where artistic pieces are conceived that integrate curriculum content, allowing for both
teaching and research in the field of art education. This multidisciplinary and practical approach
enhances a deeper and more meaningful understanding of artistic concepts and provides valuable
opportunities for pedagogical innovation and creative exploration in the classroom.

Additionally, the use of arts-based teaching methodologies strengthens the connection between the
artist and the project content developed by students, as reference works are used for each artistic
action. Thus, a deeper study of these works of art is carried out, as the strategies used in the
proposal "are artistic forms and processes translated into pedagogical conceptual structures" (Rubio,
2018), since artistic processes are applied to teach art education. In the case of the proposals made,
the reference works are mainly pictorial and sculptural and are not made with clay, which is the
material used in the classrooms.

Creating artistic works in the classroom using the same material, such as clay, allows for a complete
exploration of the possibilities it offers. Dry material is used as a drawing tool, wet clay is used for
classical modeling, including firing the pieces to create ceramics, and finally, liquid clay, or slip, is
used as if it were fluid paint. Understanding the material, so closely connected to nature like clay, and
experimenting with it in its three states, has allowed students to deeply understand how to interact
with it and complement their understanding of the environment with the artistic actions carried out.
It has also enhanced learning about the 'Artistic Ceramics Workshop' for future teachers.

Maria Avariento Adsuara is an adjunct professor in the Didactics of Plastic Expression area at the
Jaume I University of Castelló de la Plana. She teaches in the Bachelor's degree program for Early
Childhood and Primary Education and in the Master's program for specialized teacher training in
drawing. With a PhD in Education and a degree in Fine Arts, she is a member of RAVE (Research
Group in Visual Art Education) and ARDID (Educational Innovation Group in Visual Arts and
Didactics). Her research focuses on artistic research methodologies with an artographic approach,
with connections to gender studies in the artistic field. She collaborates on research projects and has
contributed to training sessions, publications, exhibitions, conferences, and exhibition curating.

25
 Clowning as Contemplative Practice: An Arts-based Educational Research
Approach

Melissa Lima Caminha (ERAM University School of the Arts, UdG) melcaminha@gmail.com

This paper aims to share my experience as a clown teacher and researcher during the last six years at
the ERAM University School of the Arts, University of Girona, especially the academic course
2023-2024. This is so because the circus and clowning subject expanded from three to six credits the
last course, bringing the possibility for both students and teacher to explore and go deep into
clowning techniques. The main goal of this project was to apply and consider contemplative
practices as a tool to understand, live, access and share the creative processes in and beyond the
classes. The opportunity to investigate clowning as a contemplative practice arose inside the
teaching innovation group Per/Forma, a branch of ERASMCI research group. Having observed and
diagnosed the increasing rate of mental health problems in students, the group decided to research
and apply different contemplative practices in different school subjects, hoping to find new and
innovative ways to improve students and teachers’ mental health and well being in and outside of
the university.

First evaluations of this project indicates students’ great pleasure and satisfaction in clowning,
addressing the safe space created among all in the group, far from talent judgment and professional
pressure to be productive for the cultural market. Since clowning involves a deep contemplation of
self and relations, it fosters knowledge and deep observation of one and others’ stage actions and
presence. Failure, mistake and vulnerability are welcome and warm qualities to embrace. Qualities
that, mediated by laughter, can surprisingly foster alchemy of emotions, generating self-confidence in
one’s creative capacities. These clowntemplations’ experiences can eventually function as caring
practices, through which students and teacher feel and support each other in our vulnerable creative
processes of self-contemplation, self-transformation and collective affection. This communication
will make use of theory and the sharing of my personal creative practices as a clown teacher inspired
by my students’ clown characters and their respective sketches. Keywords: clowning, laughter,
contemplative practices, mental health, ABER

Melissa Lima Caminha, Melissa is a female clown, art educator, mother and researcher in Performing
Arts, Arts and Education, Cultural Studies, Gender Studies, Media Studies, Cultural Rights, Cultural
Policies and (Post)&Qualitative Research. She is especially interested in artistic research and
arts-based research. BA in Performing Arts from the Federal Center for Technological Education of
Ceará, Brazil (2006). MA and PhD in Arts and Education from the University of Barcelona (2016).
Teacher accredited by AQU and ANECA. In her trajectory as a clown artist and researcher, she
received several awards and prizes, such as the Carequinha FUNARTE / Petrobras Award for Circus
Support in Brazil, to carry out the field work of the doctoral research "Female Clowns: Herstories,
bodies and forms of comic representation from a gender perspective” (2011) and to develop the
“Cunt Clown Show” (2014).

26
 Co-learning Environments Between Artists and Educators in the University's
Initial Teacher Training

Gemma París-Romia (Didàctica Expressió musical, plàstica i corporal. Facultat de Ciències Educació.
Universitat Autònoma de Barcelona) gemma.paris@uab.cat
Sílvia Blanch-Gelabert (Department of Basic, Developmental and Educational Psychology. Faculty of
Education Sciences of the UAB) silvia.blanch@uab.cat
Anna Ciraso-Calí (Department of Applied Pedagogy. Faculty of Education. Universitat Autònoma
Barcelona) anna.ciraso@uab.cat

Understanding the interstice as a small empty space between two bodies or between parts of a body,
we take the name as a metaphor for the closeness we wish to foster between teachers and artists, in
order to design educational spaces where artistic thinking is rigorously present.

The Interstice project, Encounters between artists, children, and educators (Erasmus+), has been led
by the Faculty of Education at the Universitat Autònoma de Barcelona, in collaboration with
European universities and cultural institutions, to create a common ground between education and
art, incorporating artistic thinking into schools and, above all, into initial teacher training through the
collaboration of professional artists in performing and visual arts. The aim is for future teachers to
incorporate artistic research strategies into learning processes as soon as possible. Throughout the
project, we have situated artistic experiences in the everyday context of education, so that all
students can develop their learning in creative and stimulating educational settings. If future
teachers in their initial training encounter professional artists who help them understand art as a
space of knowledge and as a necessary area for the proper development of children, these teachers
will be able to incorporate the arts into educational contexts.

The ultimate goal is to enhance education - not just artistic education - by placing the processes of
artistic, poetic, and philosophical thinking of children and young people at the center of formal
educational environments, understanding them as modes of knowledge production, and
repositioning the arts within educational institutions not as a complementary part of education, but
at the core of learning processes and relationships among children, young people, and adults.

The project seeks to create spaces of interstice between the minds of children, young people, artists,
and teachers, to weave a network of collaboration that allows for the creation of shared learning
environments, understanding the human being as a relational being (Garcés, 2013), and
contemporary art as a relational space in itself (Borriaud, 2002) that can help create more creative
educational settings, recognizing that creativity is a natural part of the human being and that
therefore, the articulation forms used in art should be integrated into all educational processes
(Camnitzer, 2018).

The presentation will showcase collaborative learning processes carried out during training sessions
with the participation of artist Rosa Llop, a resident of Hangar and the espai c project. Artistes
residents a escoles de primaria, and performing artist Helena Cabo, a mediator at the laSala de

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Sabadell creation center, with students and teachers from the Primary Education and Early Childhood
Education degrees at the Universitat Autònoma de Barcelona.

Gemma París-Romia, Artist and Associate Professor of Artistic Education at the Universitat Autònoma
de Barcelona, Dr. París holds a PhD in Fine Arts from the University of Barcelona. She is deeply
involved in a diverse research and educational initiatives aimed at advancing excellence in arts-based
education, fostering collaborations among educational institutions, cultural entities, and artists.
Notable among her projects are espai c (ICUB; Consorci Educació and UAB), Interstice: Encounters
between artists, children, and educators (Erasmus+), and Sojornar (Centre Arts Santa Mònica,
Barcelona). Her current research interests encompass the intersections of art and education,
creativity, research methodologies in art, and the development of artistic research as a distinct field.
Dr. París has been recognized with competitive research grants, enabling her to undertake research
and teaching assignments at esteemed international universities. In the realm of artistic research, she
has participated in various artist residencies in Argentina, Paris, London, and Mexico. She has
obtained painting prizes, and has exhibited super work in different museums, galleries and art centers
in different countries.

Sílvia Blanch-Gelabert, Degree in Clinical Psychology. Dr. in Educational Psychology. Teacher of the
Degree in Early Childhood Education, Faculty of Education Sciences of the UAB. Co-coordinator of the
UAB ERIFE Research Team Founding member of BES (Barcelona Espai Supervision), ICE UAB (Member
of the Early Childhood Education and Families program, PEIF)Member of SINTE (Interuniversity
Research Seminar on Teaching and Learning Strategies), Country Coordinator for EECERA (European
Early Childhood Education Association), SIG convener of the Family SIG of EECERA (European Early
Childhood Education Association). Co-coordinator of the Walters Klower Children's and Primary
publication. Member of the Catalan Family Observatory of the Department of Work, Social Affairs
and Families. Co-coordinator with Gemma París of Interstice project (Erasmus+)

Anna Ciraso-Calí, Anna has a degree on Educational Sciences (Università degli Studi di Padova, Italia),
is a pedagogue (UAB) and has a master degree in methods of behavioral sciences (UNED, UAM,
UCM). She is a doctor, UAB. She has professional experience in non-formal education, especially in
environmental education, expressive workshops, and as a professional educator in supporting pupil
and families. Currently, she works as a researcher at the Department of Theories of Education and
Social Pedagogy at the UAB; and as a professor at the Department of Research and Diagnosis
Method at the University of Barcelona. She is also developing her PhD on learning patterns, among
VET students. As a researcher, she has participated in research projects on transfer evaluation,
teacher training, VET, and youth empowerment. She is a member of the Interdisciplinary Group on
Educational Policies (GIPE-IGEP).

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Contributions of Chinese Female A/R/Tographers to Innovation in Traditional
Chinese Decorative Patterns Visual Art Education and Research in China

Xi Zhu (PhD researcher, Faculty of Education, University of Girona) xi.zhu@campus.eram.cat

Melissa Lima Caminha (Escola Universitària ERAM, centre adscrit a UdG)
melissa.lima@cadscrits.udg.edu
Judit Onsès Segarra (Professora Lectora Serra Húnter. Departament de Didàctiques Específiques
Facultat d'Educació i Psicologia, Universitat de Girona) judit.onses@udg.edu

The project aims to investigate the contribution of women to Chinese art education, especially in
decorative patterns. From my own experience as a female artist and teacher, I wanted to explore
contemporary research methodology from a post-human perspective. The A/R/tography
methodology has also been used to examine traditional Chinese decorative arts education. The study
aims to shed light on the often overlooked role of women in art education in China, especially in the
context of decorative patterns. Several prominent female educators and researchers in traditional
motifs have made many contributions to the field. But since women have been marginalized in this
field based on gender, there have been attempts to bring their contributions to the forefront of
research. With their unique perspectives and innovative approaches, contemporary female artists in
the art of motifs have explored the contemporary value of traditional decorative art motifs, breaking
through traditional gender roles and aesthetic boundaries and injecting new contemporary
connotations into traditional decorative art.

On the other hand, with the development of artificial intelligence, there are new challenges for art
education. This research takes a post-human perspective and goes beyond the traditional
human-centric approach to research. It examines how new media, digital technology, and ecological
thinking affect the production and perception of traditional decorative patterns and explores how
the humanities, art, and digital technology interact and co-create in the process of art education. At
the same time, the introduction of the A/R/Tography methodology into the classroom through the
lens of female artists will prompt students to develop a deeper understanding of the historical,
cultural, and artistic characteristics of traditional decorative patterns. For example, classes teach how
to draw traditional patterns and the historical and cultural meaning of images and exhibit
contemporary pattern art by female artists to stimulate students' creative thinking. Finally, digital
pattern artworks are generated through digital technology software such as AI, Touch Design, AE,
Mid-Journey, etc.

This paper presents a definition of research that aims to explore the contribution of Chinese women
to art education. First, it explores the current situation, development, and challenges of changing art
education in China. Contributions of female educators to art education in China, especially higher art
education in decorative motifs. “Arts-based research (ABR) involves adapting the tenets of the
creative arts to social research projects. ABR values aesthetic understanding, evocation, and
provocation.” (Leavy, 2015, 2017). Applications of the ABR methodology to art education in China.
Contributions of Chinese female visual artists, educators, and researchers to art education. Second,
examples of A/R/Tography for Chinese women in Chinese art education are presented. Finally, the

29
paper reviews current reforms and explorations in art education in China and discusses the
development and utilization of post-human perspectives in the art education field in recent years.
This study aims to shed light on the often-neglected role of women in art education in China, as well
as the weakness and neglect of the art education sector in Chinese society from a feminist
perspective.

Zhu Xi, is currently a doctoral student in art education at Girona University. Previously, she served as
a Visual Communication Design teacher at Sichuan Aerospace Academy in China. She is interested in
artistic research, cultural Studies, gender studies, and arts-based research. She is deeply passionate
about visual arts education and traditional Chinese pattern art, with a particular focus on
reinterpreting traditional patterns from a female perspective. Her research focuses on the application
of traditional patterns from western China in clothing, pattern design, and decorative painting.
Leveraging digital technology, she continually explores new possibilities in traditional pattern design
and has successfully published a calendar book on early Chinese bronze pattern symbols.

Melissa Lima Caminha, She is a female clown, art educator, mother, and researcher in performing
arts, arts and education, cultural studies, gender studies, media studies, cultural rights, cultural
policies, and post-qualitative research. She is especially interested in artistic research and arts-based
research.

Judit Onsès Segarra Lecturer Serra Húnter is in the Department of Specific Teaching. Head of the
Plastic Expression Didactics area. I am a member of the GREPAI research group. Coordinator of the
European Research Network in Arts and Education NW29. Research on Arts Education, European
Educational Research Association (EERA). I am a member of the university research and educational
innovation network REUNI+D. Experience in artistic-educational projects with communities and
training for active teachers. His lines of research are: research (post-qualitative) based on the arts;
artistic strategies in education; design of educational spaces; teaching innovation through the arts;
and artistic projects for social transformation.

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 Counting the Cost: Interdisciplinary Perspectives on Memory, Legacy, and
Reparations in the Transatlantic Slave Trade Through a Research-based
Artistic Project

Nuno Coelho (University of Coimbra, Center for Interdisciplinary Studies (CEIS20), Department of
Architecture, DARQ) ncoelho@dei.uc.pt

There has been a growing interest in the history of slavery and the transatlantic slave trade among
art historians, curators, and artists, which goes hand in hand with the growth of scientific studies by
academics from other fields of knowledge, as well as societal movements calling for policies to
memorialise and reparations in contemporary times of the legacy of these two cruel and inhumane
historical phenomena. The scientific and artistic research project "Joaquim - The Count of Ferreira
and his legacy" analysed the life and work of Joaquim Ferreira dos Santos and his legacy in
contemporary times. Joaquim Ferreira dos Santos (Porto, 1782) rose from humble origins to amass
extraordinary wealth through the transatlantic trade of enslaved people to Brazil. Returning to
Portugal in 1832, he invested in businesses and funded liberalism, which granted him the title of
Count of Ferreira. After his death in 1866, his will allocated funds for social projects, including the
construction of the first hospital for mental health in Portugal (Count of Ferreira Hospital) and the
first primary school network in the country (120 Count of Ferreira Schools). However, the origin of his
fortune is generally unknown to the society from which it still benefits. By referring to this historical
figure by his first name, symbolically dethroning him from his pedestal and stripping him of his title,
this project aimed to question and problematise this man, his legacy, and what they both represent
today, by calling on professionals from History, Sociology, Visual and Performing Arts, Architecture,
and Design. The results were an interdisciplinary colloquium; a research-based artistic exhibition
complemented by a parallel programme (guided tours, debates, a film screening, and a
performance); and a book. The project attempted to create space for an urgent and necessary
collective reflection about the past and present of Portuguese society. This paper presents and
analyses the results of this interdisciplinary project and how the methodologies developed could be
replicated in other contexts, encouraging transnational debates on the subject.

Nuno Coelho (Univ. Coimbra, CEIS20, DARQ) is a Porto-based Portuguese communication designer,
artist, and curator. He is an assistant professor of the Department of Architecture (DARQ) and an
integrated researcher at the Centre for Interdisciplinary Studies (CEIS20) of the University of Coimbra.
He holds a PhD in Contemporary Art (Univ Coimbra); a master's in Design and Graphic Production
(Univ Barcelona); and a degree in Communication Design and Graphic Art (Univ Porto). He has
developed self-initiated research-based projects on the intersection between design and art on social
and political issues. As a design researcher, he is interested in history, material culture, heritage,
digital humanities, science communication, and visual semiotics and representation. He has been
working on topics related to identity and memory by exploring the politics of image-making and the
archives of historic Portuguese trademarks and institutions. He has curated and coordinated
exhibitions and public programs. He has two books published and has edited two others.

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 Cuerpo de aprendizaje. Una experiencia de investigación basada en las artes
visuales a través de la performance

María Martínez Morales (Departamento de Didáctica de la Expresión Musical, Plástica y Corporal.

Facultad de CC de la Educación. Universidad de Granada) mariamartinez@ugr.es

El presente trabajo explora procesos de creación basados en la performance como forma de

aprendizaje artístico a partir de una experiencia de investigación basada en las artes visuales
desarrollada en el Grado de Educación Primaria de la Universidad de Granada. Para ello, trabajamos
el estudio de prácticas que ponen la atención en el cuerpo como materia de creación artística, obras
que inician el paso de lo objetual a la acción o creación de situaciones a través de las cuales
proyectamos nuestra sensibilidad para ofrecer modos de hacer y de relación con el mundo. Nos
adentramos en procesos de creación artística a partir de una exploración del espacio, el cuerpo y el
tiempo como elementos fundamentales en el estudio de la performance. Un trabajo que indaga en
modos de producción propios del lenguaje performativo en combinación con otras prácticas que
abarcan la creación artística. Esta cuestión híbrida resuena en la forma cambiante y en perpetua
experimentación que nos ofrece el arte contemporáneo. Para ello, la propuesta profundiza en el
proceso de creación desde la aplicación de la teoría de estética modal que nos ofrece Jordi
Claramonte con el estudio de estratos, valores y categorías estéticas para entender la obra en su
complejidad, lo que vendría a situarnos en el plano ontológico, epistemológico y axiológico
(Claramonte, 2021). Así, con la presente propuesta trabajamos en el estudio de creación de una
performance desde la comprensión de los elementos que la constituyen.

Con ello, presentamos la performance como un instrumento de investigación, creación y aprendizaje

artístico, como invitación a pensar-hacer para tramar nuevos modos de relación que cambian nuestra
experiencia del mundo. La performance como instrumento de investigación artística en educación se
enmarca en el ámbito de las investigaciones educativas basadas en las artes, lo que nos permite
encontrar resultados basados en la estética a través de la acción como método de investigación, para
revelar y ampliar respuestas en educación que derivan de cuestiones que solo las artes son capaces
de mostrar (Roldán y Marín-Viadel, 2012). Por otro lado, la performance como instrumento de
creación artística hace alusión a obras que toman el cuerpo como materia, así, el cuerpo aparece
como concepto y forma estética en el trabajo. Para ello, nos aproximamos al estudio de obras de
artistas que abordan la performance como instrumento de investigación artística o forma de
conocimiento y relación con el mundo contemporáneo. La performance como instrumento de
aprendizaje artístico o método de conocimiento en la enseñanza del arte reflexiona sobre cuestiones
educativas a partir a partir de estructuras conceptuales basadas en el lenguaje de la performance,
desde la creación y desarrollo de estrategias educativas, reflexiones y formas metodológicas en la
enseñanza del arte (Rubio-Fernández, 2018). Nos acercamos así a la performance desde una mirada
comprometida, un planteamiento que nos coloca en un lugar de responsabilidad y cuidado con el
entorno. La performance se expande así, hasta alcanzar su dimensión política con el fin traspasar
nuestros cuerpos y transformarnos, ampliando nuestra práctica y comprensión del mundo.

32
María Martínez Morales (Alcaudete, Jaén; 1982). Investigadora, artista y docente en el Área de
Didáctica de la Expresión Plástica de la Universidad de Granada. Mis intereses de investigación son el
estudio de la performance como instrumento de investigación, creación y aprendizaje artístico, la
a/r/tografía y la Investigación Basada en las Artes Visuales.

(Des)Aceleração – Relational System Between Coherent Light, Bioactive

Molecules, Velocity, Glass, Photoluminescence, Volume, Surface, Algorithm
and Programming, in Continuous Variation

André Rangel (Faculdade de Belas Artes da Universidade do Porto) arangel@fba.up.pt

(Des)Aceleração is the outcome of a residency in which a dynamic intermedia system was created,
articulating knowledge from a spectrum of activities and configuring conditions for a spatial, optical
and chromatic experience.

The movement of the light beam, controlled by computer, combined with the idiosyncrasies of the
glasses, and their heterogeneity, and of the colloids, produces indeterminable phenomena of
projection, reflection, refraction and dispersion of light. In this system, coherent light ceases to be
coherent. The laser beam is not used as a stylus but produces an imagetic experience that results
from the coincidence of the predicted and determined with the unforeseen and indeterminate, of
order with chaos.

My artistic work operates hybrid processes of thought and action, determined by the constraints and
affordances that constitute the diverse ecosystems in which I find myself at any moment. Driven by
the intrinsic motivation of elaborating interchangeable questions and answers, I am guided by my
curiosity for the unknown, uncertainty and serendipity — I don’t know my work until I make it, I
don’t know its aesthetic power until I present it.

I create artistic experiences that are open and autopoietic systems. In their processing, as a human, I
am just a resource, one of its means. I move in and with these systems in constant iteration between
subject and object states, organizing and reorganizing the organism-system and my own organism.
These are dynamic intermedia fusion systems in which I invariably resort to computer programming
as a syntax that integrates the means used. This syntax manifests itself not only as an active form of
transmutation and as a language of action that gives activity and autonomy to artistic hybrid systems
of living and non-living beings — mechanical, electronic or computerized.

33
The hybrid and fluid procedural nature of the intermedia systems thus created is generated in
experimental pro- cesses and methodologies, where artistic and scientific experimentation go hand
in hand given that artistic research, such as the one I developed in this residency, is composed of
experimental, laboratory, transformative, synthetic and subversive acts.

In (Des)Aceleração I transform and subvert the original function of media, creating new thoughts,
ideas and functions for already existing media: riboflavin, with a biological function in living
organisms, functions as a light and energy modulator; the petri dishes that, in microbiology
laboratories, isolate growing bacteria, serve as a glass, a reflector and refractor of light, and as a
“pixel”; the vertical exhibition plinths of the exhibition room were laid down and composed in a
single volume, functioning as a horizontal base that justified the alignment of the petri dishes; the
exhibition room became part of the exposed object itself; or the audio interface that become the
laser interface.

Like a scientist, I apply methodologies and test hypotheses. The means, questions and inherent
answers that constitute my artistic research are actually and virtually available. I act by operating a
selective, transformative and relational articulation process, which leads to the emergence of the
new. In (Des)aceleração, as in my other work, I conjure up materializations that make the answers
tangible, actualising the questions that motivate my creative process.

Video documentation of the work: https://youtu.be/HWCHSqlbg8w?si=TqWotHNym4buvq9S

More information about the work: https://www.researchcatalogue.net/view/2064815/2064816

André Rangel (1971), artist and designer, founder and art director of 3kta studio. His thought and
practice explores the thresholds and permeability between art, design and computational
technologies. He has been developing and disseminating knowledge and skills inherent to the process
of making and experiencing intermedia, interactive and multi-sensory artworks. Professor at
Faculdade de Belas Artes da Universidade do Porto; Integrated researcher at i2ADS – Research
Institute in Art, Design and Society ; PhD in Science and Technology of Arts, Master in Digital Arts and
holds a Degree in Communication Design; Co-Organiser and Co-Founder of xCoAx - International
Conference in Computing, Communication, Aesthetics and X.

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 Designing Critical Robots for the Future: Insights from my Artistic Research
Experience in Assistive Robotics at the Institute of Industrial Robotics (IRI
UPC-CSIC)

Mónica Rikić (Universitat Oberta de Catalunya) mrikic@uoc.edu

This paper presents a critical analysis of 'Somoure', an artistic research project developed in 2024
during an S+T+ARTS art residency program founded by the European Union, with a specific focus on
enhancing the social acceptance of assistive robotics. The primary aim of this research was to explore
innovative approaches for integrating robots into healthcare systems to promote the independence
of patients requiring assistance, while also addressing ethical concerns associated with patient-robot
interactions through interdisciplinary research. The project was conducted in collaboration with the
Institute of Industrial Robotics (IRI) at CSIC-UPC Laboratory in Barcelona.

The research methodology involved artistic experimentations to create a physical expressive layer for
robot performance, departing from traditional conventional approaches while still achieving them.
Perspectives from various caregiving social agents, including historical care traditions and
implications of task delegation to technology, informed the design process. The ultimate goal was to
develop an artistic and experimental DIY replica—crafted independently by the author—of an
assistive robot from the IRI Lab named Nyam: a platform designed to aid in feeding individuals
unable to feed themselves. This replica was intended to be modified and intervened through its
production processes, software and hardware architecture, materials, and movements reflecting
diverse critical and perspectives that involve assistive robotics.

The study embraced a co-design and co-creation methodology, collaborating with hardware
engineers involved in developing the Nyam within the lab. Focus groups comprising arts and
humanities specialists, domestic labor unions of migrant women that work in caregiving jobs, and
engineers contributed with valuable insights shaping the platform's development across code
architecture, materials, shape, and behavior.

The author's hands-on engagement in "handcrafting" the Nyam platform underscored the
transformative potential of presenting the robot creation process into a caregiving process itself,
attending to maker and hacker culture strategies. This highlights the significance of user involvement
in the production of technology as a valid way for addressing critical social issues.

The resulting artistic work serves as an interactive documentary artifact, illustrating the
multidimensional research journey. Supplementary documentation includes video recordings, audio
clips, failed prototypes, and an open-source tutorial for robot reproduction. These narratives convey
reflections related to caregiving, technology, and perspectives on 'human' and 'non-human' entities,
approached from queer, feminist, and anti-racist viewpoints.

This paper contributes insights into the intersection of critical robotics, artistic research, and social
imaginaries in assistive robotics through interdisciplinary collaboration. The author's experiential
account provides valuable reflections on navigating social challenges in developing innovative

35
technologies for intimate caregiving contexts. It serves as a critical study about the problems
encountered when an artist enters a technological research lab, dealing with prejudices regarding
what art can contribute and its place within research, often seen as addressing peripheral aspects
rather than the core research concerns. Additionally, it presents a proposal based on this experience
for employing diverse interdisciplinary design strategies to make various research aspects relevant
across disciplines—an often complex undertaking in interdisciplinary settings - to promote successful
experiences in those scenarios

Mónica Rikić (Barcelona 1986) Electronic artist. National Culture Award of Catalonia 2021. Graduate
in Fine Arts (UB). Master in Digital Arts (UPF). Master in Philosophy (UOC). Network and Information
Technologies (UOC) doctoral student. She focuses her practice on creative coding and electronics,
combining them with non-digital objects to create interactive projects, robotic installations, and
handcrafted electronic devices. She has participated in international festivals such as Ars Electronica
in Linz, Creative Tech Week in New York, Robotronica in Austalia or FILE in Brazil, among others, and
has exhibited at local institutions such as the CCCB, Arts Santa Mónica, CaixaForum or Disseny Hub.
She has been awarded a Leonardo scholarship from the BBVA Foundation, the Japan Media Arts
Festival, AMAZE Berlin or the Margaret Guthman Musical Instrument Competition (Atlanta). She has
completed residencies in numerous international programs. Her pieces are part of collections such as
the .NewArt {foundation;} or DKV Collection.

El cuerpo integrado: cuerpo, voz y emoción, una mirada desde la neurociéncia

Solange Durán Elicer (Universidad de Playa Ancha, Chily)

Desde la perspectiva de la neurociencia, se explora la interacción entre el cuerpo, la voz y dejando en

evidencia la profunda interconexión entre estos tres elementos en la experiencia humana. A través
de un análisis integral, se constata que las emociones no solo se experimentan en el ámbito
psicológico, sino que también se reflejan físicamente en el cuerpo y se expresan a través de la voz.

Desde un enfoque neurocientífico, las emociones son procesos biológicos que provocan no sólo la
activación de estructuras cerebrales específicas, sino que generan también respuestas fisiológicas en

36
todo el cuerpo. La voz, una manifestación externa de estos procesos internos, se presenta como un
vehículo esencial para la expresión emocional.

La ponencia resalta que el cerebro, al procesar emociones, activa una serie de circuitos que influyen
directamente en el sistema muscular, respiratorio y vocal, lo que genera variaciones en la calidad y
tono de la voz.

Asimismo, se abordan las repercusiones de esta integración corporal en diversos campos creativos: el
teatro, la danza, la educación y la comunicación en general. Se incluye un énfasis especial que
permite comprender cómo las emociones, el cuerpo y la voz se interrelacionan generando nuevos
espacios para mejorar la comprensión del propio actor/actriz, los personajes o el intercambio de
enseñanza aprendizaje, así como para fortalecer la conexión entre los diálogos escénicos y las
personas. La ponencia concluye que la neurociencia ha proporcionado herramientas clave para avalar
y entender como el método de inducción emocional Alba Emoting, desarrollado en Chile en la
década de los 70 por un equipo de investigadores interdisciplinarios (nerofisiólogos, actores y
psicólogos) abordaron el conocimiento y manejo del fenómeno emocional y su importancia en el
desarrollo y aprendizaje de las artes escénicas y el bienestar emocional y físico del ser humano,
promoviendo una visión más holística del cuerpo como un sistema integrado y dinámico.

Solange Durán Elicer. Doctora por la universidad de Girona. Docente del Departamento de Educación
Artística y coordinadora de la línea de voz de la Carrera de Teatro de la Universidad de Playa Ancha.
Actriz, pedagoga, difusora e investigadora teatral en el uso de la voz, el cuerpo, la emoción y la
creatividad en procesos formativos para el intérprete teatral. Magíster en Comunicación Educativa,
Mención Nuevas Tecnologías, de la Universidad de Playa Ancha, primera latinoamericana certificada
en el método de inducción emocional Alba Emoting, titulada de Terapeuta somática en Biosíntesis y
Creatividad, Psicoteatro y Psicodrama, Universidad de Chile. Ha desarrollado el programa de
Entrenamiento Energético Emocional para la Voz teatral (EEEV), basado en el Método de Inducción
Emocional Alba Emoting.

37
 E-Studio: The Use of Information and Communication Technologies in the
Development of Drawing Competences in Different Educational Environments

Bea Tomsic Amon (University of Ljubljana, Department of Visual Arts Education)

bea.tomsic.amon@gmail.com

In the age of COVID, art teachers faced the unprecedented situation of teaching at distance a subject
that involves hands-on activities with tangible tools and materials. After the COVID experience we
wanted to implement ways that would facilitate art activities for anyone under different conditions.
We have implemented e-studio workshops where the mentor and participants are not in the same
room, but they interact as if they were. By using audio-video conferencing to link them together, it
was possible to maintain two-way communication. This alternative option retains all the elements of
live interaction. Since, unlike drawing in a real physical environment, the image on the screen that
participants are asked to draw is the same for everyone, there are no views from different angles as
in real space. This changes the relationship with the model and requires technical adaptations, which
are presented in this paper. The goals of the project included bringing distance learning closer to
workshop providers, finding the optimal way to develop drawing skills at a distance, finding software
that allows quality corrections, adapting the way knowledge is delivered to people with different
needs, and enabling social interaction between participants and the mentor. Such an approach
opened up new perspectives on the experience of drawing from a model and on the nature of
drawing instruction.

Bea Tomsic Amon, Was born in Buenos Aires, Argentina were she got her degree as architect at the
Faculty of Architecture and Urbanism in 1987. In 1988 she moved to Slovenia and in 1993 she got her
degree at the Academy of fine arts at the University in Ljubljana. Later got her Mr. Sc. in Sociology of
Culture at the Faculty of Filosophy in Ljubljana. She is professor for Didactics of Art Education at the
Department of art Education of the Faculty of Education in Ljubljana were she defended her doctoral
thesis on experiential learning and space design. Her fields of interest are visual arts education,
pedagogy of architecture, spatial perception, theory of Architecture, geometry, e-learning. She
exhibited her artworks in Slovenia and in different countries.

38
 Embrace Photobroidery as a Tool for Hybridizing Narratives. Mexican
Conversations With the Textile Cartographies Project

Martha Patricia Espíritu Zavalza (Universidad de Guadalajara, México) pespirituz@gmail.com

​The Mexican team participating in the International Textile Cartographies Project directed of the
APECV, engages in an ongoing research and creative laboratory with photobroidery, following a
participatory methodology. This project implements artistic research strategies in the field of upper
secondary education, at Preparatoria No. 4 of Universidad de Guadalajara.

​This research project, throughout its development, from its beginning in 2021 to the present, is
taking shape as a path with a series of stops and turns. The outcome of the process involves a
hybridization of intertwined voices in a conversation where research and artistic creation are
articulated.

​The creative technique put into practice is photographic embroidery, which blends photography and
embroidery. The opportunity of this technique makes it possible to overlay two different narratives
and create relationships between them in a single creative object: on one hand, the photographic
image of a place, and on the other, the embroidery that re-signifies it.

​In this case, hybridization is a key point and is understood as the expression of a crossover between
two languages that converge in an action whose goal is not the mastery of a specific artistic
technique nor disciplinary overflow, but rather the encounter. The research-creation process unfolds
within the conversation itself, involving the production of small-format photobroideries as symbolic
vessels of hybrid narratives.

​The implementation of this technique seeks to transcend the powerful tradition of Mexican textiles
as heritage, in pursuit of other configurations to facilitate creative design in a place where it is
possible to carry out exercises where symbolic language plays with elements of community
participation. In this sense, we leave the idea of textile work in the background, and we strengthen
the conversation of the participants who get involved in the process by articulating a discourse, first
individually, then at a collaborative level when making a patchwork-like piece.

​The central attention is in the diversity of voices. Throughout 2022, the focus was on constructing
narratives related to individual identity, gender, and sustainable futures. In 2023, the goal was to
build a collaborative conversation-reflection aimed at addressing the issue of peace in Mexico, in
agreement with the art-investigation action "Mantra of Peace" from the AMASS project. The
participants were meeting to discuss the issue of peace from different perspectives while making a
piece of photographic embroidery. The creative work encapsulates that collective process
represented in a total of 108 pieces.

​Based on the experience in a research residency in Tasara, a Hindu weaving center, during 2024, the
action starts the conversation around the idea of the sun as a source of energy that gives or takes
away, thereby resuming elements of the concept of the sun in Mexican culture. Thus, the creative

39
 process follows a line in which common elements from geographically very distant cultures
resonate, in a creative space where the personal does have weight and defines the balance.
​
​
​

​Martha Patricia Espíritu Zavalza. Full-Time Research Professor at the University of Guadalajara,
Mexico, who seeks to integrate research strategies with creative and educational actions in the daily
environment. Dr. Espíritu Zavalza develops research projects on artistic research and education at
the university level. Her programs are aimed at adults, both in the teaching sector and students, and
focuses her attention fundamentally on two reciprocal areas: a) valorization of cultural and natural
resources for the development of education; b) human and educational development through
cultural and natural heritage. She has numerous publications of international impact and
contributions to conferences.

From Heritage to "Heritageble": the Register of Living Culture

Mirian Celeste Martins (Universidade Presbiteriana Mackenzie ) mirian.martins@mackenzie.br

Débora Gaspar (Universitat de Girona) debora.darocha@udg.edu

The global framework published by UNESCO (2024) strengthens cultural and artistic education, also
prioritizing local heritage and teacher training. When considering heritage as a living culture, this
communication expands its conception by adding the concept of “heritageable”, that is, the
perception of what becomes personal or family heritage justified by affective memories. This
conception transposed to the school opens up as a transdisciplinary action that moves from the
actions of students undergoing initial teacher training in the cities of São Paulo/BR and Girona/ES.

Mirian Celeste Martins, Researcher, artist and professor of the Postgraduate Program in Education,
Art and History of Culture and the Pedagogy Course at Universidade Presbiteriana Mackenzie

Débora Gaspar, Professor and researcher at the University of Girona, member of GREPAI.

40
 Genealogies of Theoretic-practice Art Based Research: Agencies From
Absence to Presence Within the Portuguese Academic Contexts

Helena Elias (Sculpture department, Faculty of Fine Arts, University of Lisbon; VICARTE research
centre) h.elias@belasartes.ulisboa.pt
Jorge Marques (Drawing Department, Faculty of Fine Arts of the University of Porto, i2ADS research
centre) jmarques@fba.up.pt
Fernando Moletta (Grant holder of Emerging project, Faculty of Fine Arts, University of Lisbon)
Margarida Alves (Junior Researcher at CIEBA research centre, Faculty of Fine Arts of the University of
Lisbon) m.alves@belasartes.ulisboa.pt

Recent decades have been fertile in literature production regarding artistic research. Nevertheless,
such a drive to think about art practice within academic research only takes place when the artwork
or the art process are both validated as elements of epistemic value with a community of academic
researchers. Currently, in Portugal, the result of a PhD is mostly made accessible through the pdf
documents archived in the Universities repositories, following the public examination and exhibition.

How does art based research manifest itself as an emergent feature within the traditional template
of the PhD pdf document? In what circumstances is it revealed and in which way? What might
precede the implementation and development of theoretical-practice based PhD’s?

In this communication we will address some case studies regarding the inclusion of art works in the
context of the PhD art practice in Portugal, highlighting the first attempts to render visible art based
work in the Portuguese universities. In this context, and as researchers involved in the project
EMERGING [1], we identified PhD theses of theoretical doctoral degrees in art, which serve as
precursors to theoretical-practical doctoral degrees, and that justify the need for the implementation
of higher artistic research programs with a theoretical-practical nature; additionally, we identified
models/typologies of theoretical theses where the artist reflects on their own art practice and
artistic work. However, in these cases, the artworks and art practice precede the doctoral research,
turning the thesis into a theoretical reflection on the author's art practice, with the practical work
being external to the research period.

While using a situated knowledge as artists, professors and researchers within the academic milieu,
we offer an interpretation regarding the transformation of the Art Faculties and Schools after the
implementation of the 3rd cycle in Arts. We have identified key moments that stand for such shifts
within the research training and practice in the Portuguese higher educational system. These are
based on the content analysis of the PhD pdf documents available to the public domain.

While SHARE network points the year 2009 as the beginning of the implementation of art based
research in Portugal, early theoretical theses done by artists are driven by a reflexive approach to
their art works, even though they are not part of the pdf document. Nevertheless, they have been
shown under the scope of the public examination of the viva voce. Therefore, a shift can be
identified as a reflexive theorization of works done before the Phd research. Another shift
corresponds to the intermingle of theoretical and art practice based approach inside the pdf

41
document, reflecting the creation of PhD Art programs that allow both components of research to be
part of the final document.

In such context, art practice gives both methodological inputs, iterations and artistic outputs, thus
being included as a form of knowledge accepted in the academic realm. The joint of both
components has allowed us to understand forms of editing, structuring, rhetorics and discourses
underlining the art production as a form of knowledge in dialogue or rupture with the traditional
template, theoretical written chapters, separated, or intermittent to the verbal text. Although we are
giving an account of these shifts, they are not clearly separated in time, as some modes of visibility of
the artworks in phd documents collapse and overlap onto each other. Indeed, they correspond to
inner dynamics that change and transform the communication and the experience of reading a phd
document, while reacting, shaping or adapting to the legacy of institutional frames.

[1] EMERGING - Emergent Matters: a proposal for a collection of art of the higher education artistic
research in Portugal (EMERGING 2022.06772.PTDC) https://www.belasartes.ulisboa.pt/en/emerging/

Helena Elias, is Assistant Professor at the Faculty of Fine Arts of Lisbon. She graduated in sculpture at
the University of Lisbon, holds an MFA from the Robert Gordon University, in Great Britain, and a PhD
in Public Art from the University of Barcelona.She is currently the PI of Emerging project and regional
coordinator of the Marie Curie RISE project CAPHE – Communities, Art, and Participation in Hybrid
Environments.

Jorge Marques, (JM) is Assistant Professor at the Faculty of Fine Arts, University of Porto, and Head of
its Drawing Department. JM has been teaching at HAEIs since 1997. He is a member of the Research
Institute in Art, Design and Society (i2ADS). He holds a PhD in Art and Design, with a specialization in
Drawing. Marques has published several texts about other fellow artists AR in the context of
exhibitions and has been specially dedicated to the supervision of AR in master programs. He is a
research member of Emerging project.

Fernando Flores Moletta, (FM) is a Visual Artist and Researcher. He holds a degree in Architecture
and Urbanism from the Federal University of Paraná (Brazil), and a Master's degree in Sculpture from
the Faculty of Fine Arts, University of Lisbon (FBAUL). As a Visual Artist, he has exhibited regularly
since 2015 in group and individual exhibitions, as well as video and film festivals. He was awarded the
Acquisition Award by the Museum of Art of Goiânia (Brazil) in 2021.

Margarida Alves, (b. 1983, Lisbon, Portugal) is an artist. She obtained her Ph.D. in Fine Arts -
Sculpture (FBAUL, 2021) with the project "(In)tangible Matter: Between the Infinitely Large and the
Small That Deepens”, supported by a research studentship from the Faculty of Fine Arts, University of
Lisbon. Holding a master's degree in Glass Art and Science (FCTUNL & FBAUL, 2015) and degrees in
Sculpture (FBAUL, 2012) and Civil Engineering (FCTUNL, 2005), she currently serves as a junior
researcher at the CIEBA research center and is a member of Atelier Artéria, an interdisciplinary
workspace. Additional info: margaridaalves.pt

42
 Habits and Desires for Caring Encounters Between Artists and Scientists

Mariona Moncunill-Piñas (BAU Centre Universitari d'Arts i Disseny de Barcelona, UVic)

mariona.moncunill@bau.cat
Maria Fernanda Moscoso (BAU Centre Universitari d'Arts i Disseny de Barcelona, UVic)
mafe.moscoso@bau.cat
Lúa Coderch (BAU, Centre Universitari d'Arts i Disseny de Barcelona, UVic) lua.coderch@bau.cat

This paper aims at analyzing and rethinking the methodological difficulties and challenges in the
dialogue and collaboration between artistic and scientific researchers. Different epistemic and
methodological approaches between disciplines need the opening of gestures, tools, abilities, and
practices that are a condition of possibility for hospitable and fruitful encounters.

We are basing this research on semi-structured interviews to four artists to understand and analyze
their research processes, both successful and unsuccessful, done in collaboration with scientists from
several disciplines: visual artist Serafín Alvarez (working on the generation of autonomous digital
worlds), artist and environmentalist Paula Bruna (who works with the sound of vegetation and
flamenco), the dancer and performer Aimar Pérez Galí (working with the staff of the oncological
radiotherapy service of a hospital), and sound and video artists Silvia Zayas (working on the impact of
noise on underwater sea bodies). Also, the research is informed by the artistic experiences of the
three authors (the visual artists Lúa Coderch and Mariona Moncunill and experimental
anthropologist Mafe Moscoso) and our current collaboration with scientific researchers at the
ICM-CSIC (Institut de Ciències del Mar). On a second phase, the semi-structured interviews will be
done to the scientists related to the same and/or other projects.

The purpose of this paper is thus to detect and analyze difficulties, points of conflict and epistemic or
methodological differences between artists and scientists as well as tools and methods for dialogue.
This serves as a starting point for a broader research that will include more experiences and actors,
but already allows us to start outlining a series of tips, tools, and methods that could help other
artistic and scientific researchers (as well as their institutions) to have more caring, meaningful, and
fruitful collaborations.

Mariona Moncunill-Piñas, is an artist, researcher, and professor at BAU, College of Arts and Design of
Barcelona, and editor of the research journal "Inmaterial. Design, Art, and Society". She holds a BA in
Fine Arts, an MA in Cultural Management from the University of Barcelona (UB), and a PhD in
Knowledge and Information Society from the Open University of Catalonia (UOC). She researches
with/on hybrid and critical methodologies, with a strong influence of sociology and through situated
and specific artistic practices in their links with the contexts in which they take place.

Maria Fernanda Moscoso, is an anthropology professor and researcher at BAU, College of Arts and
Design of Barcelona. She holds a PhD in Anthropology (Freie Universität Berlin), an MA in Migration

43
and Refuge (UAM), and an MA in Cultural Studies (UASB). She did a postdoctoral residency at the
Center for Area Studies (2012), at the Freie Universität Berlin and was awarded the third Marqués de
Lozoya National Research Prize in Spain (2011) and was nominated for the Ernst-Reuter-Prize by the
Department of Anthropology at the Freie Universität Berlin (2011). She works and researches
between/through/for/with/from the intersections between ethnography, writing, and art.

Lúa Coderch, is an artist, researcher, and professor at BAU, College of Arts and Design of Barcelona.
She holds a BA in Fine Arts, an MA in Productions and Research, and a PhD in Advanced Studies in
Artistic Productions from the University of Barcelona. She combines narrative practices and sculptural
and objectual practices in videos, performances, and installations that she configures as research
devices. These devices are designed as instances to enable the exploration of the superficial,
aesthetic, and phenomenological dimensions of our common life.

Images and Representations for Entropy

Jorge Marques (Faculdade de Belas Artes da Universidade do Porto, I2ads) jmarques@fba.up.pt

Claudia Amandi (Faculdade de Belas Artes da Universidade do Porto, I2ads) csousa@fba.up.pt

How to represent and communicate the concept of entropy through drawing?

Entropy is a thermodynamic quantity that is linked to the irreversibility of states in a physical system.
It is often related to the level of disorder or randomness present in a system. The higher the entropy,
the greater the disorder or randomness within that system. This was the starting point for a
collaborative workshop aimed at exploring ways to visualize the various aspects and interpretations
of the concept of entropy, to facilitate the study, memorization, and communication of the concept.
The activity focused on the visual-spatial dimension, sought to exercise the capacities of
representation and communication of the concept of entropy through drawing processes and
promote a reflexive approach, where drawings and images play a fundamental role in the
visualization, representation, and communication of complex themes.

The first challenge, when we talk about drawing in this context, and which arises from intersections
between arts and sciences, is to shorten the distance between drawings that seek to reduce or
eliminate the abstract nature of a concept, for example, and drawings that are based on the
perception and representation of observable contents, whose representation assumes the
characteristics of the object. The objectives include using the creative capacities of visual
representation and graphic expression of drawing to study, memorize, and illustrate the concept of
entropy, demonstrating, notably, the transition from an ordered state to a state of disorder. Images

44
and representations for Entropy reflect on a set of results from the collaborative experience between
Fine Arts students and Physics and Astronomy students at the University of Porto.

Jorge Marques, 1967. Visual artist and Assistant Professor at the Drawing Department of the Faculty
of Fine Arts, University of Porto, where he has been teaching since 1998. He is a collaborating
member of the Institute of Research in Art, Design, and Society — I2ADS. PhD in Art and Design —
scientific area of Drawing — from the Faculty of Fine Arts, University of Porto, with the thesis titled,
“Process as Circumstance of Drawing — Contributions to the Study of Experimental Process Models.”
As a teacher and researcher at the Drawing Department of the Faculty of Fine Arts, University of
Porto, he has been focusing on understanding the issues involved in drawing processes and how they
can become a viable means of drawing thought and conception. As an artist, he has been exploring
the idea of limits in defining processes conventionally associated with painting, drawing, and
photography.

Cláudia Amandi, 1968. Visual artist and Assistant Professor at the Drawing Department of the Faculty
of Fine Arts, University of Porto, where she has been teaching since 1996. She is an integrated
member of the Institute of Research in Art, Design, and Society — I2ADS. PhD in Drawing, Faculty of
Fine Arts, University of Porto, 2010. Pedagogical Aptitude and Scientific Capacity Proofs, Faculty of
Fine Arts, University of Porto, 2001; Post Graduation in Art Multimedia, Faculty of Fine Arts,
University of Porto, 2000. Since 1996, she has been teaching Drawing at the Faculty of Fine Arts,
University of Porto. Research Fellowship for Engraving by Calouste Gulbenkian Foundation,
1994-1996; Scholarship by Calouste Gulbenkian Foundation, 1991-1993 Degree in Fine Arts –
Sculpture, School of Fine Arts of Porto, 1993.

Improbable Dialogues. Generating Synergies in Artistic Production

Manuel Pérez-Valero (Department of Didactics of Musical, Plastic and Body Expression, Melilla
Campus, University of Granada) mpvalero@ugr.es
Rocío Lara-Osuna (Department of Didactics of Musical, Plastic and Body Expression, Melilla Campus,
University of Granada) rlo@ugr.es

The paper presented shows the results of an exhibition held in the city of Granada by Enhorabuena,
together with artists of national and international prestige. The exhibition is entitled "Diálogos
Improbables” [Improbable Dialogues] and is the result of a close collaboration between Simon

45
Zabell, Alejandro Gorafe, Valeriano López, Fernando Bayona, Consuelo Vallejo, Rocío Lara Osuna and
Javier Seco. The pieces exhibited in the gallery are the result of the (improbable) dialogue between a
work by Enhorabuena and another by each of the artists mentioned above. The artistic research
proposed with the collaborators is the recovery of works that have already been exhibited
individually. These works are placed in communion with another works recovered from
Enhorabuena, with the intention of generate new meanings or strength existing ones. The artistic
representations exhibited are born out of an interest in generating synergies with other artists who
work in different parameters to those usually used by Enhorabuena, in order to produce a rhizomatic
and reciprocal enrichment. All the works reflect hybrid strategies for artistic production as an agent
of social transformation and media representation, showing that the visual culture we consume
constructs us. They are pieces that, due to the creative characteristics of each component, invite us
to reflect, to stop and look at them critically. The results (artistic work) confirm how interesting it is
to generate connections (between Enhorabuena and the guests artists) in order to look for
alternatives that find new ways of doing things. The artistic research also shows that there are other
ways of understanding the creative process, the construction of artistic knowledge and the success in
getting out of the common imaginary around artistic production. A context emerges (the exhibition
hall) where the thinking of each artist constructs realities and the arts transform them into artefacts
charged with possibilities.

Manuel Pérez-Valero is Plastic Artist and Assistant Professor at the Melilla Campus from the
University of Granada (Spain). He has developed a formative, professional and research profile in the
contexts of Fine Arts and Art Education. He is specialist in the field of the found object,
visual/objectual poetry, sculpture and installation art as a narrative-plastic construction and its
implementation in the educational and social context, the subject of his doctoral thesis and
subsequent contributions and studies. With regard to artistic research, a fundamental activity that
has a direct impact on his teaching quality and his area of knowledge, his work is extensive, with a
total of eleven solo exhibitions and hundreds of group exhibitions (national and international). These
exhibitions offer contributions with diverse lines of interest, including artistic research and creation,
as well as management and curatorship.

Rocío Lara-Osuna is Assistant Professor at the Melilla Campus from the University of Granada (Spain).
She holds a degree in Fine Arts and a PhD in Arts & Education. Her artistic and research production
focuses on the use of Projection-Based Augmented Reality for the development of arts-based
teaching methods, following the didactic proposals of the Spanish filmmaker Jose Val-del-Omar.
Currently, she is developing a new line of research focused on projected immersive environments and
its educational implications, in collaboration with the Laboratoire de Recherche Sociétés & Humanités
(LARSH) of the Université Polytechnique Hauts-de-France (Valenciennes, France) and the Video
Mapping European Center.

46
 Intermedial Explorations: Bridging Film and Theater through Artistic Practice
and Critical Inquiry

María García (Universidad Pompeu Fabra Grup CINEMA, Universidad Eram (centre adscrit UDG))
mariagarciavera@live.com

This article presents findings from an interdisciplinary research project exploring the interplay
between film and theater, situated within the framework of applied arts-based methodologies. The
study focuses on the translation of artistic codes between these mediums, examining how
intermediality fosters the development of hybrid languages that enrich both artistic expression and
knowledge acquisition.

Employing a gender perspective, the research scrutinizes power dynamics within creative processes,
emphasizing the role of actresses in subverting traditional hierarchies and promoting collaborative
authorship. It draws on the practices of Jacques Rivette, Mariano Llinás, and the theater company
Los Detectives to probe the corporeal methods creators and filmmakers use to reveal latent
performative elements.

At the heart of this inquiry is the promotion of critical thinking within artistic practice and pedagogy,
particularly through the critical examination of how actresses are represented within the cinematic
gaze and advocating for feminist reevaluations of authorship and representation. This effort seeks to
cultivate alternative viewpoints and challenge prevailing narratives.

Methodologically, the study melds theoretical analysis with practical experimentation, deliberately
blurring the lines between scholarly research and artistic creation. It applies Aby Warburg and Walter
Benjamin’s theories on the dialectical nature of history and imagery, proposing a nonlinear narrative
approach that mirrors the fragmented and cyclical nature of artistic expression.

The creation of the video essay "Bellas Artrópodas" serves as both a case study and a methodological
tool, enabling a dynamic dialogue between theoretical constructs and practical application. Through
the technique of montage and the adaptation of theatrical methods to the cinematic
framework—and vice versa—the research investigates how fiction and artifice can uncover deeper
truths and stimulate engaged critical responses.

This contribution deepens the understanding of the interaction between film and theater, focus on
the transformative potential of intermedial approaches in both artistic creation and scholarly
research. It highlights the significance of embodied knowledge and collaborative methodologies in
challenging established paradigms and fostering new artistic expressions.

María García Vera holds a PhD with honors from Pompeu Fabra University in Barcelona, with the first
thesis in Applied Research approved in the Department of Communication (CINEMA group) in 2022.
Her thesis focuses on the translation of codes between cinema and theater from the actress's

47
perspective. She is an actress in theater and film, as well as a creator and director (founder of the Los
Detectives company) with an extensive professional experience. Since 2018, she has been a professor
at ERAM University School (affiliated with UdG), teaching courses such as Image Theory and Analysis
in the Audiovisual Communication and Multimedia Degree, both in Catalan and as part of the English
Degree program. Additionally, she teaches Musical Creation as part of the second-year curriculum of
the Performing Arts Degree. Since 2020, she has also taught Image Dramaturgy in the Postgraduate
Program in Stage and Digital Technology at the Institut del Teatre de Barcelona, among others.

Learning Diaries as a Device for Expanding the Inquiry Possibilities of

Arts-based Research

Fernando Hernández-Hernández (University of Barcelona) fdohernandez@ub.edu

This paper is linked to the course Introduction to the Constructionist Perspective assessment process
in the framework of the master's degree in Visual Arts and Education at the University of Barcelona.
This course's assessment is approached as a collective learning device, not an exchange-response
between the teacher and students. A learning diary was proposed as a proposal. The diary allows the
narration of an academic-personal journey through the documentation of evidence that critically and
reflectively illustrates the narrator's story. Beltran and Ojuel (2016) point out that the learning
journal enables students to show what they have learned and how they have learned over time by
collecting and documenting evidence. This evidence approximates what each student is learning and
how learning takes place (Cabero et al., 2012).

However, in the context of this course, some students stated that they had made learning journals in
their degrees as a not creative activity and were limited to repeating what had been said and done in
class. To respond to the student's complaint, we approached the learning diary from the perspective
of Arts-Based Research - a field in which they had done a seminar-workshop. Taking this perspective
to create the learning diaries generated rhizomatic relationships, expanded the meaning and places
of learning, made layers of learning visible, and established unsuspected links. In addition, it shows
the triggering role of artistic strategies in accounting for the learning processes.

Fernando Hernández-Hernández, is an Emeritus Professor of the University of Barcelona. With Rachel

Fendler, he organized the 1st Conference on Arts-Based and Artistic Research. Critical reflections on
the intersection between art and research. Among his publications on this subject are Calderón
García, Natalia; Hernández-Hernández, Fernando (2019). Artistic research. A space for disruptive

48
knowledge in the arts and the university. Carrasco Segovia, S.V., Hernández Hernández, F., Sancho-Gil,
J.M. (eds) Affective Cartographies. Affinities and Affects in Arts, Research, and Pedagogies. Palgrave
Macmillan, Cham. https://doi.org/10.1007/978-3-031-42163-1

Cultural and Playful Heritage: An Autoethnographic Study of Quilombola

Children's Games and their Impact on Child Development and Education

Valéria Da Costa Gomes (Faculdade de Filosofia, Ciências e Letras de Ribeirão Preto Departamento
de Educação, Informação e Comunicação) valeria.dcg6@usp.br
Jéssica Mami Makino (Faculdade de Filosofia, Ciências e Letras de Ribeirão Preto Departamento de
Educação, Informação e Comunicação) jmakino@usp.br

This study examines traditional quilombola games associated with COQUIVALE and their impact on
child development, contrasting them with practices observed in conventional schools. The research
adopts an autoethnographic approach based on the methods of Silvio Matheus Santos, Suzana Maia
and Jeferson Batista, anchored in the researcher's own experience as a member of one of the
quilombola communities involved in the research, the quilombo de Cuba - MG. This internal
perspective allows for a deep understanding of the cultural dynamics and meanings of these playful
practices, which are treated both as an object of study and as a research methodology.

The arts – including singing, dancing, physical games and oral storytelling – play a central role in the
research, functioning as tools for capturing and interpreting cultural experiences and identity
expression in quilombola communities. Documented through audiovisual and performance
recordings, these practices have proven to be fundamental for strengthening cultural identity,
self-esteem and social cohesion among children. The research indicates that these activities, because
they are free and collaborative, promote the development of essential social and emotional skills,
such as empathy, cooperation, self-knowledge and self confidence, providing a richer and more
inclusive educational experience. In contrast, conventional school practices tend to limit bodily
expression and creativity, emphasizing competitiveness and control over the body.

These quilombola games are analyzed as forms of cultural preservation and identity resistance,
serving as a vehicle for the transmission of ancestral values, stories and knowledge. By treating
games as a legitimate artistic and cultural expression, the research defends their importance in the
formation of children's identity and argues that such practices should be integrated into school
curricula, especially in institutions located within quilombola territories. This inclusion would value
Brazilian cultural diversity and promote a more equitable education that respects the specificities of
different childhoods.

49
By combining art and ethnography, this study contributes to the field of early childhood education
and cultural policies, proposing that the right to play, guaranteed by law, be exercised in an inclusive
and culturally sensitive manner. This research emphasizes that play, beyond being a recreational
activity, is a cultural right and a tool for cognitive and emotional development, fundamental for the
formation of socially conscious and culturally empowered individuals. Ultimately, the study suggests
that the incorporation of quilombola cultural and artistic practices into formal education can create a
learning environment that respects and values cultural multiplicity and promotes the sense of
belonging and self-esteem of quilombola children. The research also points to the need for public
policies that encourage the preservation of these practices, ensuring that quilombola children

Valéria DA Costa Gomes, Black Quilombola woman. From the harshness of the coffee harvest to the
bustle of the academic corridors. Graduating in Pedagogy, I am a researcher at the Mediações Group
and a research assistant at the Laboratory of Studies and Research in Education and Social Economy
(LEPES-USP). I was a scholarship holder in the Health and Well-being in Early Childhood Education
Project (PRECEU/USP). I worked on improving the Early Childhood Learning Assessment Instrument
(INAPI) and training supervisors, principals and pedagogical coordinators from the Barretos public
school system in the Systematic Improvement Program (PAS). I am currently responsible for the Bank
of Good Pedagogical Practices and the specialization course in early childhood education for
professionals from the Itapevi-SP public school system. I teach children and teenagers at Ong
Sobreviventes do Amanhã-RP and I'm carrying out research entitled ‘Ludic and Cultural Heritage: An
Autoethnographic Study of Quilombola Children's Games and their Impact on Child Development and
Education'. I'm Valéria Gomes.

Jéssica Mami Makino has a degree in Artistic Education with a major in Music, a master's degree and
a doctorate in Music from the Institute of Arts of the Universidade Estadual Paulista Júlio de
Mesquista Filho. She is currently a professor at the University of São Paulo. She coordinates
Mediações: a study group on Art and Education and is vice-leader of the Art in Pedagogy Research
Group (GPAP). She has experience in the field of Arts, with an emphasis on Music Education, working
mainly on the following subjects: education, music education, teacher training, musicalization and art
education. http://lattes.cnpq.br/0929873470085756.

50
 Mapping Diversity Through an Art-based Educational Research

Noemí Peña-Sánchez (Department of Fine Arts, Faculty of Fine Arts and Education, Universidad de La
Laguna) npenasan@ull.edu.es

Since 2021 we have been developing innovation and educational transfer projects in which cultural
diversity from art education is placed as the interdisciplinary approach of proposals for
undergraduate and graduate students at the University of La Laguna (Peña Sánchez et al. 2021, Peña
Sánchez, 2022). As art educators, we are interested in exploring the cultural and ethical value of
approaching art from an engaged, conscious and critical vision of the cultural and social reality that
surrounds us. Parallel to the educational development and evolution of our societies, there are
different approaches that have promoted a multicultural educational approach (Banks, 2010) and
specifically how this cultural diversity affects arts education (Chalmers, 2003, Aguirre, 2009; Stühr,
1994; Grant and Sleeter, 2010). The aspects that shape our cultural identity go beyond age, gender,
race, exceptionality or social class, in fact it involves a whole diversity of infinite permutations of
ourselves (Ladson-Billings, 2020) and that go beyond identity boundaries (hooks, 2018). The cultural
is therefore a dynamic imprint of societies in which we participate as spectators and actors. Actually,
this cultural diversity corresponds here to artistic - henceforth cultural - productions, together with
the care for the diverse human relationships that can be found in our classrooms.

Based on this educational approach, we propose an Arts-based research (Eisner & Barone, 2011,
Leavy, 2020) through cartographies as an analysis of the narratives of the diversity of cultural
productions chosen by the students of the Master's Degree in Use and Management of Cultural
Heritage from the year 2021 to 2024. Cartographies are spaces of thought that serve both as an
epistemological tool and as a pathway for rhizomatic inquiry (Carrasco et al., 2024). In fact, visual
cartography for this research implies an inclusive ecosystem of narratives of diversity. Cartography as
a tool for cultural and artistic analysis articulates how these narratives of diversity are constructed.

Three stages are differentiated throughout the process. We begin by compiling all the images
together with their stories that support the idea of diversity from the students' gaze. Then we will
create the visual cartography by incorporating other visual artifacts that articulate our voice as
art-educators. In this process, the codification of arguments of both voices is developed, trying to
intersect the diversity of narratives. As a result, the cartography is visualized as an open narrative
(Aguirre, 2007) leads us to create alternative visual essays to rethink another pedagogical approach
of cultural diversity.

This mapping leads us to evaluate the educational proposal if there is a critical thinking about
cultural diversity (Vieten, & Gill, 2016). The results obtained in these narratives show an evolution
throughout the three years finding a close relationship with an intersectional feminist thinking
(hooks, 2018) where the subjectivity of the artist is affected from other subjectivities that start from
feminism towards other glocal diversities. On the other hand, cartography as an artistic research tool
evidences the potentiality of visual arts to analyze and evaluate educational problematics.

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Noemí Peña-Sánchez, is a Reader in the field of Art Education at the Faculties of Education and Fine
Arts in the Universidad de La Laguna (ULL) in Canary Islands (Spain). Currently working as a
Vice-Dean of Academic Planning and Internacionalization at the Faculty of Fine Arts. Her research
interest deals with art and cultural mediation projects developed with local communities and the
awareness of cultural diversity through contemporary art practices.

Neural Dance with the Dancer, Choreographer and Researcher Libety

Martínez

Giselda Emérita Hernández-Ramírez (Higher Institute of Art of Havana, University of the Arts of
Cuba.) giseldahernandezramirez@gmail.com
Maria-Guadalupe Valladares-González (University of the Arts of Cuba, Department of
Pedagogy-Psychology) lupevalladaresg@gmail.com

The work addresses a critical vision of the authors on the cognitive journey made by the teacher
Libety Martínez at the University of the Arts of Cuba. From a distancing perspective, the identity path
traveled by this dancer is analyzed to correct imposed limitations and normalizations by the scientific
community at the aforementioned university based on disciplinary epistemocentrisms and
ethnocentrisms. This work goes to the most remote strata of these investigative constructions that
respond in some way to power relations.

Giselda Emérita Hernández-Ramírez, Doctor in Sciences on Art from the University of the Arts of
Cuba, researcher and professor of Anthropology at the Higher Institute of Art of Havana, University of
the Arts. With extensive training in different fields of knowledge, Clarinet Graduate, Bachelor of
Education, Physics specialty – Astronomy, also graduated in Education for the specialty of Music
among others. As a result of her research, she has published important articles and books, including
anthropological and cultural studies such as “Pre-Hispanic archaeomusicology in Cuba” and “Human
relations in daily life through creative activity”.

Maria-Guadalupe Valladares-Gonzalez, PhD from the University of Jaén, Spain. University of the Arts,
Department of Pedagogy-Psychology, Cuba. Degree in Psychology, University of Havana. 1983;
Master in Advanced Education, Higher Pedagogical Institute Enrique José Varona (Pedagogical
University), 1996. She is Assistant Professor at the University of the Arts. Cuba. Teacher and
researcher in the field of artistic education and artistic creation. As a result of her work, she has
numerous publications in journals and books, such as "Reflections on artistic research".

52
 "Radicality" and Arts-based Research: Some Observations

Sarah Linford (Associate Professor of Modern and Contemporary Art, John Cabot University, Rome)
slinford@johncabot.edu

Radical pedagogy in the visual arts has not always helped arts-based research. Paradoxically radical
pedagogy often produces conservative artists. When a “radical curriculum” (Sweet 1998) with a
“pre-defined endpoint” (Harney and Moten 2013) albeit that of social justice, takes precedence over
fundamentally rethinking the relations between knowledge, education and creativity, radical
pedagogy comforts pre-existing paradigms. This, at the expense of fostering research in and through
material reasoning and experimentation. When radical pedagogy promotes socio-political content as
the end-goal it remains indebted to the idea that subject matter is the primary mode of (social)
change. As such it hinders new cognitive and haptic processes, knowledge-recognition and
knowledge-creation.

What I would like to propose in this brief talk is, first, to think about arts-based research from the
perspective of the dual evolution of radical pedagogy and radical curating. These have followed
parallel tracks, and share flaws, but to use the latter as a hermeneutic tool for arts-based research
produces interesting results that radical pedagogy does not. This dissymmetry is an interesting one,
and warrants examination. Ultimately I propose to consider two case studies on how radical curating
can provide ways to overcome some of the institutional constraints of arts-based research, and why.

Dr. Sarah Linford, is Associate Professor of Modern and Contemporary Art at John Cabot University,
Rome. Educated in the United States and in France, her time at the Ecole normale supérieure, rue
d’Ulm, was followed by a D.E.A. and awarded first international prize at Trinity College, Dublin; her
French doctorate garnered the Musée d'Orsay prize for best Ph.D. dissertation. In the U.S., her two
B.A. degrees, in art history and comparative literature from Berkeley, were followed by Masters' and
Ph.D. degrees in Modern and Contemporary Art from Princeton University. These were supported by a
Mellon grant and the Center for the Advanced Studies in the Visual Arts (CASVA). Her museum
experience, at the New York MoMA and the National Gallery of Art, D.C. among many others, and her
curatorial practice, have continued to thrive since moving to Rome in 2013. Her recent publications
include Force Fields. Rome and Contemporary Printmaking, scholarly articles, exhibition catalogues
and critical texts; she is currently finishing an edited volume on Higher Education in the Visual Arts.

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 (Re)sensing the Embodied Experience of Sculpture: Contributions to the
Development of Material Literacy in the Early Stages of Artistic Research

Luisa Perienes (Sculpture department, Faculty of Fine Arts of the University of Lisbon)
hc.elias@gmail.com
Helena Elias (Sculpture department, Faculty of Fine Arts, University of Lisbon)
h.elias@belasartes.ulisboa.pt

Through reflective practice, this paper aims to contribute to enhance material literacy in the field of
sculpture studio practice, considering the first year of Bachelors, where students experiment
sculpture languages, techniques, and processes. As professors of sculpture I and II, we start from our
knowledge of both sculpture practice and teaching, to encourage artistic research, while proposing
statements and class dynamics focused on experimentation and creativity. This embodied knowledge
is rooted in our practice as sculptors, teachers, and researchers, thus informing our syllabus
proposals, modes of relationality in studio practice, and relation with materials that underlie
sculptural production in the 19th, 20th and 21st centuries. It is therefore the experience of making,
its heuristic methods and tacit knowledge that allows us to transfer knowledge during sculpture
teaching-learning processes.

The word experience (peira and ex-periri) is an attempt practiced without reserve, left to the danger
of its lack of support and security; it is an "object" of which it is not the subject, but the passion.
Experience echoes two meanings, two different forms in relation to what is done. On one hand, it is
securitization or normalization of the known, on the other it is risk in the unknown. The idea of risk is
perhaps the idea that marks the present day and allows us to think that experience is not reducible
to the tradition of what is known and has been "proven", but rather, it is tradition itself that is a
betrayal of experience, and at the same time, a tradition of experience that creates all possible
traditions. From this perspective we base our method: on what exists, on the actuality of the matter
and on the social conditions of work, projecting and taking risks. This permanent foundation is the
result of a free act, albeit limited by our own experience, which is continuous and based on critical
reflection, in conjunction with what we have experienced and what we have acquired.

We argue that artistic research should be encouraged in the early years of sculpture in higher
education, to offer processes, methods of collecting one's own creative work, from which students
may reflect upon. At a time when matter and materiality are discussed, quoted in literature and
many artists are focusing on the agency of materials, their affectivity, and temporalities, we feel it is
pertinent to (re)consider the relationships that sculptors have forged with materials up to the
present day.

In the first year, students are expected to make sculptures using various techniques and processual
moments with materials: introduction and experimentation with direct carving, modeling,
construction, and assemblage. The method includes sketches, development of models, making
selections and, finally, executing the proposal. The models are often made from precarious materials
(clay, cardboard, bits of wood, screws, found objects, etc.). Ephemeral and processual, they have a

54
limited existence due to the durability of the materials, although they are more expressive, more
vibrant, and proportionate than the final proposals. These models, which witness creative streaks
and materialized sculptural thinking, end their use once the final sculpture is presented.

To make students aware that research is also about reflecting on their own practice, we stressed the
importance of the process of documenting while learning with different materialities. To this end, we
set the challenge of documenting sculptural models, procedural testimonies that emphasize
sculpture material thinking, incorporating 3D visualization tools through apps in class. The students
materialize iterations of the sculpture method in hybrid realities. The resulting digitalization has
given rise to a virtual gallery of ephemeral sculpture that we called “pocket sculptures”. This is a way
of documenting the process for recording in portfolios and the possibility of experiencing other
spatial dimensions of sculpture rooted in virtual environment as the digitized models can give rise to
new creative iterations.

As a case study, we present models in the techniques mentioned and consequently digitized, which
incorporate (Re)Sensing), a hybrid exhibition that will be present at the VR Festival in Florence, as
part of the Marie Curie CAPHE project - Community, Art, and Participation in Hybrid environments.
One of the objectives is to develop material literacy among students in hybrid artistic environments,
supporting artistic creation in the context of bachelor's, master’s, and doctoral degrees in the arts,
with a strong component of artistic practice.

Luisa Perienes, She graduated in Plastic Arts (Sculpture) in 1979 from ESBAL and began her activity as
a sculptor that year after working in clay with the sculptor Euclides Vaz and taking an Intensive Stone
Sculpture Course with João Cutileiro at AR.CO. She obtained her PhD in 2011 from the University of
Lisbon and teaches at the Faculty of Fine Arts in Lisbon. Her work, mostly in stone, which is her
specialty, can be divided into two fields: one of a more intimate nature in which she favours the
representation of the feminine and deals with issues related to the human condition, and the other in
which the sculptures are compositions of solids that refer to the theme of the work.

Helena Elias, (HE), the PI of EMERGING has a broad experience in Higher Art Education Institutions
(HAEIs). She graduated in sculpture at the University of Lisbon, and holds an MFA from the Robert
Gordon University, in Great Britain, and a PhD from the University of Barcelona. As artist and
academic HE undertook post-doctoral art-based research grounded in the fields of drawing and
sculpture.While collaborator of CIEBA and research member of VICARTE, HE has been dedicated to
questions of what and how aspects of artistic research (AR) at HAEIs, activates epistemic aspects for
the advancement of knowledge in the field of art. Currently she is the PI of Emerging project and
regional coordinator of the Marie Curie RISE project CAPHE– Communities, Art, and Participation in
Hybrid Environments.

55
 Performing Circular Musical Graphics: an Experience of Hybridization in Art

Marina Buj Corral (Universitat de Girona) marina.buj@udg.edu

This paper presents an experience of artistic research concerning the creation of circular musical
graphics and the translation of these graphics into sound in a collective composition experience in
real-time. This research constitutes one of the annexes of the doctoral thesis “Circular graphic scores
and musical graphics in contemporary art (1950-2010)”, carried out by the author and directed by Dr.
Josep Cerdà at the University of Barcelona.

Graphic notation consists of the representation of music through visual elements that do not
correspond to the traditional notation system. A large number of avant-garde and experimental
composers of the fifties, sixties and seventies of the twentieth century - John Cage, Morton Feldman,
Earle Brown, Gyorgy Ligeti, Roman Haubenstock- Ramati, Karlheinz Stockhausen, among many others
- explored this type of notation. Since then, composers and sound artists from all over the world
have continued to create and develop graphic notations. As Zugasti (2007) points out, what this
current of composers defends “is that the score, instead of trying to preserve the characteristics of
the composition, should become a catalyst for the musical game” (p.334). Thus, the aim of the
graphic score is to stimulate the performer’s imagination and give rise to multiple and creative sound
interpretations.

The project of creation and interpretation of circular musical graphics presented here is framed
within the methodology of artistic research. As Borgdorff (2012) indicates, “artistic practice is
essential as a theme, method, context and result of artistic research” (p.46). Through the creation
and sound interpretation of twenty circular musical graphics, the aim was to study circular graphic
notation - specifically the relationship between graphics and sound - from the perspective of the
artistic practice itself. The musical graphics created were performed by musicians specialised in
musical improvisation and by the author herself. The visualisation of the graphics acted as a stimulus
for the musical interpretation, based on a pre-established analogy between the visual elements and
the musical parameters or as an open work, without a marked code. The aforementioned research
allowed us to experimentally verify some of the characteristics of circular notation and also provoked
the creation of a space for dialogue and reflection on the visual forms of representing sound and
their sonic interpretation. On the other hand, it enabled interaction with the cultural and artistic
context of Barcelona through collaboration with musicians who carry out their activity in the field of
experimental music and free improvisation and with cultural organisations such as the Convent de
Sant Agustí Cultural Centre.

The research carried out makes explicit the creation/interpretation processes and shows the results,
materialised in a series of audiovisual productions that present the different circular musical graphics
created and their sonic translation. The project contributes to generating greater knowledge about
the relationship between circular graphics and their sound interpretation.

56
References
Borgdorff, H. (2012). The Production of Knowledge in Artistic Research. In: M. Biggs and H. Karlsson
(Eds.), The Routledge companion to research in the arts (pp. 44–63). London: Routledge.
Zugasti, A. (2007). Dibujar el sonido. En J.J.Gómez Molina (coord.) La representación de la
representación. Danza, teatro, cine música (pp.319-349). Madrid: Ediciones Cátedra.

Marina Buj is an artist, pedagogue, and researcher. She holds a PhD in Fine Arts from the University
of Barcelona, a Master’s Degree in Fine Arts from the University of Granada and a Master’s Degree in
Flute Performance from the Conservatory of Music of Granada. Her main research focuses on the
dialogue between visual arts and music and synesthetic artistic works. She has specialized in the
study of graphic scores. She has worked as a secondary school music teacher and conservatory flute
teacher for many years. Currently, she is a lecturer at the University of Girona (UdG), where she
co-leads the Transformative Music and Education Research Group (MUSET). In the field of education
research, her main interests are the promotion of creativity and the development of integrated
didactics of arts.

Poetic Transcription as a Methodology of Analysis: the Third Voice

Miriam González Álvarez (Universidad de La Laguna/Facultad de Bellas Artes) mgonzaal@ull.edu.es

Following the study by Monica Prendergast (2009) it can be seen that interest in poetic practice
within the academy has become particularly relevant in the last decade. Poetic Inquiry (as a way to
cover various forms of creative writing) can be found in many areas of the social sciences and has
been used as narrative or ethnographic research methods. The poetic perspective adopted starts
from the premise set out by Michael Connelly and Jean Clandinin (1995), who claim that people live
among narratives, among stories that, individually and socially, give meaning to the Self, to the
pronominal embodiment of our existence (Alba-Rico, 2017).

We take a journey from the narrative self to the performative self (Jackson and Mazzei, 2008) in
order to problematize the limits of voice and expose the unspeakable of meaning. We try to be
attentive to "what poetry does". We try to understand narration as a possibility to broaden or extend
research processes.

57
From the post-qualitative turn, we place Arts-based Research [ABR] as the general framework that
delimits the study carried out, building a bridge with Poetic Inquiry to approach the potentialities of
poetry in educational research. Following Prendergast (2009), three categories are proposed to
encompass Poetic Inquiry that respond to the different voices used:

1. From the voice of literature. Some studies have sought to approach poetry from a theoretical
or critical perspective, composing poems based on literature reviews.
2. From the voice of the researcher. Other studies, on the other hand, have chosen to use poetry
to translate or interpret the research process. Although, as Patricia Leavy (2009) explains, this
category is problematic, as possibly all the poems produced could be included under this heading.
3. From the voice of the participants. And a final group has opted to use the poetic resource to
compose the extracted data and give them a new meaning.

Our study focuses on this last category and, following Corrine Glesne's (1997) methodological
proposal, we will use poetic transcription as an approach to analysis. Following the author, this
method is used to move from direct and dichotomous thinking to a more divergent way of thinking
that allows us to relate the key themes addressed by our students and return to them in order to
observe what poetry does in their way of constructing their subjectivity. The transcription followed a
process of coding and classification in order to create the key themes or words that recurred in our
pupils' texts. Subsequently, the texts were ordered following the classification in such a way that
each stanza of the poem could refer to and collect the main ideas of each coded category. In this way,
we realised that a third interpretative voice is created which is neither that of the participants nor
that of the researcher, but a combination of both, dissolving the separation between observer and
observed.

Miriam González Álvarez holds a degree in Fine Arts from the Complutense University of Madrid
(UCM) and is a PhD student in the Doctoral Programme in Art and Humanities at the University of La
Laguna (ULL). She is currently employed at the University of La Laguna as research staff after being
awarded the FPI grant from the Government of the Canary Islands, the Canary Agency for Research,
Innovation and the Information Society and the European Social Fund. Her research focuses on the
relationship between (audio)visual narratives and the intersectional subjectivization experiences of
teenager(s).

58
 The Community Art Workshop as a Means to See, Think, and Become Aware
of Social Situations

María-Isabel Moreno-Montoro (Departamento de Didáctica de la Expresión Musical, Plástica y

Corporal, Universidad de Jaén) mimoreno@ujaen.es
Marit Dewhurst (Director of Art Education and Associate Professor of Art and Museum Education at
City College of New York (CUNY)) mdewhurst@ccny.cuny.edu

The argument defended in this communication is that the format of work and relationship enables
the development of knowledge and research. Specifically, the community art workshop is proposed
as a format for work and relationship. Therefore, we are considering that the workshop of artistic
expression in collaboration with communities brings together aspects that make relationships
between people and the way they work favor a certain way of researching, knowing, and learning.

We are interested in research processes, the development of knowledge, and learning to be applied
for the common good and the prosperity of human beings. We are interested in promoting equality
among people and justice for all. Therefore, with the community art workshop, we are seeking a
means of human relations through which we achieve discoveries for social well-being.

In this way, we are considering the art workshop as a research methodology for social purposes. We
are emphasizing that thanks to these work processes, discovery and knowledge of specific contents
are produced, but above all of relationships between people. And we are highlighting, above all, that
these work formats contribute to raising awareness of the real situations of society.

We will provide examples of some of the art workshops that we have developed, which serve to
illustrate the different aspects of the proposal we are defending.

For our communication, we will make an introduction and outline a framework of concepts that will
help us to place the examples that we will subsequently describe. We will conclude our
communication with a series of reflections on the milestones achieved through the workshops
described.

References
Pascale, P., y Resina, J. (2020). Prototipando las instituciones del futuro: El caso de los laboratorios de
innovación ciudadana (Labic). Revista iberoamericana de estudios de desarrollo, 9(1), 6-27.
Hirikilabs-STEAM1. (2017). Del aula al laboratorio. Buenas prácticas para la creación de
laboratorios abiertos en el ámbito educativo. Hirikilabs-Laboratorio de cultura digital y tecnología de
Tabakalera. https://issuu.com/tabakalera/docs/ikasgelatik_es_baja__1_
Claramonte, J. (2011). Arte de contexto. San Sebastián: Editorial Nerea, S. A.

59
María-Isabel Moreno-Montoro: PhD in Fine Arts from University of Seville, full Professor of Artistic
and Visual Education (Universidad de Jaén, Spain). Researcher around intermediate art practices,
artistic research and social action. She is responsible for research group HUM-862, "Estudios en
Sociedad, Artes y Gestión Cultural”; Coordinator of the Master degree “Investigación y Educación
Estética: Artes, Música y Diseño”, and Director of the e-journal “Tercio Creciente”. She has co-edited
among other works, the books “Reflexiones sobre Investigación artística e Investigación Edu-cativa
Basada en las Artes, (Síntesis, Madrid, 2016) and "Industrias culturales y creativas: un enfoque con
compromiso social" (Fondo Editorial Universidad Antonio Nariño, Bogotá, 2019).

Marit Dewhurst, is the Director of Art Education and Associate Professor of Art and Museum
Education at City College of New York (CUNY) where she also directs City Art Lab, a community art
education program. She has worked as an educator and program coordinator in multiple educational
settings including The Museum of Modern Art in New York where she created In the Making, a free
studio arts program for teens. Her work on the role of art in social justice education, culturally
relevant pedagogy, and community development, has been published in several books and journals
such as Equity & Excellence in Education, The Harvard Educational Review, The Journal of Art
Education, and International Journal of Education Through Art. In addition, she has co-curated an
exhibition on traditional art and HIV/AIDS education and a youth photography exhibition highlighting
her work in Northern Ghana. She is currently the principal investigator and coordinator of the
Museum Teen Summit, a youth-led research and advocacy program for museum teen programs in
New York City. Her book, Social Justice Art: A Framework for Activist Art Pedagogy was published by
Harvard Education Press. Her second book will be published with Harvard Education Press in 2018.

The Concept of Void in Embossing Though Sculpture. An Arts-based

Educational Research in Education

Ana Gerez Gracia (Universitat Jaume I, Castelló) al416836@uji.es

Paloma Palau-Pellicer (Universitat Jaume I, Castelló) ppalau@uji.es

In a world in which spatial and compositional organization is conceived as the incorporation of

elements. In this sense, the concept of emptiness often arises as a consequence and not as a
compositional element. We are interested in the possibility of composing from the absent element,
forcing the full (solid) to share the visual weight with the void. Both elements being parts of the same
piece. Some artists, such as Le Corbusier, Franz Kline, Loos or Klee, actively address this correlation.

60
So, we intend to give function and identity to this element as if it were a material substance. Relating
this element to imagination and creativity. Well, as happens in architecture, building creates space.
Following Heidegger's text in Art and Space, we prioritize the idea that the work of art “takes over
the space” and the space “traverses the work of art.” Likewise, we propose to analyze this correlation
between spaces and volumes, exploring the connections that are established between the works and
the forces that structure them -gravity, luminosity, balance-, but also between plastic creation and
philosophical thought, their forms and materials.

The interesting thing about working on the contents through Chillida's work is understanding the
materials from a two-dimensional aspect as a process towards volume development. Chillida, a rural
avant-garde artist, sculptor and thinker of space, was an artist who constantly reflected and
questioned his commitment to art, asking himself questions and reformulating them in different
ways. Chillida talks about art as a question for the artist (Chillida, 2019). In addition to the concept of
emptiness as part of the composition and as an absent matter. Questions that allow us to reflect on
the different creation techniques: subtractive and additive, review the beliefs that students have
regarding education and abstraction in art, enhancing their creativity.

The space, as crucial as it is symbolic, also extends in the temporal dimension to create a visual
narrative that transcends its limits. Our proposed artistic project is part of an Educational Research
Based on the Arts, focusing on Arthrography with the embossing technique and its conceptual
implications. We explore the interaction between embossing, the imprint and the void, as well as the
relationship between matter and the absence of color. Without a defined matrix, the experience
becomes more exploratory, sensory, reflective, inviting students to explore the depth of the aesthetic
experience with Artistic Methodologies and their ability to express meanings beyond the visible. This
approach promotes experiential and multi-sensory learning, where participants develop creative,
perceptive and cognitive skills while immersing themselves in artistic production taking as reference
the aesthetic qualities of Chillida's piece.

References
Chillida, E., & Fernández, N. (2019). Escritos. La Fábrica.
Heidegger M. (2009). El arte y el espacio. Herder Editorial. Traducción del alemán, Escudero, Jesús
Adrián.

Ana Gerez Gracia, Secondary School Teacher specializing in Artistic Education in public centers of the
Generalitat of Catalonia. Currently carrying out his doctoral thesis at the Universitat Jaume I (UJI) of
Castellón. These facets are developed by participating in scientific-artistic events, conferences and
biennials. Graduated in Architectural Design and Primary Education. Master in Secondary School
Teaching. All these activities have been complemented by stays at the Girona University,
collaborations in Education and Architecture projects in the field of international cooperation in the
United Kingdom, Spain and Nepal.

Paloma Palau Pellicer, Associate Professor of Visual Arts Education. Professor at the Department of
Education and Specific Didactics (UJI) Castellón. His line of research is oriented to Educational

61
Research Based on the Arts, visual arthrography, Artistic Teaching and Learning Methodologies in Art
Education with graphic techniques; analysis and criticism of Fine Arts and gender studies in the
artistic field. He has participated in scientific-artistic events with artistic work in conferences,
biennials and exhibition curators. Stays at the National University of Lanús in Buenos Aires (2008),
Université Paris 3-Sorbonne Nouvelle (2010), University of Granada (2013; 2016; 2024), Concordia
University, Montreal (2017), The University of British Columbia, Vancouver (2022).

The Exhibition as a Place for Relationship and Dialogue

Estibaliz Aberasturi-Apraiz (Faculty of Education at the UPV/EHU, in the area of Didactics of Art
Expression) estitxu.aberasturi@ehu.eus
Miriam Peña-Zabala (Faculty of Education at the UPV/EHU, in the area of Didactics of Art Expression)
miriam.pena@ehu.eus
Alaitz Sasiain Camarero-Núñez (the Faculty of Education at the UPV/EHU, in the area of Didactics of
Art Expression) alaitz.sasiain@ehu.eus
Fernando Herraiz-García (Fine Arts-University of Barcelona) f.herraiz@ub.edu

The communication we present brings an approach of seeing an exhibition as an opening to the

community and drift from the research entanglement. For the last three years we have been
researching on how university students learn (TRAY AP, Ministry of Science and Innovation,
PID2019-108696RB-I00. 2020-2023). Different visual and artistic processes have played a relevant
role in the research process. With the materials linked to these processes, we have created an
exhibition as an open archive that expands and opens up to new readings of the research. The
exhibition offers the opportunity to explore and extend traces of the research in a multimodal way,
configuring places that invite the spectators to a dialogue through artistic and visual manifestations
and artifacts . Following the methodologies of Arts-Based Research (ABR), the exhibition is an
invitation to think about new ways of seeing and understanding what surrounds us from those
singularities that only the arts can contribute.

Taking the reflections of the exhibition curator Nicolas Borriaud (1998) on the need to deepen the
relationship between artist and spectator, we approach this exhibition proposal where the active
participation of the spectator, through concrete actions, or the proposal of the room itself, is part of
the intention to promote a relational art and research. The exhibition displays the traces of the
research in the room as an invitation to dialogue and reflection. Visitors can enter and observe
different experiences, graphic materials that make it possible to situate themselves in the transits
and itineraries of the research. At the same time, the exhibition shows pieces that allow us to

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generate new poetics based on open works, far from the literality and in dialogue with what has
allowed us to think about the research process.

The exhibition is an invitation to extend the conversation that has begun with the research to other
ways of feeling and thinking. The exhibition is presented as a living space where the pieces make
conversations possible, together with the activities proposed. All of this with the aim of continuing to
construct new itineraries and possibilities about what we understand learning to be.

The communication that we present will give an account of the dialogues and conversations that
have taken place over the course of the three-week exhibition, to reflect on the meaning of research
drift, relationships and transfers. We seek to deepen the sense of relational aesthetics, as a
commitment to the community. The aim is, from what happened, to open up new reflections and
questions to open up new research drifts. With this communication, we seek to share doubts and
possibilities of a space where aesthetics make community relations possible.

The five undersigned authors were the curators of the exhibition, and researchers of the research
project (TRAY AP, Ministry of Science and Innovation, PID2019-108696RB-I00. 2020-2023).

Miriam, Alaitz, Regina and Estibaliz are researchers in the consolidated research group Elkarrikertuz
(IT1586-22) at the University of the Basque Country. They teach in the Faculty of Education at the
UPV/EHU, in the area of Didactics of Art Expression.

Fernando is a member of the consolidated research group Esbrina, at the University of Barcelona. He
teaches at the Faculty of Fine Arts, UB. Herraiz García, F., Aberasturi-Apraiz, E. (2023) Trayectorias y
ecologías de aprendizajes de estudiantes universitarios: giros, motivaciones, acompañamientos y
modos de aprender. Revista Gearte, Porto Alegre, v.10.; Peña, M., Sasiain, A., y Guerra, R. (2021).
Dejar de mirar hacia fuera para repensarnos hacia dentro: Desacelerar a través del autorretrato. En
ARTSEDUCA Nº 28, 126-140

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 The Influence of Funk at School

Julia de Freitas Rodríguez (Faculdade de Filosofia Ciências e Letras de Ribeirão Preto - USP)
julia.br.es2000@usp.br
Jessica Mami Makino (Faculdade de Filosofia Ciências e Letras de Ribeirão Preto-USP)
jmakino@usp.br

This Scientific Initiation project aims to discuss the influence of Funk in schools through analyzes
observed in previous productions. Funk is a cultural expression that is sometimes marginalized and
culturally disregarded, despite being found in various social circles all over Brazil. Therefore, we can
also observe it in the classroom, through the songs sung, danced and requested by students in
different age groups. In addition to musical consumption, Funk also influences fashion, the colloquial
expressions that are used by children and young people, as well as their conception of various
subjects, their worldview and the vision they construct about their own lives, often identifying with
the MCs or wanting to be like them, with their origins and trajectories. For this reason, we intend to
observe how this controversial and broad musical genre is or is not approached in the classroom, and
with what age group, and can be used to work on social and historical issues such as male
chauvinism and racism, in addition to subjects such as rhythm, art, music, culture, respect, body in
movement, among others.

Julia de Freitas Rodriguez, Mi nombre es Julia, tengo 23 años y estudió Pedagogía en la FFCLRP - USP.
Fui vicepresidente y presidente del Centro de Estudiantes de Pedagogía (CEPed), en 2022 y 2023,
respectivamente, y este año soy representante estudiantil en las reuniones de graduación y sigo
colaborando con el CEPed. También participé en el comité que organizó la semana de la educación en
2022 y 2023. Este es mi primer proyecto científico y es la primera conferencia en la que presento mi
proyecto

Jéssica Mami Makino has a degree in Artistic Education with a major in Music, a master's degree and
a doctorate in Music from the Institute of Arts of the Universidade Estadual Paulista Júlio de
Mesquista Filho. She is currently a professor at the University of São Paulo. She coordinates
Mediations: a study group on Art and Education and is vice-leader of the Art in Pedagogy Research
Group (GPAP). She has experience in the field of Arts, with an emphasis on Music Education, working
mainly on the following subjects: education, music education, teacher training, musicalization and art
education. http://lattes.cnpq.br/0929873470085756. .

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 The Observers’ Plateaus - Introducing the Impasses of Ecology and Geology
through Artistic Research

Orlando Vieira Francisco (Research Institute in Art, Design and Society, i2ADS)
orlando.vieirafrancisco@gmail.com

Based on the work “The Observers' Plateaus” presented in the collective exhibition “Compulsive
Desires - Lithium extraction and rebellious mountains” (Galeria Municipal do Porto, Portugal, 2023),
this paper presentation aims to discuss this topic of indefiniteness of a period of the Anthropocene
that more recently was faced with the International Commission on Stratigraphy (ICS) rejecting the
Anthropocene as Earth’s new geological epoch.

Within the scope of Artistic-Based Research, the work “The Observers’ Plateaus” results from
impasses and uncertainties regarding form, matter and content. In other words, produced in the
context of the transnational research project “From the Top of the Mountains We Can See Invisible
Monuments” (i2ADS, Portugal) on infrastructural criticism and the production of social space, the
work illustrates the “effects of Western rationalism and scientific disciplines that transform the living
ecosystem that constitutes a mountain in a succession of geohistorical transitions” (Marina Otero
Verzier, for the exhibition “Compulsive Desires - Lithium extraction and rebellious mountains,” 2023).
Indeed, according to Maria Kruglyak's review for Contemporanea magazine (edition 6, 2023), “in the
acrylic series The Observers' Plateaus, Orlando Vieira Francisco presents almost simplistic works of
primary colors that represent flat mountains — mere layers of matter ready to be explored, as the
extractivist will see it.”

However, the vagueness of the abstract and “simplistic” work, which could present itself as a
drawing, an acrylic painting, or even a sketch for sculpture or installation, also intends to question
the very definitions of stratification and sedimentation situated in positivist science, when provoked
between a discursivity of extractivism and new epistemologies. The possibility of different readings
of the work when inverted, for example, makes it possible to expand the discourse of landscape
intervention due to the “expansion of ecosystems subjected to capitalist production” (Malcom
Ferdinand: 2022).

Researcher Lucie Fortuin in the article “Grijze tijd” (“Gray time,” in Dutch) for the magazine
Metropolis M (April 22, 2023) about the insertion of this rhetorical gesture in the work “The
Observers' Plateaus,” says: “ Geological time is also political. (...) The “negative mountains”, as the
OVF calls them, represent the holes caused by mining. The effects of changing geological time are felt
most in marginalized places among marginalized people. For example, the colonial past and its
impact on contemporary exploitation by multinational companies determine where mining and
deforestation occur.”

This essay presents, therefore, the manifestation of a process as an added value in artistic practice
that accompanies the impasses of a period where society collides with the congruence of different
crises (economic, climatic, migratory, social) and the rhetorical forms of structures of power and
important decisions.

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Orlando Vieira Francisco is a visual artist and researcher linked to i2ADS (Research Institute in Art,
Design and Society) and an assistant professor of the Master in Art and Design for Public Space
(FBAUP). He has been working on coordinating the transnational research project “From the Top of
the Mountains We Can See Invisible Monuments” since 2022. He’s a member of the editorial board of
HUB — Journal of Research in Art, Design and Society (i2ADS). He works within the themes of the
production of social space between art and politics, the landscape as a concept of constant change,
and practices of environmental and social activism. In 2018, he completed a Ph.D. in Art and Design
at FBAUP, investigating how authoritarian policies are present in urban infrastructure, symbolic
monuments, and institutional structures.

The one Meter Cube of Virus and Three Thousand Years of Solitude, or a Year
of Collaborations

Francisco Luis Brandão Teixeira do Rego (College of Arts, Phd in Contemporany Arts, Coimbra
University) franciscobrandao94@hotmail.com

This project aims to share the production of a sculpture that needs to be collaborative so that it can
be materialized. A cube made of plastic boxes (HDPE plastic) of antiretrovirals for the treatment of
HIV (here different models will be incorporated, as with the patent breaks and disruption of the
monopoly of some companies have been implemented in the 40 years of treatment of the AIDS
pandemic).

The image of the cube in sculpture is extremely symbolic, practiced mainly by modernist geometric
movements and conceptual artists, often restricted to specific groups, selected by region, capital and
institutional structures.

To make the cube, approximately thirty-five thousand pill bottles are needed, which individually
would take three thousand years, making it impossible for mortal human life.

In 2022, studies showed that thirty-nine million people live with hiv, that is, in one month
approximately 800 thousand kilograms of plastic are used, if each person received just one vial
(which weighs approximately twenty grams), despite the fact that Each treatment protocol has its
own number of pills and compounds to be administered. To make this sculpture globally it would
only take one month of all the bottles sold around the world.

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Such a discrepancy shows individual weakness in the face of large institutions. Therefore, this
collaborative cube of people living with HIV becomes a powerful monument as a counterpoint to
hegemonies. And it requires the minimum engagement of five thousand people collecting their
medicine bottles for a year.

This is the beginning and systematization of a project to be carried out, which requires the greatest
possible engagement of bodies living with hiv/aids, and the difficulty of sharing about these
experiences, which often exist in situations shrouded in secrecy and clandestinity, is understandable.

A digital part of this cube has been developed in partnership with a Product Designer, but the digital
materialization of this project also becomes symbolic and makes reference to this ghostly existence
of silent coexistence with the virus and also with the disease.

Sharing this project in art-based-research is a component part of my PhD research carried out at the
College of Arts at the University of Coimbra, which began in October 2023 and will last for three
years. This project presents itself as an extension of the master's research carried out in Brazil (2019
to 2022), where I was able to build a multimedia body that involved sculptures, performative actions,
video and text, with the goal of propagating the destigmatization of bodies and promoting a full
existence.

Francisco Brandão (1994) is an artist and researcher. Born in Ubá, Minas Gerais - Brasil, and lives in
Porto - Portugal. He is a Phd student at the College of Arts of the University of Coimbra and a
member of the research group, Center for Interdisciplinary Studies (CEIS20). He has a Bachelor in
Interdisiplinary studies in Art and Design and Master's degree in Arts, Cultures and Languages ​from
the Federal University of Juiz de Fora - Brasil. His production transforms materials and experiences
into objects and artistic interventions. It seeks to trace the relationships between tradition and queer
aspects to circumvent the fables that operate against plural existences, where he puts subjects,
deviations and desires into play, as a way of narrating his time and the timing of things.

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 Thinking About Drawing in Comics-based Research: Pondering Recurring
Challenges and Promising Strategies

Enrico Beccari (Departamento de Artes Visuales y Diseño, facultad de Bellas Artes, Universidad de
Barcelona) g.beccari.enrico@gmail.com

The proposal expands on methodological reflections that originates from the author’s doctoral
thesis, which is currently developing as comics-based research. This definition (Kuttner, Nick
Sousanis, and Weaver-Hightower in Leavy, 2018; see also Kuttner, Weaver-Hightower, and Sousanis,
2021) testifies to the growing interest in this particular mode of representation of academic and
research practices (O’Sullivan, 2023).

The proposal describes of how the author has attempted to solve difficulties coming from writing
and drawing research as a comic—thus, visually expressing concepts while maintaining, at the same
time, the reading principles of juxtaposition and sequentiality, which, according to both comics
creators and academic authors (Eisner, 1985; McCloud, 1993, with criticism by Groensteen, 1999;
and Cohn, 2010), is the defining element of the comic itself.

When pursuing academic research that aims to articulate analytical movements and abstract
concepts and discourses, the act of drawing them is both an intriguing option and a significant
obstacle.

On one hand, after the turn toward visual communication (Mitchell, 1994; Boehm, 1995; see also
Berger, 2022), the importance of images in the ways through which we understand the world and
learn about reality has greatly increased. So, using comics as a transformative visual approach to
research can become a strategy to show the researcher’s specific gaze, mental processes, and
subjectivity by materializing thoughts as images and sequences. This, in turn, allows for various
critical possibilities, since it becomes possible to manipulate the original visual material, dismantle it,
see it from other angles, visually “paraphrase” it (Beccari, 2014), and so on.

But it also brings along many practical and conceptual challenges. When transforming words into
sequences of images, it is necessary to go beyond the organizational strategies commonly observed
in comics, where we have learned to see, in most cases, characters engaged in some kind of
pseudo-realistic action. Conversely, a visual essay has to look for different kinds of what has been
called "iconic solidarity" (Groensteen, 1999; also Braithwaite and Mikkonen, 2022), that is, ways in
which words and pictures work together to synergistically communi-cate meaning.

Drawing on the author's doctoral dissertation as well as examples drawn from other comics-based
research sources (Sousanis, 2015; Madrid Manrique, 2014; García, 2000; as well as other
non-academic comics), the objective here is to reason about which strategies seem to be effective in
creating a productive dialogue between text and image in academic research.

An initial, explorative conclusion is that research in comic format, instead of trying to exclusively
illustrate research processes and situations, will produce better results when finding creative ways to

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represent them. This will necessitate the pursuit of interrelations between graphic and textual
sequences with the aim of generating resonances, not through direct figuration (or, at least, not
always), but rather through resonances, metaphors, and metonymies. The result is a mixture of both
explicit and oblique narratives that stimulate critical thought and generative connections, which are,
all considered, a valuable result for any research process.

Enrico Beccari, Adjunct professor at the University of Barcelona. Main research interests:
representations in popular culture, especially in comics/graphic novels, from the visual culture
perspective; as well as conceptualization and artistic practice in comics-based research. Other topics
of interest, related to visual culture, would be autobiographical and identity narratives, analyzed
from the lenses of lacanian psychoanalysis.

To Artist at University: Activating Investigative Processes in Teacher Training

Lutiere Dalla Valle (Federal University of Santa Maria) lutiere.valle@ufsm.br

Artistic methodologies offer creative ways of investigating and narrating what challenges us,
promoting relevant debates in the field of art and education, teaching, and its didactic-pedagogical
approaches. In the field of educational research, artistic and visual methodologies allow us to access
aspects that would otherwise remain invisible in research (Hernández, 2013). In this context, by
proposing teaching artistry at university we are fostering the development of creative practices,
entangled by the desire to learn from different perspectives, in a shared, horizontal, and affectionate
way. What it means to create an educational research project and what the challenges and
contributions are for research in the human sciences, also prompts us to examine academic
didactics, questioning institutional hierarchies to think of educational environments as spaces for
creating Learning Circumstances (Deligny, 2018) where the artistic experience contributes to
formulating questions about the subjects themselves and their social and cultural environments.
Assuming that artistic methodologies are “living methodologies” (Hernández, 2011: 78) that are
crossed by “practice” (Springgay; Irwin, 2013: 139), we understand that the ways of doing research
are always in the process of happening. In the same way, by proposing teacher training based on art
education, we understand the need to establish links between images and ways of seeing from a
cultural point of view and the political relationships that surround them, hence comprehending
teacher training as an experiential practice based on protagonism that is also crossed by emerging
social problems relating to issues of gender and sexuality, politics and society, ethnic-racial diversity,
desire, and utopia. Considering these contexts of artistic experimentation in the Federal University of

69
Santa Maria, RS, Brazil, research, and teaching with Pedagogy students, we seek to reflect on their
intersections and how they have operated in higher education, both in the postgraduate and
undergraduate spheres. In other words, examining how artistic practices interact in the pedagogical
sphere and how they intervene in the relationships between teaching, learning, and teaching.
Art-Based Educational Research and its methodological procedures, as explained by Dias (2013),
consists of a methodology that is open to diversity. It privileges the countless languages of art,
enabling a space for reflexive creation, active in one's education, in an open and connective way.
Concerning artographic perspectives, for Leggo and Irwin (2023), it is through pedagogical and
artistic encounters that the different disciplinary fields intertwine, opening possibilities for new
encounters with the research topic, questioning traditional ways of doing research, and claiming new
perspectives for its realization. The experiences developed at the university from teaching artistry do
not follow homogeneous paths, but rather a diversity of possible paths for educational research and
teacher training crossed by aesthetic experimentation. Having the position of learning entangled in
relationships of affection with/from the images of art and visual culture implies considering that
learning and research is not a linear cognitive process, but a performative, biased one, which takes
place based on experiences that are effectively incorporated.

Lutiere Dalla Valle PhD in Visual Arts and Education from the University of Barcelona, Spain. Professor
at the Federal University of Santa Maria, RS, Brazil. Works in the Postgraduate Program in Education.
Leader of Mirarte: Research Group on Art, Visual Culture and Education. Member of Resonar,
Research Group linked to the Universidad de la República, Uruguay. Author of articles and book
chapters where he examines artistic and visual methodologies in educational research and their
interactions with the training of pedagogy teachers. Coordinates research projects on teacher
training in the dialogue between art and visual culture, linking emerging social themes, such as
discussions surrounding ethnic-racial issues, and gender and sexualities.

Transits and Genealogies in ABR

Judit Onsès Segarra (Universitat de Girona) judit.onses@udg.edu

Fernando Hernández-Hernández (University of Barcelona) fdohernandez@ub.edu

In the almost thirty years that Arts-Based Research (IBA) has been between academia and the ways
of embodying inquiry in different environments, has been understood and has been deployed in
different dimensions, discourses and practices. In a previous writing (Hernández-Hernández; Onsès

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Segarra, 2020), we accounted for some of these contexts and areas in that the IBA has emerged,
projected and passed through. Both since their connection initial with art therapy (Mc Niff, 1995),
going through a variant of artistic research, called a/rtography (Springgay et al., 2005) that proposes
articulating different roles - researcher, artist and teacher - and deploy a foundation based on
"layers", to project from there artistic practices (Jagodzinski; Wallin, 2013), until being thought from
social research and collective practices. In all these areas, the IBA. It is a living reference that folds,
folds and unfolds according to the authors and the frameworks of thought and action in which it is
projected.

At times, it has been considered as a way of calling practices artistic and, in others, as an artistic
methodology. It has also been reviewed (Hernández-Hernández, 2008) as a research perspective
related to the narrative turn (Clandinin; Connelly, 2000) and as an ontoepistemology that questions
the frameworks of reality, of knowledge that guide artistic research and qualitative inquiry, in the
extent to which it challenges the construct of art and research as "representation" (Trafi-Prats;
Castro-Varela, 2022) This variety entails that in some cases, the focus is placed on artistic disciplines
and their use for research, while in others it is understood as part of the approach to a phenomenon
in becoming that is associated with new ontologies (Hernández-Hernández; Revelles, 2019).

In this communication, we present a map that draws these transits in the Arts-Based Research, with
its future, its condition of unclassifiable by definition and the tensions and potentialities that this has
allowed, still being today, an inexhaustible source of creation and invention of knowledge, views and
feelings about reality.

Judit Onsès Segarra, Graduate in Higher Architecture (2007, UPC) and Fine Arts (2013, UB), Master in
Visual Arts and Education (2014, UB) and Doctor in Arts and Education (UB, 2018). She is currently a
Lectora Serra Húnter professor at the Faculty of Education of the University of Girona (UdG). She is a
member of the Education, Heritage and Media Arts (GREPAI) research group at the University of
Girona. She is also a member of REUNI + D (University Network for Educational Research and
Innovation of Social Change and Challenges for Education in the Digital Age) and Indaga't (teaching
innovation group that promotes inquiry-based learning). Since 2019, she has coordinated the
European Research Network EERA-NW29. Research on Arts Education. She has participated in
different research and teaching innovation projects at a national and international level. Her research
interests are related to arts-based research, space design in education, and transdisciplinary cultural
projects for social transformation.

Fernando Hernández Hernández, University of Barcelona. Professor Emeritus linked to the Cultural
Pedagogies Unit of the Faculty of Fine Arts. He is part of the consolidated research group
ESBRINA-Subjectivities, visualities and contemporary educational environments (2021 SGR 00686)
http://esbrina.eu and REUNI + D-Red Universitaria de Investigación y Innovación Educativa
http://reunid.eu fdohernandez @ub.edu

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 Un cuarto de baño propio

Paola Villanueva (Universitat Oberta de Catalunya, UOC) paolavillanueva.edu@gmail.com

How is knowledge generated in the daily life of a childbearing mother and artographer hidden in a
bathroom? Which reflective-and-action frameworks help to sustain and re-signify them? Which
territories do they find into the academy, and how can we move them within the scientific
community?

Although Adrienne Rich and other comrades already claimed this in the 1960s (Davey, 2020), authors
in different fields and networks talk about motherhood as a public matter today (Vivas, 2019). They
seek the recognition of a shared responsibility historically relegated to the private sphere of the
home, and strongly masked in language. And we know this: language constructs realities; what is not
named acquires great significance.

With this in mind, Marta Puigdemasa invited me to be part of Madrebulario, a compilation of

neologisms about experiences of motherhood that have no place in the standard dictionary. I
accepted. For two years, I auto-ethnographed the intersections I was living between my recent
maternity and my work as an artographer. We pooled them and went out to collect unnamed
experiences from any mother who wanted to participate in the project. We compiled, edited and
published them in a book. I drew it while reflecting on how, in this Arts-Based Research project, I was
generating knowledges from the periphery, in precariousness, from the body, affects and emotions
(Ahmed, 2017). All embedded in post-structuralism. With a socio-critical approach. From a
post-qualitative perspective (Hernández, 2019). From intra-action (Barad, 2007) and
intra-disciplinary.

Let’s bring motherhood and its particular modes of production also to the university. Denaturalizing
cultural stereotypes. Reclaiming motherhood as a political experience. Exploring motherhood as a
restorative practice from its intersection with the creation and production of others' knowledge.

References
Ahmed, Sara (2017). La política cultural de las emociones. Universidad Nacional Autónoma de
México.
Barad, Karen (2007). Meeting the Universe Halfway. Duke University Press.
Davey, Moira (2020). Maternidad y creación. Alba Editorial.
Hernández, Fernando (2019). Presentación. La perspectiva postcualitativa y la posibilidad de pensar
en ‘otra investigación educativa. Educatio Siglo XXI, 37(2): pp. 11-20.
<https://doi.org/10.6018/educatio.386981>
Vivas, Esther (2019). Mama desobedient. Ara Llibres.

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Paula Villanueva, I am an artist, teacher and researcher. I hold a PhD from the University of
Barcelona. I use drawing or any artistic language as a performative practice; as a possibility to put
thoughts into movement. Sometimes I do it for advertising or editorial commissions. Others, to
expand artistic research and pedagogical action-research projects. I mostly use handmade methods,
going from concept to object. I am committed to collaborative work projects generating learning and
critical thinking in a relational and an intra-active way. I work from feminism, affection and care,
inquiring from connections as a rhizome does. I teach at the University of Barcelona, the Open
University of Catalonia and CIC-Elisava.

Una travesía más allá de las palabras con el Arte como brújula: trazando un
camino para la comprensión de la presencia del silencio en arteterapia

Mª Piedad García-Murga Suárez (Unidad Docente Educación Artística, Departamento de Didáctica de

las Lenguas, Artes y Educación Física, Facultad de Educación - Centro de Formación del Profesorado,
Universidad Complutense de Madrid) mariapig@ucm.es

Esta propuesta presenta la investigación para la elaboración de un TFM en el ámbito de la

Arteterapia y la Educación Artística para la Inclusión Social. El trabajo pretende un acercamiento a la
comprensión del silencio en su relación con la arteterapia, gracias al saber experto de arteterapeutas
de referencia en el contexto español. La muestra está conformada por 17 expertas. Se considera,
además, la experiencia de la propia investigadora durante su periodo de prácticas. Tras la revisión de
la literatura, se localizaron contados estudios que indagasen en el tema, poniéndose de manifiesto la
necesidad de profundización para la mejora de la práctica profesional. Se propone una investigación
de corte cualitativo, gracias a las técnicas y herramientas propias de este paradigma,
complementadas con otras de la Investigación Basada en las Artes. Concretamente, se implementa la
creación artística para el enriquecimiento del diario de campo, la práctica sistematizada del arte
respuesta y la realización de grupos focales y entrevistas online mediadas por la foto-elicitación. El
estudio revela que la capacidad del manejo del silencio en las sesiones de arteterapia se ve
favorecida con el paso del tiempo, debido a la experiencia, a la supervisión y al trabajo personal de la
arteterapeuta. Otro descubrimiento relevante subraya la pertinencia del uso del lenguaje artístico
para favorecer la reflexión y el diálogo. Al ser el Arte el lenguaje fundamental que vehiculiza el
trabajo de las profesionales en su quehacer cotidiano, este facilita el acceso a conocimientos y
saberes del orden de lo no-verbal, así como de lo verbal. La experiencia sostiene que el arte precede
a la palabra y puede propiciar la aparición del discurso verbal en torno a temas complejos. Por tanto,

73
se refuerza el diseño metodológico empleado, incorporando el arte en la conversación y a lo largo de
todo el proceso de elaboración del estudio para rescatar las voces de las expertas. En definitiva, y con
especial énfasis en aquellas áreas en las cuales el arte es protagonista e idioma “materno”, cabría
preguntarse sobre la coherencia de la utilización de variados medios expresivos. En este caso, los
lenguajes artísticos se erigen como herramientas clave para la adquisición, el procesamiento y la
expresión del conocimiento en el ámbito académico y profesional. De esta manera, se estima que el
presente estudio sugiere preguntas y ofrece instancias acerca de la capacidad intermediadora del
arte, la transdisciplinariedad que permite y el fomento del pensamiento crítico. En conclusión, se
aboga por la inclusión de la ABR, así como sus técnicas aplicadas a la investigación cualitativa o de
otra índole. Ello contribuirá, sin duda, al enriquecimiento de saberes y quehaceres en los ámbitos
investigadores y profesionalizantes de las instituciones de Educación Superior

Mº Piedad García-Murga Suárez Filóloga Inglesa, Maestra en Educación Infantil (Premio

Extraordinario de Grado 2019) y Máster en Arteterapia y Educación Artística para la Inclusión Social
por la UCM. Desarrolla su trayectoria profesional en educación y se especializa en la intervención
dentro de los ámbitos clínico y psicosocial en Salud Mental durante su formación en arteterapia.
Actualmente, dentro del marco de una ayuda FPU, investiga para la elaboración de su tesis doctoral
en arteterapia en el contexto de intervención con infancia y adolescencia afectadas por trauma,
vinculada al Proyecto de I+D BRUNDIBÁR del grupo de investigación EARTDI, en la Facultad de
Educación UCM. Publica El Paladar Perdido, su primer poemario, en 2011. Continúa cultivando la
poesía y explorando diversas disciplinas artísticas. Ha expuesto obras plásticas, performance y
videoarte en diversas convocatorias. Participa de los colectivos Periferias Poéticas y Sororidades, con
los cuales crea en vivo y comparte su poesía en ámbitos suburbanos y rurales.

Unraveling Transdisciplinary Creativities: Ethnographic Insights from a

Recyclers Cooperative in La Matanza (Argentina)

María Schmukler (Unidad Académica de Estudios y Prácticas de Cultura Visual, Facultad de Artes,
Universidad de la República.) schmuklermaria@gmail.com

This presentation shares insights and reflections from my doctoral research, which explores design
processes within "Reciclando Sueños," a cooperative in La Matanza, Argentina. Employing an
ethnographic approach, this study delves into how the cooperative's members engage in the
recovery, sorting, and valorization of recyclable materials. It scrutinizes the interplay of

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acknowledged and unacknowledged knowledge and creative practices alongside the roles of the
body and senses, unveiling the intricate interconnections between human and non-human elements
in an unconventional and unexpected design context.

This research foregrounds the emergence of unique design practices within collaborative settings,
involving individuals and groups not traditionally identified as designers or as people who can create
their way of existence. By adopting a participatory approach, the study shifts from an observational
to an immersive methodology, emphasizing co-design and active involvement in the design process.

The investigation reveals dual aspects of the unexpected: the innovative design outcomes from the
cooperative and the transformative impact on my professional design practices. Two important
questions arise when considering creativity: Who is legitimate to work with it? and What happens
when we let ourselves be affected by other creative ontologies? This journey, underpinned by a
transdisciplinary and collaborative postgraduate educational framework, highlights the dynamics of
joint endeavor, the influence of establishing relationships and ties in the field, and the resultant
reflections on my personal and professional pathway.

Through this explorative and collaborative ethnographic approach, the study contributes novel
transdisciplinary tools and sparks further dialogue about the boundaries and potentials of creative
practice in a transdisciplinary realm. This presentation aims to provoke thought and inspire dialogue
on the convergence of design, ethnography, and collaboration, challenging conventional perceptions
of design and its practitioners.

María Schmukler, Diseñadora Industrial y Magíster en Ciencia, Tecnología y Sociedad. Candidata a

Doctora en Ciencias Sociales y Humanas en la Universidad Nacional de Quilmes (Argentina). Tesis
entregada, a la espera de su defensa ante jurado. Título del trabajo “Diseños (in)esperados.
Etnografía sobre prácticas de diseño en la Cooperativa Reciclando Sueños (La Matanza, Argentina)".
Profesora Adjunta de la Facultad de Artes, Universidad de la República.

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 Vibrant Matter of Inclusion: Welding the Children's Agency with Arts-based
Research Methods

Montserrat Rifà-Valls (Dep. of Teaching Musical, Artistic and Corporal Expression. Faculty of
Education. Autonomous University of Barcelona) montserrat.rifa@uab.cat

Inspired by Vibrant Matter: A Political Ecology of Things by Jane Bennett (2010), this paper explores
some stories emerging from the research project Children's agencies, vulnerability, and education:
creating transmedia narratives for inclusion (I+D+I AGEncias). In her book, Bennett argues that
thing-power "perhaps has the rhetorical advantage of calling to mind a childhood sense of the world
as filled with all sorts of animate beings, some human, some not, some organic, some not. It draws
attention to an efficacy of objects in excess of the human meanings, designs, or purposes they
express or serve" (2010, 20). Aligned with this, I wonder how the agency of matter is entangled with
the materiality of children's agencies, as we can also consider that 'children’s agency might be
assembled and infrastructured within and across a range of devices, materialities, technologies and
other sentient beings' (Kirby 2019, 2 quoting Oswell).

Focusing on the study of diversity in children's agencies and vulnerabilities, the AGEncias project
reconstructs children's belongings, memories, desire lines, and power dynamics; and it faces, as
societal challenges, the production and communication of inclusive narratives to educate against
inequalities and abusive relationships in childhood. In the crossroad of the new materialisms, affect
theory and intersectionality with arts-based research methods, AGEncias combines diffractive
ethnography, through shaping multimodal diaries (Hernández-Hernández and Sancho-Gil 2018); and
storytelling, which guides the transmedia narratives of inclusion, by following a process of photo
storying (Varvantakis and Nolas 2019 and 2024). Despite the project has been developed in different
Catalan cities simultaneously, I will share what occurred in one of the cases, where children's bodies
navigate between the performative and the disruptive, the natural and the artificial, the spatial and
objectual.

In this environment, the vibrant matter of handmade things during the learning activities in the
extra-schooling time lives together with that of the things placed in the ordinary classroom and of
things of children's visual culture, among others. In addition, from the intra-action of children with
things, children's agencies become visual, tactile, inventive, playful, experimental, resistant, and
caring. Moreover, there is an alliance between creativity and inclusivity, due to both matter to the
formation of children's subjectivity and cultures. To explore the entanglements of vibrant matter and
agency, arts-based methods frame our research decisions and permeate the modes of writing and
editing the multimodal diaries. Finally, I will share some stories co-created with children using
arts-based methods that contribute to a series of transmedia narratives of inclusion and affect
education critically.

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Montserrat Rifà-Valls, Ph.D in Philosophy and Educational Sciences. Associate Professor Serra Húnter
in visual arts education at the Faculty of Education (UAB). She has specialized in curriculum studies,
subjectivity, and difference in arts education and in the use of visual research methodologies. She is a
researcher in the atlas group: Critical Intersections in Education and is the Co-coordinator of the
projects: AGEncias, Children's agencies, vulnerability and education: creating transmedia narratives
for inclusion and K-Reporters, Reassembling politics across children's cultures to scale intersectional
pedagogies. She develops her visual narrative research on childhood studies from feminist
onto-epistemologies, specifically from decoloniality, intersectional theory and new materialisms.

Visual A/R/Tography and Artificial Intelligence (VA+IA): Renewed Clashes

Between Visual Images and Words in Research Contexts

Ricardo Marin-Viadel (Departamento de Didáctica de la Expresión Musical, Plástica y Corporal.

Facultad de Bellas Artes. Universidad de Granada, Spain) ricardomarinviadel@gmail.com
Joaquin Roldan (Departamento de Didáctica de la Expresión Musical, Plástica y Corporal. Facultad de
Bellas Artes. Universidad de Granada, Spain) joaquinroldan@ugr.es

A little over 10 years ago and just over 100 kilometers separate us from the 1st ABR&AR conference
that took place in Barcelona in 2013. At that time, one of the main debates was about the
methodological and epistemological equivalence between visual (artistic) images and written
(academic) texts in educational research. In opposition to the hegemonic verb centrism, visual
images wanted to take advantage of the fact that, in our digital universe, internet circulation is just as
easy for numbers as it is for words and images (if they are digital images).

Both ABR and AR have continued to develop intensively over the last eleven years, not shaken but
stirred. ABR is a matter of teachers and pedagogues, schools, and education; AR, on the other hand,
is a matter of art and artists (that's right, in educational institutions). Neither these conferences, nor
other similar initiatives, have succeeded in bridging the gap between these two plural universes.

The main symptom of the increasing development and impact of ABR is that 10 years ago, almost all
professionals interested in these issues either had initial training in some kind of artistic discipline or
were working in training centers for artists and arts professionals or in some kind of Art
Education-related discipline. Currently, university textbooks on ABR are written by authors trained in
any discipline of the human and social sciences, who work with qualitative research methodologies.

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This shift is very important and fulfils Elliot Eisner's vision when in 1993 proposed the possibility that
arts-based could illuminate old problems or enlighten new questions about educational research.

Today, some methodological refinements seem to have taken hold, including Visual A/r/tography.
Visual a/r/tography is an a/r/tographic modality, which corresponds to the primary use of visual arts,
and a/r/tography, in turn, is a modality of arts-based educational research, which is, in turn, a
modality of arts-based research.

Because Visual A/r/tography is necessarily involved in the creation of new visual images, and
because, in the last two years ago, generative artificial intelligence has emerged as the biggest and
most intrusive revolution in visual images making, then the merger between Visual A/r/tography and
Artificial Intelligence seems inevitable.

But now it turns out that one of the main, most surprising, and innovative features of artificial
intelligence is that it creates visual images directly from natural verbal language: if we are not able to
write the prompt correctly, we have no chance of seeing what we want.
Back to square one?

Ricardo Marín-Viadel, was born in Valencia, Spain (1955). Professor of Art Education, School of Fine
Arts and School of Education, University of Granada (Spain). Research interests: Art Education, Visual
Arts-based Educational Research, Visual A/r/tography, and contemporary drawing on archaeological
heritage. Last books and catalogues. Some of his works are: Archaeology and Contemporary Drawing
in the Museum of Cadiz (2016), Visual ideas. Arts based research and artistic research (2017),
Vindication of five Etruscan art works in the Archaeological Museum of Granada (2017), Learning to
teach visual arts: an a/r/tographic approach (2020), Walls paintings of Charles V Emperor’s Chamber
in the Alhambra: a visual hypothesis (2021), Photographic pairs: images, art, and inquiry (2022), Art
for Learning. Complete catalogue. 2013-2022 (2023), ARTificial Intelligence and Art Education.
Greeting (2023).

Joaquin Roldan. (Granada, Spain, 1969). PhD. in Fine Arts, University of Granada (Spain). Research
fellowship at the Massachusetts Institute of Technology (M.I.T.), Boston (FULBRIGHT Commission
Scholarship) and at the British Columbia University, Vancouver, Canada. Professor of Art Education in
the Faculty of Fine Arts and the Faculty of Education of the University of Granada and coordinator of
the Official Interuniversity Master's Degree 'Visual Arts and Education. Some of his works are: Visual
ideas. Arts based research and artistic research (2017), Learning to teach visual arts: an
a/r/tographic approach (2020), Photographic pairs: images, art, and inquiry (2022), Art for Learning.
Complete catalogue. 2013-2022 (2023).

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 Weak in Art

Thalia Hoffman (Haifa University) thalia.hoffman@gmail.com

The artistic process is inherently intertwined with the complexities of human vulnerability. This
proposal seeks to delve into the profound intersection of art and weakness, particularly within the
context of artists navigating conflict zones. Against the backdrop of the ongoing war of Israel in Gaza,
artists grapple with personal and collective struggles, finding solace, expression, and resilience within
their studios. Through a workshop seminar conducted at Haifa University's MFA art program during
the most recent violent conflict in the region, this presentation will illuminate the nuanced ways in
which weakness informs and shapes artistic practice.

In times of war and conflict, artists face unique challenges and opportunities. The studio becomes a
sanctuary, a space where vulnerability is both confronted and transformed into creative expression.
This proposal presents insights and reflections gathered from a workshop seminar conducted at Haifa
University's MFA art program, situated amidst one of the most violent conflicts in Israel's history.
Through this seminar, participants engaged in deep explorations of weakness in art practice, offering
poignant insights into the human experience amidst turmoil.

Themes Explored:
1. The Power of Vulnerability: Artists confront their weaknesses, doubts, and limitations within the
studio, transforming them into sources of inspiration and innovation. Through embracing
vulnerability, artists tap into a deeper emotional resonance, inviting audiences to connect with their
work on a profound level.
2. Creativity in Crisis: In conflict zones, artistic practice becomes a means of resilience and resistance.
Artists navigate the complexities of their environment, responding to the socio-political landscape
with courage and creativity. Weaknesses in this context serve as catalysts for experimentation and
exploration, driving artistic innovation amidst adversity.
3. Art as Reflection and Critique: Amidst violence and uncertainty, artists use their work to reflect,
critique, and challenge the status quo. Through their art, they offer nuanced perspectives on the
human condition, shedding light on the complexities of conflict and resilience.
4. The Role of Artistic Research: The seminar at Haifa University facilitated deep dialogues and
reflections on the intersection of art, weakness, and conflict. Through artistic research, participants
engaged in rigorous inquiry and exploration, uncovering new insights into the transformative power
of creative expression.

This presentation offers a compelling exploration of weakness in artistic practice within the context
of conflict zones. Through the lens of the workshop seminar conducted at Haifa University, we gain
valuable insights into the ways in which artists navigate vulnerability, creativity, and resilience amidst
times of war. The final writings of the students who participated in the seminar provide poignant
reflections on the transformative power of art in the face of adversity. Join us as we delve into the
rich tapestry of human experience, illuminated by the profound insights of artists amidst conflict.

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Thalia Hoffman, born 1979 Germany, lives and works in Jaffa – Tel Aviv. She’s a visual artist and
researcher working in film, video, performance and public interventions in the area she lives in, east
of the Mediterranean. In 2020 she graduated at Leiden University, PhDArts, with the thesis “Guava, a
conceptual platform for art-actions”. The aim of the Guava Platform is to research and create possible
techniques of art-actions that are part of her quest to continue to live in the conflicted landscape, as
an artist. Alongside her artistic actions, Hoffman is a lecturer at the University of Haifa in fields of
video, performance and artistic research for BA and MFA programs of the school of arts. All her work
strives to be involved in its surroundings and engage people to look, listen and feel their
socio-political landscape with attention. Hoffman’s films, video works and performances have been
shown in exhibitions and festivals in Israel and around the world. Among them the Tel Aviv Museum
of art, The Haifa Museum of art, Mamuta art centre in Jerusalem, Beit HaGefen Gallery in Haifa, The
Jerusalem film festival, Experiments in Cinema Festival in New Mexico, Aesthetica Film Festival in the
UK, and The Video-Art festival in Cairo.

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Workshops

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 10372 km de lana: una trama colectiva para pensar las intervenciones
site-specific

Guadalupe Pérez (Facultad de Artes de la Universidad de la República, Uruguay)

guadalupe.pebel@gmail.com
Fernando Miranda (Facultad de Artes de la Universidad de la República, Uruguay)
fernando.miranda@artes.udelar.edu.uy
Gonzalo Vicci (Facultad de Artes de la Universidad de la República, Uruguay) gvicci@enba.edu.uy

El workshop que presentamos forma parte del proyecto "Site-specific: producción de intervenciones
colaborativas y mediación pública desde la investigación basada en las artes", el que se enfoca en
explorar prácticas artísticas contemporáneas a través de la mediación pública, utilizando el enfoque
site-specific como plataforma central.

Aunque los conceptos de acciones site-specific (Kwoun, 2002; Expósito, 1998) y mediación (Alonso y
Miranda, 2021; Fontdevila, 2018; Sánchez de Serdio, 2009) son familiares en el ámbito de las artes
visuales, nuestro objetivo es actualizarlo como alternativas contemporáneas de creación artística con
implicaciones pedagógicas. Para ello, nos respaldamos en la investigación basada en artes, con el
objetivo de trascender las aparentes dicotomías entre paradigmas cualitativos y cuantitativos. En
este sentido, nos orientamos hacia unas formas de conocimiento propias de las artes en general,
reconociendo una notable afinidad metodológica en el enfoque cualitativo. Entendemos que la
investigación en artes ofrece una perspectiva necesaria y sensible tanto para la academia como para
la sociedad en general, al promover modos alternativos y diversos de producción y relación con el
conocimiento y el mundo.

Este taller surge de una práctica situada en el contexto rural del departamento de Canelones
(Uruguay), dentro de un campo dedicado a la formación universitaria con un enfoque en la
investigación y producción ovina y bovina. En este entorno, nos dedicamos a establecer una relación
con el territorio, explorando los entrelazamientos entre lo humano y lo no humano, lo material y lo
narrativo. Lo hacemos a través de prácticas performáticas in situ, la recolección de datos sensibles y
conversaciones con quienes configuran la comunidad del lugar.

A su vez, en colaboración con un colectivo de mujeres rurales, cuya habilidad en el trabajo con la lana
y el tejido representa una oportunidad económica y de cohesión social, hemos emprendido un
proceso de aprendizaje que nos llevará desde la esquila hasta la creación de piezas artesanales y a
acciones de mediación pública situada que den cuenta de este proceso. Esta colaboración es el punto
de partida de nuestra propuesta para el 8th International Conference on Artistic Research and
Arts-Based Research.

El taller se plantea como una exploración del potencial de las intervenciones site-specific para
redefinir y recontextualizar prácticas específicas en diversos entornos, generando nuevos tejidos
territoriales, materiales y relacionales. Para ello serán deseables prácticas de acercamiento sensible
al nuevo entorno y participantes.

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Proponemos la creación de un dispositivo colectivo-conectivo que integre el proceso artesanal
tradicional del hilado de lana con otras formas de transformación de esta materia, acompañado por
un entorno de proyección audiovisual que evoca el contexto original, con el fin de fomentar un
diálogo y una conexión significativa entre las participantes.

Buscamos crear un espacio participativo que promueva los procesos de mediación pública, elemento
que queremos investigar a partir de la propia producción artística y sus consecuencias pedagógicas.

Guadalupe Pérez, Docente e investigadora interesada por los enredos de creación y pensamiento
transdisciplinar entre las prácticas artísticas, corporales y políticas y atravesados por enfoques
decoloniales y poshumanistas. Magíster en Arte y Educación desde una perspectiva construccionista
por la Universidad de Barcelona (España), Licenciada en Artes por la Universidad de la República
(Uruguay), Maestra por los Institutos Normales de Uruguay. Como docente de la Facultad de Artes se
desempeña en proyectos colaborativos de relacionamiento con el medio y con comunidades.
Participa de asignaturas de grado y maestría con base en la Cultura Visual, Mediación y prácticas
artísticas contemporáneas. Integra el grupo de Proyectos de Investigación y Desarrollo titulado
“Site-specific: producción de intervenciones colaborativas y mediación pública desde la investigación
basada en las artes”. Participa de la colectiva artística “Diez de cada diez” que parte de la violencia de
género como eje temático y el arte como articulador discursivo accionando el espacio público.

Fernando Miranda es Decano de la Facultad de Artes de la Universidad de la República (Udelar).

Profesor Titular Coordinador de la Unidad Académica de las Orientaciones Estético Pedagógicas y
Lenguajes (Instituto de Bellas Artes, Fac. de Artes, Udelar). Doctor en Bellas Artes con orientación en
Educación Artística (Facultad de BBAA – U. de Barcelona) y Lic. en Cs. de la Educación (Fac. de
Humanidades y Ciencias de la Educación - Udelar). Cursó estudios en la Escuela Nacional de Bellas
Artes (Udelar) entre 1986 y 1991. Investigador Nivel II del Sistema Nacional de Investigadores de
Uruguay. Desde 2005 es Coordinador del Núcleo de Investigación en Cultura Visual, Educación y
Construcción de Identidad (Udelar) con el que ha desarrollado proyectos a nivel nacional e
internacional. Actualmente responsable del proyecto de investigación I+D “Site-specific: producción
de intervenciones colaborativas y mediación pública desde la investigación basada en las artes.”.
Participante y colaborador en proyectos con investigadores/as de las universidades: Pública de
Navarra; del País Vasco; de Valencia; Federal de Goiás; de Barcelona; de Los Lagos; entre otras.

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 A Workshop of Peers-An Index of Undutifulness

Elpida Karaba (Department of Culture and Creative Media and Industries, School of Humanities and
Social Sciences, University of Thessaly) elpidakaraba@gmail.com
Valia Papastamou (Department of History, Archeology and Social Anthropology, School of
Humanities and Social Sciences, University of Thessaly) aspartamy@gmail.com

The proposed workshop will focus on technoaesthetic practices working on diverse methodologies
between research-based art, feminist theory and expanded critical pedagogies inside and outside the
academy, formal and non-formal. Technoaesthetics are not understood in a thematic way, addressing
issues of art, techniques, feminism, postcolonialites and geographies, but in intersectional; in
co-creating and co-producing works that expand the notions and methodologies of art, social
sciences and technology.

We will embark from methodologies and multimodalities tried out at the Centre of New Media and
Feminist Public Practices (CNMFPP), which now appears as a spectral institution; not in the sense of
ghosts but in the sense of (suspended) possibilities.

By trying to unfold diversity itself, we will ask ourselves in which terms it matters. Both in artistic
production (even when the emphasis is put on the artistic process in relation to the produced
outcome, in open processes or project oriented forms), but even more so in academic knowledge
production and institutional exchanges, we observe that existing hierarchies persist. It is also
embedded in practices that try to horizontally distribute knowledge, such as conferences and
workshops. Therefore our undutiful resigns in reshaping those exact forms we are working with.

This workshop will be a peer-to-peer knowledge exchange working towards affiliations, articulations
and networks. Critically thinking on our institutions’ inherent power relations, will be itself an
exercise of engagement, agency and raising of democratic consciousness.

Rethinking what is considered legitimate in order to situate artistic research eligible in the knowledge
economy, we want to disturb and be undutiful towards the already existing belief that artistic
research is inherently scientific. How can we think of artistic research as a spectral field that is not
necessarily legitimized through loans from other fields but rather from mutual exchanges?

Introducing methods/forms we practice in the CNMFPP, such as reading groups and collective
translations in peripheral languages, feminist tutorials of unlearning, mapping and cartographing,
that are inherently pedagogical and participatory, and by inviting participants to share theirs, we built
upon the dynamics of the peer-to peer perspectives on reasoning and other possibilities in aesthetic
interventions in the social. We aim to activate methods that don’t need leading figures, not as a way
to avoid the responsibility but looking for different ways of position taking.

The proposed workshop aims to form a space where situated knowledge and undutifulness act as a
wave breaker for the self-doubting with which we contend, individually and collectively; replacing
doubt with a creative and productive aporia.

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Elpida Karaba is Associate Professor, Department of Culture, New Media and Industries, University of
Thessaly, Greece (https://cult.uth.gr/staff/karaba-elpida/). Her work and publications focus on art
history and theory, feminist theory, performance, activist art, new media and research based art
practices, public art, research based curating and critical pedagogies. She is the Director of the
Center for New Media and Feminist Public Practices (CNMFPP) (www.centrefeministmedia.arch.uth)
and founder of Temporary Academy of Arts (https://temporaryacademy.org/).

Valia Papastamou is an artist, associate researcher in the Centre of New Media & Feminist Public
Practices and PhD Candidate at the School of Humanities & Social Sciences (University of Thessaly).
Her PhD dissertation “Artistic-research performative practices in the contemporary transnational
condition: Feminist transformative politics of knowledge” examines the performative relation
between research and art. Her research interests are interdisciplinary and include art theory, political
and social philosophy, gender studies, postcolonial theory, contemporary critical theory.

Becoming-Research

Judit Onsès Segarra (Universitat de Girona) judit.onses@udg.edu

Estibaliz Aberasturi Apraiz (Universidad del País Vasco UPV/EHU) estitxu.aberasturi@ehu.eus
Miriam Peña Zabala (Universidad del País Vasco UPV/EHU) miriam.pena@ehu.eus

“Already having that attentive and curious gaze, of never taking it for granted and defined, but always
being in that state of becoming, in that state of wondering, whatever you do” (Onsès, 2018, p. 110).
“having more questions than answers; surfing in uncertainty; always maintain this latency and
openness to what may (be) come; deterritorialize myself to reterritorialize myself in the inquiry,
moving from one dimension to the other, intensifying folds of 'I' and lowering other folds of 'I' to be
able to make a rhizome with the inquiry, with the concept of the inquirer. It doesn't matter if I write,
map, record, edit... I'm becoming an inquirer. . . inquiry as an attitude rather than as ways of doing”
(Onsès, 2018, p. 110).

“understanding oneself as a becoming-researcher and not as a researcher, as a multiplicity in the

becoming with the phenomenon, already predisposes us to another type of inquiry and the ways in
which we account for it” (Onsès, 2018, p. 145) .

85
Becoming-researcher. Becoming-research. From Deleuzian theories and new materialisms, it is
proposed to understand the research and our involvement and commitment from the concept of
becoming.

According to Deleuze and Guattari, it is not about imitation, “but about code capture. . . true
becoming” (Deleuze and Guattari, 2004, p. 15). They give the example of the wasp and the orchid.
We can think in the field of research. Becoming-research. The research becomes us and we
become-research. Each of these becomings ensures the deterritorialization of one of the terms and
the reterritorialization of the other, both chaining and alternating each other according to a
circulation of intensities that drives deterritorialization even further. There is no imitation or
similarity, but rather the emergence, from two heterogeneous series, of a line of flight composed of a
common rhizome that can no longer be attributed or subjected to any signifier (Deleuze and
Guat-tari, 2004, p. 15-16).

When Braidotti talks about nomadic theory, he comments that “creativity and criticism walk at the
same pace in search of positive alternatives that merge in a non-linear vision of memory understood
as imagination, of creation understood as becoming” (Braidotti, 2015, p. 196).

Artography as a creation (Irwin, 2013). Artist, teacher and researcher (Springgay et al., 2005). The
researcher as a creator of data, creator of new knowledge based on what she experiences in the
research (Ostern et al., 2021). From what she reconfigures by being part of the research and “doing”
the research (Barad, 2007).

Create artistic work that reflects the process of becoming a researcher. Present artistic forms to
disseminate “other” conceptualizations of research.

A workshop is proposed to enter the sensory, existential and creative dimension of research. Delve
deeper through artistic creation into how we become-research in the projects we carry out. How
artistic production becomes part of research and gives us light or new views and feelings about it.

Judit Onsès Segarra, PhD in Arts and Education (2018, University of Barcelona). Lecturer Serra Húnter
of the Area of Didactics of Plastic Expression in the Department of Specific Didactics. She is a member
of the research group on Intermedia Education, Heritage and Arts (GREPAI). She coordinates the arts
education research network of the European Educational Research Association (EERA-NW29.
Research on Arts Education).

Estibaliz Aberasturi Apraiz, Professor and researcher at the Faculty of Education, Philosophy and
Anthropology of San Sebastián. Her research and teaching career is mainly associated with teacher
training, pedagogical innovation, and research and learning of the visual arts in educational contexts.
Principal Investigator of Elkarrikerutz, consolidated Autonomous research group
(IT1586-22)(GIU19/011). She has participated in research projects exploring aspects of training and
learning in schools and non-formal contexts.

Miriam Peña Zabala, Graduate in Fine Arts (2006), and PhD in Psychodidactics and Specific Didactics
UPV/EHU (2019), under the title “The future of the Porous Event: Experience of Social Space through

86
Contemporary Aesthetic Practices”. She is an assistant professor at the Faculty of Education and
Sports of the University of the Basque Country (UPV / EHU) in the Department of Didactics of Plastic
and Corporal Musical Expression from 2012 to the present.

Embodiment and Expressive Movement: an Arts-based Methodology for

Interior Design Studies

Montse Morilla (LCI Barcelona, Design and Visual Arts School) montse@thecorporealturn.com

In the pursuit to teach future designers to create healthy and caring spaces, aesthetics and trends
tend to impose themselves, the theory and data are boring items for students to memorize, and
knowledge is still regarded as the insights of others. Students are, for the most part, still encouraged
to understand interior spaces through visual and rational analysis.

However, our approach is to use expressive movement -alongside with the embodied and artistic
practices- to provide a bodily kind of perception and sensitivity, which can, over time, develop in an
in-corporated criteria that allow students to understand and improve the quality of the spaces they
are to design for all of us to use and inhabit.

An embodied perception provides a profound insight about the impact of all the elements
configuring our spatial experience: light, sound, smell, materials and temperatures, volumes and
distribution of objects and other people in a given space -all basic components of interior design, and
all elements that impact our personal wellbeing and mental health. We could say that we
encouraging an embodied empathic approach to the design process.

To achieve this kind of embodied knowledge, students participate in a series of exercises that include
perception, attention and movement-guided exercises, group moving-creative dynamics,
group-guided composition, as well as other arts-based gathering of conclusions through collage,
drawing and journaling experiences.

The materialization of the insights is particularly important for us, as the moving experience is, by
definition, fleeing, and can be very difficult to share or express; nonetheless, the search for words
and diverse forms of sharing is particularly important, as we want to develop a set of personal
criteria and enable future discourses for the students to present their findings and proposals.

These activities challenge the traditional ways of learning in the classroom and, while most welcome
by some students, they are, at the same time, disregarded by others, who need some time to
understand how this way of working is to be useful in the context of their studies. This particular set

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of personal and group creation processes are new experiences for most of them, and require some
time to adjust.

For the most part, students are greatly appreciative of the experience after a few classes, when they
realize they are able to link their insights while moving or recording their experiences with the
concepts at hand, with other subjects, or with personal situations, difficulties and interests; we are
particularly fond of the results in inter and intra-personal communication, which is most
encouraging, regarding both the formative implications of this approach as well as the personal
wellbeing of the students in the classroom environment.

Montse Morilla teaches embodied expression and representation, proxemics and ergonomics at the
Interior Design’s Degree in LCI Barcelona, Design and Visual Arts School and at the Workspace
Masters’ Degree at Elisava, School of Design and Engineering. Her work centers on the ways in which
movement and the embodied perception of spaces can be used as a tool to improve the students'
comprehension of interior design principles as well as how an embodied assessment of interior spaces
can be used to enhance the quality of interior design to support mental health and general wellbeing.
Her research currently focuses on movement-based research to design the Barnahus child protection
and recovery centers. She also performs occasionally at non-traditional venues, such as museums and
other public spaces.

Feminist Perspectives in AR and ABR: Locating Violence and Creating Lines of

Flight

Marina Didier (i2ADS - Instituto de Investigação em Arte, Design e Sociedade, Porto)

mma.didier@gmail.com
Isabella Chianca Bessa Ribeiro do Valle (Departamento de Comunicação / Universidade Federal da
Paraíba) isabella.valle@academico.ufpb.br

This workshop proposes a reflection on the process of developing AR (Artistic Research) and ABR
(Arts-Based Research), and provides tools to dismantle colonial/patriarchal environments in the
generation of knowledge. Grounded in the doctoral theses of the proposers, which focus on actively
listening to women artists and enhancing visibility of their lives, methods, and works, the workshop
aims to provide insights on how to locate the founding and perpetuating violences that sustain

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dualistic and hierarchical logics in modern capitalist and colonial thought. The goal is to explore
pathways for creating new emancipatory experiences in this field.

Both authors of this workshop conducted research focusing on women artists in Recife, Pernambuco,
Brazil. Marina's thesis (2021) explored deviations from prevailing gender norms through the analysis
of artworks and lifestyles. Isabella's thesis (2017) reconstructed the history of photography in Recife,
focusing on the experiences of women photographers historically silenced in various contexts.

Their shared journeys prompted both researchers to collaboratively propose a critical examination of
hegemonic research practices. Motivated by a feminist approach to production and aware of the
essential role of collaboration in dismantling patriarchal exploitation structures, the authors highlight
subtle yet deeply impactful points that structure academic and artistic environments—from project
development to evaluation dynamics and career formation. They highlighted transparency to
effectively identify and address inequalities.

How can we avoid fitting into the binary, non-integrative logic of thought and knowledge production,
which masks the complexity of any research questions? When considering the AR and ABR from a
feminist perspective, we identify the key points and knots that need to be untangled.

The workshop cultivates inclusive imaginaries that lead to fresh opportunities, policies, approaches,
networks and conclusions. It seeks to challenge the barrier of surname prominence in referencing; to
consider qualitative-quantitative and quantitative-qualitative methods; to train the eye to identify
and revise theoretical assumptions rooted in normalized axes dictated by hegemonic and eurocentric
common sense; to diversify frameworks and references; to dismantle the subject-object dynamic,
especially in research involving other living beings, emphasizing care as a non-negotiable value; to
promote ethically rigorous research practices; to foster collaborative circuits that link productivity
with the integral idea of promoting well-being. Additionally, it addresses how researchers can
maintain confidence and humility in public, settings and support women in gaining access to
infrastructure and positions of influence. Through collaborative discussions and exercises,
participants will explore these themes and strengthen tools for resistance and action.

It's crucial to recognize the authors' perspectives as Brazilian researchers and artists when engaging
with diverse people and contexts. This highlights how various intersections, such as race, ethnicity,
social class, sexual orientation, religion, gender, and other cultural aspects, shape different debates
and experiences. This challenges the idea of universalizing the category "woman" and the
understanding of feminism.

Marina Didier Nunes Gallo is a researcher at i2ADS, Institute for Research in Art, Design and Society,
has a PhD in Design from the Federal University of Pernambuco (Brazil), with the thesis "Women
Artists in Recife: between works, ways of life and Deviant subjectivities (2021- CAPES Scholarship ).
Currently works as Editorial Manager of i2ADS Edições and Livraria i2ADS. She is a former professor
at the Federal University of Pernambuco between 2017 and 2019, and at the Federal Rural University
of Pernambuco, between 2015 and 2019, both in the Department of Visual Arts. Her master's thesis,
entitled "Francesca Woodman and the place where I look", was defended in 2015 at the Federal
University of Pernambuco, and also received a CAPES Scholarship. Brazilian, currently living in

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Portugal, she has developed a research interest in feminism and anti-discriminatory practices hand in
hand with the group’s interculturality and decolonial studies.

Isabella Chianca Bessa Ribeiro do Valle is a photographer, cultural producer, researcher, and full
professor at the Federal University of Paraíba (UFPB) in Brazil. She holds a PhD in Communication
from UFPE and a Master's degree in Communication and Semiotics from PUC/SP. Her research
focuses on issues related to gender, body, image, and contemporary technologies. From 2015 to
2016, she collaborated with the Laboratoire Arts des Images et Art Contemporain at Paris 8
University (France) as a visiting researcher. Since 2023, she has been working as a postdoctoral
researcher with the DIGIDOC, at Pompeu Fabra University (Spain). Isabella Valle is a feminist artivist
and member of the urban interventions and digital activism collective Deixa Ela em Paz, and she is
also a member of the women photographers collective 7Fotografia.

No-lugares // Non-places

Ángela Barrera-García (Departamento de Didáctica de la Expresión Plástica; Facultad de Ciencias de

la Educación, Universidad de Granada) barrerag@ugr.es

When we navigate through Google Maps, we encounter numerous viewpoints, from satellite images
to 360-degree cameras or photographs voluntarily added by various users. Although open to
collaboration to continue growing, it remains a space of representation circumscribed by a series of
temporal and spatial limitations. We cannot traverse a forest, but we can access a viewpoint from
which some user has uploaded photographs; we cannot see a complete (360-degree) view of all
places, and when we can, we can see the date of inclusion of this on Google Maps. These dates are
often not recent and, in many cases, not realistic.

What has happened to the hectares ravaged by fire, tsunamis, or human activity? Moreover, is that
place the same after what has happened? Like everything created by us, this application is designed
from a specific political and cultural context. So with this workshop, we aim to take advantage of the
resources it offers, which are not few, to expand the information about those places that are no
longer as they are represented from an educational methodology based on the arts using online
archival material and artificial intelligence.

Ángela Barrera-García is a Visual artist and predoctoral FPU researcher at the University of Granada.
Graduated in Fine Arts with a specialization in Graphic Design. Master's degree in Visual Arts and
Education. Member of the Comunicar Group and PhD candidate in the Arts and Education program at

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the University of Granada. Currently working on a thesis on interactive audiovisual tools for teaching
heritage education. Experience in museum mediation, coordination of academic training activities,
and university teaching in the field of Didactics of Visual Arts Expression and Design.

On Parasite Art - Learning from the Neoliberal? Tools and Strategies of

Parasite Art

Jakob Wirth (Bauhaus University Weimar, PhD Candidate in Arts and Design ) post@jakobwirth.net

“What`s next?” Is a question I ask in my research and artisti practice, which focuses on Parasite Art, a
self-defined new artistic genre, that utilizes the characteristics of the parasite for strategic, tactical,
and aesthetic purposes. I ask, what tactics and strategies do we have left, in times of an overarching
appropriation in the economic, cultural and political field?

How do we manage to stay resistant in times where irritation becomes innovation and critique a
corporate culture. Focused on resistance within dominant systems such as the market, my research
challenges traditional notions of appropriation, proposing that being "already appropriated"
becomes a strategic tool for Parasite Art and subversive practice.

Drawing from experience in activism and sociological methods, this research project engages with
social and art theories to redefine aesthetic approaches to counter-hegemonic practices. In my
presentation I will mainly reference to artistic projects I realized in the past years, which directly deal
with the notion of the parasite and search for its tactical and strategic value for new artivistic
practice and will bring these tactics and strategies into a public discussion.

The workshop consists of a 30 min presentation and a following interactive discussion in

different groups, which talk about their own experiences of parasitic strategies (30 min) and a final
group discussion of another 30 min, where we bring the mutual understanding together.

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Jakob Wirth (1991) is a freelance artist working in public space and shaping his artistic language in a
processual and contextual way. His broad spectrum includes performance art, video, social practice
and parasitic art. He is particularly fascinated by the fusion of artistic creation with political and
everyday realities. He excels at discovering unknown systems and challenging conventional norms.
Jakob Wirth is a PhD candidate in Artistic Research at Bauhaus University, where he completed his
Masters in Art in Public Space, including a residency at the School of the Art Institute of Chicago
(SAIC). Additionally, he expanded his knowledge by studying for a Masters in Spatial Strategies at the
Berlin Weißensee School of Art, as well as at the Holbaek Art Colleges in Denmark.

On the Table: Gestures for Rethinking Hegemonic Modes of Seeing

Luana Andrare (i2ADS/FBAUP, Porto) luanaandradd@gmail.com

Marcela Pedersen (i2ADS/FBAUP, Porto) marcela.pedersen@hotmail.com
Rosinda Casais (i2ADS/FBAUP, Porto) rosindacasais@hotmail.com
Melina Scheuermann (i2ADS/FBAUP, Porto) melina.scheuermann@posteo.de

The workshop “On the table: gestures for rethinking hegemonic modes of seeing" promotes an
arts-based methodology that attempts to question hegemonic modes of seeing.

Our joint artistic practice departed from three historical events from the Portuguese context in the
early 20th century and which are worked in our individual research projects: the pedagogical "object
lesson" method, the First Portuguese Colonial Exhibition, and the competition for Portugal’s Most
Portuguese Village. What intersects these distinct events are the pedagogical processes and ways of
"seeing the world" - a fundamental and continuous issue in Art Education.

Deriving from our joint artistic practice, in this workshop we promote a pedagogical dynamic that
mobilizes a variety of materials as well as the dispositive of the table. In conjunction both allow us to
experiment with modes of undoing, disassembling, disfiguring, manipulating, playing, scratching…

On a table, we place a variety of materials side by side, including images and other documents of the
three historical events, and ask questions about how we perceive these materials, their narratives,
and representations. The materials, with their different historical density, made us inquire about the
gesture of “putting something on the table” - an everyday action we do to observe, discuss and
confront something. The horizontality of the surface of the table top is being put into question when
we read between the layers of each material.

Through a methodology of "thinking-doing", we acknowledge the associations, concepts, memories

and inevitable functionalities of the materialities and put them at play in our practice that seeks to

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reflect on the ways we produce artistic research through materials; eventually, seeking ways of
manipulation and disobedience.

Our aim, with our artistic practice as well as this pedagogical dynamic is to study ways of structuring
the world through visual perceptions and representations that privilege a dominant viewpoint, and
to find gestures to subvert hegemonic paradigms through artistic research methods.

Luana Andrade, is a Ph.D. candidate in Art Education at the Faculty of Fine Arts and Faculty of
Education Sciences at the University of Porto (pDEA - FBAUP/FPCEUP). She holds a master's degree in
Visual Arts, specializing in Arts Education, from the Joint Graduate Program in Visual Arts at the
Federal University of Paraíba and the University of Pernambuco (PPGAV - UFPB/UFPE). Luana also
earned a bachelor's degree in Visual Arts from the Federal University of Pernambuco. Currently, she is
a research fellow at the Institute of Research in Art, Design, and Society (i2ADS) at the University of
Porto, funded by the Foundation for Science and Technology (FCT, ref. 2022.11460.BD). Her research
interests focus on the intersection of art and education, creative processes in contemporary art, and
relational and participatory aspects of art involving communities and territories.

Marcela Pedersen, (she/her) is an educator and researcher in art education. She is a Ph.D. candidate
in Art Education at the Faculty of Fine Arts of the University of Porto, and a research fellow at the
Institute for Research in Art, Design, and Society (i2ADS), funded by the Fundação para a Ciência e a
Tecnologia (REF: 2022.10957.BD). She holds a Master’s degree in Science Education from the Faculty
of Psychology and Educational Sciences at the University of Porto. Her research interests and
practices critically question the possibilities of art mediation and education through anti-colonial,
anti-racist, and anti-discriminatory perspectives, along with a critical approaches to whiteness.

Rosinda Casais is an architect, artist, and researcher. She holds degrees in architecture and fine
arts-sculpture from the University of Porto. With over a decade of experience, she has collaborated
with architectural teams such as Atelier Peter Zumthor and Fahr 021.3. In 2023, she completed her
Master's in Architecture with a thesis on 'Margem material: Material-thinking through the
artistic-laboratory device Crude.' Currently, she is a doctoral researcher in art education
(I2ADS/FBAUP) and an FCT fellow (2022.09894.BD, Portugal). Her research focuses on artistic
practice, particularly exploring experimentation and collaboration dynamics. Her work spans
architectural projects, artist books/installations, and artistic-laboratory devices, reflecting her
interdisciplinary approach.

Melina Scheuermann (she/her) is a PhD candidate in Art Education at the Faculty of Fine Arts at the
University of Porto and a member of the Research Institute of Art, Design and Society (i2ADS), funded
by the Fundação para a Ciência e a Tecnologia (REF: 2022.12937.BD). She holds a Master's degree in
Cinema Studies from Stockholm University, Sweden, and a Bachelor degree in Cultural Studies (Major)
and Arts-Media-Aesthetic Education (Minor) from the University of Bremen, Germany. In her
transdisciplinary research, she integrates studies in visual and material culture, transnational history
of education, arts education and artistic research. Melina’s profile is rounded off by diverse
professional experiences in arts education, political education, social work and documentary film
production.

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 Remixing Medias and Playing With the Camera in ScratchJr

Mariona Niell Colom (University of Girona) mariona.niell@udg.edu

Jordi Freixenet (University of Girona) jordi.freixenet@udg.edu

In this hands-on workshop we will demonstrate how to use the ScratchJr camera to foster children’s
creativity. Examples of activities are: bringing a book to life (animating characters), placing children’s
drawings (made with pencils, brushes & cardboards) into the stories of ScratchJr, making stop-motion
(all process created by children), or creating a portrait with everyday objects and turning it into an
animated gif. Incorporating local culture and values into creations on ScratchJr is important because
what happens on the screen is significant to the children. Children can create characters and
scenarios by remixing types of media, traditional (unplugged) and digital (plugged). The workshop
will be divided into 3 parts: a first part where we will explain our pedagogical principles, a second
part of experimentation, and a third part to share learnings and reflections.

ScratchJr is a free programming language for children ages 5-7. ScratchJr utilizes block programming
to allow children to create their own interactive stories and games. ScratchJr was created as a
collaboration among the DevTech Research Group, MIT’s Lifelong Kindergarten Group, and the
Playful Invention Company through generous funding from the National Science Foundation
(DRL-1118664 Award) and the Scratch Foundation. In the summer of 2014, ScratchJr was released as
a free app, available on a number of devices. As of August 2023, the app has over 45 million users
and over 194 million projects have been created. Furthermore, volunteers from around the world
have helped translate ScratchJr into 48 languages (included Catalan and Spanish). During the first
semester of 2024 Mariona Niell and Jordi Freixenet did a research stay at DevTech Research Group.

This workshop is related to the topic “4 Being-with technology”, and our research focuses on
investigating how through art education and technology children can express themselves creatively,
using new technologies in conjunction with brushes and cardboards, to help them develop skills such
as creativity, teamwork and critical thinking through exploration, experimentation and play, learning
to observe and listen, sharing and reflecting.

The workshop will be totally practical and participants must bring their own tablet with ScratchJr
(available for free in Apple store or Google play). We will have a few ipads at the disposal of the
participants, but we advise everyone to bring their own device.

Mariona Niell Colom, Graduated in Fine Arts at the University of Barcelona, Master in Visual Arts and
Education: a constructionist approach, and currently pursuing a PhD with the thesis entitled "Creative
Learning Combining Visual Arts and new Technologies" at the University of Girona. In this thesis, I am
investigating how Visual Arts, ICT and Computational Thinking can help to develop creativity,
teamwork and critical thinking. This research is carried out in GREPAI
(https://www.udg.edu/ca/grupsrecerca/GREPAI) and UdiGitaledu (http://udigital.udg.edu).

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Since the 2015-16 academic year, I am a part-time associate professor at UdG, in the Faculty of
Education and Psychology in the Department of Specific Didactics in the area of Visual Arts. I am also
a teacher of Visual Arts at the Vedruna Girona school. During Febreruary-July 2024 I am doing a
research stay at DevTech research group (https://sites.bc.edu/devtech/) at the Lynch School of
Education and Human Development at Boston College.

Dr. Jordi Freixenet holds a degree in Computer Science from the Polytechnic University of Catalonia
(UPC) and a PhD in Computer Science from the University of Girona (UdG). He is Full Professor in the
Department of Computer Architecture and Technology at the UdG. His research focuses on two main
areas: 1) computer vision and artificial intelligence and 2) computational thinking and creative
learning. In the second area, he co-leads the UdiGitalEdu research group (https://udigital.udg.edu/),
inspired by the ideas of the MIT Medialab's Lifelong kindergarten, which research, designs and
implements creative learning experiences. Since 2020 he has been the director of the Tekhné Chair
(https://www.udg.edu/en/catedres/tekhne) of creative thinking, technology and learning, an
initiative of the UdG and Salt Town Council. The Chair aims to be the driving force behind an
ecosystem that promotes transformative educational initiatives where technology and creativity go
hand in hand in favour of social inclusion and education in values.

Taller RIFLESSI: explorando la investigación de ANIMA-VASHKY a través de las

Artes Escénicas

Carmen Glória Sánchez Duque (Universidad de Granada) yoyasanchezd@correo.ugr.es

Alicia Arias Camisón (Universidad de Almería) aliciacamisoncoello@gmail.com

El taller RIFLESSI, es la invitación a un espacio creativo, donde nos sumergiremos en el fascinante

mundo de la investigación educativa basada en las artes escénicas, tomando como referente el
proyecto ANIMA-VASHKY. A través de actividades interactivas y reflexivas, exploraremos cómo las
artes escénicas pueden ser una poderosa herramienta para abordar temas de desigualdad,
feminismo y violencia machista en el ámbito educativo. Explorando ANIMA: Comenzaremos
analizando el proceso creativo de ANIMA, donde el teatro de formas animadas ha sido un medio
para abordar temas sociales críticos en educación. Profundizaremos en el concepto de animación
teatral, donde los objetos inanimados cobran vida en escena. Los participantes de ANIMA
transformaron objetos cotidianos en elementos teatrales, a través del trabajo del objeto animado,
los niños y niñas dieron vida a sus creaciones, explorando metáforas visuales y simbólicas que
representaron sus ideas sobre desigualdad, feminismo y violencia machista. Exploraremos cómo este
enfoque creativo permitió a los participantes expresar sus perspectivas y experiencias de manera
significativa a través de la creación de pequeñas obras de teatro de marionetas con objetos, con los

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cuales los participantes exploraron cómo dar voz y movimiento a través de técnicas de manipulación
y narración, creando conexiones emocionales con sus pares y la institución educativa. Luego nos
adentrarnos en la obra escénica "VASHKY", que surge como culminación del proyecto ANIMA.
Analizaremos cómo VASHKY amplía las reflexiones generadas por los niños y niñas, ampliando la
investigación a relatos de vida recogidas junto a mujeres de diversas etnias, donde el teatro de
formas animadas es utilizado como una técnica que nos ayuda a abrir el diálogo sobre desigualdad,
feminismo y violencia machista hacia un público adulto.

Respecto a las actividades prácticas desarrolladas en este taller, se abordará en cuatro momentos:

1. Trabajo del Objeto Inanimado, donde los participantes seleccionarán un objeto cotidiano y lo
transformarán en un personaje teatral, explorando sus características físicas y emocionales.
2. Mediante la Animación Teatral, guiaremos a la realización de ejercicios de manipulación y
narración, donde los participantes darán vida a sus objetos, creando breves escenas que aborden
temas de desigualdad, feminismo y violencia machista.
3. Hasta llegar a Riflessi, donde los participantes crearán escenas inspiradas en la dramaturgia de la
obra "VASHKY", utilizando el juego propuesto por el teatro de formas animadas.
4. Por último, se realizará un Debate Reflexivo, donde se fomentará el diálogo sobre las temáticas
abordadas en ANIMA-VASHKY, promoviendo la reflexión crítica al ahondar en la premisa que somos
reflejos de una sociedad que vamos construyendo juntas día a día.Al finalizar el taller, se espera que
los participantes hayan experimentado el potencial transformador de las artes escénicas en la
reflexión sobre desigualdad, feminismo y violencia de género, explorando cómo la creatividad y la
expresión artística teatral pueden ser herramientas poderosas para promover el cambio social y la
equidad de género en la educación.

Carmen Glória Sánchez Duque. She is a Professor at the Faculty of Education at Finis Terrae
University. Her research interests are related to the performing arts and their link with education,
training actors and teachers. He has designed teaching materials to promote pedagogical innovation.
In addition, she has experience in qualitative and arts-based research methods, creating theatrical
and audiovisual pieces together with her Perrobufo Company.

Alicia Arias-Camisón (Ciudad Real, España). Profesora especializada en educación artística y en

educación secundaria. Doctora en Arte y Educación (2023). Su investigación se ha centrado en la
investigación visual y la autoimagen. Docente en el Máster de Formación del Profesorado
(Especialidad Dibujo) de la UNIR y PSI en la Universidad de Almería. Colabora como investigadora en
el Máster de Artes Visuales y Educación de la Universidad de Granada. Está especializada en el
diseño de proyectos educativos, editoriales y fotográficos. https://orcid.org/0000-0001-5143-2186

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 The Landscape Is a Monster

Laia Solé Coromina (Universitat de Vic - Universitat Central de Catalunya) laia.sole@uvic.cat

Lluís Solé Salas (Universitat de Vic-Universitat Central de Catalunya) lluis.sole@uvic.cat

A 90 min workshop in which we explore the concept “arts of noticing” coined by Anna Tsing (2015),
who proposed the importance of careful attention to discover and build alternatives to the current
narratives shaped by capitalism and its ruins. Arts-based research offers opportunities to collect,
analyze data, present and disseminate findings, in a way that allows reality to speak by itself, in
opposition of speaking about it.

The workshop invites participants to explore the immediate surrounding drawing upon walking as an
aesthetic experience (Francesco Careri, 2004) and soundscape (Murray Schaffer, 1993). We invite
participants in the collective observation, collection, interpretation and dissemination of data around
the concept il paesaggio e un mostro [landscape is a monster]. This concept was coined by Analisa
Meta (2022), who speaks about how a landscape shows [mostrare] and at the same time, it has
become a strange creature merging urban/rural, human/nonhuman.

During the workshop we will work with the concept of soundscape to create an experience where we
repurpose smartphones, which usually distract us, and instead we will use them to enhance
attention. As a result, we will explore data-collection and findings-dissemination through a collective
sound and image-based performance. During that process aspects such as drift, flow, and the
dialogue with uncertainty, will also be addressed.

References
Careri, F. (2005). Walkscapes: Walking as an aesthetic practice. GG.
Csikszentmihalyi, M. (2014). Flow and the foundations of positive psychology: the collected works of
Mihaly Csikszentmihalyi. Springer. https://doi.org/10.1007/978-94-017-9088-8
Meta, A. (2022). Il paesaggio è un mostro: Città selvatiche e nature. Habitus.
Schafer, R. M. (1993). The soundscape : the tuning of the world. Destiny Books.
Tsing, A. (2015). Mushroom at the End of the World: On the Possibility of Capitalist Ruins. Princeton
University Press.

Laia Sole Coromina is an artist, researcher and educator. She has developed her artistic and teaching
practice in between Catalonia and New York. She is currently artist in residence at Espai d'Arts Roca
Umbert in Granollers (Barcelona) where she is developing a research on tactility and images. She has
been resident at LABMIS at Museum da Imagem e do Som in Sao Paulo (Brazil), and at Fondazione
Pistoletto (Italy), and her work has been exhibited at the Drawing Center (NYC), at Cuchifritos Gallery
(NYC), Fundació Chirivella-Soriano (València), Arts Santa Mònica (Barcelona), among others. She

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graduated in Fine Arts at Universitat de Barcelona (2000), and holds a doctorate from Teachers
College, Columbia University (2018). She is currently professor at Universitat de Vic (Barcelona).

Lluís Solé Salas is a multistrumentist and biologist, doctor in inclusive education. He combines
teeadhing, research and divulgation, collaborationg with projects with different universitites:
University of Chester (UK), University of Arts London (UK), Millersville University (USA), University of
Federation (Australia), Trossingen Hohschule für Musik (D), Catholic University of Bethlehem
(Palestina). His work is focused on accessibility towards music, and inclusive orchestral projects and
soundscape. He is currently working on a soundscape in collaboration with NHS North England as
part of an exhibition of medical research for 2025 on TATE Liverpool.

The Force of Art to Differentiate – Folding, Unfolding and Refolding Children’s

Drawings About the COVID-19 Pandemic

Annika Hellman (Department of Culture, Language and Media, Faculty of Education and Society,
Malmö University, Sweden ) annika.hellman@mau.se

The workshop session aims to elaborate on paradoxes of sense and nonsense in drawings by children
in their response to the COVID19 pandemic. During the pandemic, drawings from children and young
adults aged 4 – 17 years old were collected by Svenskt Barnbildsarkiv (Swedish Archive of Children’s
Images). Some general themes can be found in the images, such as desolate locations, crying people,
and portraits of the virus itself. While some images narrate stories, others are more expressive and
elicit affects. A short presentation of the collection of images will be held (maximum 10 minutes),
followed by the workshop (50 minutes). The archived drawings become the workshop's focus, as I as
an a/r/tographer (artist/ researcher/ teacher) (Boulton, Grauer & Irwin, 2017) have cut out visual
elements in the copied drawings, enlarged them and/or scaled them down. This act is the unfolding
of sense made in the drawings and a de-territorialisation from its original context. In the workshop,
we will refold sense and nonsense, experimenting with new meanings in an event where the visual
elements encounter/confront us, the persons present in the workshop. The workshop thus entails a
re-territorialisation and a re-folding of meaning as well as nonsense.

The collection of drawings by children is considered an assemblage. The complex configurations of

assemblages consist of components and connections that are constantly changing and moving. When
components are added or break loose, new connections and interactions are created. Components
are an aspect of territorialization, which means a process that stabilises the identity of the
assemblage, while deterritorialization addresses the movements of its undoing. There are two sides
of territorialization: movements of deterritorialization that create changes through affect and

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intensity, and reterritorialization that works on ordering and stabilizing. In this sense,
deterritorialization is also a line of flight that can free fixated relations within an assemblage and
create movements (Deleuze & Guattari, 1987/2004). Transformation becomes possible in the ways in
which encounters between bodies (human and nonhuman) release something from both (Grosz,
2001). One example of an assemblage is the book; the paper, printed letters and words, the turning
of pages by the hand, and the bodily affects that might be produced in the reader are all part of it.
Additionally, all assemblages have the capacity to produce a multiplicity of new or other
assemblages; the pages of the book can be torn out to start a fire or to create a line of flight that
alters the thoughts and acts of the reader (Deleuze & Guattari, 1987/2004).

References
Boulton, A., Grauer, K., & L. Irwin, R. (2017). Becoming Teacher: A/r/tographical Inquiry and
Visualising Metaphor. International Journal of Art & Design Education, 36(2), 200–214.
https://doi.org/10.1111/jade.12080
Deleuze, G., & Guattari, F. (2004). A thousand plateaus: Capitalism and schizophrenia. London,
England: Continuum. (Original work published 1987).
Grosz, E. (2001). Architecture from the outside: Essays on virtual and real space. Cambridge, MA: MIT
Press.

Annika Hellman, Senior Lecturer in Visual Arts Education. Department of Culture, Language and
Media, Faculty of Education and Society, Malmö University, Sweden.

Training the Teachers: Radical and Kinesthetic Imagination in Artistic and

Embodied Methods for Educational Research

Nicoletta Capello (Department of Education of University of Catania in co-tutelle with Doctorate in

Arts and Education - Universidad de Girona) nicappello@gmail.com
Dolors Cañabate (Education and Psychology Faculty, Department of Specific Didactics, University of
Girona) dolors.canyabate@udg.edu
Liana Daher (University of Catania) liana.daher@unict.it

Teachers as agents of change must train their imagination, in order to prepare students to radically
transform society (Brown 2017). On a theoretical level we approach the concept of radical

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imagination (Haiven and Khashnabish 2015), as the substance of social movement and the
foundation of research for social change, in connection to kinesthetic imagination (Zarrilli 2020,
Serlin 1996) as the root of creativity and embodied knowledge. The objective is to explore how
movement-based performing arts can offer educational research a way to share with next generation
of teachers a range of tools for inquiry oriented and embodied teaching and learning that cultivate a
synergy between radical imagination and bodily imagination, and preparing students to envision and
shape just realities (Herrero 2023). On the other side our proposal approaches inquiry oriented
andembodied teaching and learning as a kind of epistemic activism (Fricker 2007) that promots
critical and creative knowledge co-creation (Haraway 2016) by integrating both the discursive and
the material aspects of the body (Ng 2013) and its oppressed voice (Blackman 2008) in education. On
a practical level, the session lasts 90 minutes and it actively involves up to 15 participants in a
movement-based performing arts workshop. In the session we will work on developing embodied
research tools and performative methodologies that blend theatrical and dance activities with
performance art. Specifically we will approach a set of research tools that are constructed by
connecting the technique of “physical dialogue with an object”, drawing from art pedagogical
techniques by Lecoq (2003) and Chechkov (2015), with the exercise “questions to materials”
developed by performance artist Marilyn Arsem (2017). The activity invites participants to physically
and imaginatively interact with objects as a source for answering questions in embodied research,
both in a critical and creative way (Goat Island 2018). The authors of this proposal use to apply the
presented set of tools in the context of participatory research in teacher trainings with the aim of
exploring the role of bodily creativity in teachers’ learning experiences and teaching strategies. We
want to discuss with teachers how to improve this practice, and develop strategy to share with them
tools for supporting epistemic activism in classroom, by cultivating embodied radical imagination at
school.

Nicoletta Cappello, (She/her) is a Doctoral Researcher in the Department of Education of University of

Catania in co-tutelle with the Doctorate of Art and Education at University of Girona, now visiting the
Artistic Doctorate in Performing Arts at University of the Arts Helsinki. Her research project explores
the potential of movement-based performing arts as an approach to embodied education in
secondary school classrooms.

Dolors Cañabate, Biography/Statement: Associate professor at the University of Girona in the area of
Didactics of Body Expression. She holds a doctorate in Education and Psychology from the UdG. She
graduated in Physical Education (UB). Postgraduate in Values Education. She is attached to the
Department of Specific Didactics in the Faculty of Education and Psychology. Director of the
Movement and Languages Chair at the University of Girona. She is the Principal Investigator of the
research group (GREPAI). Research group in Education, Heritage and Intermedia Arts. Member of the
Educational Research Institute. Its lines of research are: Didactics of Physical Education; Teacher
training; Teaching and learning processes in physical education, psychomotor skills and dance;
Teacher training; Teaching and sustainable methodologies; Cooperative and Reflective Learning.
Coordinator of the Physical Education mention in the Primary, Infant and Double Degree Teacher
Degrees and responsible for the area. Coordinator of the Teaching Innovation Network on
Cooperative Learning of the University of Girona and the National Network on Cooperative Learning.

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Liana M. Daher, is a Full Professor in Sociology, Department of Education, University of Catania. Her
main research fields are social movements and collective behavior, migration, and multicultural
citizenship. She has authored books, book chapters, and articles in Italian and international journals.
She has taken part, both as principal investigator and member, in several national and European
research projects. Currently, she covers the role of scientific coordinator for the Horizon 2020 Project
PARTICIPATION https://participation-in.eu/ and the Erasmus+ project KA3 TIEREF
https://www.teachref.eu/. She is President of the RC48 (Social Movement, collective action and social
change and e Editor-in-chief of national (Disembedding Aracne) e international series (Sociological
Challenges Mimesis International). She has authored books, book chapters, and articles in Italian and
international journals. Among her recent publications: The Consequences of Social Movements.
Methodological Links between Sociology and History, in Daher L.M., Understanding Social Conflicts.
The Relationship between Sociology and History (Mimesis International 2020); Azione collettiva.
Teoria e ricerca empirica (FrancoAngeli 2021).

Visualizing Literature

Karo Kunde (GREPAI Research Group. University of Girona) karolin.kunde@udg.edu

Mariona Masgrau-Juanola (GREPAI Research Group. University of Girona)
mariona.masgrau@udg.edu
Ivet Farrés Cullell (GREPAI Research Group. University of Girona) ivet.farres@udg.edu
Chris Arenas Delgado (GREPAI Research Group. University of Girona) chris.arenas@udg.edu

Arts-based research (ABR) is flourishing (Dougherty, 2023), driven by its capacity to explore and
understand complex phenomena inaccessible to quantitative and qualitative methodologies. While
ABR can encompass various art forms, its recent emphasis has predominantly been on visual arts
(such as painting, sculpture, and photography) and performing arts (including dance, theatre, and
music), with relatively less attention paid to literary arts, despite its evident connection to
ethnopoetics (Cahnmann-Taylor, 2013), and its historical contributions to educational research
(Barone & Eisner, 2012). Our workshop is grounded in the aspiration to revive literature as a conduit
for arts-based research.

Visualisation literacy has emerged as a topic of interest in a world inundated with images, with
applications ranging from understanding novel data (Firat et al., 2022), to interpreting graphs, bar
charts, and scatterplots (Boy et al. 2014; Börner et al., 2018), or academic literature (Fabbri et al.,
2012; Solen, 2022), but also bridging the gap between reading comprehension and critical literacy
(Park, 2012). This is precisely where our workshop, ‘Visualizing Literature’, comes into play: exploring
participants’ use of visual resources to comprehend literature fragments of high-quality novels, short

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stories or poems, focusing on the narrator, the framing and the artistic style.Through the
transposition of words into mental images and sensations, readers immerse themselves in verbal
absorption. Intermedial strategies (Rajewsky, 2005; Brosch, 2015) are helpful, as one media is
translated or transformed into another one. Consequently, the reader’s visual universe (analogous to
the author's fictional universe) becomes pivotal for fostering deep and lifelike comprehension of
their readings. Being aware of the intermediality as a resource to make sense to literature
specifically, and life in general, is a form of living practice of interpretation, similar to Springgay and
Irwin’s (2005) understanding of the living inquiry as a rendering of a/r/tography. Our aim is to drive
participant’s attention to its relevance, as well as the genealogy of images used in their visualisation
practices.

Through the methodologies of dialogic and creative reading (Kunde, 2021) we will discover
participant’s sources and paths of visualisation. Which media are employed to represent textual
content? How do they vary? How do they contribute to a richer and deeper understanding of the
literary fragment? How do readers engage with literature through visualisation?

Karo Kunde, is Serra Húnter lecturer in Language and Literature Teaching at the Universitat de
Girona. Graduated in Humanities (Universitat Autònoma de Barcelona, 2011), master’s degree in
research in Humanities (Universitat de Girona, 2012), and PhD in Arts and Education (Universitat de
Girona, 2021). She is a member of the research group in Education, Heritage and Intermedia Arts
(GREPAI) and coordinator of the ICE Josep Pallach group of Reading Mediation. Her main research
interests focus on Children’s and Young People’s Literature, especially on picturebooks, second
Language learning, intermediality, and arts-based teaching and research methodologies.

Mariona Masgrau-Juanola is an associate professor of Didactics of Language and Literature at the

UdG and principal researcher at GREPAI. Her current lines of research are intermedial artistic
education, literary mediation, visual poetry of the second avant-garde and research methodologies
based on the arts.

Ivet Farrés Cullell has a doctorate in Arts and Education from the University of Girona (Spain). Her
thesis focuses on the didactic potential of music through active methodologies. She is a professor of
music education didactics at the Faculty of Education and Psychology at the University of Girona. She
is a member of the GREPAI-UdG research group, where she investigates arts, culture, and heritage.
Her research areas include the didactics of intermedial arts, active methodologies in education, and
music education in teacher training.

Chris Arenas-Delgado, is Serra Húnter lecturer in Language and Literature Teaching at the Universitat
de Girona. He’s a professor of language and literature, holding a doctoral degree from the University
of Barcelona (2019). He combines the training of early childhood and primary education teachers
with literary mediation in a dialogical and performative key. Currently, he is dedicated to the study of
children's literature from a gender perspective and is the principal investigator of a project funded by
the Ministry of Cultures of Chile

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Posters

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Affective Encounters from Collage: A Transdisciplinary Inquiry of Parenthood
in Prison Contexts

José Eugenio Rubilar Medina (Universidad de Concepción, Chile) joserubilarm@gmail.com

Aidà Almirall Serra (Tésera Mediació, Barcelona) almirallserra@gmail.com

The present contribution brings to the forefront the affective dimensions that emerge from the
making of collages, an educational method based on the arts that, from transdisciplinarity, projects
other ways of investigating our relationships with parenthood. The aim is not to legitimize
celebratory narratives, but to understand the difficulties, uncertainties and discomfort that go
through the experiences lived with fatherhood in prison contexts. Thus, from the creation of collages,
a narrative-incarnated knowledge emerges that allows us to complexify our relationship with
fatherhood. A space of possibilities where the experienced affections cross collective and singular
subjectivities. A transdisciplinary inquiry that, as a transversal and inclusive practice, allows us to
expand the ways of understanding singular experiences. In this way, materials, thoughts, space and
lived experiences become entangled with doubt, gender, discomfort, reticence and uncertainties that
emerge from allowing us to think and question our relationship with parenthood. From the
relationships between subjectivities, space, images and magazines, the process of creating collages
becomes a creative entanglement that allows us to go through the meanings that we give to what we
know, or think we know, thus mobilizing the possibility of opening questions that allow us to
complexify our understanding of parenthood. This invites us to rethink our affections and to pay
attention to how masculinist heteronormative orders and the resistance to care continue to operate
on our bodies. Here, affects are not purely abstract notions, but rather the materialization of
different intensities and forces experienced in the process of inquiry. A drift that accommodates
unforeseen, productive and inventive processes rather than predetermined outcomes, specifically,
when we dialogue regarding our masculine involvement with the experience of fatherhood.

José Eugenio Rubilar Medina, PhD in Arts and Education from the University of Barcelona [UB], with
master's degrees in Visual Arts [UB] and Educational Psychology from the University of Concepción
[UdeC]. His professional career concerns school education, teaching collaborator in the degrees of
Pedagogy and Visual Arts [UdeC] and the direction of master's degree final projects in the Teacher
Training Programme of the [VIU]. He also has experience in the dynamisation of artistic action and
mediation programmes with a gender focus [situated from masculinities] in prison contexts and in
family support centres. His lines of research correspond to education in the arts and heritage; the
study of heritage and material/visual culture.

Aidà Almirall Serra, Graduate in Psychology from the University of Barcelona (2006), Postgraduate in
Immigration and Intercultural Education (2006) from the University of Barcelona, Master in
Mediation: Management and Conflict Resolution from the University of Barcelona (2007). Experience
of 18 years working in the field of socio-community intervention (as an educator, facilitator and
mediator). Experience of 10 years working as a child psychologist specialized in adoptions. Currently

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co-director of the community center Casal de Barri Pou de la Figuera in Barcelona (since 2013).
Founding partner of Tesera Mediació (2013), an entity specialized in training, counseling and
intervention in conflict management and promotion of dialogue. Prison mediator with 8 years of
experience, in 4 prisons in Catalonia. Member of JAM Collage, collective of psychosocial practice and
intervention through collage.

Artificial Intelligence Applied in the Design of Drop Caps for the 21st Century

Paula Gil Ruiz (CES Don Bosco) pgil@cesdonbosco.com

Juanjo García Arnao (CES Don Bosco) arnao@cesdonbosco.com

The research is conducted within the programmed activities of the course "Fundamentals of Art
Education" offered in the third year of the university degrees for Primary Education Teacher and Early
Childhood Education Teacher, both part of the University Degrees at the Complutense University of
Madrid, as well as the second year of the Double Degree in Pedagogy and Early Childhood Education
and the second year of the Double Degree in Pedagogy and Primary Education.

The exercise, carried out in previous years without the use of AI, involves a theoretical approach to
the miniatures found in drop caps and other medieval documents, primarily from their value as a
graphic/visual interpretation of a written document, a text, or a more or less imaginary story. Using
these as a reference, students are invited to research the meaning of their own names and represent
them through a drawing they must color, which would be a drop cap of the 21st century. Initially, the
work is carried out in an "artist's notebook" in A5 format (in which students work throughout the
class period to improve their expressive abilities through art), with pencil, colored markers, and
water-based techniques, preferably watercolor or tempera. The activity takes place over four class
hours.

Subsequently, some AI tools aimed at creating visual messages are introduced and explained in the
classroom, where, in addition to certain text instructions, images can be implemented for
transformation, i.e., allowing the incorporation of the letter created by the students for further
transformation based on those previous drawings and also altered by textual instructions suggested
by each student.

In most cases, students have used a free resource that only allows a limited number of instructions
on their part and also provides a limited number of final solutions, not always as versatile as those
provided by paid versions. The original drop cap was introduced, and the program was given basic
instructions on what the student wanted to achieve with AI. When the program allowed, it was also
requested that the resulting image have a certain appearance (for example, to resemble an

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impressionist work, to have a cartoonish look, etc.) Once the result was obtained, both images were
printed, explaining both the meaning of the drop cap and the instructions provided to the AI to
produce the image. With the resulting images, an exhibition was held at our educational center as
part of a Center Project that addressed the treatment of AI in different curriculum subjects.

Regarding the resulting products, it has been noted that in some cases both images are very similar,
with no significant differences between them. In others, AI has allowed for technical improvement of
the original (either because the student's drawing was not skilled enough, because AI incorporated
better color treatment, or various formal factors), and the result is frankly positive because it has also
adhered to the instructions provided by the students, which are precisely what contributed to the
transformation of the drawing by AI.

However, at other times, the result has deviated so much from the original that it has not been
satisfactory at all (even if "artistically" it was impeccable) since it not only did not adhere to the
written instructions provided but almost completely ignored them. Additionally, one of the errors
found is that the tool misinterpreted graphic features in the original drawing, turning it into a very
different drawing.

The activity was carried out during the class hours included in the course credits (6 ECTS credits),
scheduled over two weeks (four hours to be added to the four from the previous activity; eight in
total).

Subsequently, and in order to conduct a prospective analysis of the activity, students were asked how
Artificial Intelligence can help them in the development of their creativity. Based on the analysis of
questionnaires designed for this purpose, we aim to conduct further research on the topic. Regarding
the activity presented here, it addresses the study of the entire process described above.

Paula Gil Ruiz, Ph.D. in Audiovisual Communication from the Complutense University of Madrid
(UCM), holds a degree in Fine Arts and a Bachelor's degree in Humanities from the Open University of
Catalonia. She has a Master's in Teacher Training in Plastic Arts from the UCM. Her teaching career
has been developed at CES Don Bosco and in the Degree in Higher Artistic Education in Design at the
European Design Institute (IED) in Madrid. Her main research lines include audiovisual
communication, sustainability, educational technology, the didactics of plastic arts, and creativity.
She has directed and co-directed numerous final degree projects and doctoral theses, focusing
particularly on educational innovation and sustainability, with a special interest in Service Learning
(SL). She is an active member of several national research groups, such as "Museums and University"
and "Online Collaborative Resources and Strategies for Learning the Arts," as well as participating in
the "Transdisciplinary International Network for Education and Research in Food Sovereignty" at the
Autonomous University of the State of Mexico

Juanjo García Arnao, Associate Professor at the Department of Artistic, Corporal, and Musical
Expression at the Don Bosco Higher Education Center, affiliated with the UCM. Associate Professor at
Camilo José Cela University. Visiting Professor at the Pedagogical University of Krakow. In 2017,
Honorary Professor at the Department of Artistic, Plastic, and Visual Education of the Faculty of

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Education at the Autonomous University of Madrid. Winner of the ARTE-espacios Educational
Innovation Award in 2019. He is the author of Art Education textbooks for Primary Education
published by Edelvives (2004-2009). Currently, he is part of the ANAIS research group (narratives in
animation, visual effects FFX, and new technologies) at the U-tad University Center of Digital
Technology and Art, the group "Museums of visual arts and mediation processes in teacher training,
the learning of the arts and their cross-curricular importance for awareness of the SDGs" at the
Faculty of Education of the UCM, and the "School of Educational Architecture" at the Autonomous
University of Madrid.

Artistic Works to Understand the Fuzzy Thinking

Queralt Viladevall Valldeperas (Universitat Oberta de Catalunya) qviladevall@uoc.edu

Angel Alsina (Universitat de Girona) angel.alsina@udg.edu
Salvador Linares-Mustarós (Universitat de Girona) salvador.linares@udg.edu
Joan Carles Ferrer-Comalat (Universitat de Girona) joancarles.ferrer@udg.edu

Mathematics is the science dedicated to the study of basic mathematical concepts, such as sets,
numbers or geometric figures, and the metamathematical concepts in which these are involved, such
as definitions, propositions or axioms. The artistic works of Queralt Viladevall, presented in various
exhibitions organized by the Mathematics Unit of the UdG, and which provide her particular vision
related to the mathematical and metamathematical concepts of the theory of fuzzy sets (Zadeh,
1965), have provided new avenues of research in this field such as the possibility of working on
theory with manipulative materials (Ferrer et al. 2018), understanding certain complex words
through theory (Linares et al, 2020a); show new ways to introduce doctoral students to theory
(Linares et al., 2020b); introduce theory through stories (Viladevall et al., 2023a); or create images
that help visualize metamathematical concepts of that theory (Viladevall et al., 2023b).

The objective of this communication is to present a new open avenue of research, which is currently
being investigated in a PhD in education at the UdG. The central theme of this aims to answer the
question of whether or not minors have fuzzy thinking, a term created by Kosko (1991) and which is
related to certain principles and axioms of the theory created by Zadeh. To achieve the intended
objective, the communication has been divided into three different parts. In the first part, the
concept of degree is presented based on various pictorial works that were made in 2015 for an
exhibition at the Barcelona Science Museum, CosmoCaixa (Viladevall and Linares, 2018). In the
second part, the general assumptions of the theory are presented through various works from an
exhibition that was held in 2021 at the Museum of Mathematics of Catalonia (Viladevall et al., 2021).

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Finally, once the theory is understood, a story with artistic images is presented that hopes to open
the debate with the minors about the question of the doctorate.

Queralt Viladevall is an author of contents and teaching assistant at the UOC. Graduated in Fine Arts,
has worked as an illustrator for Teide, Vicens Vives and Planeta.

Angel Alsina, is professor of Mathematics Teaching at the University of Girona. His lines of research
are focused on the teaching and learning of mathematics at early ages and on teacher training. He
has published numerous scientific articles and books on mathematics education issues, and has
carried out multiple permanent training activities for mathematics teachers throughout Spain and
Latin America.

Salvador Linares Mustarós, is an assistant professor in the Mathematics Unit of the University of
Girona. He is currently doing a doctorate in arts and education. His thesis supervisors are Karo Kunde
and Paula López Serentill.

Joan Carles Ferrer Comalat is B.S and M.S in Mathematics, M.S in Didactics of Mathematics and
Experimental Science (specialization in Mathematical Statistics) by the University of Barcelona. He is
also PhD in Economic and Business Sciences (section of Business Sciences). His research topic cover
fuzzy logic and the new techniques for classifying objects in a referential set under imprecision and
uncertainty conditions.

Exploring Diversity, Language and Identity Through Theatre and A/r/tography

George Belliveau (University of British Columbia) George.belliveau@ubc.ca

This poster explores a performative arts-based research approach (A/r/tography), focusing on the
collaborative dynamics and nuances of the artist-researcher-teacher. In (performing) and discussing
monologues from two recent interdisciplinary projects, this presentation considers how the
intersection (in-betweeness) of art-making, research, and pedagogy has the potential to reveal new
ways of seeing and understanding research.

Excerpts from two recent interdisciplinary research-based plays that are informed by multiple forms
of research data will be shared: 1) Alone in the Ring, a play that examines diversity and inclusion, in
particular the stigma around health care workers who live with disability; and 2) Mon Histoire a piece

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that traces and inquires into identity and language of a non-dominant cultural group. These excerpts
and their artistic development highlight key strands of the conference. In particular, both projects
explore diversity, social/ethical justice, transdisciplinary collaborations, artistic expression – all in
light to promote and foster empathy and social change in communities.

Critical to the theatre development of these research-based plays is loosening the attachment of
‘facts’ or ‘data’ as the sole sites of ‘research’, allowing space for genuine creative engagement and
revelations. This encourages a culture of inquiry where insights derived from artistic approaches to
research become a valuable source of ‘practice-based data for analysis,’ thereby deepening the
understanding and affordances of creative methodologies such as A/r/tography (Irwin et al., 2024).

In the spirit of A/r/tography, researched information/documentation is not privileged over the

artistic development and unfolding. The embodiment of the so-called data, and the physical playing
space and movement of the actor can inform a new text, one that lies between past and present,
researched and artistic. In what others refer to as a performative paradigm (Haseman, 2006; Bolt,
2016; Ostern et al., 2023), the foundational purpose of the artist-researcher shifts from attempting
to capture insights through reflection on pre-existing experiences to engaging in meaning-making as
it unfolds in the act of ‘doing’. The concept of a stable artist-researcher ‘looking back upon their
work’ is unsettled by an understanding that subjectivity, identity, and meaning are always in flux,
entwined within a web of material-discursive relationships.

References
Bolt, B. (2016). Artistic research: A performative paradigm. Parse Journal, 3, 129-142.
Haseman, B. (2006). A Manifesto for Performative Research. Media International Australia, 118(1),
98–106. https://doi.org/10.1177/1329878X0611800113
Irwin, R., Lasczik, A., Triggs, V., & Sinner, A. (Eds.). (2024). A/r/tography: Essential readings and
conversations. Univ of Chicago Press.
Østern, T. P., Jusslin, S., Nødtvedt Knudsen, K., Maapalo, P., & Bjørkøy, I. (2023). A performative
paradigm for post-qualitative inquiry. Qualitative Research: QR, 23(2), 272–289.
https://doi.org/10.1177/14687941211027444

George Belliveau is Professor of Theatre Education at the University of British Columbia, Canada,
where he developed and leads the UBC Research-based Theatre Lab. The Lab supports the
exploration of theatre as a methodology and mode of knowledge sharing that can bring research to
life and promote transdisciplinary collaborative initiatives between researchers and community
members. Belliveau’s latest co-edited book Contact!Unload: Military Veterans, Trauma, and
Research-based Theatre (2020) explores a transdisciplinary project with military veterans, artists and
counselors. He is a former drama, French and English k-12 teacher, a trained actor, and an avid
runner and cyclist.

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 From Qualitative Study of an Arts-Based Program to Arts-based Research of
Qualitative Experiences: Process and Realist Evaluation to Explore
Components of an Arts-based Program Intervention in an Acute Care Hospital
Setting

Jennie Vegt (University of Alberta, Psychiatry Department) jvegt@ualberta.ca

Esther Fujiwara (University of Alberta, Psychiatry Department) efujiwar@ualberta.ca
Pamela Mathura (University of Alberta, Department of Medicine in the Faculty of Medicine &
Dentistry) mathura@ualberta.ca
Pamela Brett-MacLean (University of Alberta, Psychiatry Department) pbrett@ualberta.ca

This poster presents a study of the Artists on the Wards (AOW) program, a unique initiative at the
University of Alberta Hospital and Mazankowski Alberta Heart Institute, which integrates arts-based
engagement into acute care settings. The program fosters person-centered arts sessions for both
patients and healthcare staff, emphasizing the relational and process-oriented nature of arts practice
over the production of creative artifacts. The goal is to provide psychological and emotional relief in
the stressful hospital environment through arts engagement.

Initially conceived as a qualitative study of the AOW program's impact, this research has the
potential to evolve into a more fully realized arts-based inquiry. By shifting the lens toward the
experiential, embodied, and relational aspects of arts practice in healthcare, the study opens up new
possibilities for exploring the qualitative experiences of both patients and staff artists. The research
questions center around how arts-based interventions can influence emotional well-being,
patient-staff relationships, and the overall atmosphere of care.

In line with action learning methodologies, AOW staff were involved in developing a program logic
model and refined, theory-driven frameworks to assess the nuances of program implementation.
These frameworks draw on the Intervention Activity + Context + Mechanism = Outcome (ICMO)
realist framework, allowing for a deeper understanding of the contextual factors shaping the
program’s success. Through ongoing dialogue and arts-based experiences the study not only
evaluates outcomes but also becomes a process of co-creating knowledge with those directly
involved.

As the research progresses, the intention is to further incorporate arts-based methods into the
analysis itself, making space for creative and participatory approaches that honor the embodied,
emotional, and relational dimensions of the AOW experience. This arts-based approach invites a
richer exploration of the program's impact on the lived experiences of both participants and staff,
deepening the qualitative insights beyond traditional evaluative frameworks and culminating in a
public art exhibit of patient and staff artwork relating to study themes in the hospital-based
McMullen art gallery October - December, 2024.

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By examining the evolving interplay between arts, care, and the acute hospital environment, this
study contributes to the broader discourse on how arts-based interventions can enhance the quality
of life in healthcare settings. It offers valuable insights for those looking to implement similar
programs and highlights the transformative potential of the arts in creating more humane,
responsive healthcare environments.

Jennie Vegt is passionate about reconnecting individuals to their inner creative, especially in spaces
where creativity is often overlooked. With a BFA (2012) and diverse artistic roles, Jennie has
cultivated a practice that bridges public engagement and personal expression. As artist-in-residence
at Edmonton City Hall, she gained experience in creating art live and in collaboration with the public.
Her work in long-term care as a recreation therapy assistant led to the development of a successful
portrait program for residents, blending art with empathy. Now, as an Artist on the Ward at the
University of Alberta Hospital and an Arts-in-Health researcher pursuing a Master’s in Psychiatry,
Jennie investigates the lived experiences of professional artists in healthcare settings. Through her
research, she explores the intersection of arts and evidence-based practices, aiming to deepen
understanding of how art can enhance healing and connection in acute care environments.

Performing Arts in Motion: Bodily Imagination for Developing the

Professional Identity of the Future Physical Education Teachers
Nicoletta Cappello (University of Girona / University of Catania) nicappello@gmail.com
Esther Hernández (University of Girona) esther.rovira@udg.edu
David Rodríguez (International Dance & Creative Wellness Foundation) rcdavidrc@gmail.com
Liana Daher (University of Catania) liana.daher@unict.it
Dolors Cañabate (University of Girona) dolors.canyabate@udg.edu

This study explores the potential of movement-based performing arts (MbPA) focusing on bodily
imagination when it comes to enrich the experiences and teaching strategies of teacher students
specializing in physical education at bachelor level. It aims at developing the professional identity of
students in training through an intervention based on the movement-based performing arts.

Anttila (2018) highlights the role of the arts in enhancing the socio-material and bodily dimensions of
learning. The movement-based performing arts, by focusing on the bodily, creative and kinesthetic
aspects of learning, have a particular potential for providing valuable resources towards the
development of the professional identity of future physical education teachers (Cañabate, Colomer,
Olivera, 2018).

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We define movement-based performing arts as a transdisciplinary area that integrates dance,
theater, and performance art, underpinned by physically perceptual sensitivity (Zarrilli, 2020) and
bodily imagination (Cappello et al., 2024a) as the basis for creativity. This pedagogical approach
focuses on creativity and improvisation, generating new movement languages (Cañabate et al., 2017)
that arise from the bodily and contextual specificity of each performer or group, as well as from their
artistic and educational interests (De Langeen 2022, Cappello et al., 2024b).

The methodology used is the Artistic Action Research, according to Coghlan and Brydon-Miller
(2014), through activities linked to MbPA. The sample consisted of 38 fourth-year undergraduate
students in education, with 61% female and 39% male. The mean age was 21.2 years, with a
standard deviation of 1.2. In ethical terms, all participants gave their informed consent before being
included in the study, ensuring the confidentiality and anonymity of the responses. This study has the
approval of the Quality Commission of the University of Girona, under code CQUdG2024/04EPS.

For the intervention, performative tools and creative activities were designed to allow students to
explore and reflect on their professional identity. Teaching is approached as a participatory
art-educational research project, inviting future teachers to inquire into their practice and personal
experiences.

The activities are organized in phases of the exploration process: definition of identity, data
collection, analysis and presentation of results. Table 1 provides instructions to facilitate the
implementation of these activities in an educational context.

The qualitative analysis is based on 228 reflective narratives that students elaborated at the end of
each session (six one-and-a-half hour sessions). The content of these narratives was analyzed using a
Rubric for the Construction of Identity (Alsina et al., 2017), which contemplates four elements of
analysis related to professional identity (Table 2). The results suggest that MbPA focusing on bodily
imagination promote bodily, creative and kinesthetic resources for the development of the
professional identity of teacher students specializing in physical education.

Nicoletta Cappello, is a performer, dramaturg, director, and art-pedagogue, and currently a Doctoral
Researcher in cotutelle between the University of Catania and the University of Girona, having visited
the Artistic Doctorate in Performing Arts at the University of the Arts Helsinki. She collaborates as
Acting in Physical Theatre Teacher at the Royal School of Dramatic Arts in Madrid. She has designed
and led art education in collaboration with PLANEA-Art and School Network, lectured at the
European Cultural Centre for Performance Art, and given masterclasses at Universidad Francisco de
Vitoria, University of Bologna, and Universidad Complutense of Madrid, among others.
https://orcid.org/0000-0002-0490-0941

Esther Hernández. PhD from the University of Girona. Member of the Research Group on Education,
Heritage, and Intermedia Arts (GREPAI). Member of the Teaching Innovation Network on Cooperative
Learning at the University of Girona and the Feedback Network. Degree in Physical Education.
Professor in the Department of Specific Didactics at the Faculty of Education and Psychology of the

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University of Girona. She researches teaching and learning processes in physical education, health,
dance, teacher training, and cooperative learning. She has published various scientific articles.

David Rodríguez holds a Master's in Cultural Management from the Open University of Catalonia. His
research interests span arts and education, cultural diplomacy, and, more recently, dance
interventions in healthcare. A strong advocate for the role of culture and the arts in promoting
sustainable development, he frequently shares his expertise at university symposiums and in
discussions within the health sector. He is the co-director of the Dance & Creative Wellness
Foundation, a European initiative that fosters knowledge transfer in innovative artistic dance
practices for wellbeing. As both a scholar and practitioner, he leads cultural and educational projects
with institutions such as the Oncolliga Foundation and the Swiss Cancer League. He serves as a Chief
Communications Advisor for the Lausanne government in Switzerland.
ORCID.0000-0002-4825-9893

Liana Daher is a Full Professor in Sociology, Department of Education, University of Catania. Her main
research fields are social movements and collective behavior, migration, and multicultural citizenship.
She has authored books, book chapters, and articles in Italian and international journals. She has
taken part, both as principal investigator and member, in several national and European research
projects. Currently, she covers the role of scientific coordinator for the Horizon 2020 Project
PARTICIPATION https://participation-in.eu/ and the Erasmus+ project KA3 TIEREF
https://www.teachref.eu/. She is President of the RC48 (Social Movement, collective action and social
change and e Editor-in-chief of national (Disembedding Aracne) e international series (Sociological
Challenges Mimesis International). She has authored books, book chapters, and articles in Italian and
international journals. Among her recent publications: The Consequences of Social Movements.
Methodological Links between Sociology and History, in Daher L.M., Understanding Social Conflicts.
The Relationship between Sociology and History (Mimesis International 2020); Azione collettiva.
Teoria e ricerca empirica (FrancoAngeli 2021).

Dolors Cañabate Ortiz. PhD in Education and Psychology from the University of Girona. Director of
the Movement and Languages ​Chair. Principal researcher of the Research Group on Education,
Heritage and Intermedia Arts (GREPAI). Coordinator of the Teaching Innovation Network on
Cooperative Learning of the University of Girona and the National Network on Cooperative Learning.
Degree in Physical Education. Adjunct professor Postgraduate in Values ​Education. Professor of the
Department of Specific Didactics of the Faculty of Education and Psychology of the University of
Girona. She researches teaching and learning processes in physical education, psychomotricity,
dance, teacher training, teaching and sustainable methodologies, and cooperative and reflective
learning. She has published numerous scientific articles and carried out multiple permanent training
activities for kindergarten, primary, secondary and university teachers. ORCID 0000-0003-2526-9818

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 Wild Arrows and the Production of Life Affirmation in Art and Education
Research

Benjamin Marins Costa (Universidade Federal de Santa Maria) ben.marins@gmail.com

The present article explores the production of ways to affirm life in Art and Education research,
based on my experience of a course held at Ateliê da Mata, a space dedicated to art, education, and
research founded by me in Chapada Diamantina, Bahia, Brazil.

Utilizing the methodology of a/r/tography, I analyze the potential of this initiative as a way to
reaffirm life (Nietzsche, 2011) and the care of the self (Foucault, 2009), exploring my roles as an
artist, educator, and researcher.

Incorporating concepts such as Nietzsche's "arrow-thought" and Foucault's "modes of existence," I

emphasize the importance of the relationship between life, art, and education from an ecological
perspective. I also discuss the relevance of dreams as gateways to the unconscious and sources of
creativity, citing Brazilian neuroscientist Sidarta Ribeiro and indigenous leader Ailton Krenak.

Throughout the article, I share personal reflections and dialogues with an entity called Caboclo,
representing my concerns and inspirations. I highlight the importance of integrating art, life, and
education in my research, breaking with fragmentation and privileging a systemic approach. In this
context, the study of an Arts-Based Educational Research, like a/r/tography, allows me to understand
my research as something alive and often permeated by uncertainties and mysteries.

ABER seeks to intentionally detach established ways of conducting research and knowledge in the
arts by accepting and highlighting categories such as uncertainty, imagination, illusion, introspection,
visualization, and dynamism (Dias, 2013).

Through a/r/tography, I seek to understand my creative process and my relationship with the vital
flows of nature. I also emphasize the importance of recognizing different modes of existence and
cultural perspectives, citing Ailton Krenak and Tim Ingold.

In the context of research, I emphasize the need to value diversity of experiences and perspectives,
challenging traditional models of knowledge and education. I highlight the importance of affirming
life as a process of expansion, growth, and overcoming limits, inspired by Nietzsche's ideas.

Finally, I invite the reader to reflect on how to produce ways to affirm life in a world marked by
monoculture and lack of attention. I emphasize the importance of developing an education of
attention (Ingold, 2012), based on presence and sensory experience, to reconnect with life in a fuller
and more creative way.

Benjamin Marins Costa is a Master's student in Education from the Graduate Program in Education
(PPGE), research line in Education and Arts, at the Federal University of Santa Maria, Rio Grande do

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Sul. Bachelor's degree in Visual Arts from the Federal University of Santa Maria. Completed an
exchange program at the Faculty of Fine Arts of the University of Porto, Portugal, as a visiting student
(2011/12). Member of MIRARTE: Research Group in Art, Visual Culture, and Education/CNPq. Worked
as a Visual Arts teacher at the College of Application of the Federal University of Santa Catarina
(UFSC) from 2018 to 2020, teacher at the LangEcole Institute in Mumbai, India, and founded Ateliê da
Mata in 2021 in Vale do Capão, Chapada Diamantina/Bahia.

Working on Students' Conceptual Images in Primary Classrooms

Salvador Linares-Mustarós (Departament de Didàctiques Específiques, Universitat de Girona)

salvador.linares@udg.edu
Karo Kunde (Departament de Didàctiques Específiques, Universitat de Girona)
karolin.kunde@udg.edu
Paula López Serendill (Departament de Didàctiques Específiques, Universitat de Girona)
paula.lopez@udg.edu

The conceptual image was defined by Tall and Vinner (1981) as the collection of images that come to
a person's mind when thinking about a concept. In the mathematical field, these images are related
to the definition of the concept, its properties, the procedures in which the concept intervenes, the
attitudes and emotions that the concept arouses in the person. You must be very aware that the
images that make up a conceptual image can vary from one person to another, and that there will
surely be some mathematically incorrect among them (Azcárate, 1997; Barrantes y Zapata, 2015).
From an educational point of view, given the way in which children reason with mental schemes
(Turégano, 2006), the task of the teacher in a given course in front of a concept of the school
curriculum can be summed up as the creation in the image conceptual of the students of new
eclectic and quality images consistent with those the student possesses, and at the same time
correct the mathematically incorrect ones that they may possess. To achieve this goal, teachers need
to cultivate a broad and coherent conceptual images, free from mathematical misconceptions. They
should offer a variety of activities aimed at reinforcing new images, while fostering enjoyment in the
learning process. Additionally, teachers should remain attentive to the conceptual images of each
student, allowing them to tailor activities to individual needs, whether it involves establishing new
conceptual images in them or correcting wrong images. The purpose of this communication is to
introduce a novel research approach in art education, focusing on the exploration of eclectic and
high-quality images (Roldan et al., 2023) suitable for various categories of activities outlined in Àngel
Alsina's pyramid of mathematical education (Alsina, 2010). These images aim to enrich the
conceptual understanding of specific mathematical concepts within educational contexts. This
communication will specifically illustrate the art research process employed to identify eclectic and

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high-quality images associated with the concept of length, as applicable to the first year of primary
school.

Salvador Linares Mustarós, is an assistant professor in the Mathematics Unit of the University of
Girona. He is currently doing a doctorate in arts and education. His thesis supervisors are Karo Kunde
and Paula López Serentill

Karo Kunde, is Serra Húnter lecturer in Language and Literature Teaching at the Universitat de
Girona. Graduated in Humanities (Universitat Autònoma de Barcelona, 2011), master’s degree in
research in Humanities (Universitat de Girona, 2012), and PhD in Arts and Education (Universitat de
Girona, 2021). She is a member of the research group in Education, Heritage and Intermedia Arts
(GREPAI) and coordinator of the ICE Josep Pallach group of Reading Mediation. Her main research
interests focus on Children’s and Young People’s Literature, especially on picturebooks, second
Language learning, intermediality, and arts-based teaching and research methodologies.

Paula López Serendill, is lecturer (within the Serra Hunter program) in Mathematics Didactics at the
University of Girona. Her lines of research are focused on the teaching and learning of mathematics
in Primary and Secondary Education, teacher training, education for sustainability and attention to
diversity. She has published several scientific articles and book chapters on issues of mathematics
education, and has carried out multiple activities for the permanent training of mathematics teachers
at different educational levels. She is currently head of the non-university training unit at the Josep
Pallach Institute of Education Sciences.

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Performances &
Installations

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 Displacements (deslocamentos)

Jéssica Makino (Departamento de Educação, Informação e Comunicação, Faculdade de Filosofia,

Ciências e Letras de Ribeirão Preto (FFLCRP), Universidade de São Paulo (USP)) jmakino@usp.br
Precy Anne Gabriel Ferreira (Departamento de Educação, Informação e Comunicação, Faculdade de
Filosofia, Ciências e Letras de Ribeirão Preto (FFLCRP), Universidade de São Paulo (USP))
precy_anne@usp.br
Fernando Vinhota (Departamento de Educação, Informação e Comunicação, Faculdade de Filosofia,
Ciências e Letras de Ribeirão Preto (FFLCRP), Universidade de São Paulo (USP)),
fernandovinhota@usp.br
Aline Cristina Gimenes Monti (Departamento de Educação, Informação e Comunicação, Faculdade
de Filosofia, Ciências e Letras de Ribeirão Preto (FFLCRP), Universidade de São Paulo (USP))
lecamonti@usp.br

We are Mediações - a study and research group in Art and Education. Founded in 2019, the group
has already been made up of artists, producers, art teachers and students of Pedagogy and Music.
The initial work focused on studies of experience, in the light of texts by John Dewey and Jorge
Larrosa, which were followed by studies of the art curriculum in Brazilian schools. Currently, we are
studying the educational potential of performances, the performer's learning during the creation
process and during the performance, in dialog with the audience.

We therefore seek to promote collective and sharing spaces. The basis that strengthens us comes
from the political, cultural and social achievements inspired by Augusto Boal's Theater of the
Oppressed, as a Brazilian theater director, playwright and essayist who provokes us to study and
experience his work. In this line of interest, our gaze is set on communicating with others through
expression and movement.

Description of the scene: We start with movements of displacement with the focus on an
unpretentious walk in which the bodies draw a poetic scenic walk on the scene, subjectively inciting
the audience to experiment with proposed ways of walk and movements, exploring and experiencing
the different levels and expressions mediated by the directors.

This displacement is based on Ailton Krenak's thoughts on the uselessness of life. For this
philosopher, life is not useful. It simply is. Life is experience, flow and fruition. Life is not at the
service of something, it is neither a tool nor a product. In this context, we think of displacement as a
way of exploring different ways of walking, useless ways, without purpose, without a planned
destination. We propose displacements as experiences.

With a focused gaze and a peripheral gaze, we invite the public to experience displacements that are
unrhythmic, out of step and out of place. The body in non-everyday, non-ordinary, unordered uses.
Spins, twists, drags, rolls; tense, contained, relaxed, fluid, disconnected, wide movements; in curved,
punctuated, spiral and zigzag trajectories...

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By walking, we propose a displacement of the human figure, inspired by Gilles Deleuze and Felix
Guattari's concept of displacement. In this performance, we will be humans who don't walk upright
in search of a destination. We will be wanderers, dislocated from the image of people walking
towards their destination.

Jéssica Makino has a degree in Artistic Education with a major in Music, a master's degree and a
doctorate in Music from the Institute of Arts of the Universidade Estadual Paulista Júlio de Mesquista
Filho. She is currently a professor at the University of São Paulo. She coordinates Mediations: a study
group on Art and Education and is vice-leader of the Art in Pedagogy Research Group (GPAP). She has
experience in the field of Arts, with an emphasis on Music Education, working mainly on the following
subjects: education, music education, teacher training, musicalization and art education.
http://lattes.cnpq.br/0929873470085756.

Precy Anne Gabriel Ferreira, actress, singer, co-founder and member of the collectives: Grupo Teatral
Ditirambo and Cia Quadro Negro. She is a student in the XIX class of Pedagogy at USP - Ribeirão
Preto; a researcher and member of the Mediações group under the guidance of Professor Jéssica
Makino. Graduated from the technical course in Dramatic Arts at SENAC - Ribeirão Preto in 2016.
Member of the list of participants and occupants of the Centro Cultural Cerâmica São Luiz with Ong
Vivacidade - Ribeirão Preto - SP. Currently, in addition to her involvement with artistic collectives, she
is a theater teacher and storyteller

Fernando Vinhota, has been practicing theater and choral singing since the age of 12, having been
trained by Cia Minaz, by the Theater Course of Teatro Popular de Comédia (TPC) and by the Campos
Elíseos Cultural Center’s Theatre Course. He has a degree in History from the State University of São
Paulo and a degree in Pedagogy from the University of São Paulo. He studies the history, struggle and
importance of the LGBTQIAPN+ movement in Brazil. He has a scholarship in the Theatre and
Literature project of USP's Unified Scholarship Program. Researcher and member of the Mediações
group supervised by Professor Jessica Makino.

Aline Cristina Gimenes I ask for a blessing from my elders. Woman and black. Daughter and mother.
Student, researcher, housewife. Baptized in Catholicism. (Un)covering religions of African origin:
Umbanda and Candomblé. I grew up on the outskirts of the city of Franca, in the interior of São
Paulo, in the Leporace II neighborhood. I attended regular school until the eighth grade in a public
school. I was part of research groups at the University of São Paulo, such as GEPEFOR, coordinated by
Professor Noeli Rivas. I'm currently at CINDEDI with Professor Katia Amorim as my coordinator and
advisor, where I have a scholarship focused on the debate on Ethnic-Racial Relations. I am a member
of the Mediações Research Group, whose coordinator and advisor is Professor Jéssica Makino, from
the Faculty of Philosophy, Sciences and Letters of Ribeirão Preto - USP. I am an activist/researcher and
a member of the Brazilian Association of Black Researchers. Axé

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 Full of joy and anger: A clowning and buffoonish rebirth ritual

Melissa Lima Caminha (ERAM UdG) melcaminha@gmail.com

Academic pressure for excellence and precarious conditions for a/r/tographers situated at the
performing arts field were the bomb cocktail for my health crisis in the last years. Having been
diagnosed with anxiety and depression after a series of impossibilities to conciliate motherhood with
both the academy and the cultural sector highly expectations and demands, I decided to enter an art
therapy course to make my clown and buffoon spirits rebirth through other languages, skills,
materials and contemplative practices. Other ways that I could make it “alone”, all by myself, since I
have continually found growing difficulties to work as a theater professional. Drawing, performance
and poetry have been the forms I found to keep my creativity alive. Art forms that require less
materials, resources, time and people to make magic happen. Full of joy and anger is inspired in
clowning and buffoonery imaginaries and it plays with different artistic medium and materials. Its
pedagogical and therapeutic purpose is to celebrate the female clown and buffoon that still lives
inside me, despite all the efforts of patriarchy to erase and kill them. Audience will be invited to
participate actively in an exposition made up by poems, manifests and theatrical props of my failed
clown-buffon show, finding perhaps the joy and anger that these archetypes can help us manifest,
move and affect. Making public my intimate art therapy process is part of my compromise with a
feminist agenda to transform the personal into political. Claiming art therapy in academy and cultural
sector is another political goal of this project, since mental health is still a big taboo, especially in
some collectives such as scholars and teachers. Despite the contempt and marginalization that art
therapy is submitted to, it is always welcome to remind that it is a fundamental part of arts based
research genealogy.

Melissa Lima, is a female clown, art educator, mother and researcher in Performing Arts, Arts and
Education, Cultural Studies, Gender Studies, Media Studies, Cultural Rights, Cultural Policies and
(Post)&Qualitative Research. She is especially interested in artistic research and arts-based research.
BA in Performing Arts from the Federal Center for Technological Education of Ceará, Brazil (2006). MA
and PhD in Arts and Education from the University of Barcelona (2016). Teacher accredited by AQU
and ANECA. In her trajectory as a clown artist and researcher, she received several awards and prizes,
such as the Carequinha FUNARTE / Petrobras Award for Circus Support in Brazil, to carry out the field
work of the doctoral research "Female Clowns: Herstories, bodies and forms of comic representation
from a gender perspective” (2011) and to develop the “Cunt Clown Show” (2014), between others.

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 Leviathan: Temporary Sculptural Intervention

Ester Fabregat (University Rovira i Virgili) ester.fabregat@urv.cat

Fabulous sea monster described in the book of Job. Leviathan is an animal, a living room, an interior
space to experience through colors, air, volume and space. If we go inside, the belly of the fish is a
giant frozen kaleidoscope. The skin that delimits this multicolored interior vibrates with the breath of
his breath. The enormous size (9 meters x 5 meters in diameter) contrasts with the fragility and
lightness of its physicality.

The volume invites us to experience a chromatic sensory journey, where our human scale is voiced
by this translucent being. The animal inflates and comes to life, magnificent, huge, bright, full of
colors. It is a proposal to enjoy the sculpture, the space, and the breathing of its existence.

Ester Fabregat is a PhD in Fine Arts from the University of Barcelona and professor at the Department
of Pedagogy at the University Rovira i Virgili. She explores public sculpture, land art, and performance
in natural or urban spaces, combining artistic proposals ranging from large to small format. Granted
on different occasions, she has researched contemporary art in Brazil, France, Greece and Germany
where she has based her production. She currently combines her artistic, research and teaching work
in different Universities, educational centers and creative centers all over the world. Raising
awareness about sustainability, reuse of polymeric materials applied to art, three-dimensional
experimentation and the collective construction of large inflatable sculptures.

Sticky Objects of Note: for a Least Literature

Alexander Brauer (Department of Culture, Languages and Media; Faculty of Education and Society;
Malmö University) alexander.brauer@mau.se

The proposed performance will act both as a presentation of the article “and-hypo-critic forays”
(Brauer, forthcoming) and a collaborative exploration of the creative-critical affordances of sticky
notes. The article is a poetic inquiry into my positionalities as a novice researcher in educational
science, relating to traditional (Northern) ways of knowing and being as well as ‘post-’

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(modern/qualitative/humanist), feminist and de/colonial ontoepistemologies. Taking ‘mastery’ to be
an oppressive concept (Singh, 2017), the poem avoids making definitive statements, instead
consisting of a continuing re-posing of questions, interspersed with mutated quotes from academia
and popular culture, nonsensical lines of flight, and personal reflections.

The inbuilt open-endedness of “and-hypo-critic-forays” hopefully lends itself to continued

collaborative exchange. It is an assemblage intended to be charged with numerous intensities
(Deleuze & Guattari, 1975/2008), inviting readers as co-creators. Through the planned performance, I
mean to investigate these intensities in a more concrete manner, through the use of sticky notes.
Owing to the tangible yet transient nature of sticky notes, I argue that they can constitute a unique
method for messy and spontaneous co-creation of rich material. The threshold of the sticky note is
low; as opposed to a common notepad in which removing a page entails some violence (however
slight), the sticky note is immanently re-movable. Borrowing from Sara Ahmed’s concept of sticky
objects, sticky notes can be created in (ostensible) isolation, but sooner or later they tend to move,
to attach to other objects (texts, desks, walls, computer monitors, other notes, floors, foreheads),
and to detach again (whether by choice or insufficient stickiness) – making a materially tangible yet
protean rhizomatic assemblage (Deleuze & Guattari, 1975/2008).

References
Brauer, A. (forthcoming). And-hypo-critic-forays. Tidskrift För Genusvetenskap.
Deleuze, G., & Guattari, F. (2008). Kafka: Toward a minor literature. University of Minnesota Press. (Original
work published 1975)
Singh, J. (2017). Unthinking mastery: Dehumanism and decolonial entanglements. Duke University Press.

Alexander Brauer is a doctoral student in the field of language and literature didactics. He is part of
the national research school Culturally Empowering Education through Language and Literature
(CuEEd-LL), which is built around critical pedagogy and decolonial perspectives on educational
science. Alexander's dissertation project explores the pedagogical affordances of integrating creative
writing practices (primarily) in language arts education at the secondary school level. He is currently
working on a comprehensive integrative literature review, which is intended to systematize various
ways of conceptualizing creative writing as one pedagogical tool of many in a teacher's repertoire.
Parallel to this endeavor, he is exploring ways of doing and communicating research in alternative
ways – and the potential synergies and tensions in attempting to do 'both'.

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