This paper brings a critical focus to difference and the creative arts in education with specific attention to art as a site of knowledge in New Zealand conditions. The 1990s and early 2000s are marked by a paucity of critically engaged literature on the arts in education and a conspicuous absence of discussions on the politics of difference. Alongside the global return to empirical research in education where quantifiable data‐based projects tend to attract attention ahead of fundamentally crucial questions of (...) philosophical and critical registers, there has been an apparent reinvention of liberal humanistic concepts of creative practice. These tendencies are coupled with strategic political alignments of creativity with industry. The outcome appears to be a withering of attention to the politics of difference on the vine of educational philosophy, policy and practice in art education. The paper suggests that if the creative arts are to hold or gain any purchase in the stakes of education in a global world this vine must be tended and revitalised through a rigorous application of critically framed questions so that discourses of difference can be recognised as a social and political responsibility in the art educational encounter. (shrink)

This paper brings a critical focus to difference and the creative arts in education with specific attention to art as a site of knowledge in New Zealand conditions. The 1990s and early 2000s are marked by a paucity of critically engaged literature on the arts in education and a conspicuous absence of discussions on the politics of difference. Alongside the global return to empirical research in education where quantifiable data‐based projects tend to attract attention ahead of fundamentally crucial questions of (...) philosophical and critical registers, there has been an apparent reinvention of liberal humanistic concepts of creative practice. These tendencies are coupled with strategic political alignments of creativity with industry. The outcome appears to be a withering of attention to the politics of difference on the vine of educational philosophy, policy and practice in art education. The paper suggests that if the creative arts are to hold or gain any purchase in the stakes of education in a global world this vine must be tended and revitalised through a rigorous application of critically framed questions so that discourses of difference can be recognised as a social and political responsibility in the art educational encounter. (shrink)

This article seeks to investigate art in public urban space via a process of activating aesthetics as a way of enhancing pedagogies of engagement. It does this firstly by addressing the question of aesthetics in Enlightenment and twentieth-century frames; then it seeks to understand how artworks may be approached ontologically and epistemologically. The discussion works with the philosophical lenses of two different thinkers: Heidegger, in ‘Building Dwelling Thinking’ and ‘The Origin of the Work of Art’, and Marxist sociologist, Bourdieu with (...) his work on a theory of practice and habitus. It asks how art may work in the meaning-making processes of place and the human subject in terms of ontological difference and dispositional capital. In bringing these different organising principles of interpretation to specific works of art, the discussion draws from locational research undertaken in Newcastle/gateshead and Melbourne. (shrink)

Creativity: what might this mean for art and art educators in the creative economies of globalisation? The task of this discussion is to look at the state of creativity and its role in education, in particular art education, and to seek some understanding of the register of creativity, how it is shaped, and how legitimated in the globalised world dominated by input-output, means-end, economically driven thinking, expectations and demands. With the help of Heidegger some crucial questions are raised, such as: (...) How can art maintain its creative ontological and epistemological potential in the creative economies of globalisation? Is it possible for art and the creative arts to act as a process of ‘revealing’ and ‘becoming’ and ‘throwing light’ on the world while working within the market economies of innovation and entrepreneurship where creativity has become a generalised discourse? What matters in this discussion is to find a way to argue for the sustainability of art education as a creative mode of enquiry through which self and the world may be better understood, identity might be realised as difference and being-in-time might be possible. (shrink)

This paper investigates what it may mean to re-imagine learning through aesthetic experience with reference to John Dewey’s Art as Experience. The discussion asks what learning might look like when aesthetic experience takes centre stage in the learning process. It investigates what Dewey meant by art as experience and aesthetic experience. Working with Dewey as a philosopher of reconstruction of experience, the discussion examines responses to poetic writings and communication in learning situations. In seeking to discover what poetic writing does (...) within the experience of a reader and writer it considers three specific learning situations. Firstly there is an examination of a five-year old child’s experience of shared communication through the story of Horton the Elephant. Secondly there is an account of the responses of an 11-year-old child to poetry in a 1950s classroom setting, and later reconstructions of those experiences by the child as adult. Thirdly, the paper extends to intensive writing with 12 to 13-year-old children. The focus is on the process of learning via acts of expression as aesthetic experiences. Through art as experience the child develops perceptions that recover a coherence and continuity of aesthetic experience in art as in everyday life. (shrink)

De-Signing Design: Cartographies of Theory and Practice throws new light on the terrain between theory and practice in transdisciplinary discourses of design and art. The collection brings together a selection of essays on spatiality, difference, cultural aesthetics, and identity in the expanded field of place-making and being.

In lieu of an abstract, here is a brief excerpt of the content:Scrutinizing Studio Art and Its StudyHistorical Relations and Contemporary ConditionsElizabeth M. Grierson (bio)Yet art is nevertheless an inquiry, precise and rigorous.—Maurice BlanchotIntroductionThe modern disciplines of art and art history have been going through significant revisions since the 1980s, when the objective domain of knowledge was placed in a contested position by the multiplicity of narratives characterizing postmodern social spaces. Whether there was or was not any disciplinary "crisis" at (...) that time is not at issue here.1 What is of concern is to identify the ways the academy—and specifically the art academy—sought to respond by rethinking disciplinary knowledge and thereby problematizing traditional methodologies of scholarly inquiry. Through the academic privileging of aesthetics and scientific discourses, modern knowledge brought with it a metanarrative appeal to the transcendence of the human spirit through art and religiosity, coupled with the identification of the rational human subject as agent of progress. This discussion is concerned with asking how these metanarratives were intervened or interrogated through art and its study and how those moments of displacement could be identified and analyzed. Ultimately, we may address the question of how discourses of power operate to normalize social practices and silence difference in institutional practices of art and art education. [End Page 111]Crisis in the DisciplinesIn 1982 an issue of Art Journal was dedicated to the theme of the crisis in the disciplines. However, as Donald Preziosi2 points out, if the disciplines of art and art history were deemed by Art Journal to be in crisis, there was only one article (by Oleg Grabar) in that journal issue that addressed this crisis and problematized "the history of the discipline and its methodological prospects for the future."3 In other words, if there was a crisis, and art educators or art historians were feeling it, what constituted the crisis was not yet being addressed. What is of interest is that this was a time when the object of study was under reconsideration and art and its history were part of a revisionist climate of scrutiny and reconsideration. This being so, there was significant expansion to the way fine arts and art history were being approached in the 1980s and 1990s in response to revisionist scholarship. This trend continued to be reinvigorated with the transformations of digital technologies in the 2000s.Art academies of the early 1990s in New Zealand and Australia were starting to grapple with methodological regimes of art history as a discipline in the context of intellectual challenges of postmodernity. Directing these issues to artists and their scholarly needs, educators were opening the discrete academic disciplines to wider intellectual, social, and cultural possibilities of inquiry. Standing before a "great" work of art and proclaiming its greatness had lost its meaning. Jean-François Lyotard had written it thus: "The time is past when we can plant ourselves in front of a Vernet and sigh along with Diderot, 'How beautiful, grand, varied, noble, wise, harmonious, rigorously coloured this is!'"4Threading throughout this discussion is the way one particular art academy was facing this challenge in those postmodernist years of the 1990s. The account tells of processes and principles of pedagogical change, but the implications of this case are not limited to one academy in one location. It was the early 1990s, and the writers of the first degree nominated as "visual arts" in New Zealand were addressing some of the issues of disciplinarity in fine arts and art history. This was the first degree situating what might be called a postmodernist pedagogical approach to fine arts studio and its study. This was at a time when changes in the New Zealand Education Act (1989, 1990) enabled degrees in art to be formally accredited and resourced in tertiary institutions beyond the long-established universities of Auckland (North Island) and Canterbury (South Island). This political move gave opportunity for educational innovation in the pedagogies of fine arts and art history. It was in this context that one independent art school in Auckland, ASA School of Art, seized the moment to work toward a more interdisciplinary notion of practice and theory. Given the opportunity to introduce a more... (shrink)

Yet art is nevertheless an inquiry, precise and rigorous.The modern disciplines of art and art history have been going through significant revisions since the 1980s, when the objective domain of knowledge was placed in a contested position by the multiplicity of narratives characterizing postmodern social spaces. Whether there was or was not any disciplinary "crisis" at that time is not at issue here.1 What is of concern is to identify the ways the academy—and specifically the art academy—sought to respond by (...) rethinking disciplinary knowledge and thereby problematizing traditional methodologies of scholarly inquiry. Through the academic privileging of aesthetics and scientific discourses, modern knowledge brought .. (shrink)

This article is concerned with developing a philosophical approach to a number of significant changes to academic publishing, and specifically the global journal knowledge system wrought by a range of new digital technologies that herald the third age of the journal as an electronic, interactive and mixed-media form of scientific communication. The paper emerges from an Editors' Collective, a small New Zealand-based organisation comprised of editors and reviewers of academic journals mostly in the fields of education and philosophy. The paper (...) is the result of a collective writing process. (shrink)

The epigrams of the Carmina Priapea comically celebrate the exploits of the ithyphallic god Priapus, most often seen lording over his garden threatening would-be thieves with rape. In so doing, they promote a phallocentric sex-gender ideology whose valorized position was reserved for the active man who could control himself and dominate others. But the physical experience of reading these poems runs counter to the codes of masculinity their content upholds. Their rhythms and sounds immerse the reader in a range of (...) all-over pleasures that undermine the bodily comportment championed and embodied by Priapus himself. They thereby invite their readers to experience what I call the touch of the cinaedus, an expansive sensuality associated with this maligned sexual type. The Carmina Priapea's ongoing suggestion that entering this garden of verse will turn its readers into cinaedi might, then, be read as a promise as well as a threat. This promise is no less than the promise of poetry itself, a form of linguistic organization that invites all readers to revel in the cinaedus' liberating touch. (shrink)

Background:Clinical investigation is a growing field employing increasing numbers of nurses. This has created a new specialty practice defined by aspects unique to nursing in a clinical research context: the objectives, setting, and nature of the nurse–participant relationship. The clinical research nurse role may give rise to feelings of ethical conflict between aspects of protocol implementation and the duty of patient advocacy, a primary nursing responsibility. Little is known about whether research nurses experience unique ethical challenges distinct from those experienced (...) by nurses in traditional patient-care settings.Research objectives:The purpose of the study was to describe the nature of ethical challenges experienced by clinical research nurses within the context of their practice.Research design:The study utilized a qualitative descriptive design with individual interviews.Participants and research context:Participating nurses self-identified as having experienced ethical challenges during screening. The majority were Caucasian, female, and worked in outpatient settings. Approximately 50% had > 10 years of research experience.Ethical considerations:The human subjects review board approved the study. Written informed consent was obtained.Findings:Predominant themes were revealed: the inability to provide a probable good, or/do no harm, and dual obligations. The following patterns and subthemes emerged: conflicted allegiances between protocol implementation, needs of the participant, desire to advance science, and tension between the nurse–patient therapeutic relationship versus the research relationship.Discussion:Participants described ethical challenges specific to the research role. The issues are central to the nurse–participant relationship, patient advocacy, the nurse’s role in implementing protocols, and/or advancing science.Conclusion:Ethical challenges related to the specialized role of clinical research nurses were identified. More research is warranted to fully understand their nature and frequency and to identify support systems for resolution. (shrink)

Background: Healthcare providers who are accountable for patient care safety and quality but who are not empowered to actualize them experience moral distress. Interventions to mitigate moral distress in the healthcare organization are needed. Objective: To evaluate the effect on moral distress and clinician empowerment of an established, health-system-wide intervention, Moral Distress Consultation. Methods: A quasi-experimental, mixed methods study using pre/post surveys, structured interviews, and evaluation of consult themes was used. Consults were requested by staff when moral distress was present. (...) The purpose of consultation is to identify the causes of moral distress, barriers to action, and strategies to improve the situation. Intervention participants were those who attended a moral distress consult. Control participants were staff surveyed prior to the consult. Interviews were conducted after the consult with willing participants and unit managers. Moral distress was measured using the Moral Distress Thermometer. Empowerment was measured using the Global Empowerment Scale. Results: Twenty-one consults were conducted. Analysis included 116 intervention and 30 control surveys, and 11 interviews. A small but significant decrease was found among intervention participants, especially intensive care staff. Empowerment was unchanged. Interview themes support the consult service as an effective mode for open discussion of difficult circumstances and an important aspect of a healthy work environment. Conclusions: Moral distress consultation is an organization-wide mechanism for addressing moral distress. Consultation does not resolve moral distress but helps staff identify strategies to improve the situation. Further studies including follow up may elucidate consultation effectiveness. (shrink)

We argue that critiques of political process theory are beginning to coalesce into new approach to social movements--a "multi-institutional politics" approach. While the political process model assumes that domination is organized by and around one source of power, the alternative perspective views domination as organized around multiple sources of power, each of which is simultaneously material and symbolic. We examine the conceptions of social movements, politics, actors, goals, and strategies supported by each model, demonstrating that the view of society and (...) power underlying the political process model is too narrow to encompass the diversity of contemporary change efforts. Through empirical examples, we demonstrate that the alternative approach provides powerful analytical tools for the analysis of a wide variety of contemporary change efforts. (shrink)

Aborder l’exposition comme média implique de considérer le point de vue du producteur (commissaire), celui du récepteur (visiteur) et celui de l’exposition (à travers les moyens employés et l’aspect de l’architecture communiqué). Deux manières d’envisager la communication de l’architecture au musée sont abordées. Pour la première, et selon nous la plus ancienne, le terme architecture est pris au sens de bâtiment. Les commissaires tentent alors de transmettre à la fois l’expérience et la matérialité du bâtiment. Pour la seconde manière, apparue (...) ces vingt dernières années, c’est plutôt le projet architectural (idée, processus, bâtiment et représentations) que l’on communique. La communication de l’idée et du processus semble être une tendance forte qui cible la pratique architecturale. Cette réflexion critique mène au constat suivant : d’un point de vue communicationnel, l’exposition d’architecture oublie trop souvent de considérer son destinataire, et les commissaires n’utilisent donc pas son plein potentiel comme média. (shrink)

In their article “A Broader Understanding of Moral Distress,” Campbell, Ulrich, and Grady (2016) correctly assert that moral distress is well established in the nursing literature and is gaining at...

Scholars see the gendered division of household labor as a stronghold of gender inequality. We explore changes in household labor and gender relations when conservative, working-class families experience employment disruptions. Using data from 49 qualitative interviews conducted with men and women following the forced unemployment of breadwinning husbands, we observe some change in gendered household labor but conclude that a significant degendering of housework is thwarted by institutional-, interactive-, and individual-level processes. At the institutional level, the lack of well-paying jobs (...) and the persistent gendering of household tasks discourage change. At the individual level, challenges to gendered identities encourage a reinforcement of traditional gender ideologies. At the interactional level, women’s responsibility for care work and the meaning of paid work for unemployed husbands forestall the adjustment of tasks. (shrink)

For most nurses world-wide, activities are centred around working directly with patients and so the nurse-patient relationship is of the greatest importance. Ethnocentrism on the part of the health care community has led to misdiagnosis, mistreatment and undertreatment of culturally diverse individuals world-wide. This author discusses a tool, Greipp's Model of Ethical Decision-Making, which can be used to assist nurses in analysing the effects of culture, beliefs and diversity upon the caregiver and care recipient within an ethical framework.

There are questions about how ethics is best taught to undergraduate business students. There has been a proliferation in the number of stand-alone ethics courses for undergraduate students but research on the effectiveness of integrated versus stand-alone mode of delivery is inconclusive. Christensen et al. :347–368, 2007), in a comprehensive review of ethics, corporate social responsibility and sustainability education, investigated how ethics education has changed over the last 20 years, including the issue of integration of these topics into the core (...) course offerings. We use Brenner and Molander’s :57–71, 1977) situational ethics survey instrument to examine the effect of the mode of delivery of business ethics education on undergraduate student responses. We found a significant difference on mode of delivery. Studies have also found interesting results in respect of the effect of cultural differences and gender on the effectiveness of business ethics instruction. While not the primary focus of this study, we also looked at the influence of gender and culture on students’ responses. Our results indicate significant differences in respect of mode of delivery and culture. In contrast to other studies, we found that gender was not significant. We did test for any interactive effects of gender, culture and mode of delivery. However, no significant differences were found. (shrink)

This collection is the first comprehensive history of Fichte's reception in America, highlighting the existence of a long and strong tradition of Fichtean studies throughout the continent and demonstrating the centrality of Fichtean ideas in contemporary discussions of issues such as feminism, social criticism, and decolonial thought. Read and reinterpreted in the highly diverse circumstances across the American continent, Fichte's ideas are presented in a radically new light, uncovering the Fichtean spirit of self-activity and autonomous thought in an American context.

Mastery imagery has been shown to be associated with more positive cognitive and emotional responses to stress, but research is yet to investigate the influence of mastery imagery ability on imagery’s effectiveness in regulating responses to acute stress, such as competition. Furthermore, little research has examined imagery’s effectiveness in response to actual competition. This study examined (a), whether mastery imagery ability was associated with stress response changes to a competitive stress task, a car racing computer game, following an imagery intervention, (...) and (b), the effects of different guided imagery content on pre-task cognitive and emotional responses. In Session 1, 78 participants (M age = 20.03 years, SD = 1.28) completed ratings of pre-task anxiety intensity and direction, confidence, and perceived control. Imagery ability was also assessed before completing the task. In Session 2, participants were randomly allocated to an imagery condition (positive mastery, negative mastery, relaxation) or control group (no imagery) before completing the task and outcome measures again. For the negative mastery group, greater positive mastery imagery ability was associated with greater perceived control and perceiving anxiety as more facilitative. Furthermore, mastery imagery ability moderated the relationship between anxiety intensity and direction. Altogether, results suggest that positive mastery imagery ability may act as a potential buffer against the effects of negative images. (shrink)

This comparative study shows biases relative to client age, gender and behaviour demon strated by 268 female nurse subjects. A repeated measures design was utilized. All three main effects were significant (p < 0.001) for how respondents predicted that they would react to various clients and also how they predicted that their colleagues would react. Most two-way and three-way interaction effects were significant. Subjects demonstrated more favourable reactions to nice, young, male clients and least favourable reactions to not nice, old, (...) male clients. Study subjects predicted more favourable self-reactions to simulated clients than for their colleagues. What should be important to every professional as a result of this study is the need to be aware of self-biases, which may cause errors in decision-making and nursing care interventions and lead to ethical violations with clients. (shrink)