Vpliv aktivne vizualizacije na sposobnost pomnjenja besedne definicije pri dijakih

The era of visual communication influences the cognitive strategies of the individual. Education, too, must adjust to these changes, which raises questions regarding the use of visualisation in teaching. In the present study, we examine the impact of visualisation on the ability of high school students to memorise text. In the theoretical part of the research, we first clarify the concept of visualisation. We define the concept of active visualisation and visualisation as a means of acquiring and conveying knowledge, and we describe the different kinds of visualisation (appearance-based analogies and form-based analogies), specifically defining appearance-based schemata visualisations (where imagery is articulated in a typical culturally trained manner). In the empirical part of the research, we perform an experiment in which we evaluate the effects of visualisation on students’ ability to memorise a difficult written definition. According to the theoretical findings, we establish two hypotheses. In the first, we assume that the majority of the visualisations that students form will be appearance-based schemata visualisations. This hypothesis is based on the assumption that, in visualisation, people spontaneously use analogies based on imagery and schemas that are typical of their society. In the second hypothesis, we assume that active visualisation will contribute to the students’ ability to memorise text in a statistically significant way. This hypothesis is based on the assumption that the combination of verbal and visual experiences enhances cognitive learning. Both hypotheses were confirmed in the research. As our study only dealt with the impact of the most spontaneous type of appearancebased schemata visualisations, we see further possibilities in researching the influence of visualisations that are more complex formally. (DIPF/Orig.

Razvoj in validacija kompetenčnega profila za poučevanje in učenje raziskovalne integritete

Since research integrity is not external to research but an integral part of it, it should be integrated into research training. However, several hindrances regarding contemporary research integrity education exist. To address them, we have developed a competency profile for teaching and learning research integrity based on four assumptions: 1) to include all levels of study (BA, MA, and PhD); 2) to integrate research integrity into research education itself; 3) to address research integrity issues in context-specific practices; and 4) to pay particular attention to the ‘grey zone’ or questionable research practices. To assess the validity of the content of the competency profile and to determine if some adjustments to the profile are needed, we translated the competencies of the profile into items of a measurement instrument (a questionnaire) and conducted a survey amongst University of Ljubljana students that allowed us to 1) obtain information about students’ attitudes toward issues of integrity in research; 2) analyse differences in these attitudes among BA, MA, and PhD students; and 3) statistically validate the competency profile and suggest possible improvements. The results showed that 1) students are highly aware of research integrity issues, as scores were high on all items assessed. However, there were some deviations to lower scores, especially in relation to questionable research practises, confirming our assumption that the ‘grey zone’ issues are those that should be particularly addressed and given special attention in contemporary research integrity education. 2) The differences in the attitudes of BA, MA, and PhD students showed that higher-level students showed significantly more awareness of integrity issues than lower-level students did, suggesting that research integrity issues should be given special attention at the BA study level. 3) The measurement characteristics showed that the reliability of the questionnaire was very high, suggesting a good overall structure of the competency profile. The principal component analysis also confirmed the four-field structure of the Competency profile (Values and Principles, Research Practise, Publication and Dissemination, and Violations). However, the analysis also showed that the substructure of the four main areas of the profile did not fully match the results of the factor analysis, suggesting that the distribution of competencies in the competency profile could be reconsidered, especially in the area of Research Practice. The most recent developments in the field of research integrity also suggest that the competency profile should be updated with issues regarding the impact of artificial intelligence on research integrity. (DIPF/Orig.

Dela

Živim v dveh svetovih. Rodil sem se v svetu likovne prakse, nato pa sem zašel tudi v tujino, v svet filozofije in teorije umetnosti, kjer sem se sčasoma sicer udomačil, a v pomembni meri ostal neasimiliran tujec, saj dediščine svoje domovine nisem niti mogel niti hotel pustiti za sabo. Zato naj ob tej priložnosti jaz govorim skozi slike, z besedami pa drugi namesto mene

The case of hypothetical art: from philosophy of art to contemporary art practice

In previous writings, I have introduced a concept of a hypothetical art, which I have defined as a mental creation of an art philosopher, intended to attract a reader to become fictionally involved in an art issue.1 However, further research has led me to recognise the dual role of hypothetical art, one in the philosophy of art and one in contemporary art practice.2 The intention of the present paper is to delve into this issue

Hypothetical art and art education: the educational role of the method of hypothetical artwork modelling

A hypothetical artwork is an artwork that exists only as a fictional creation of an art theorist. The explicatory powers of such hypothetical artworks are mainly used by an art theorist to reflect on an art theoretical issue under consideration. Such an artwork has an intriguing and paradoxical nature. On the one hand, it is only fictitious, but, on the other hand, it tries to function as a real token, persuading the reader to trust it as if it were a real artwork. Even though this kind of argumentation can be deceiving, as it presents a statement of real art on the basis of fiction, it has some important explicatory abilities that can be put to good use in the art educational process. In this case, the construction of the hypothetical artwork is handled as the construction of a theoretical model. The author calls such theoretical construction the method of hypothetical artwork modelling, and its result the hypothetical artwork model. Such a hypothetical artwork model can be usefully employed when one wishes to encourage the student to become fictionally involved in the process of creation of an artwork, thus giving him or her more personal experience of problems that accompany the process of creating a real artwork. When such hypothetical experience is gained, the student can more efficiently learn about the considered art issue. In the paper, the author demonstrates how the explicatory powers of the method of hypothetical artwork modelling can be put into educational practice regarding an issue taken from colour theory (i.e., the primary colours fallacy)

Hypothetical art and art education: the educational role of the method of hypothetical artwork modelling

A hypothetical artwork is an artwork that exists only as a fictional creation of an art theorist. The explicatory powers of such hypothetical artworks are mainly used by an art theorist to reflect on an art theoretical issue under consideration. Such an artwork has an intriguing and paradoxical nature. On the one hand, it is only fictitious, but, on the other hand, it tries to function as a real token, persuading the reader to trust it as if it were a real artwork. Even though this kind of argumentation can be deceiving, as it presents a statement of real art on the basis of fiction, it has some important explicatory abilities that can be put to good use in the art educational process. In this case, the construction of the hypothetical artwork is handled as the construction of a theoretical model. The author calls such theoretical construction the method of hypothetical artwork modelling, and its result the hypothetical artwork model. Such a hypothetical artwork model can be usefully employed when one wishes to encourage the student to become fictionally involved in the process of creation of an artwork, thus giving him or her more personal experience of problems that accompany the process of creating a real artwork. When such hypothetical experience is gained, the student can more efficiently learn about the considered art issue. In the paper, the author demonstrates how the explicatory powers of the method of hypothetical artwork modelling can be put into educational practice regarding an issue taken from colour theory (i.e., the primary colours fallacy)

RaznoBarvno

Barva je zaznavno paradoksna. Ker so v realnosti barve del oblik (in ne oblike del barv!), se barva v vsakdanji zaznavi podreja obliki. Ker je zaznavanje oblik v vizualni zaznavi vezano na zaznavanje svetlostnih razlik, slednje naša zaznava potencira, barvne razlike pa podredi svetlostnim. Zato subtilnih barvnih odnosov in odtenkov v vsakdanjosti običajno ne opazimo. Likovnik zato pri svojem delu barvo od oblik in svetlostnih razlik loči in jo uporabi tako, da postane glavna in včasih celo edina opora, na katero se naša zaznava lahko zanese. V vsakdanjem svetu je to redko, saj svetlostne razlike prevladajo, v likovnem svetu pa se to zgodi, ko svetlostne razlike umetno reduciramo. In takrat, ko je svetlostnih razlik malo, barva tudi šele zares intenzivno zažari. V svojih barvnih preigravanjih tako tudi sam iščem tanko mejo med barvo, ki se podreja obliki in barvo, ki prevlada nad obliko. Med barvo, ki se podredi svetlostnim razlikam in barvo, ki jih prekriči