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This book addresses how innovation is generated in transdisciplinary work and learning, focusing on the interface between art, science and technology. It considers innovation in a new way by drawing on ideas about transgression, largely from a feminist perspective. Three of five case studies examined involve Synapse artist-in-residence projects where artists worked in collaboration with scientists in their scientific organisations in Australia as a means of encouraging innovation. The remaining two cases examine innovation and transgression in the collaborative work of the prominent Australian…mehr
This book addresses how innovation is generated in transdisciplinary work and learning, focusing on the interface between art, science and technology. It considers innovation in a new way by drawing on ideas about transgression, largely from a feminist perspective. Three of five case studies examined involve Synapse artist-in-residence projects where artists worked in collaboration with scientists in their scientific organisations in Australia as a means of encouraging innovation. The remaining two cases examine innovation and transgression in the collaborative work of the prominent Australian artist Patricia Piccinini and in the German Bauhaus school. This book appeals to artists and scientists, workplace managers, policy makers, researchers and educators interested in STEM or STEAM education.
Dr Lorraine White-Hancock has worked most recently within the Faculty of Education at Monash University (Melbourne, Australia), teaching subjects within the Graduate Certificate of Educational Research, a course which prepares people for conducting PhD research. Previously, White-Hancock was appointed Lecturer in Applied Learning – STEAM (Science, Technology, Engineering, Arts and Mathematics) in the School of Education, La Trobe University, Australia. Her research focuses on transdisciplinary work and learning, innovation and design thinking in organisations, art-science collaborations and STEAM education. Lorraine completed her PhD in 2017. Her background is as a practicing artist and object designer, initially studying art and design (gold and silversmithing) at RMIT University, Australia. For some years, Lorraine was the Course Coordinator of the Adv. Dip. Engineering Technology (Jewellery Design & Metalsmithing) (ADET-JDM) in the Centre for Creative Industries at Box Hill Institute, Australia. There, Lorraine initiated and wrote much of the ADET-JDM curriculum and taught a range of design, history, research and practical units within the course.
Inhaltsangabe
1. Introduction.- 2. Innovation in policy and arts contexts.- 3. Workplace learning for innovation.- 4. Investigating transdisciplinary learning and innovation.- 5. Workplace learning for innovation in the arts: The Bauhaus school.- 6. Transdisciplinary spaces of innovation.- 7. The culture-order that authorises innovation.- 8. ‘Doing’ transgression.- 9. Conclusion.
1. Introduction.- 2. Innovation in policy and arts contexts.- 3. Workplace learning for innovation.- 4. Investigating transdisciplinary learning and innovation.- 5. Workplace learning for innovation in the arts: The Bauhaus school.- 6. Transdisciplinary spaces of innovation.- 7. The culture-order that authorises innovation.- 8. 'Doing' transgression.- 9. Conclusion.
1. Introduction. 2. Innovation in policy and arts contexts. 3. Workplace learning for innovation. 4. Investigating transdisciplinary learning and innovation. 5. Workplace learning for innovation in the arts: The Bauhaus school. 6. Transdisciplinary spaces of innovation. 7. The culture order that authorises innovation. 8. 'Doing' transgression. 9. Conclusion.
1. Introduction.- 2. Innovation in policy and arts contexts.- 3. Workplace learning for innovation.- 4. Investigating transdisciplinary learning and innovation.- 5. Workplace learning for innovation in the arts: The Bauhaus school.- 6. Transdisciplinary spaces of innovation.- 7. The culture-order that authorises innovation.- 8. ‘Doing’ transgression.- 9. Conclusion.
1. Introduction.- 2. Innovation in policy and arts contexts.- 3. Workplace learning for innovation.- 4. Investigating transdisciplinary learning and innovation.- 5. Workplace learning for innovation in the arts: The Bauhaus school.- 6. Transdisciplinary spaces of innovation.- 7. The culture-order that authorises innovation.- 8. 'Doing' transgression.- 9. Conclusion.
1. Introduction. 2. Innovation in policy and arts contexts. 3. Workplace learning for innovation. 4. Investigating transdisciplinary learning and innovation. 5. Workplace learning for innovation in the arts: The Bauhaus school. 6. Transdisciplinary spaces of innovation. 7. The culture order that authorises innovation. 8. 'Doing' transgression. 9. Conclusion.
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