1. Dr Kerry Chappell University of Exeter
Re-capping the CREATIONS WP2 Pedagogical Features
CERN Project Meeting, October 2017
Dr Kerry Chappell
University of Exeter
Hand out wheels from Bernd and explain distribution process

2. Clear message from EU project reviewer that we need ongoing work to continue to embed the Features within Demonstrators:
Balance and Navigation….
Dialogue….
Interdisciplinarity….
Individual, collaborative and communal
activities for change.…
Empowerment and agency….
Risk, immersion and play….
Possibilities….
Ethics and trusteeship

4. What is the Dialogue feature?
The kind of dialogue that generates creativity in science and the arts:
Is a dialogue between inside-out and outside-in
Happens in the chiasm or space in between (Merleau- Ponty, 1964)
Involves questions that lead to answers that lead to questions….
Generates an ambiguous space of interaction which offers transformative potential for new world views (Bahktin, 1984)
‘Meaning emerges at the boundary’
Credit to Rupert Wegerif for MP image

5. Involves questions that lead to answers that lead to questions….
E.g. CREATIONS Exeter Masterclass – began with the question….
How can we explore light and colour through physics and photography?
students explored the science through a giant camera obscura and a lecture demonstration to analysis how 18C artists used the science of light within their paintings, and how colour spectra work within paintings which led to the generation of new science questions:
Why do optical illusions change the more you look at them?
Could you make an invisible suit using refraction?
What can refraction be used for in everyday life?
Why can’t we see infra-red or ultra-violet; is it because the wavelength is too low/high?
Key point is that Dialogue is generative

6. What is the Interdisciplinarity feature?
Students learning science through making art e.g. Global Science Opera
Exploring the commonalities between arts and science knowledge and processes e.g. Physics and Fine Art
Aiding access to abstract ideas through engaging contexts e.g. ConCERNed Hip Hop project
How can the Arts make explicit for students the human nature of science ? E.g. Lise Meitner Masterclass
Honouring different ways of knowledge in interaction: knowing that - propositional knowledge, knowing how - practical knowledge, knowing this - aesthetic or felt knowledge: e.g. Astronomy and Arts (opera-based)
How can we find ways to use the different processes of the sciences and the arts to solve common problems? In your teaching how can you allow for problem-finding,
exploring, reasoning, reflecting, questioning and experimenting? How can you mix learning facts with knowing how to experiment, how to
make art, and help you and your students recognise feelings and emotions in all of this? And, importantly, how can you make sure the science
and arts learning is of a high quality? Making sure you have access to the right equipment whether Bunsen burners or quality art materials is
key here.

7. What is risk, immersion and play?
Derived from the Possibility Thinking theory (Craft, 2001; Craft et al, etc)
Risk: which can genuinely take students to a place which is testing enough to push them into generating new ideas – e.g. Big Van Theory stand up comedy
Immersion – e.g. Exeter Physics/Photography Masterclass
Play (Winnicott, 1971; Honey and Cantor, 2013) has long had close connections to creativity; sometimes now called ‘serious play’; it’s about space, no pressure, openness to possibilities, imagination and even fantasy – e.g. Playing with Protons
Immersion: the dark inside the camera obscura, completely immersed students in the actual science of light creating an upside down image through the pinhole at their shoulder

8. What is empowerment and agency?
Developing in learners and teachers a sense of a 'capacity to act'; achieving agency and empowerment to express their ideas
Sees agency as dynamic, relational and creative (Priestley, Biesta & Robinson, 2015; Emirbayer and Mische, 1998; Hetherington et al, in Prep) 
Supports the development of students' 'science capital' - challenging the idea that science is 'interesting but not for me' (Archer et al 2015) e.g. Playing with Protons; Science photography competition

9. Why have we included ethics and trusteeship?
Much creativity theorising is part of a neo-liberal education agenda which values innovation for its own sake
Work of Craft, Claxton, Gardner (2008) and Chappell et al (2012) has raised serious questions about the impact of creative actions
Example – Lise Meitner Masterclass
ethics of Lise Meitner’s flight from Nazi Germany and the ethics of the uses of the nuclear fission which were at the heart of her research are woven in – bringing through social and moral realities of the impact of scientific research
Image = play in school science lab with physics on projector within play

10. Balance and Navigation as a pedagogic feature
Chappell (2007): Balancing freedom and control; structure and openness through navigating pedagogies
Beghetto and Kaufmann (2011): Fixed and Fluid activities of structured improvisation
Mc Williams (2008): Meddling in the Middle – between Sage on the Stage and Guide on the Side….creating alongside students
Example from Mountsbay Academy
CREATIONS Action Research, Cornwall
Mountsbay AR question: How can investigation - as immersion, risk and play - in science and arts be used to shape the learners identity with location? How does the learners evolving identity as an investigator inform their relationship to Science?

11. Please now complete the Features sheets for your Demonstrator that most interests you
Insert screenshot of empty Features sheet
30 mins:
Using the ‘features’ sheets and the details of the Features – please digitally fill in the sheet for your Demonstrator that most interests you – please prioritise a key feature and 2 or 3 other features that you think your Demonstrator exemplifies well.

12. At the end of this workshop please the Features sheet to Kerry Chappell:

13. New portal area for examples of Key Features