{"id":3552,"date":"2024-06-10T16:11:16","date_gmt":"2024-06-10T13:11:16","guid":{"rendered":"https:\/\/ece.uth.gr\/?page_id=3552"},"modified":"2024-07-10T07:58:58","modified_gmt":"2024-07-10T04:58:58","slug":"3rd-semester-creativity-and-learning-in-cultural-environments-critical-perspectives","status":"publish","type":"page","link":"https:\/\/ece.uth.gr\/en\/3rd-semester-creativity-and-learning-in-cultural-environments-critical-perspectives\/","title":{"rendered":"3rd Semester &#8211; Creativity and learning in cultural environments: critical perspectives"},"content":{"rendered":"<p><strong>ECTS Units<\/strong>: 12<\/p>\n<p><strong>Professor<\/strong>: <a href=\"https:\/\/ece.uth.gr\/en\/person\/nikonanou-niki\/\">Nikonanou Niki<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>COURSE CODE B5-X<\/p>\n<p>STUDY SEMESTER C<\/p>\n<p>SELF-ENDED TEACHING ACTIVITIES<\/p>\n<p>WEEKLY TEACHING HOURS 3<\/p>\n<p>CREDIT UNITS 12<\/p>\n<p>Teaching activities include teaching the unit once a week<\/p>\n<p>COURSE TYPE Compulsory<\/p>\n<p>PREREQUISITE COURSES: NO<\/p>\n<p>TEACHING and EXAMINATION LANGUAGE: Greek<\/p>\n<p>IS THE COURSE OFFERED TO ERASMUS STUDENTS NO<\/p>\n<p>COURSE WEBSITE (URL)<\/p>\n<p><a href=\"https:\/\/eclass.uth.gr\/courses\/ECE_P_105\/\">https:\/\/eclass.uth.gr\/courses\/ECE_P_105\/<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong>2. LEARNING OUTCOMES<\/strong><\/p>\n<p>The learning outcomes of the course are described, the specific knowledge, skills and abilities of an appropriate level that the students will acquire after the successful completion of the course.<\/p>\n<p>Consult Appendix A<\/p>\n<p>Description of the Level of Learning Outcomes for each study cycle according to the Qualifications Framework of the European Higher Education Area<\/p>\n<p>Descriptive Indicators for Levels 6, 7 &amp; 8 of the European Qualifications Framework for Lifelong Learning and Annex B<\/p>\n<p>Comprehensive Guide to Writing Learning Outcomes<\/p>\n<p>Upon successful completion of the course students will be able to:<\/p>\n<p>have specialist knowledge of:<\/p>\n<ul>\n<li>artistic education subjects (music, theater, visual arts)<\/li>\n<li>critical considerations in creativity<\/li>\n<li>institutional criticism of cultural organizations<\/li>\n<li>critical cultural mediation<\/li>\n<li>museum pedagogy, museology and cultural education<\/li>\n<li>have specialized skills:<\/li>\n<li>for the critical approach and discussion of artistic and museum education issues<\/li>\n<li>collaboration and communication with groups and individuals from different fields of expertise<\/li>\n<\/ul>\n<p>to acquire skills:<\/p>\n<ul>\n<li>development and expression of ideas and reflections related to cutting-edge topics in the field of culture and education.<\/li>\n<li>application of innovative artistic practices in educational practice<\/li>\n<li>evaluation of cultural mediation applications and tools for different groups (adults, children, families)<\/li>\n<\/ul>\n<p>General Skills<\/p>\n<p>Taking into account the general competences that the graduate must have acquired (as indicated in the Diploma Annex and listed below) in which \/ which of them is the course aimed at<\/p>\n<ul>\n<li>Search, analysis and synthesis of data and information, using the necessary technologies<\/li>\n<li>Adaptation to new situations<\/li>\n<li>Decision making<\/li>\n<li>Autonomous work<\/li>\n<li>Teamwork<\/li>\n<li>Work in an international environment<\/li>\n<li>Work in an interdisciplinary environment<\/li>\n<li>Generating new research ideas<\/li>\n<li>Respect for diversity and multiculturalism<\/li>\n<li>Respect for the natural environment<\/li>\n<li>Demonstrating social, professional and ethical responsibility and sensitivity to gender issues<\/li>\n<li>Exercise criticism and self-criticism<\/li>\n<li>Promotion of free, creative and inductive thinking<\/li>\n<li>Solving problems by combining knowledge from different scientific fields<\/li>\n<li>Developing arguments in discussions and presentations<\/li>\n<li>Participation in decision-making processes<\/li>\n<li>Collaboration in groups<\/li>\n<li>Autonomous work<\/li>\n<li>Search, analysis and synthesis of data and information, using the necessary technologies<\/li>\n<li>Generating new research ideas<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><strong>3. COURSE CONTENT<\/strong><\/p>\n<p>In this course a thorough investigation of the role of art in shaping creative learning contexts is attempted. Central to our approach is the critical consideration of the terms &#8216;art&#8217;, &#8216;creativity&#8217;, and &#8216;learning&#8217; through the study of theoretical approaches and practices that highlight but also problematize the multi-layered and often tense relationships between them. The main thematic axes-questions that will concern us are the following:<\/p>\n<ul>\n<li>The emerging politics of creativity in art education<\/li>\n<li>Contemporary approaches to the relationship between cultural institutions and education<\/li>\n<li>Policies of informal artistic education<\/li>\n<li>Politics of &#8220;unlearning&#8221; and art education<\/li>\n<li>Artistic creativity in the context of the &#8216;entrepreneurial turn&#8217; in education: relations and contradictions<\/li>\n<li>Music pedagogy and contemporary music: Pedagogical practices of musical improvisation and collaborative composition<\/li>\n<li>Museum education and cultural phenomena: perspectives and contradictions<\/li>\n<li>Children&#8217;s music as art \u2013 Anthropological and philosophical dimensions of children&#8217;s music concept construction and reception<\/li>\n<li>Cultural experience: critical approaches to the concept of participation<\/li>\n<li>Art education and democracy<\/li>\n<li>Art, history and the city: issues of knowledge construction and participatory educational processes<\/li>\n<li>Culture-inclusion-cultural democracy<\/li>\n<li>The theory of publics: educational and cultural publics<\/li>\n<\/ul>\n<p>As part of the courses, there are lectures as well as thematic presentations of material by students. There is provision for the invitation of lecturers of known prestige whose scientific<\/p>\n<p>The course is structured on the basis of the following thematic axes:<\/p>\n<p>I. Education, Arts and Democracy &#8211; Aesthetic Politics<\/p>\n<p>II. Critical considerations of modern instrumentalizations of artistic creativity<\/p>\n<p>III. Cultural institutions and Institutional Criticism.<\/p>\n<p>IV. Openings: radical educational\/artistic acts\/views<\/p>\n<p>&nbsp;<\/p>\n<p><strong>4. TEACHING AND LEARNING METHODS &#8211; ASSESSMENT<\/strong><\/p>\n<p><strong>DELIVERY METHOD<\/strong><\/p>\n<p>Face to face, Distance learning etc.<\/p>\n<p>Life teaching<\/p>\n<p>&nbsp;<\/p>\n<p><strong>USE OF INFORMATION AND COMMUNICATION TECHNOLOGIES<\/strong><\/p>\n<p>Use of T.P.E. in Teaching, in Laboratory Education, in Communication with students<\/p>\n<p>In teaching, in guest speaker lectures, e-class, communication with students.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>TEACHING ORGANIZATION<\/strong><\/p>\n<p>The way and methods of teaching are described in detail.<\/p>\n<p>Lectures, Seminars, Laboratory Exercise, Field Exercise, Literature Study &amp; Analysis, Tutorial, Internship (Placement), Clinical Exercise, Art Workshop, Interactive Teaching, Educational Visits, Study Preparation (Project), Writing Paper \/ Assignments, Artistic Creation, etc. etc.<\/p>\n<p>The student&#8217;s study hours for each learning activity as well as unguided study hours according to ECTS principles are listed<\/p>\n<p>Activity<\/p>\n<p>Semester Workload<\/p>\n<p>Preparation for attending lectures<\/p>\n<p>20 hours of study<\/p>\n<p>Artistic Workshops<\/p>\n<p>10 hours of study<\/p>\n<p>Educational visits<\/p>\n<p>20 hours of study<\/p>\n<p>Literature study<\/p>\n<p>90 hours of study<\/p>\n<p>Final thesis writing<\/p>\n<p>140 hours of study<\/p>\n<p>Organization of work presentations<\/p>\n<p>20 hours of study<\/p>\n<p>&nbsp;<\/p>\n<p><strong>STUDENT EVALUATION<\/strong><\/p>\n<p>Description of the evaluation process<\/p>\n<p>Assessment Language, Assessment Methods, Formative or Deductive, Multiple Choice Test, Short Answer Questions, Essay Development Questions, Problem Solving, Written Assignment, Report \/ Report, Oral Examination, Public Presentation, Laboratory Work, Clinical Patient Examination, Artistic Interpretation, Other \/ Others<\/p>\n<p>Explicitly defined evaluation criteria are mentioned and if and where they are accessible by students.<\/p>\n<p>The evaluation is done in the Greek language through the implementation of a final paper (70%) as well as intermediate small participative exercises (30%) on the thematic fields of the seminar. Specifically, during the semester, students study and present selected articles from relevant literature, participate in on-site educational activities in cultural spaces and in experiential workshops for which they file reports of participation.<\/p>\n<p>In the final paper they are asked to present a bibliographic research or to research educational activities in cultural spaces or to design original educational actions and interventions.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>5. RECOMMENDED-BIBLIOGRAPHY<\/strong><\/p>\n<p>Suggested Bibliography:<\/p>\n<p>&#8211; Related scientific journals:<\/p>\n<p>Doukas, D., Nikonanou, N. &amp; Tsevreni I. 2021. Designing with the children: participatory practices for the creation of an insect museum, in Proceedings of the 6th Panhellenic Conference &#8220;Education and Culture in the 21st Century&#8221;. EKEDISY \/ Educational Society of Greece, Athens, 23-25 April 2021, 781-792.<\/p>\n<p>Kanellopoulos, P. &amp; D. Stefanou, (2016). Critical creativity exercises: Free musical improvisation in education &#8211; reflection on a workshop. Proceedings of the Art&amp;Education Conference: Didactic and pedagogical approaches in the 21st century school. Athens: I.E.P.<\/p>\n<p>Kanellopoulos, Panagiotis &amp; Danai Stefanou,. Music, music education and democracy: mischievous notes. The Dawn, April 4, 2016 http:\/\/www.avgi.gr\/article\/10839\/6418051\/mousike-mousike-ekpaideuse-kai-demokratia-ataktes-semeioseis<\/p>\n<p>Karamba Elpida, Zevkili, Despina, Stathopoulou, Glykeria. (2019). Creativity as instrumental reform or Art will survive, artists will not. Athens: Oplos.<\/p>\n<p>Kombatsiaris, Panos. (2013). The critique of institutions as mutual transformation. Occupy Art, activism and crisis. Criticism and Art, v. 5, 64-75.<\/p>\n<p>Kouzelis, Makis. (2014). Fascism and Democracy. Athens: Nisos.<\/p>\n<p>Menioudaki, Kalliopi. (2013). From the viewer back to the citizen. Renewing hope for effective critical artistic practices. Criticism and Art, v. 5, 106-122.<\/p>\n<p>Boubaris, Nikos. (2016). The voice of many. In P. Panopoulos and E. Rikou (eds.), Voices (136-151). Athens: Nisos.<\/p>\n<p>Nikonanou, N., Kanellopoulos, P., Viseri, E &amp; Moraitopoulou, E., Experimental artistic practices and educational co-cultural spaces: creating small cracks, in Proceedings of the 5th Panhellenic Conference on Sociology of Education, Patras 2022 (in press).<\/p>\n<p>Nikonanou, N. Kanellopoulos, P., Moraitopoulou, E. &amp; Viseri, E. Educational communication in cultural organizations: openings and resistances, in the Proceedings of the 8th Conference of the Hellenic Sociological Society\/KEE, Athens 2022 (in press).<\/p>\n<p>Nikonanou, N., Nakou, Ei. , Kanellopoulos, P. (ed.) 2015. Museumedu 1: Museums and Education &#8211; Theory and Practice. Music, Dance, Mathematics (Specialist), On line: http:\/\/museumedulab.ece.uth<\/p>\n<p>Atkinson , D. (2017).Without Criteria: Art and Learning and the Adventure of Pedagogy. The International Journal of Art &amp; Design Education, 36(2), 141-152.<\/p>\n<p>Atkinson , Dennis. (2012).Contemporary Art and Art in Education: The New, Emancipation and Truth The International Journal of Art &amp; Design Education 31(1), 5-18.<\/p>\n<p>Baldacchino, J. (2013). What creative industries? Instrumentalism, autonomy and the education of artists. International Journal of Education through Art, 9(3), 343\u2013356. doi:10.1386\/eta.9.3.343_1.<\/p>\n<p>Baldacchino, J.(2013), \u2018Willed forgetfulness: The arts, education and the case for unlearning\u2019, Studies in Philosophy and Education, 32: 4, pp. 415\u201330.<\/p>\n<p>Baldacchino, John. (2014). Art\u2019s false \u2018\u2018ease\u2019\u2019. Form, meaning and a problematic pedagogy. Studies in Philosophy and Education, 33, 433\u2013450.<\/p>\n<p>Bardy, Marjatta. (2003). \u0397 \u03b5\u03c5\u03c1\u03c9\u03c0\u03b1\u03ca\u03ba\u03ae \u03c6\u03b1\u03bd\u03c4\u03b1\u03c3\u03af\u03b1 \u03ba\u03b1\u03b9 \u03b7 \u03ba\u03bf\u03b9\u03bd\u03c9\u03bd\u03b9\u03ba\u03ae \u03c0\u03b1\u03c1\u03bf\u03c5\u03c3\u03af\u03b1 \u03c4\u03b7\u03c2 \u03c0\u03b1\u03b9\u03b4\u03b9\u03ba\u03ae\u03c2\u03b7\u03bb\u03b9\u03ba\u03af\u03b1\u03c2. \u03a3\u03c4\u03bf \u0394. \u039c\u03b1\u03ba\u03c1\u03c5\u03bd\u03b9\u03ce\u03c4\u03b7 (\u0395\u03c0\u03b9\u03bc.), \u039a\u03cc\u03c3\u03bc\u03bf\u03b9\u03c4\u03b7\u03c2 \u03a0\u03b1\u03b9\u03b4\u03b9\u03ba\u03ae\u03c2\u0397\u03bb\u03b9\u03ba\u03af\u03b1\u03c2 (\u03c3\u03c3. 167-184). \u0391\u03b8\u03ae\u03bd\u03b1: \u039d\u03ae\u03c3\u03bf\u03c2.<\/p>\n<p>Ba\u0161i\u0107, Elly . (1973\/1988). O A\u03c5\u03c4\u03bf\u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03cc\u03c2\u03c9\u03c2\u0394\u03b7\u03bc\u03b9\u03bf\u03c5\u03c1\u03b3\u03b9\u03ba\u03ccM\u03ae\u03bd\u03c5\u03bc\u03b1 [Improvisation as a creative message]. In: Stumme, W. ed. O \u03b1\u03c5\u03c4\u03bf\u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03cc\u03c2[Improvisation]. Athens, Greece: Nasos, pp. 56-77.<\/p>\n<p>Biesta, G. (2018). Walking the museum: Art, artists and pedagogy reconsidered. In Christopher Naughton, GertBiesta and David R. Cole (eds.), Art, Artists And Pedagogy: Philosophy and the Arts in Education (pp. 147-156). London: Routledge.<\/p>\n<p>Biesta, Gert. (2011). Learner, student, speaker: Why it matters how we call those we teach. In M. Simons &amp; J. Masschellein (Eds.), Ranci\u00e9re, public education and the taming of democracy (pp. 31\u201342). Chichester, West Sussex, UK: Wiley-Blackwell.<\/p>\n<p>Cameron Fiona, 2015. \u201cThe Liquid Museum. New Institutional Ontologies for a complex uncertain world\u201d, in The International Handbook of Museum Studies: Museum Theory, ed. A. Witcomb&amp; K. Message, John Willey &amp; Sons, 346-361<\/p>\n<p>Craft,Anna, Teresa Cremin, Penny Hay &amp; James Clack , Ethnography and Education (2013): Creative primary schools: developing and maintaining pedagogy for creativity, Ethnography and Education, DOI: 10.1080\/17457823.2013.828474<\/p>\n<p>Darras, Bernard. (2011). Creativity, creative class, smart power, social reproduction and symbolic violence. In J. Sefton-Green, P. Thomson, K. Jones, &amp; L. Bresler (Eds.), The Routledge International Handbook of Creative Learning (pp. 90\u201398). London: Routledge.<\/p>\n<p>Fineberg, Jonathan. (1997). The innocent eye: children\u2019s art and the modern artist, Princeton University Press, New Jersey.<\/p>\n<p>Finney, J. (2011b). John Paynter, music education and the creativity of coincidence. British Journal of Music Education, 28(1), 11\u201326.<\/p>\n<p>Finney, John. (2011a). Music Education in England, 1950-2010. London: Ashgate.<\/p>\n<p>Fitzsimons, Peter. (2002) Neoliberalism and education: the autonomous chooser, Radical Pedagogy, 4, available at: http:\/\/radicalpedagogy.icaap.org\/content\/issue4_2\/04_fitzsimons.html Accessed 08\/02\/2009.<\/p>\n<p>Fraser, Andrea. (1991). Museum Highlights: A Gallery Talk. October, 57, 104.<\/p>\n<p>Garoian, Charles, R. (2013). The prosthetic pedagogy of the ignorant schoolmaster. \u03a3\u03c4\u03bf C. R. Garoian, The prosthetic pedagogy of art: Embodied research and practice (pp. 41-55).. New York: SUNY Press.<\/p>\n<p>Gielen, P. (2013). Artistic praxis and the neoliberalization of the educational space. The Journal of Aesthetic Education, 47(1), 58\u201371<\/p>\n<p>Gielen, P. (2018). Playing with the Rules of Play: The Spirit of the Avant-Garde in Arts Education. The Journal of Aesthetic Education, 52(4), 69-82.<\/p>\n<p>Hope, Alice (2018). Young Children as Curators. The International Journal of Art &amp; Design Education, 37(1), 31-40.<\/p>\n<p>Jacobs, Ruben. (2016). Everyone is an artist: On authenticity, the position of the artist, and the creative inductries. Rotterdam: V2_Publishing.<\/p>\n<p>Jones, Ken (2011). Capitalism, creativity and learning: Some chapters in a relationship. In J. Sefton-Green, P. Thomson, K. Jones, &amp; L. Bresler (Eds.), The Routledge international handbook of creative learning (pp. 15\u201326). London: Routledge.<\/p>\n<p>Kalin, N. M. (2018). The Neoliberalization of creativity education: Democratizing, destructing and decreating. Cham, Switzerland. Palgrave.<\/p>\n<p>Kalin, Nadine. M. (2016). We\u2019re All Creatives Now: Democratized Creativity and Education. Journal of the Canadian Association for Curriculum Studies (JCACS), 13(2), 32-44.<\/p>\n<p>Kanellopoulos, P. \u0391. ,Nakou, I. (2015). Experimenting with sound, playing with culture: Collaborative composing as a means for creative engagement with the museum world. MuseumEdu: \u0395\u03ba\u03c0\u03b1\u03af\u03b4\u03b5\u03c5\u03c3\u03b7 \u03ba\u03b1\u03b9 \u03ad\u03c1\u03b5\u03c5\u03bd\u03b1 \u03c3\u03b5 \u03c0\u03bf\u03bb\u03b9\u03c4\u03b9\u03c3\u03bc\u03b9\u03ba\u03ac \u03c0\u03b5\u03c1\u03b9\u03b2\u03ac\u03bb\u03bb\u03bf\u03bd\u03c4\u03b1 \/ Education and research in cultural environments, 1, pp. 135-160. Available at: http:\/\/museumedulab.ece.uth.gr\/main\/en\/node\/343<\/p>\n<p>Kanellopoulos, P. \u0391. ,Stefanou, D. (2015). Music beyond monuments: Re-imagining creative music engagement in the light of museum-based projects. MuseumEdu: \u0395\u03ba\u03c0\u03b1\u03af\u03b4\u03b5\u03c5\u03c3\u03b7 \u03ba\u03b1\u03b9 \u03ad\u03c1\u03b5\u03c5\u03bd\u03b1 \u03c3\u03b5 \u03c0\u03bf\u03bb\u03b9\u03c4\u03b9\u03c3\u03bc\u03b9\u03ba\u03ac \u03c0\u03b5\u03c1\u03b9\u03b2\u03ac\u03bb\u03bb\u03bf\u03bd\u03c4\u03b1 \/ Education and research in cultural environments, 1, pp. 37-64. Available at: http:\/\/museumedulab.ece.uth.gr\/main\/en\/node\/343<\/p>\n<p>Kanellopoulos, P. \u0391. (2016). Problematizing (musical) Knowledge \u2013 Power relationships: a Ranci\u00e8rian provocation for music education. Philosophy of Music Education Review, 24(1), 24-44.<\/p>\n<p>Kanellopoulos, P. A. (2015). Musical creativity and \u2018the police\u2019: Troubling core music education certainties. \u03a3\u03c4\u03bf Cathy Benedict, Patrick Schmidt, Gary Spruce, and Paul Woodford (\u0395\u03c0\u03b9\u03bc.) The Oxford Handbook of Social Justice in Music Education (318-339). Oxford: Oxford University Press.<\/p>\n<p>Kanellopoulos, P. A. (2020). Cage(d): Children, creativity and \u2018the contemporary\u2019 in music education \u2014 a sociological view. In R. W. Wright, G. Johansen, P. A. Kanellopoulos&amp; P. Schmidt (eds.), The Routledge Handbook of the Sociology of Music Education. New York: Routledge.<\/p>\n<p>Kindlt, Maj. 2017. \u201cWhen and How Do We Participate? On participation from a Musicological and Cultural-Political Perspective.\u201d Arken Bulletin vol. 7.http:\/\/www.arken.dk\/wp-content\/uploads\/2017\/04\/when-and-how-do-we-participate_-by-maj-klindt_bulletin-2017-1.pdf<\/p>\n<p>Kolsteeg, Johan. (2013). Situated cultural entrepreneurship. Artivate: A Journal of Entrepreneurship in the ArtsVolue 2, Summerhttp:\/\/artivate.org pp. 3-13.<\/p>\n<p>Kreps, C. (2013) \u2018Participation, Museums, and Civic Engagement,\u2019 in Nicholls, A., Pereira, M. &amp;Sani, M. (ed) New Trends in Museums of the 21st century, The Learning Museum Network Project, 85\u2013101. http:\/\/online.ibc.regione.emilia-romagna.it\/I\/libri\/pdf\/LEM7th-report-ne&#8230; accessed 20\/5\/2021<\/p>\n<p>Kundu, Rina.,Kalin, N. M. (2015). Participating in the Neoliberal Art Museum. Studies in Art Education: A Journal of Issues and Research, 57(1), 39-52.<\/p>\n<p>Leeds, Jo A. 1985, \u2018Romanticism, the avant-garde, and the early modern innovators in arts education\u2019, Journal of Aesthetic Education, vol. 19. no. 3, pp. 75-88.<\/p>\n<p>Lettau, Paris. (2016) Artist, Non-Artist, Total Artist.<\/p>\n<p>Lewis, George, A Power Stronger Than Itself. The AACM and American Experimental Music, Chicago, The University of Chicago Press, 2008.<\/p>\n<p>Lewis, T. E. (2011). Rethinking the Learning Society: Giorgio Agamben on Studying, Stupidity, and Impotence. Studies in the Philosophy of Education, 30, 585\u2013599.<\/p>\n<p>Lewis, Tyson. E. (2014). Education as Free Use: Giorgio Agamben on Studious Play, Toys, and the Inoperative Schoolhouse. Studies in Philosophy and Education, 33(2), pp 201\u2013214.<\/p>\n<p>Malvern, S. B. (1995). Inventing \u2018child art\u2019: Franz Cizek and modernism. British Journal of Aesthetics,35(3), 262-272.<\/p>\n<p>Masschelein, J., &amp; Simons, M. (2010). Schools as architecture for newcomers and strangers: The perfect school as public school? Teachers College Record, 112(10), 533\u2013555.<\/p>\n<p>Masschelein, Jan. (2001). The discourse of the learning society and the loss of childhood. Journal of Philosophy of Education, 35(1), 1\u201320.<\/p>\n<p>Masschellein, J., &amp; Simons, M. (2011). The hatred of public schooling: The school as the mark of democracy. In J. Masschellein&amp; M. Simons (Eds.), Ranci\u00e8re, public education and the taming of democracy (pp. 150\u2013165). Chichester, West Sussex, UK: Wiley-Blackwell.<\/p>\n<p>Moersch, C &amp;Sieber, T., (ed.), 2016. Contemporary Curating and Museum Education, Transcript Verlag, Bielefeld.<\/p>\n<p>Mould,Oli. 2018. Against Creativity. London: Verso.<\/p>\n<p>Murray-Schafer. R. (1986). The thinking ear. Toronto: Arcana.<\/p>\n<p>Nikonanou, N. &amp; Misirloglou, Th. 2023. Together we curate: Cultural Participation and Collective Curation, Museum and Society 21 (1), 31-44<\/p>\n<p>Nikonanou, \u039d. &amp;Venieri, F. 2017. \u201cInterpreting social issues: Museum theatre\u2019s protential for critical engagement\u201d. Museum &amp; Society. 15 (1): 16-32. On-line: http:\/\/www2.le.ac.uk\/departments\/museumstudies\/museumsociety\/documents\/volumes\/nikonanouvenieri<\/p>\n<p>Nikonanou, N., Papavergou, E., Paraskeva, K. (2020) \u2018The contribution of participatory projects in promoting the inclusive museum. Are visitors\u2019 artistic creations welcomed in an international exhibition of contemporary art?,\u2019 International Journal of the Inclusive Museum, 13(1): 1-11.<\/p>\n<p>O\u2019Neill, P. &amp; Wilson M. ( eds.), 2010. Curating and the Educational Turn, London: Open Editions \/ de Appel<\/p>\n<p>Paynter, J. 1972, Hear and now: an introduction to modern music in schools, Universal, London<\/p>\n<p>Paynter, J. 1992, Sound and structure, Cambridge University Press, Cambridge.<\/p>\n<p>Paynter, John &amp; Aston, P 1970, Sound and Silence: classroom projects in creative music, Cambridge University Press, Cambridge.<\/p>\n<p>Peters, Gary. (2018).John Cage and the \u201cFreshening\u201d of Education.The Journal of Aesthetic Education, 52(4), 1-20.<\/p>\n<p>Pr\u00e9vost, E. (1995) No Sound is Innocent: AMM and The Practice of Self-Invention. Meta-Musical Narratives. Essays. Essex: Copula.<\/p>\n<p>Ranci\u00e8re, J. (2012). \u039f \u039c\u03b5\u03c1\u03b9\u03c3\u03bc\u03cc\u03c2\u03c4\u03bf\u03c5\u0391\u03b9\u03c3\u03b8\u03b7\u03c4\u03bf\u03cd: \u0391\u03b9\u03c3\u03b8\u03b7\u03c4\u03b9\u03ba\u03ae \u03ba\u03b1\u03b9 \u03c0\u03bf\u03bb\u03b9\u03c4\u03b9\u03ba\u03ae(\u03bc\u03c4\u03c6\u03c1. \u0398\u03b5\u03cc\u03b4\u03c9\u03c1\u03bf\u03c2 \u03a0\u03b1\u03c1\u03b1\u03b4\u03ad\u03bb\u03bb\u03b7\u03c2). \u0391\u03b8\u03ae\u03bd\u03b1: \u0395\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2\u03c4\u03bf\u03c5 21\u03bf\u03c5.<\/p>\n<p>Ranci\u00e8re, J. (2015). \u039f \u03a7\u03b5\u03b9\u03c1\u03b1\u03c6\u03b5\u03c4\u03b7\u03bc\u03ad\u03bd\u03bf\u03c2\u0398\u03b5\u03b1\u03c4\u03ae\u03c2. \u0391\u03b8\u03ae\u03bd\u03b1: \u0395\u03ba\u03ba\u03c1\u03b5\u03bc\u03ad\u03c2.<\/p>\n<p>Ranci\u00e8re, J. (2008). \u0397 \u03a0\u03bf\u03bb\u03b9\u03c4\u03b9\u03ba\u03ae\u03c4\u03b7\u03c2\u0391\u03b9\u03c3\u03b8\u03b7\u03c4\u03b9\u03ba\u03ae\u03c2 (\u03bc\u03c4\u03c6\u03c1. \u0392\u03af\u03ba\u03c5 \u0399\u03b1\u03ba\u03ce\u03b2\u03bf\u03c5). \u03a3\u03c4\u03bf \u0393. \u03a3\u03c4\u03b1\u03c5\u03c1\u03b1\u03ba\u03ac\u03ba\u03b7\u03c2&amp; \u039a. \u03a3\u03c4\u03b1\u03c6\u03c5\u03bb\u03ac\u03ba\u03b7\u03c2 (\u03b5\u03c0\u03b9\u03bc.), \u03a4\u03bf\u03a0\u03bf\u03bb\u03b9\u03c4\u03b9\u03ba\u03cc\u03c3\u03c4\u03b7\u03a3\u03cd\u03b3\u03c7\u03c1\u03bf\u03bd\u03b7\u03a4\u03ad\u03c7\u03bd\u03b7(\u03c3\u03c3. 85-100). \u0391\u03b8\u03ae\u03bd\u03b1: \u0395\u03ba\u03ba\u03c1\u03b5\u03bc\u03ad\u03c2.<\/p>\n<p>Raunig, d. (2013). Factories of Knowledge, Industries of Creativity. Los Angeles: Semiotext(e).<\/p>\n<p>Self, G. (1967). New sound in class: a practical approach to the understanding and performing of contemporary music in schools. London: Universal Edition.<\/p>\n<p>Shahjahan, Riyad A. (2015) Being \u2018Lazy\u2019 and Slowing Down: Toward decolonizing time, our body, and pedagogy. Educational Philosophy and Theory, 47(5), 488-501.<\/p>\n<p>Sheikh, S. (2013). \u0393\u03c1\u03ac\u03bc\u03bc\u03b1 \u03c3\u03c4\u03b7 Jane (\u03b4\u03b9\u03b5\u03c1\u03b5\u03cd\u03bd\u03b7\u03c3\u03b7\u03bc\u03b9\u03b1\u03c2 \u03bb\u03b5\u03b9\u03c4\u03bf\u03c5\u03c1\u03b3\u03af\u03b1\u03c2). \u039a\u03c1\u03b9\u03c4\u03b9\u03ba\u03ae \u03ba\u03b1\u03b9 \u03a4\u03ad\u03c7\u03bd\u03b7, \u03c4. 5, 92-105.<\/p>\n<p>Siegesmund, R. (2013). Art Education and a Democratic Citizenry The International Journal of Art &amp; Design Education, 32(3), 300-308.<\/p>\n<p>Simon, N. 2010. The Participatory Museum. Santa Cruz, California: Museum 2.0.http:\/\/www.participatorymuseum.org\/read\/<\/p>\n<p>Sitzia, E. (2017). The ignorant art museum: beyond meaning-making International Journal of Lifelong Education, https:\/\/doi.org\/10.1080\/02601370.2017.1373710<\/p>\n<p>Sternfeld, N. 2016. \u201cLearning Unlearning\u201d, CuMMA Papers #20, Department of Art Aalto university, Helsinki, 1-11<\/p>\n<p>Sternfeld, N., \u201cUnglamorous Tasks: What Can Education Learn from its Political Traditions,\u201d e-flux journal, no. 14, March 2010, https:\/\/www.e-flux.com\/journal\/14\/61302\/unglamorous-tasks-what-can-education-learn-from-its-political-traditions\/<\/p>\n<p>The Finnish Association for Museum Education Pedaali, KaijaKaitavuori, Nora Sternfeld, and Laura Kokkonen 2013. Its all Mediating: Outlining and Incorporating the Roles of Curating and Education in the Exhibition Context, Cambridge Scholars Publishing,<\/p>\n<p>Tilbury, J. (2008). Cornelius Cardew (1936-1981): A life unfinished. Essex: Copula.<\/p>\n<p>Witcomb, A. &amp; Buckley K., AM, 2013. \u201cEngaging with the future of \u2018critical heritage studies\u2019: looking back in order to look forward\u201d, International Journal of Heritage Studies, Vol, 19, No 6, 562-578<\/p>\n<p>Woodford, P. (2018). Music Education in An Age of Virtuality and Post-Truth. New York: Routledge.<\/p>\n<p>Worcman, K., 2016. \u201cWe are all Curators: Collaborative Curatorship as a new Museum Experience,,THEMA. La revue des Mus\u00e9es de la civilization, Museums without Curators, 125-130<\/p>\n","protected":false},"excerpt":{"rendered":"<p>ECTS Units: 12 Professor: Nikonanou Niki &nbsp; COURSE CODE B5-X STUDY SEMESTER C SELF-ENDED TEACHING ACTIVITIES WEEKLY TEACHING HOURS 3 CREDIT UNITS 12 Teaching activities include teaching the unit once a week COURSE TYPE Compulsory PREREQUISITE COURSES: NO TEACHING and EXAMINATION LANGUAGE: Greek IS THE COURSE OFFERED TO ERASMUS STUDENTS NO COURSE WEBSITE (URL) https:\/\/eclass.uth.gr\/courses\/ECE_P_105\/ [&hellip;]<\/p>\n","protected":false},"author":192,"featured_media":188,"parent":0,"menu_order":105,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-3552","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/pages\/3552","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/users\/192"}],"replies":[{"embeddable":true,"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/comments?post=3552"}],"version-history":[{"count":1,"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/pages\/3552\/revisions"}],"predecessor-version":[{"id":3554,"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/pages\/3552\/revisions\/3554"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/media\/188"}],"wp:attachment":[{"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/media?parent=3552"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}