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- Insulander, Eva, 1972-, et al.
(författare)
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Vilken kunskap erkänns i det systematiska kvalitetsarbetet? Om oförenliga tankestilar i dagens förskola
- 2014
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Ingår i: Nordisk Barnehageforskning. - : Cappelen Damm AS - Cappelen Damm Akademisk. - 1890-9167 .- 1890-9167. ; 7:12, s. 1-18
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Tidskriftsartikel (refereegranskat)abstract
- This study is to be seen in relation to the intensified ‘assessment culture’ that has evolved in today's educational system. The purpose is to discuss how the dualistic mission of the curriculum is being handled in preschools systematic quality work, by studying the representation and recognition of ideational and interpersonal knowledge. The study is based on video-observations of preschool teachers’ planning, work and follow up of three educational activities in two different preschools. The theoretical basis consist of a multimodal and design theoretical perspective used in combination with Ludwik Flecks work on thought styles and thought collectives. The analyse shows that the curriculum objectives are handled in contradictory ways. This is visible in interaction patterns that exhibit traces from incompatible thought styles.
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| 2. |
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| 3. |
- Insulander, Eva, 1972-
(författare)
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Artefacts, spaces, visitors. A study of meaning-making in museums.
- 2010
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Konferensbidrag (refereegranskat)abstract
- This paper presents the results from a thesis on design and communication in museums. The main purpose of the thesis is to describe and analyse how museum visitors engage with and make meaning from what is being offered to them in terms of the various resources made available in two exhibitions. Yet another purpose is to describe and analyse the design of these exhibitions. The empirical data stems from observational studies at the Museum of National Antiquities in Stockholm, and includes the investigation of two exhibitions: Prehistories I and II. Eight ‘visiting pairs’ were videotaped and the tapes were multimodally transcribed and analysed. Data also includes digital photos and maps produced by the visitors. In a comparative analysis, descriptions of the exhibitions and their analysis and the visitor study are discussed in relation to earlier research and to the issue of learning.A design-oriented and multimodal perspective on learning is used as a theoretical and methodological framework. The different visits are compared and the visitors’ responses are discussed as different forms of engagement. The results are interpreted within an institutional perspective connected to contemporary discourses within museum studies. The exhibitions are considered as an expression of the museums’ ambition to adjust to a pressure for change. Both exhibitions are, in a greater or less degree, considered as examples of ‘new’ exhibitions in that they rhetorically put forward visitors’ participation, cultural rights, post colonial perspectives and immaterial aspects of cultural heritage.The study presents learning as a social and sign-making activity. It stress how meaning-making and learning happens as a transformation in several steps. As visitors engage in different semiotic resources in the exhibitions’ design, they form new signs through their representations – as a ‘re-design’ of the exhibition – which in turn give them new possibilities for making meaning.
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| 4. |
- Insulander, Eva, 1972-, et al.
(författare)
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Artefatcs, spaces, visitors. A design oriented and multimodal approach to learning.
- 2010
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Konferensbidrag (refereegranskat)abstract
- This paper discusses the methodological implications of using a design-oriented and multimodal perspective on learning, in a research study of museum visitors’ meaning-making (Rostvall & Selander, 2008; Selander, 2008; Kress, 2010). Learning is viewed as a sequence of sign making activities, in which individuals transform semiotic resources and form a new representation of their understanding of a specific subject matter. The main objective of the study was to describe and analyse how museum visitors engage with what is being offered to them in terms of the various resources made available in the exhibitions. Yet another objective was to describe and analyse the design of the exhibitions. The collection of data was conducted at the Museum of National Antiquities in Stockholm, and included the investigation of two exhibitions: Prehistories I and II. We use the analytical concepts of the ideational, interpersonal and textual meta-functions to discuss the exhibitions’ meaning potentials and design (Halliday 1978; 2004; Björklund Boistrup & Selander 2008). The visitor study included several methods for collecting data. Eight visits were videotaped and multimodally transcribed. Data also included digital photos and maps produced by the visitors. Short interviews were conducted concerning the visitors’ maps and photographs. The analysis of data was guided by the use of a model of Learning Design Sequences (Selander, 2008). The framework puts forward a few central concepts. The concept of design is used to direct attention to the organizing principles of the exhibitions, where different resources are applied and combined in order to represent meanings about prehistory. Setting is used as a notion to interpret how the design is organized physically and as an expression of the institutional framing. Design is central also for the description and analysis of visitors’ navigation in the exhibition, since meaning-making is understood as a creative activity where the visitors form their own ‘learning paths’ through the transformation and formation of semiotic resources. Framing is the notion we use to understand how visitors, in these social encounters, frame the exhibition in relation to their identity. Signs of learning is used to discuss how visitors, through their representations, have changed their capacity to make signs as an indication of their learning. The study makes visible how the participants frame the exhibition from their personal experiences and identity. They transform the available resources in the exhibitions and ‘re-design’ a unique exhibition. The study puts forward the complexity of learning and underlines that meaning-making and learning can be understood as a transformational process in several steps. Finally, we discuss some aspects of meaning-making and learning, not necessarily seeing them as the same kind of activities. Even if meaning-making can be understood as an orientation towards the world (which in some sense includes learning), learning might take place even though the meaning is not yet constructed or even intended.
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| 5. |
- Insulander, Eva, 1972-
(författare)
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Tinget, rummet, besökaren : Om meningsskapande på museum
- 2010
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The main purpose of this thesis is to describe and analyse how museum visitors engage with and make meaning from what is being offered to them in terms of the various resources made available in two exhibitions. Yet another purpose is to describe and analyse the design of these exhibitions. The empirical data stems from observational studies at the Museum of National Antiquities in Stockholm, and includes the investigation of two exhibitions: Prehistories I and II. Eight ‘visiting pairs’ were videotaped and the tapes were multimodally transcribed and analysed. Data also includes digital photos and maps produced by the visitors. In a comparative analysis, descriptions of the exhibitions and their analysis and the visitor study are discussed in relation to earlier research and to the issue of learning.A design-oriented and multimodal perspective on learning is used as a theoretical and methodological framework. The different visits are compared and the visitors’ responses are discussed as different forms of engagement. The results are interpreted within an institutional perspective connected to contemporary discourses within museum studies. The exhibitions are considered as an expression of the museums’ ambition to adjust to a pressure for change. Both exhibitions are, in a greater or less degree, considered as examples of ‘new’ exhibitions in that they rhetorically put forward visitors’ participation, cultural rights, post colonial perspectives and immaterial aspects of cultural heritage.The study presents learning as a social and sign-making activity. It stress how meaning-making and learning happens as a transformation in several steps. As visitors engage in different semiotic resources in the exhibitions’ design, they form new signs through their representations – as a ‘re-design’ of the exhibition – which in turn give them new possibilities for making meaning.
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