Reimagining the Magic of the Workshop Model

Entering a classroom that embraces the workshop model is like walking into a galaxy of magic. You could feel a sense of wonder as teachers and learners examine new skills and strategies and feel a thrill as students are empowered to move towards independence. It's a framework that builds human connection and cultivates relationships; it honors authentic literature and relevant learning experiences. During the pandemic, the essence of the workshop environment was compromised. There were barriers that prevented teachers and students from communicating in the same ways. This chapter delves into how to shift the gradual release of the workshop model to blended/hybrid/hyflex learning environments; it will explore how to invite change, rally learners, examine non-negotiables in physical and virtual spaces, and honor the framework. It will look at utilizing digital platforms efficiently, setting expectations, and creating spaces where all learners are valued. When learners are the heart of decision making, the magic of the workshop model has the potential to live on in any environment!

From the Remainder of Adam’s Clay

This article presents an introduction to and a complete English translation of the eighth chapter of Ibn al-ʿArabī’s (d. 638/1240) magnum opus al-Futūḥāt al-makkiyya. The chapter, entitled, “On the earth that was made from the remainder of Adam’s leaven clay, which is the Earth of Reality, and on some of the strange and wondrous things contained therein,” contains a description of a world wholly separate from our own. An underlying argument in this chapter is that the human intellect, constrained as it is by the categories of possibilities which pertain to our earthly configuration, is incapable of grasping the vast expanse of this “Earth of Reality.” Ibn al-ʿArabī also aims to show how many of the Qur’anic and Prophetic traditions which the intellect struggles to comprehend exist in this other world without any contradiction. In this sense, the chapter in question seeks to inculcate a sense of wonder and bewilderment in readers, reminding them that there will always be worlds, beyond our immediate sensory world, that remain to be seen and known.

Bentuk dan Makna Ungkapan Fatis dalam Bahasa Dayak Ngaju

This article discussed forms and meanings of phatic in the Ngaju Dayak language. The data was obtained by recording technique. The findings of this study indicated that in the Ngaju Dayak language of Central Kalimantan, phatic expressions are delivered verbally. In general, phatic expressions in the Ngaju Dayak are in particles and words. Based on interviews with natives, there are several phatic expressions in the Ngaju Dayak. Some of the phatices found were in the form of particles bah, beh, bei, boh, ceh, ces, cih, cuh, duh, has, hey, hi and ih. Fatices in the form of words are akayah (-lah), and akuy. The phatic meaning of the particle is to show (1) sense of wonder, (2) annoyance, (3) amazement, (4) anger, (5) disappointment, (6) disgust, (7) condescension, (8) welcome, (9) affirmation, and (10) rebuke. While the meaning of phatic in the form of words are to express (1) pain, (2) awe, (3) joy, and (4) affirmation. The research also showed that some phatics in the Ngaju Dayak language are in positive communication, some of them actually have the meaning of demeaning, rebuking, and feeling angry.AbstrakArtikel ini membahas bentuk dan makna fatis dalam bahasa Dayak Ngaju. Data diperoleh dengan teknik rekam catat dan selanjutnya dideskripsikan bentuk dan maknanya. Temuan penelitian ini menunjukkan ungkapan fatis disampaikan secara verbal oleh penutur bahasa Dayak Ngaju Kalimantan Tengah. Pada umumnya ungkapan fatis dalam bahasa Dayak Ngaju berupa partikel dan kata. Berdasarkan wawancara dengan penutur, terdapat beberapa ungkapan fatis dalam bahasa Dayak Ngaju. Beberapa fatis yang ditemukan berbentuk partikel, yaitu bah, beh, bei, boh, ceh, ces, cih, cuh, duh, has, hei, hi, dan ih. Berbentuk kata, yaitu akayah (-lah) dan akui. Makna fatis berupa partikel menunjukkan (1) rasa heran, (2) rasa jengkel, (3) rasa takjub, (4) rasa geram, (5) rasa kecewa, (6) rasa jijik, (7) merendahkan, (8) mempersilakan, (9) penegasan, dan (10) hardikan. Fatis berupa kata mengungkapkan (1) rasa sakit, (2) rasa kagum, (3) rasa gembira, dan (4) penegasan. Penelitian ini juga menunjukkan bahwa beberapa fatis dalam bahasa Dayak Ngaju digunakan tidak untuk membangun komunikasi yang positif, beberapa fatis tersebut justru mempunyai makna merendahkan, hardikan, dan rasa geram.

Collateral beauty in the wind of truth: reclaiming a new sense of reality

It is beautiful to be able to have the opportunity to allow oneself a doubt on the unquestionability of one's mental habits; it is beautiful to be able to renew one's energy to relate to the world in a way not bent by the banality of convenience and calculation. It is beautiful to realise that one feels the need for beauty as an inspirational motive for one's thinking, feeling and acting, and as a resource towards a new education. The serious pandemic crisis has probably accelerated a necessary but demanding process that takes time to accomplish: that of becoming aware of a reality based on the principle of interconnection and interdependence – of the person with all his/her dimensions, with each other, with the Cosmos. I believe that this new perception of reality – as the result of an experience – can mark a new step for the discourse and pedagogical practice so as to devote itself to a new form of beauty in the search for a ἀλήθεια (aletheia) truth to be configured as a desire for unveiling and deep understanding of the sense of reality, to be nourished in a revitalised interdisciplinarity, with a sense of wonder and amazement for every aspect of life. Care, responsibility and commitment, if animated by joy and love, can only aspire to excellence, giving the person the opportunity to fully realise his or her dignity and humanity.

Pre-Service Teachers in the Outdoors: A Phenomenological Exploration

While a child’s sense of wonder is thought to come naturally, less is known about how adults foster or connect with their sense of wonder. For the purposes of this exploration, wonder is the openness that comes when one dwells with the present moment, allowing questions to arise, rather than using wonder as a tool to answer a question (Gadamer, 2004; van Manen, 2014). Spending time in the outdoors is a common way to engage wonder, but there may be differences in the ways adults experience their surroundings compared to children. If teachers or parents aim to foster a child’s sense of wonder then it is important to understand how adults experience and connect to the outdoors so they can model and promote the connection for children. This paper explores the experiences of adults in the outdoors in order to better understand the barriers and paths that may lead to wonder. Five anecdotes from outdoor experiences are phenomenologically analyzed to better understand the lived experience of adults in the outdoors. Themes from the anecdotes are discussed, as well as the implications for teacher education programs.

Body | Sense Experience: An Architecture of Atmosphere and Light

<p>This thesis explores notions of the immaterial and metaphysical in architecture. It seeks to ‘elicit a sense of wonder’ in a participant of experiential space by promoting awareness of the metaphysical through atmosphere, affect and light. Architecture is more than purely a physical tangible object - it also crosses into the realms of the intangible, ephemeral and perceptive. The immaterial within architecture is just as important as the physical, if not more so, where a participant’s perception of space is informed more by the swirling climate of atmospheric ephemera than that of material form. It is through light that architecture is enlivened and imbued with character and meaning and it is the immaterial aspect of light that evokes a sense beauty and wonder within built form. The body/sense experience, looked at through the lens of the affect, evokes an intimately humanistic response to architectural space that is unbound by race, religion, culture or creed. This allows for architecture to become the catalyst for an awareness of the metaphysical, evoked through atmosphere, affect and light. Ultimately this thesis argues that the intangible, elusive and transitory moments within architecture are just as important as the physically present tangible object. It stresses the importance of architecture that is understood and experienced holistically, where created atmospheres, interaction of light and bodily cognition of space shape the way in which the built world is perceived.</p>

Body | Sense Experience: An Architecture of Atmosphere and Light

<p>This thesis explores notions of the immaterial and metaphysical in architecture. It seeks to ‘elicit a sense of wonder’ in a participant of experiential space by promoting awareness of the metaphysical through atmosphere, affect and light. Architecture is more than purely a physical tangible object - it also crosses into the realms of the intangible, ephemeral and perceptive. The immaterial within architecture is just as important as the physical, if not more so, where a participant’s perception of space is informed more by the swirling climate of atmospheric ephemera than that of material form. It is through light that architecture is enlivened and imbued with character and meaning and it is the immaterial aspect of light that evokes a sense beauty and wonder within built form. The body/sense experience, looked at through the lens of the affect, evokes an intimately humanistic response to architectural space that is unbound by race, religion, culture or creed. This allows for architecture to become the catalyst for an awareness of the metaphysical, evoked through atmosphere, affect and light. Ultimately this thesis argues that the intangible, elusive and transitory moments within architecture are just as important as the physically present tangible object. It stresses the importance of architecture that is understood and experienced holistically, where created atmospheres, interaction of light and bodily cognition of space shape the way in which the built world is perceived.</p>

Sound and Wonder

Starting by describing his experience of becoming lost in wonder at the Bakken Museum of Electricity and Life in Minneapolis, in this chapter the artist Ray Lee explores his fascination with the state of wonderment. Referencing his internationally touring sound art works Siren and The Ethometric Museum he reviews the strategies that he has used to attempt to create a sense of wonder, and why this has become both a valuable aspect of his practice and a distinctive part of the audience experience. Throughout the history of science wonder has been a driving force for discovery, yet the sublime, with its suggestion of the spiritual, has more often been used to describe the experience of art. The chapter looks at how wonder creates a sense of creative uncertainty, de Certeau’s ‘rift in time’ or, as Bataille puts it, a state of ‘intolerable non-knowledge, which has no other way out other than ecstasy’.

Educating for Eupsychia: Maslow’s Unfinished Agenda and Aldous Huxley’s Role in Its Advancement

Although Abraham Maslow never specified how eupsychia (his paradigm for the best possible human society) might be achieved, he was inspired in the 1960s by Aldous Huxley’s notions that major changes in education were vital for its attainment: in Maslow’s view, spurring personality growth and fulfillment and ultimately leading to self-actualization on a societal level. In this light, Maslow’s scattered writings on the necessity for revisioning education provide meaningful direction for realizing the eupsychian ideal. Drawing particularly on his enthusiasm for revamped pedagogy as presented in Huxley’s utopian novel Island and related writings, we highlight three elements that Maslow deemed crucial: valuing children’s constitutional and temperamental differences, incorporating somatic and movement education including dance, and, related to peak experiences, fostering a sense of wonder. We also add a fourth element that Maslow was beginning to embrace at the time of his death—eudaimonic education comprising aspects such as volunteerism, mentoring, and civic engagement.

Genetic enhancement, TED talks and the sense of wonder

TED talks are an emergent and hybrid genre (Ludewig) and have become a highly successful disseminator and populariser of scientific knowledge (Sugimoto et al). The popular appeal of TED may also stem from the promise to deliver life-changing insights in a short amount of time. Besides, TED talks may rely on a science fictional ‘sense of wonder’ (Sawyer) in their representations of new technologies. CRISPR-Cas9 is a genome-editing technology that has captured the imagination of scientists. Science’s 2015 Breakthrough of the Year, CRISPR became the focus of ethical debates because of its potential to engineer the human. Rather than its therapeutic use, it is the potential for enhancement that gains traction in media. For these reasons, scientists have called for “a global pause in any clinical applications of the CRISPR technology in human embryos” (Doudna). TED talks actively shape the discourse on genetics at a global level. Embedded in the American culture of self-help and self-improvement, TED talks produce genetic stories that may favour an optimistic representation of genetic engineering. This paper aims to pursue the following questions: how do TED’s formal elements affect the representation of the genome? And how do they influence contemporary constructions of identity? By focusing on two playlists—‘How does DNA work?’ and ‘Get into your genes’ – this paper investigates the emergence of at least three formal features that inform these stories. These three recurring elements—conceptual breakthroughs, a sense of awe, and prophetic statements—also animate a sense of wonder and rely on the notion of ‘vision’ to define the human. In the end, TED talks aim to anticipate or even shape the future. This article argues that we need to pay close attention to how they set out to shape our ‘genetic future’.