Creative Pedagogies: Giving Visibility to Invisible Concepts

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Alfred Barr’s example of a graphic visualization provided an interface to the main concepts and ideologies of the museums in the 1930s. The map or “infographic” design literature is a timeline approach to understand the relationships and concepts that surrounds “modern” art. Looking at graphic design makes me think of Dadaism, where the visual/ literary movement is very much backwards thinking in more ways than one. The movement essentially creates/ makes meaning out of meaningless gibberish, child-like talk that has no pretext.

The child-esque character also links back to Gotlieb and similar artists who also create child-like portraits of people. The idea of child-like art got me thinking of how children make meaning. At such a young age, how does one even begin to create a conceptual map?

I began reading some articles and case studies outside our weekly readings and came across a few articles on creative pedagogies; how they are the essence of meaning-making. Children make meaning from playing and interacting with art materials as precursor actions to learning how to read and write (McArdle, p. 1). The physical materials of paint brushes and colored pencils, physical interfaces if you will, change into graphic designs such Alfred Barr’s example. I believe we are going back to our child-like ways to create and build cognitive maps by interacting with physical graphics, visualizations, that reveal or provide access to invisible concepts, contexts and relationships. Indeed, the goal of designing an interpretive interface or visualization enables the interpreter to “discover what an arteface can mea by making the kinds of levels of symbolic relations and correspondences accessible by making interfaces with the interface” (Irvine, p. 2).










Irvine, Martin. From Studying Interfaces to Making Interfaces. 2017.

McArdle, Felicity; Wright, Susan. First Literacies: Art, Creativity, Play, Constructive Meaning-Making. 2014.