Martina Riedler

This article engages with the burgeoning field of post-qualitative inquiry to operationalize the work of Karen Barad, exploring how concepts from quantum physics can inform tangible research methodologies. Addressing the gap between Barad’s abstract onto-epistemology and research practice, the paper demonstrates how montage can be used as a practical technique for enacting a diffractive, post-qualitative inquiry. Methodologically, the paper performs the approach it advocates, presenting a diffractive reading of existing qualitative studies that use montage. By reading these examples through Barad’s agential realism, the authors illustrate how montage can be re-conceptualized as a research apparatus. The article provides practical guidance for researchers, framing the steps of diffractive montage not as a representational procedure but as an onto-epistemological practice of world-making. Finally, while considering the limitations of this approach, the authors argue that a quantum-inspired, diffractive methodology offers potent tools for engaging with the complexities of socio-material phenomena in an ethically responsive way.

The role of art education in the holistic development of young children is undeniably essential. This form of education not only shapes the perceptions and worldviews of children but also nurtures and cultivates their innate creative capabilities. In this context, the roles of primary school teachers and pre-service primary educators are quite crucial to achieve this goal. This study investigates the self-efficacy beliefs of pre-service primary educators concerning visual arts instruction, as well as their attitudes toward the pedagogical profession. The research cohort comprises 160 pre-service primary educators from a prominent state university in Türkiye. Instruments utilized in this study include the "Self-efficacy Scale for Visual Arts Teaching" and the "Attitude Towards Teaching Profession Scale". The findings reveal a subtle yet statistically significant correlation between the pre-service teachers' self-efficacy beliefs in visual arts instruction and their attitudes toward the pedagogical profession. Notably, there was a discernible difference in the self-efficacy beliefs concerning visual arts instruction in favor of participants with family members engaged in artistic endeavor. Furthermore, an upward trend was observed in both the self-efficacy beliefs in visual arts teaching and attitudes toward the teaching profession as the academic grade level advanced. In light of the findings, we suggested some remarkable implications.

The proliferation of Web 2.0 tools in visual arts education has ushered in multifaceted learning environments that cater to diverse sensory experiences. Among these tools, Canva for Education stands out, offering an array of visual assets, content, and templates for diverse design endeavors. This tool not only augments learning experiences but also enhances creativity by piquing students' engagement through its myriad features. Nonetheless, the efficacy of such a tool is augmented when intertwined with active learning methodologies in pedagogical settings. Specifically, when Canva for Education is embedded within a collaborative learning framework, it fosters a distinct learning milieu, promoting peer-to-peer interactions. In this paper, activities that can be implemented in collaborative groups with Canva for Education application in middle school visual arts class were introduced. These activities were prepared within the framework of the objectives related to the use of technology in visual arts curriculum in Turkey. Within the scope of this study, products developed with different design types are presented to guide teachers. It is thought that these activities will provide insights for practitioners and students on the use of Canva for Education.