Mapping Holistic Learning

List of Figures - Acknowledgements - Boyd White and Amélie Lemieux: Introduction - Amélie Lemieux and Boyd White: Epistemological and Ontological Stances - Boyd White: Putting Theory into Practice: Aesthetigrams: Mapping Aesthetic Experiences - Boyd White: More Recent Developments: Visual Art - Amélie Lemieux: Recent Developments: Aesthetigram-Making in the Literature Classroom - Amélie Lemieux: Applications with CEGEP (18-20-Year-Old) Students - Introduction: Other Applications - Boyd White: The Poetry Workshop - Natalie M. Fletcher: Philosograms as Aesthetic Maps of Philosophical Inquiry - Contributor's Bio - Index

Boyd White, Ph.D. in Art Education (Concordia University), is Associate Professor, Faculty of Education, at McGill University. He is the author of Aesthetics Primer (2009), Essays on Aesthetic Education for the 21st Century (2010), and Aesthetics, Empathy and Education (2013), co-edited with Tracie Costantino.

Amélie Lemieux is a Ph.D. Candidate (Educational Studies) at McGill University. Her research interests focus on the intersections between aesthetic reception and literacy, particularly in school settings. She has received two CGS Bombardier scholarships (M.A., Ph.D.) for her research in that area.

"This book has at its core art and aesthetics. It is beautifully written prose about the use of aesthetigrams, and other arts-based and creative approaches, with both under and post-graduate students. The method and way of thinking with aesthetigrams allows students and researchers to visually map their individual interactions with art, aesthetics and philosophy. A theoretical, strong text, the book provides accessible and practical implications for the use of aesthetigrams across a range of contexts. Boyd, for example, shares his experiences teaching in higher education whereby students, who come from a range of personal, social and cultural backgrounds, are encouraged to utilise their own capabilities to perceive art and aesthetic experience. Through the use of aesthetigrams students reflect, ponder and 'feel/smell/taste' art. Later in the text, another example with a focus on poetry shows the powerful results of such reflective and reflexive approaches. Lemieux applies the method in a secondary school classroom context in relation to literature. Students are requested to respond to a literary play through ekphrastic writing as well as aesthetigrams. Students show deeper understandings of artistic works as a result of the methods outlined in this text. I would recommend other educators who work in similar areas to embrace this book. While the ultimate goal is for students to appreciate and critique art, what happens in reality is their own personal transformations in 'living,' 'engaging,' 'being in flow' and 'becoming wide-awake.'" -Georgina Barton, Associate Professor of Literacies and Pedagogy, University of Southern Queensland