标题：Exploring Art and Craft in Teacher Education Whilst Going Toward a Performative Approach Some Reflections on Re-turning and Engaging Diffractively with Felting Wool
摘要：Since 1997, I have returned torevisited textile materials through different types of approaches. As an artist, I have been working with soft sculpturesimmersive installations. As an artist-teacher, I sought to (re-)introduced wool felting tradition to teacher students in Norway. As a researcher, I re-turn (Barad, 2014) my approach to wool feltingengage diffractively (ibid.) within teacher education. I am now still exploiting a performative approach to the subject of artscraft within teacher education. This approach is conjointly inspired by contemporary visual art form of expressionsby Barad’s performative ontology. In this text I attempt to convey my working processes as I relate how I started to engage with a performative approach to drawing in the field of artscraft in teacher education,how I now aim to enact further a performative approach to wool felting. This approach is inspired by post-humanism perspectives. Consequently, traditional binaries or dichotomies one can find in assumptions related to the humanities, as subject-objecttheory-practice (van der TuinDolphijn, 2010), are here deterritorialized to be simultaneouslydifferently reterriorialized (DeleuzeGuattari,1980). My approach goes thus beyond the theory-practice division to hold an intra-active pedagogy (Lenz Taguchi, 2010)an ethico-onto-epistemological framework (Barad, 2007). This implies a set of mind considering an intimated relationship between making, beingknowing: all those aspects are present under a creative process, not isolatednor independent of the process. Adopting a performative approach with my students, I do not necessarily privilege a linear approachI do not necessarily privilege human agency above non-human entities. Following an ethico-onto-epistemological framework means here to merge the phenomenon of felting (beings)its written studyanalysis (ways of knowing).
