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They‘re Called the ‘Throwaways’. Children in Special Education
application of AI; as computational processes are purely datadriven there is a risk of representing inaccurate, incomplete information about teaching and learning scenarios. As Hilary Mason reminds us, AI is not ‘magic’ – instead, ‘it’s math and data and computer programming, made by regular humans’.
The final chapter revisits and elucidates some of the central questions raised initially in the book. Selwyn urges us to be critical of the innovative technologies in education, which he describes as an area of exaggerated expectation and uninformed speculation. He continues to emphasize the value of ‘human teachers’ and strongly dismisses the notion that AI technology might supersede them. Selwyn argues that discussion and agendas around AI in education have been dominated by technology designers, vendors and corporate reformers; also necessary is the involvement of educators, students, parents and other stakeholders in education. Looking ahead, it is interesting to contemplate the evolution of AI, still in its infancy and raising a range of issues, arguments and concerns of enormous importance that will impact the future of education and society.
They’re Called the Children in Special Education Using Artmaking for Social Change
by Christa Boske (Ed) Leiden, Brill (2019) Reviewed by Richard Caston ‘Christa, our kids are the throwaways … no one wanted them … no one believed them … so many of our children have been thrown unwillingly into a system that no longer validates their existence … it’s shameful and unacceptable … they think of themselves as throwaways’. [Teacher to Christa Boske]
Christa Boske and the contributors to her book describe how the lives of special education students have been transformed by the integration of artmaking into their daily lives. In the Introduction, ‘Artmaking as Sensemaking as a
Selwyn’s book lucidly examines the potential benefits and pitfalls of Artificial Intelligence in the formal education context. It provides critical insight into various nuances and complexities in social, political and economic domains that require careful consideration when implementing Artificial Intelligence in education. The title of the book compels us to reflect on an issue that is neither simply technical nor educational. Instead it impacts history, society and humanity. That being said, the book is engaging, thought-provoking and a must-read for those who are interested in issues pertaining to the future of education. It has immensely inspired me to continue my personal research into Artificial Intelligence in education.
Naaz Kirmani was Head of Senior School at Indus International School, Pune, India before becoming in 2018 a doctoral researcher at the University of Bath, UK.
‘Throwaways’
Email: N.Kirmani@bath.ac.uk
Portrait of Resilience for Children with Learning Differences’, she presents a strong case for the programme and the positive ways in which students have benefitted from participating in it. Many of the students highlighted in the book, mostly in grades 6 to 8, have endured low expectations, bullying and abuse, both inside and out of school, and as a result have suffered from a host of social, emotional and learning difficulties. Their academic progress at school has often been neglected by the educational leadership and by a lack of inclusion within school communities; hence the term ‘throwaways’ in the title.
Through first-telling of individual stories of real life experiences, Boske helped the class develop a sense of
empathy through sharing. The previously unheard stories of these ‘at-risk’ children revealed an often painful past. Through the artmaking programme students were able to find a degree of self-worth, identity and confidence, and develop resistance to the negative learning environment they had encountered, coming some way to terms with their often troubled personal histories.
The artwork used actual shoes as a form and as a metaphor for ‘walking in my shoes’ to portray each student. Two hundred and fifty pairs of shoes were donated for the project, sufficient for the participants to be able to select the right model for their own creation. Boske discussed at length with each student what form and content they wished their shoe artwork to take, and the conversations were carefully noted down, forming written abstractions. This documentation later accompanied the artwork in an exhibition at a local museum.
Part 1 of the book, ‘Youth Voices’, presents evidence from the students themselves, with the artwork exhibits photographed in detail, together with the written abstractions. The outside of the shoe sometimes contrasted with the inside space.
Student S wanted to cover his shoe with rocks:
‘I was hard on the outside. This was the hardest thing I could cover myself with. And then, that wasn’t enough. I needed to show how I push people away. I keep them at a distance. So, I wanted to cover my art with wire, just like barbed-wire. That was the look I was going for, so we used chicken wire. And that wasn’t enough protection. So, I wanted the fence to be electric too. I have an outlet on the back with a cord and a plug. I keep people out’.
The inside of his shoe included keys and other objects:
‘One of the things I need from you is for people to teach me to love. I need to see it. I need to see it around me. I need it for others and I need it for me. If you can show that you care and walk the talk, you may get a couple of keys. These keys will lead you to my gate. Inside the gate, I wrote my story. But you can’t get to it. It is sealed in bottles. This is for me to decide if I will share it with you. What’s inside is what is going on with me. You will also see a sweetie inside. This is to symbolize what a sweet person I am on the inside’.
Part 2 presents ‘Adult Voices’ from teachers and other professions involved with the programme at different levels. Their comments give a range of views, and share enthusiasm for the programme and their own involvement with the students. Some thought deeply about their own approach and questioned their own practice:
‘Their artmaking made me think. Their work made me think about what I can be doing differently as an art teacher, the extent I can integrate art into their classes, and into their lives … their art made me think about myself and how I work with them … maybe they aren’t just being defiant for the purpose of being defiant’. [Adult Voice F]
In the Afterword, ‘The Power of Artmaking as Sensemaking’, Boske draws on the work of Eisner, Gardner and Greene to reflect on how artmaking as sensemaking can provide unique contributions to cognitive development and critical thinking. She acknowledged the impact of the programme on both individual students and teachers, and the caring relationships that ensued that changed the school culture.
‘And my story does matter. Does it matter to you? What will you do with what you learned? Did you learn anything at all?’ asks Student S.
‘They’re called the Throwaways’ is a touching and sometimes disturbing book that will strike a chord with all educators, not only specialists in art or special needs: a chord that lies central to what it means to be a teacher and the responsibilities teachers and school leaders have for all students. At the beginning of the programme students were asked to choose a champion. Some chose their own mothers or another family member. Others chose people as champions who had supported them in the past, perhaps former teachers. A champion is forever.
