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This chapter argues that the ‘Friday afternoon’ approach to art education needs to change; the conversation needs to be more about art and the impact that it has had and continues to have. Children need to be surrounded by art to a greater extent and should be seen as multi-dimensional learners who can create art, acknowledging that they do not all think, and learn, the same ways. It is their unique characteristics that will help shape them as artists. This chapter uses the works of ‘The Masters’ to support the view that there is no right or wrong when creating art and that supporting students to understand that great art only stands out because it is different and does not follow preordained rules or styles is important. Visual Arts teaching should encourage personal judgment, subjectivity, and provide students the opportunities to find their unique voice and to have the confidence to use it.

This chapter describes a successful research-developed representation construction approach to teaching and learning that links student learning and engagement with the epistemic practices of science. This approach involves challenging students to generate and negotiate the representations (text, graphs, models, diagrams) that constitute the discursive practices of science, rather than focusing on the text-based, definitional versions of concepts. The representation construction approach is based on sequences of representational challenges that involve students constructing representations to actively explore and make claims about phenomena. The key principles of the representation construction approach, considered a form of directed inquiry, are outlined with illustrations from case studies of whole topics in forces and astronomy within several middle-years’ science classrooms. This chapter also outlines the manner in which the representation construction approach has been translated into wider scale implementation through a large-scale Professional Development (PD) workshop program. Issues associated with wider scale implementation of the approach are discussed.

Processes of novelty generation and adoption have received much more attention than novelty evaluation. This paper explores the internal processes enacted by organizations to recognize and assess novel ideas for further implementation by focusing on the role that artifacts play in identifying the creative potential of an idea versus another one. Our empirical study focuses on the evaluation of novelty in the form of new experiences and builds on the analysis of two highly creative organizations, elBulli restaurant, led by chef Ferran Adrià, and the Italian Drama Academy Nico Pepe. We find that organizations implement three distinct processes to evaluate the novelty of ideas: analyzing, structuring, and formalizing. In these processes, artifacts play a key role in making novel ideas tangible by anticipating audiences’ reactions, integrating the novelty generated into an organizational corpus of knowledge, and consolidating novel ideas for future applications. Our results show that these processes take place iteratively in all phases of the idea’s journey, increasingly leading to the collective identification and assessment of novelty.