Journal Vol 14. no 4

(1) The Relationship Between Self and Activity in the Context of Artists Making Art

Paul Sullivan and John McCarthy

Abstract
Art is an activity that has historically invited self-reflection, self-immersion, and self-exploration, for example in self-portraits, exhibitions, experimentation with media, and that as such may open a window onto the relationship between self and activity. In this paper, we describe two cases studies involving observation of and interviews with two artists to explore what it feels like to invest oneself in an activity emotionally, cognitively, and sensuously, and reciprocally to "make oneself" throught his activity. These case studies highlight the importance of authenticity in both the activity of making art and the making of self through making art. The implications for agency, emotion, and ethical activity are analysed and some of the implications for a socio-cultural approach to activity discussed.

(2) Modernity, the Individual and the foundations of Cultural-Historical Activity Theory

Andy Blunden
Independent Social Research Network, Australia

Abstract
It is argued that the problem of individual agency in relation to social institutions, can be resolved within Cultural-Historical Activity Theory (CHAT) by the use of the "subject" as a unit of analysis. Such an approach implies a reaffirmation of the fundamental tenets of CHAT, but also a critique of the concepts of society and culture which are appropriated by psychology. A successful critique of objectivist conceptions of society and culture requires an appropriate framing of the concept of subject.

(3) The Portfolio as Artefact and Actor

Laurence Habib and Line Wittek
Centre for Educational Research and Development, Oslo Univeristy College, Oslo, Norway

Abstract
This article proposes a tentative framework to support empirical analysis of portfolios as pedagogical tools for formative and summative assessment in higher education. It aims to get a deeper understanding of the role of the portfolio in student learning both as a tool and as representations of this tool. To that end, we use three sets of theoretical ideas: Wartofsky's conceptualization of perception through the creation of artefacts, actor-network theory and Wertsch's notions of internalization, appropriation and mastery. This article is meant to complement current portfolio research with an original approach which addresses explicitly epistemological questions and concepts like learning and knowledge, and explores possible avenues for analysing and understanding portfolios as artefacts and tools in learning activities.