INSTRUCTIONS FOR BLUEPRINTING
Contemplate your impressions of art education, enfolding past, present, and future: What have you seen, heard, created, imagined?
Seek objects, phrases, and other matter for blueprinting.
Explore compositions that blur and skip like poems made from bodies, objects, movements, light, shadow, memory, and other matter.
Expose to light according to qualities of the weather.
Create a record of matter/ing in a collaborative catalogue.
Repeat as desired.
What speculative epistemologies do preservice art teachers bring to bear as they begin learning to teach? How are art classrooms, former teachers, family perceptions, histories of art and design, art materials, class projects, and learning environments remembered, embodied, and imagined? This visual essay theorizes blueprinting as a generative process of layering, enfolding, and dynamically reconfiguring preservice impressions of art education. Drawing on Karen Barad’s (2007) notion of intra-action, I theorize the cyanotype photographic printing process as an intra-active creative practice— as sunlight, shadow, time, paper coated with potassium ferricyanide and ferric ammonium citrate, chance, time of day, matter, air, weather, water, peroxide, artist, intuition, and intention co-produce the evocative, deep-blue images that the cyanotype process yields. Blueprinting is offered as a more-than-human conceptual practice that exposes the enmeshing of memories, materiality, stories, and insights of becoming art teachers so that we might move productively towards a new ontology.