Abstract:

This paper presents an innovative, dual-track model for using video vignettes in art education, addressing the problematic dominance of idealised and often demotivating teaching representations. Rejecting utopian scenarios, the model proposes oscillating videos that function hybridly between teacher professional development, direct classroom intervention, and aesthetic-critical media reflection. Its conceptual foundation is informed by an initial desktop research phase, adopting a perceptual-psychological and media-historical perspective. Using the phenakistiscope, an early precursor of moving images based on illusion and subjective participation, as a case study, it establishes a productive analogy to the mechanisms of contemporary digital short-form content (Reels, Shorts).

Methodology:
The model was developed and tested within an arts-based pilot study. In the compulsory course "Translation II" at the University of Applied Arts Vienna (degree programmes in Technology and Design as well as Art and Education), N=12 student teachers created their own learning-teaching video vignettes over one semester, complementing a traditional written lesson plan ("Toolbook"). Data collection encompassed the produced artefacts and participants' accompanying reflective discourses. This qualitative data was analysed using structural qualitative content analysis (Mayring, 2002) to capture the format's impact on attitudes, competencies, and creativity in pedagogical concept development.

Evidence of Impact and Key Findings:
The analysis demonstrates concrete positive effects:
1) For the student teachers, the production-oriented approach led to significant competency acquisition in the adaptive and creative implementation of art-pedagogical concepts. Crucially, it enhanced motivation, self-initiative, and the pleasurable engagement with didactic principles, a key finding in light of the contemporary trend towards using prefabricated, standardised materials.
2) For practical classroom application, the model shows how the developed, impulse-generating videos offer students a differentiated, autonomous approach to aesthetic-psychological themes. Simultaneously, they serve as a lesson-structuring element, creating relief, reflexive pauses, and thus relaxation rhythms for the teacher through targeted stimuli, enabling a new quality of pedagogical interaction.

Implications and Recommendations:
The results advocate a reconceptualisation of film in pedagogy: away from a documentary ideal, towards an oscillating tool for professionalisation and relief. For teacher education, the binding integration of productive video-creation tasks is recommended to foster critical-creative media literacy and ground the joy of autonomous conceptual design. For teaching practice, the model offers concrete strategies to productively redirect the logics of social media: short-formats thus shift from mere consumption goods to a medium for inspiring professional exchange and a source of adaptable, lifeworld-relevant impulses. This paper therefore argues for bold, new "collection discourses" of teaching materials that strengthen the individual teacher's personality through the creative diversity of digital formats and sustainably (re)generate passion for one's own instructional design.

Keywords:

Video Vignettes, Art Education, Design Education, Teacher Professional Development, Oscillating Media, Phenakistiscope, Instructional Design, Arts-Based Research.