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"Penelitian ini merupakan penelitian awal tentang pedagogi di museum di Indonesia. hasil dariPtracking study dan wawancara pengunjung di Galeri Etnografi di Museum Nasional memperlihatkan cara pembelajaran pengunjung Indonesia di museum. Observasi di galeri dan wawancara dengan staf museum juga mengungkap bagaimana museum menciptakan dan menyampaikan narasinya kepada pengunjung. Dengan melihat pada proses belajar pengunjung museum dan konteks museum di Indonesia, beberapa nilai dari pedagogi Barat dapat diadaptasi sebagai dasar dari pedagogi museum di Indonesia.

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This research is a preliminary research towards a museum pedagogy in Indonesia. The findings Tbased on tracking study and interview of visitors in the Gallery of Ethnography in the National Museum reveals how Indonesian visitors learn in museums. Observation in the gallery and interview with the museum's staff also shed a light in knowing how the museum construct and convey its narratives to visitors. By looking at the learning processes of Indonesian visitors and the museum context in Indonesia, some of the values of the Western pedagogy can be adapted as a basis for the Indonesian museum pedagogy."

"This essay examines the historical conditions of the politics of pedagogy that have shaped the history of postcolonial higher education and attempts at producing countermovements to its subsequent institutionalization. I consider this in relation to pedagogical practices that reference creative forms in avant-garde art and theater. A genealogy of rethinking education through creative means can be traced back to the establishment of Nanyang University and the teaching of contemporary Asian literature by Han Suyin, with later artists such as Wong Hoy Cheong engaging with Paulo Freires ideas on learning in Wongs course on Third World aesthetics, Universiti Bangsar Utamas reimagination of the role that education could play in Kuala Lumpur during the 1998 Reformasi, and most recently Buku Jalans decentering of education. Finally, I consider the pedagogical stakes at hand by exploring the life story of a bookseller in Kelantan and his embodiment of a local cosmopolitanism."

"Discussions on developing an introductory foundation to architecture are always intertwined with the complexities of the subject matter. Do we begin with theory, philosophy, (historical, societal, cultural, and physical) context, spatial exploration, structural understanding, material production, building science, or the ability to convey space visually? How do we sequence these courses in such a way that they are independently coherent and comprehensively capture all important aspects that define architecture? Should discussion of precedents be part or the foundation at all, considering each work holds different set of assumptions of what constitute great architecture, the role of architects in shaping the built environment, and which aspects ot architecture, therefore, should hold priorities over the others?"