學生透過工藝創作，學習自我成長、面對複雜的自我時，需要教師特別的 指導。本文的理論背景是七◦年代以來教育界的「語言轉向」現象。在意象當 道的全球文化環境中，學生應該學習認識藝術行動，例如意象是重要的人類表 達方式，也是自我成長的素材。因此，教師必須瞭解如何透過學生的「藝術（風 格）語言」刺激思考能力。當今教育學科對這種看法有諸多論證，例如Peirce 模式的教育便指出文本的廣義概念，認爲除了聲音話語外，也應討論符號資 源。研究者進而提出一種文本的水平概念，目的也是要賦予言語與符號的記號 行動同等的知識論地位。爲了刺激人類的發展，我傾向從實用符號學角度出 發，我認爲語言與視覺活動不僅涵蓋語言與形象化圖像，同時還包括使用的材 料，這是從溝通通往合作的水平式廣泛看法。學生在藝術行動中顯示出獨特的 表達方法，包括各種變得獨特的方式。我主張以詮釋學模式來瞭解作者採用的 媒介，尋找連結符號行動與心智不同主題的中介點，這是一種記號的符號認知 重建過程。結果顯示學生追尋符號意識與風格時，展現的諸多取向，其意義有 助於自我成長。另一個結果顯示，學生、學生的圖畫/質地以及教師三者之間 的潛在溝通區，將影響學生最終的自我發展。這項研究成果可能啓發未來學校 的美學教育。

The process of learning to become and adequately respond to the complexities of the Self through handmade productions is unlikely to occur without guidance. The support of this article’s idea is the ‘language turn’ of education from the 70s. It also seems important that students learn about art-action in an image-based global culture, including how images are important forms of human expression and substance in becoming. Thus teachers need to know how they give instructions to stimulate thinking through students’ languages of arts (style). Educational sciences of today support this idea where a Peircean mode of education gives support to a wide concept of the text including semiotic resources other than the verbal language. Researchers thus proclaim a horizontal concept of the text for the same purpose of giving equal epistemological status to verbal and semiotic sign-action. For the purpose of stimulating humans’ becoming, I argue for a pragmatic semiotic perspective and that language and visual action do not only include the linguistic and the figurative picture but also the material used, a wide and horizontal view on communication to cooperation. The students show unique ways of art in action, including means to become unique. My
Aesthetic Learning processes in identity work -Love of the self and wanting to become unique.My method to find out about mediation of different themes to connect sign -action and mind builds on a hermeneutic model of mediation made by the author; it is a semio-cognitive re-construction of the sign. The result shows features to the students’ different processes of orientation to sign-mindedness and style through which meanings are accessible to becoming. Another result is that the zone of proximal comm unication between students and students’ pictures/texture and teachers makes a difference to the student’s ultimate unique becoming. The result could be of great importance to school aesthetics in the future.