rts to create an initial sense of curiosity and as Ken Robinson, 2016 explains his YouTube video ‘’What is creativity?’’, he highlights the importance of creativity in schools, where he breaks down the process into: Imagination: bringing a concept back into our minds through interoperating stimulus; Creativity: putting that ‘imagination’ to work and working towards an outcome; Innovation: Putting those ideas into practice through igniting every pupils creative potential (Robinson, 2016). ‘’Claxton, Lucas and Webster (2010:9), writing about embodied cognition within education wrote that ‘Handling materials and literally ‘’getting to grips’’ with problems allows us to see things and inform our understanding in ways that simply looking and thinking do not.’ ‘’ They suggest: Learning to be more practical which involves higher levels of thinking skills that learners would benefit from. The notion of active/object-based learning stimulating the minds of young children is also highlighted through authors Owen-Jackson, Claxton, Lucas and Webster (2013, p.71), where they mention the importance of such a pedagogy in relation to children’s evaluative and cognitive development. So, are we as educationists limiting our pupils’ rational thinking when we teach and expect the processing of information through a visual and passive means only? With such wide-ranging learning practices, should our classrooms not be involved in more learning that makes room for hands on experience and critical reflective thinking? Including those in a more inclusive learning environment where all our senses can be utilised for a richer learning experience?

When considering learning styles and methods of teaching, popular forms of active/object based learning methods are used as a pedagogy in the school environment. To name a few, there are demonstrations, group work, watching video-clips, the use of text-books and hands-on games/activities. These active/object based learning methods exist to cater all pupils and abilities in the classroom and to allow different learners to feel included. ‘’Any time one teaches from direct experience, students are able to approach the subject in the way that best suits them; the kinaesthetic-tactile students are able to handle and manipulate real objects or to move around as part of a stimulation.’’ And similarly, “Real objects are concrete, and some students need the concrete to learn.’’ Grant (1983, p.155 and p.173) emphasises in these two points, that through kinaesthetic learning and real objects, pupils can acquire information from their own body movement. Their muscles, tendons and joints create data that enables this learning experience to further grow and for them to make sense of the stimulus. This is extremely relevant in a design and technology classroom as this is where imagination grows generated from data collected through the body and executed into innovative designs.

This supports John Dewey’s theory (1983) of experimental learning and understanding through such methods of teaching, allowing a holistic view of pupil learning experiences, as well as taking into consideration assessment for learning when reflecting on successes and failures. Grant (1983, p.145) states, ‘’The learner is like a television set which can receive information on several channels. Usually, one channel comes in more clearly an