image: k. hardie hello - university of southampton · pdf fileimage: k. hardie hello ......
TRANSCRIPT
Image: K. Hardie
HelloDr Kirsten Hardie
National Teaching Fellow
Associate Professor, Arts University Bournemouth
High Impact Pedagogies – inspirational colleagues
Professor Jo Verran
Professor of Microbiology, Manchester Metropolitan University
Dr Alke Groppel-Wegener
Associate Professor of Creative Academic Practice, Staffordshire University
Dr Alison James - LEGO
Associate Dean, Teaching & Learning, London College of Fashion
Professor Clive Holtham – artefacts, pizza boxes and promenades
Professor of Information Management; Director; Cass Learning
Laboratory
Jonathan Worth - Newcastle University Open Lab
Images: © Arts University Bournemouth
art and design – broad scope
creative practitioners – producers/ makers – learning by
doing
differences between the many art and design disciplines
variety of pedagogical approaches
report identifies and confirms – Arts significantly under-
represented & gaps in existing pedagogical literature
learners who are visually orientated and
visual thinkers, and predominantly makers
who ‘learn by doing’
experiential learning activities Kolb, D.A. (1984). Experiential learning: experience as the source of
learning and development. Englewood Cliffs, Prentice Hall.
“active learning involves students in doing
things and thinking about the things they
are doing” Bonwell, C.C. (n.d.) Active learning: creating excitement in the classroom [internet]. Green Mountain
Falls, Co: Active Learning Workshops. Available from:
https://www.ydae.purdue.edu/lct/HBCU/documents/Active_Learning_Creating_Excitement_in_the_C
lassroom.pdf [Accessed 11 June 2015].
Within the practicum that is HE art, design
and media the teacher can be identified as
the coach (Schön,1987:37 and Dewey,
1974:364); where the relationship of staff and
student is ‘reciprocal reflection-in-action’.
Learners and their coaches fuse their
experiences to advance learning that is
active.
‘The disciplinary ways of working, it is argued, can influence the kind of approaches to teaching that predominate within the discipline (Shreeve, 2008. p. 31)
[…] and in design subjects there is a distinct predominance of a student centred, conceptual change approach (Trigwell 2002 in Shreeve, 2008. p. 31)
nature of the beast
problem-based learning and
collaborative learning
methodologies (Dillenbourg, 1999)
create ‘structured interactions’
(Dillenbourg, 2002) where students
work collaboratively as a
‘Community of Practice’ (Wenger,
1998).
practitioner tutors - specialist, currency
‘use of practitioners to teach is viewed
as an indicator of a quality experience
on one hand and a source of anxiety on
the other’ (Shreeve, 2008. p.3.)
Signature Pedagogies
the types of teaching that organize the
fundamental ways in which future
practitioners are educated for their new
professions’ (Shulman, 2005. p.52)
‘then best teaching ideas are most likely to
be developed in very specific subject matter
contexts’ (Laurillard, 2012. p. 220)
disciplinary pedagogies
‘habits of mind’
tools of the trade
‘Much design education is based on mimicking what professional designers do.’ (Osmond and Tovey, 2015. p.50)
distinctive practices
‘distinctive characteristics, and the spaces in which they occurred’ (Osmond and Tovey, 2015)
George du Maurier - art-students in Paris, 1894 “Av you seen my fahzere's ole shoes?”
http://www.victorianweb.org/art/illustration/dumaurier/trilby/23.html
Fine Art at Arts University Bournemouth, c. 2015http://aub.ac.uk/courses/ba/ba-fine-art/meet-the-team/
Arts University Bournemouth - space , light….http://rudygodinez.tumblr.com/post/91251108694/unknown-photographer-bauhaus-workshop-and-studio-1929
Arts University Bournemouth - the first stand-alone drawing studio to be built at a British art college for more than 100 years
Architect: CRAB Studio Photography is by Richard Bryanthttp://architectnews.tumblr.com/post/140467723159/bournemouths-bright-blue-drawing-studio-is-peter
signature pedagogy – art and design
the studio = home
‘“unique” status of the studio as a dominant
learning environment and mode of delivery
within design education’ (Crowther, 2013)
‘physical space and mode of engagement’ (Crowther, 2013. p. 18)
‘flexible pedagogy through flexible physical
infrastructure’ (Taylor, 2008 in Crow, 2013. p.9)
Studio ‘signature of design’ (Shulman)
Shreeve, Sims and Trowler, 2010)
Bauhaus Workshop and Studio (1929)
http://rudygodinez.tumblr.com/post/91251108694/unknown-photographer-bauhaus-workshop-and-studio-1929
‘The studio crit is an established and
important part of a studio-based culture,
where teachers and students can discuss,
experiment with and develop ideas and
concepts within a ‘supportive environment.’
(Blair, 2006)
Josef Albers, teaching at the Bauhaus in 1928. http://www.design-is-fine.org/post/45019277892/josef-albers-teaching-the-bauhaus-basic-course-in
Image removed owing to copyright
the critique – the studio crit
• ‘The critique presents challenges to
promoting deep reflective learning, since
the traditional ‘crit’ structure is perceived
by students as being biased, political and
emotionally stressful.’ (Verhoeven, 2012)
The requirement for students to assess
themselves and their peers, who will also
assess them, can create a stress in the
student. That stress will derive from
inexperience, possibly the fear of hurting
others, or being hurt by others (Pope, 2005.
p.54)
The crit is viewed by students as an experience
which ‘has to be gone through’, but without many
positive benefits being cited by the students except
the opportunity to view the whole group’s work in
one place, at the same time. (Blair)
The crit, as a learning and teaching tool
has, unlike much pedagogic development
and practice, stayed more or less the same
for the last 50 years. (Blair, 2006. p.12)
Image removed
owing to copyright
common pedagogical approaches - e.g. the lectureImage: University of Texas https://jimnicar.com/tag/texas/
Rangoli design, Diwali – BA(Hons) Graphic Design Level
4 students working with ArtsAsia artists
Image removed owing to copyright
Film quotes in sand, Bournemouth Film School, AUB, 2016
Object-based learning (OBL)
Enquiry based learning (EBL)
Active Learning
objects as powerful pedagogic tools
Image removed owing to copyright
Stock en transit (Stock in Transit), artist José Luis Torres
EXMURO arts public, in collaboration with the Ville de Quebec (2014)
Photograph: K.Hardie
http://www.modip.ac.uk/
more than 12,500 artefacts
predominantly 20th and 21st
century mass-produced
artefacts; the Plastics Historical
Society collection, which
includes examples of the very-
first man-made plastics; and the
Worshipful Company of Horners
collection of artefacts made from
horn, a natural plastic.
c. 1998. Designer and manufacturer unknown.
Image © Museum of Design in Plastics,
Arts University Bournemouth. www.modip.ac.uk
Earring made of fish scales, Barbados, c. 2000. Image: © K. Hardie
Assorted forks, c.1956. Image: © K. Hardie
‘interaction with artefacts deepens students’ learning’
Schultz, D. (2012) Three-dimensional learning: exploring responses to learning and
interacting with artefacts. In: Jandl, S.S. and Gold M.S. (eds.) A handbook for academic
museums, exhibitions and educators. Edinburgh: MuseumsEtc, p.185.
Students’ hands-on engagement with objects
can inform and inspire their thinking and design
making
‘the power
of objects
to educate’(Hennigar Smith, 1999. p.80)
Blink Ketchup and Mustard containers
Designed By Chris Collicott
http://www.kikkerland.com/products/
blink-ketchup-+-mustard/
Image removed owing to copyright
Tiger fake grass flip flops, 2015
‘Objects can be particularly
stimulating in relation to
learning processes when
handled and studied
closely. Objects can act to
ground abstract
experiences, can enable
recall of knowledge, and
can arouse curiosity.’
Hooper-Greenhill, E. (1999) The
educational role of museum (2nd
ed.). Abingdon: Routledge. p.21.
Image removed owing to copyright
Paper laptop Chinese funeral item. Manufacturer unknown, made in China or Hong Kong,
c.2004. (MoDiP object number: 005729). Image © Museum of Design in Plastics,
Arts University Bournemouth. www.modip.ac.uk
Image removed owing to copyright
mundane objects can generate
valuable and memorable pedagogic
experiences, notably when studied
away from the museum and placed in
the context of the students’ studio
Images: Museum of Design in Plastic (MoDiP) : © MoDiP, AUB
Images removed owing to copyright
‘the techniques for teaching with objects are
not frequently taught to teachers […]’
(Hooper-Greenhill, 1999. p. 21)
‘little appears to have been written on ways
of using university museum collections to
enhance student learning in HE’
(Duhs, 2010)
Images MoDiP items: © MoDiP, AUB
Image removed owing to copyright
‘real-world engagement’ – work placement; internship
Image removed owing to copyright
‘Art and design takes for granted much of
the pedagogic practice which is the norm or
the signature pedagogy (Shulman, 2005,
Sims and Shreeve, 2012) of the discipline.’
(Shreeve and Batchelor, 2012)
discipline clans
a ‘community of practice’ (Wenger and Snyder, 2000)
distinct groups where members share ideas and work together – can they do more to help support and develop learning and teaching in the disciplines?
Image removed owing to copyright
The Costume Society
National Association for Ceramics in HEhttp://www.cumulusassociation.org/
● Consider how we can develop further high impact pedagogies- Consider appropriate modes of delivery?- ‘teachers need to nurture their own creativity in order
to enhance this within their students’ (White, 2006)- Need for theoretical underpinnings of L&T approaches- High impact – evidencePossible areas for research: - Competitions as a learning tool- Live briefs- Threshold concepts and deep learning – explicit - Design shows as a learning tool- Teamwork in art and design- Working interdisciplinary - trans-discipline – eg. IDEO
Repeated call for further research into art and design pedagogies (Shreeve, 2008; Crowther, 2013)
Arts - ‘less-active pedagogical research tradition’ (Evans et al, 2015. p.17)
‘Many teachers are unaware of the theoretical dialogue necessary in teaching and the principles that can lend towards a research learning environment.’ Employing Graphic Literacy: Facilitating pedagogical awareness in graphic design teaching. ‘
‘Pedagogical texts available are quite often written in a research language not commonly used in design education making the knowledge quite inaccessible to many teachers. ‘
Image: K. Hardie
Thank [email protected]
ReferencesAlhajri, S. (2016). The Effectiveness of Teaching Methods Used in Graphic Design Pedagogy in Both Analogue and Digital Education Systems . Universal Journal of Educational Research 4(2): 422-425. Avaiilable at: http://www.hrpub.org. {Assessed 29 August 2016).
Blair, B. Perception/Interpretation/Impact. Networks. ADMHEA. pp.10-13.
Blair, B. (2006). Perception, Interpretation, Impact - An examination of the learning value of formative feedback to students through the design studio critique . PhD thesis. London University Institute of Education. Available at: http://eprints.ioe.ac.uk/19831/1/__d6_Shared$_SUPP_Library_User%20Services_Circulation_Inter-Library%20Loans_IOE%20ETHOS_ETHOS%20digitised%20by%20ILL_BLAIR,%20B.pdf [Accessed 11 August 2016].
Blythman, M. and Orr, S. and Blair, B. (2007). Critiquing the Crit. Project Report. Higher Education Academy.
Bonwell, C.C. (n.d.) Active learning: creating excitement in the classroom [internet]. Green Mountain Falls, Co: Active Learning Workshops. Available from: https://www.ydae.purdue.edu/lct/HBCU/documents/Active_Learning_Creating_Excitement_in_the_Classroom.pdf [Accessed 11 June 2015].
Bruzzzese, R. ‘Employing Graphic Literacy: Facilitating pedagogical awareness in graphic design teaching.’ Available at: https://www.academia.edu/858336/Employing_Graphic_Literacy_Facilitating_pedagogical_awareness_in_graphic_design_teaching
Crowther, P. (2013). ‘Understanding the signature pedagogy of the design studio and the opportunities for its technological enhancement.’ Journal of Learning Design. Vol. 6: 3. pp. 18-28.
Duhs, R. (2010). Learning from University Museums and Collections inHigher Education: University College London (UCL). University Museums and Collections Journal, 3, 183–6. Available at: http://edoc.hu-berlin.de/umacj/2010/duhs-183/PDF/duhs.pdf.
Ellmers, Brown, and Bennett , (2009). Graphic Design Pedagogy EKSIG 2009: Experiential Knowledge, Method & Methodology 19
Hooper-Greenhill (ed.), (1999). The Educational Role of Museum, 2nd edn. Abingdon: Routledge.
Kolb, D.A. (1984). Experiential learning: experience as the source of learning and development. Englewood Cliffs, Prentice Hall.
Laurillard(, Diana. 2012). Teaching as a Design Science Building Pedagogical Patterns for Learning and Technology. Routledge.
Osmond and Tovey. ( 2015) . ‘The Threshold of Uncertainty in Teaching Design. Design and Technology Education: an International Journal.’ Vol. 20:2. Available at:https://ojs.lboro.ac.uk/ojs/index.php/DATE/article/viewFile/2042/2173 Accessed 11 August 2016].
Pope, N. K. (2005). ‘The impact of stress in self and peer assessment’. Assessment and Evaluation in Higher Education. 30 (1), 51–63.
Salama, M.A.A and Wilkinson. N. (2014). Design Studio Pedagogy: Horizons for the Future. Available at: http://jdh.oxfordjournals.org/content/early/2016/06/14/jdh.epw014.full.pdf+html [Accessed 11 August 2016].
Shreeve, A. and Batchelor. R. (2012). Challenges to learning and teaching relations in higher education studio environments’ Networks. University of Brighton. http://arts.brighton.ac.uk/projects/networks/issue-18-july-2012/art-design-media-learning-and-teaching-projects-2011-12-final-reports/challenges-to-learning-and-teaching-relations-in-higher-education-studio-environments
Verhoeven, Arno. (2012). Why the ‘Critique’ Fails: Constructive Alignment in Art and Design Assessment Practice. Transactions. Vol. 9:2. Available at: https://www.heacademy.ac.uk/why-%E2%80%98critique%E2%80%99-fails-constructive-alignment-art-and-design-assessment-practice#sthash.OqF2ur3V.dpuf [Accessed 12 August 2016].
Wenger, E. (1998). ‘Communities of Practice: Learning as a Social System.’ Systems Thinker.
White, J. (2006) ‘Arias of learning: creativity and performativity in Australian teacher education’. Cambridge Journal of Education. Vol. 36. Sept. pp. 435-453.