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1.
Many images of the ‘artist’ or ‘designer’ pervade the media and popular consciousness. Contemporary images of the artist and creativity that focus solely on the individual offer a very narrow depiction of the varying ways creativity occurs for artists and designers. These images do not capture the variety of creative processes and myriad ways artists and designers work. Young creatives in particular are choosing to work with a social approach to creativity. An example of this approach is the world of blogging, a form of social media where young creatives have a very active voice. This article explores how creative bloggers, that is, artists, designers and makers who blog about their practice, use a social approach to foster creativity with a sense of community, environmental and ethical awareness, a value framework that is in opposition to the market‐driven notion of liberal individualism. Is there a way to include participation in the broader art and design blogging world as part of art and design education? What can we learn from such a social approach to learning in higher education art and design programmes? This article explores these questions and shares findings of an ethnographic approach to an analysis of art and design blogs. In doing so it argues for a socially‐wise approach to creativity in art and design education as a means of promoting values other than those usually connected to the market.  相似文献   

2.
高校环境艺术设计专业日趋火热,如何培养适合经济社会发展需求的专业设计人才、加强实践教学、建立实践教学体系,是高校环境艺术设计专业办学的关键所在．通过多种途径加强环境艺术设计专业实践教学,促进学科良性发展．  相似文献   

3.
This article is based on a project that explored the practices of art and design beginning teachers (BTs) working with learners in a post‐age‐16 context. The aim of the project was to: explore contemporary art and design practices; explore the concept of artist teacher learner researcher; enable beginning teachers to collaborate with post‐age‐16 pupils and develop new approaches and strategies to art and design pedagogy. Through practices that blurred learner‐teacher identities a dialectical pedagogy emerged and a collaborative community of practice developed, all enabled through a renegotiation and reconceptualising of places of learning. The beginning teachers also started to construct their artist teacher identities, understand what it means to practise as an artist teacher in the classroom, understand the impact of these practices on teaching and learning and develop new learning and teaching methods. This project demonstrates the possibilities of these practices for contemporary art and design pedagogy and also how these practices can endure and be sustainable for this community of beginning teachers in the current cultural, social and political contexts of education.  相似文献   

4.
This article is an interdisciplinary reflective response to an intensive studio learning and teaching experience involving artists, academics and postgraduate students. The authors of this article teach, research and practise in coding, digital design, dance, and virtual and live performance. As lecturers and students we reflect upon and propose future approaches to art practice in tertiary education informed by live performance, performance capture and studio‐based responses to digital and virtual platforms. We reflect on an innovative contribution to the field of research–teaching nexus as informed by digital and virtual data capture identifying the key element of immediacy in live performance and choreographic improvisation with systems. We reflect on practice‐based inquiry via the Choreographic Coding Lab (CCL) model – a dialogical negotiation between capture technology and interdisciplinary artists in industry and academia. How can we encourage potential studio inquiry as an adapted model in tertiary learning and teaching? Our interdisciplinary voices, presented as authors’ reflections, provide suggestions for future studio‐based, active learning contexts.  相似文献   

5.
This article presents the second segment of a qualitative study on the integration of traditional arts in tertiary level art and design education in the Philippines. It is focused on the experience of artist‐teachers as participants in an in‐service teacher training programme that aimed to prepare the teachers for the trial integration of traditional Filipino arts in art and design courses. Taking the view of the participants, journals written by the artist‐teachers were sourced for their reflections about their encounter with traditional Filipino artists during field visits. This phase of the study takes the form of action research as it involves the participants in gathering data that could inform the methods and content of the learning of traditional Filipino arts in the schools of art and design. The findings reveal that artist‐teachers acknowledge the traditional artist as a valuable source of traditional knowledge and expertise. They also recognise their own essential role in the transmission of learning between the traditional artists and the students. The prerequisites of the course take the artist‐teachers beyond teaching in the classroom and extend their tasks to research.  相似文献   

6.
This account of a programme for PGCE Art/Design students at University College Bretton Hall, Wakefield (UK) describes an attempt in initial teacher training to develop a course of study which links art, design, environment and education. It seeks to develop a range of perceptions of the built environment, including those of the artist, the critic and the designer. The ideas and methods of working developed on this programme support students’ work in schools. The paper explains the rationale and describes the intensive workshop programme, which includes streetwork, studio sessions and critique. It reports on students’ research and their work in schools. Issues include the place of built environment studies in the Art/Design curriculum, the use of the environment as an educational resource and learning methods and teaching strategies. It comments on the satisfactions and frustrations of developing such a programme in initial teacher education. It presents the work at Bretton Hall as a case study in a wider range of work currently being developed by students, tutors and teachers involved in other courses. They have come together through the ‘Site Specific Project’ to create a research network to support curriculum innovation and teachers’ professional development.  相似文献   

7.
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8.
In the light of challenges arising from contemporary issues such as inclusivity, sustainability and justice, the connections between art, design and caring appears to be pertinent. What role can artists and designers play in the ecology of care? How can we lead art and design students to connect and lend their creative skills to care needs? Drawing on the ethics of care and a relational view on health this article highlights the various teaching approaches and initiatives introduced at Nanyang Technological University, Singapore, to support and guide students to realise various art and design for health and wellbeing projects that provide opportunities for students to part take in ecology of care using their creative skills. Although creative explorations at the intersection of art, design and caring is still at an early stage, outcomes from this ongoing effort have been encouraging in response to the shifting social needs to create a more inclusive and flourishing society in Singapore.  相似文献   

9.
Two artists involved in ‘socially engaged art’ practice were invited to work with art education teacher candidates and instructors in an effort to rethink notions of teaching, learning and art. We initiated this residency, which we called ‘The Summerhill Residency’, to examine how learning encounters might create environments for meaningful exchanges between the ways in which artists and secondary art education teacher candidates learn to think about pedagogy and the nature of artistic learning. Drawing upon Bourriaud's theory of relational aesthetics, we consider, yet trouble, the relational aspects of the processes and products of the artist residency, and examine the crisis of imagination that permeated teacher candidates' experiences. Throughout the project, a/r/tography offered a rich form of living enquiry that opened up possibilities for learning within a community of enquirers.  相似文献   

10.
The artist teacher project set out to facilitate trainee teachers’ creative practice and inform their critical pedagogy in the classroom. The approach outlined in this article encouraged them to consider predictable and formulaic practice, and to question, reflect upon and challenge orthodoxies in their teaching of art, craft and design. They critically appraised their practice within a community of reflective practitioners in critical presentations, and in their reflective writing, and discussed and debated the contradictory positions between what they explored in their individual practices as artists and that experienced in the classroom. This project highlighted how fundamental the critical presentations were because the peer‐review, feedback and support, facilitated dialogue in a creative, dynamic space and community of practice. These ‘crits’ also became a forum for airing frustrations and trying to come to terms with the re‐emergence of their artist identities while at the same time, having to suppress many of their convictions and ideals in order to conform to what they found on school placement.  相似文献   

11.
The article explores the concept of the artist teacher, drawing upon an overview of relevant literature and two related pieces of research: the first investigated practices within the Artist Teacher Scheme (ATS); the second sought to understand the perceptions of practice‐based coursework in an MA Art Education programme at Roehampton University in London. Commonalities and differences between the perceptions and understandings of artist teachers (including masters' students), their tutors and gallery educators were explored. The data for each piece of research were collected through unstructured, open‐ended interviews. A significant reflexive and autobiographical dimension for the research was motivated by my own identity as an artist teacher, and by the exploration of reflective practice as a potential framework for realising and sustaining an artist teacher identity and practice. The research concluded that connections between art practice and teaching are complex, diverse, difficult to articulate, challenging to implement and do not easily lend themselves to simple impact measurement. The ATS operates in a context that includes languages, cultures and identities from frameworks in education and art that can be both complementary and oppositional. Artist teachers need to develop skills of negotiation through which they can articulate and continuously reappraise their art practice and, at an appropriate stage, use that practice to inform their teaching.  相似文献   

12.
In the continuing concern about academic standards in the higher education sector a great deal of emphasis has been placed on quality assurance procedures rather than on considering how university tutors learn to grade the quality of work produced by students. As part of a larger research project focused on how tutors grade student coursework, this paper offers a new metaphor for such tutor learning, based on a sociocultural perspective. The research project used think‐aloud protocols recorded as university tutors graded student coursework, and this was followed by semi‐structured interviews. The voluntary participants consisted of 25 lecturers in four contrasting domains—humanities, art and design, medicine and teacher education—in three universities, two teaching‐led and one research intensive. We developed a metaphorical framework that helps to understand the work and learning of the lecturers and tested it by applying it to analysis of the tutor interview data. Grading, writing feedback, second marking and moderation are important situated professional learning opportunities for tutors to debate and reach agreement on the academic standard demonstrated by student coursework. The metaphor considers professional learning as interplay between the vertical domain of public knowledge and the horizontal domain of teachers' practical wisdom. The metaphor presented in this paper is proposed for critical consideration and wider use by academics, teachers, academic developers and teacher educators as an aid to better understanding of teacher's professional learning.  相似文献   

13.
What makes it possible for artists to stay with the anxieties and uncertainties of the creative process? This aspect of an artist's development is rarely theorised or addressed despite it being an essential aspect of creative practice. It is a capacity, similar to tacit knowing, that is gradually acquired and learnt, and cultivated over time as part of the process of practising art and being an artist. The role of tacit knowledge as a key aspect of fine art education is well documented and is a learning experience that artists are familiar with. However, what tends to get focused on in discussions about tacit knowing are the practical, usually physical and technical, aspects of learning from experience to the exclusion of a range of mental or psychological capacities that are also a fundamental part of the tacit knowing process and vital to the learning necessary to be an artist. These mental capacities, which include being able to tolerate high levels of excitability, periods of nothingness, chaos, uncertainty and not‐knowing, are also, I suggest, passed between tutor and student as a form of tacit knowledge. This article draws on the experience of one artist, both as a learner and as an emergent practising artist, in developing this ability. The role played by art tutors in supporting student artists to develop a capacity to stay with the anxieties of the creative process is also explored.  相似文献   

14.
For the past few years, creativity has gradually become an important element in the national cultivation of talent in Taiwan. Although traditionally art education is closely linked with creativity, the academic research on general art education is very insufficient. Therefore, the goal of this research is to investigate how creativity could be cultivated in curriculum planning for general art education at technology universities as well as what students’ learning process was when they participated in a course's creative activity. The research applied the theory and steps of creative problem‐solving (CPS) on a general art course to design a group practical activity combining with the local community. This involved converting the steps of creative problem‐solving into different stages of group design activities with the goal of constructing a design process equivalent to the process of problem‐solving. The main research results revealed that students could experience the problem‐solving process through group design activities and develop their divergent and convergent thinking at the same time. Moreover, the cooperative learning model is the most appropriate teaching strategy for students from non‐art‐related departments when cultivating their creativity.  相似文献   

15.
Teachers in arts education frequently struggle with their professional identity. When asked, arts teachers often answer that they believe that their main responsibility is education at the expense of understanding themselves as artists. The Mexican‐American artist and teacher Jorge Lucero questions whether an occupation as teacher necessarily impedes a creative practice. The finding that both progressive pedagogy and conceptual art share certain characteristics forms the basis for his concept of ‘teacher as conceptual artist’. In short, Lucero proposes that a teacher’s practice, in and beyond the classroom, simultaneously can be his or her creative practice. This qualitative intervention study explored whether or not the concept of teacher as conceptual artist holds the possibility to narrow down the gap between teacher and artist identities. The intervention consisted of a three‐day project led by Lucero in which nine arts teacher students were familiarised with modes of operation as a conceptual artist. In the three following months, these students implemented lessons in primary and secondary education based on those modes. Prior to the project, ‘elicitation‐interviews’ were used to explore how students perceived their professional identity and at the end of project semi‐structured interviews were conducted. The findings suggest that through the modes of operation as a conceptual artist, students who mainly identified as an artist were able to integrate a teacher identity in their artist identity, but the modes of operation also gave students who withheld their artist identity from the classroom an opportunity to live their artist identity in the classroom.  相似文献   

16.
Art and design programmes are educationally unique in that students themselves play a central role in determining their own learning needs. To be successful in their study, art and design students are required to operate with a high degree of independence and self‐direction. Developing the skills for greater self‐reliance requires students to become aware of their conceptions of the subject of study, and of themselves as learners in a particular learning context. Developing greater self‐awareness as a learner and becoming more independent in one's learning is captured by the concept of meta‐learning. In this article I present an alternative strategy to prevalent diagnostic approaches to assist in developing a student's capacity for meta‐learning in the subject context of art and design. An inquiry cycle was created to provide a structure within which to facilitate generative thinking about learning through engaging with fundamental questions related to the subject of learning (art and design) rather than the learning subject (i.e. the student). This method represents a departure from existing approaches to engaging students in meta‐learning. A pilot study used to trial the effectiveness of this strategy is also presented here. The inquiry map, and the conceptual base upon which it was developed, were found to be useful ways to structure reflective thinking about learning and to assist in developing a student's conception of the subject.  相似文献   

17.
Growing pressure to restructure and reform tertiary education is encouraging university academics to use innovative practices that assist students to develop ‘employable’ skills. The hybrid approach described in this paper stimulated students to be self‐directed adult learners who maximized their learning of content and skills by means of problem‐based learning and action research strategies. The lecturer also operated as a reflective practitioner and role model by using an action research approach. This paper demonstrates the value of student empowerment, communication and leadership in autonomous learning groups. It outlines methods by which academic teaching staff can build continuous improvement into a university unit’s curriculum design and processes. These can be powerful additions to lecturers’ teaching strategies and to students’ learning experiences.  相似文献   

18.
The United Kingdom Artist Teacher Scheme (ATS) commissioned a study of the artistic and pedagogical practices of students on a recently established Artist Teacher Scheme MA (ATS MA). The aims of this study were to: investigate the motives and objectives teachers/educators have for undertaking this ATS MA programme, the impact the programme had on their artistic and pedagogical practices and their pupils’ learning; and make recommendations for future development of ATS MA programmes. Through the analysis of questionnaires it was found that the ATS MA’s strength lies in the development of communities of practice and peer support, artist teachers’ renewed confidence in their extended artistic and pedagogical practices, the professional development of artist teachers, and significant development of the art and design curriculum.  相似文献   

19.
As universities are centres of learning, the lecturer/teacher is, so to speak, the basic institutional journeyman who as an academic and scientist devotes much of his/her time to teaching rather than to pure research. The task of teaching, given the massification of universities, the diversity of students, and the advent of the new information technologies, is much more a question of inducing student learning than of mechanically transmitting knowledge. Therefore, newly recruited university lecturers must have come to their posts with an understanding of university pedagogy. As their careers begin, lecturers must be offered continued instruction in the art of teaching and the inducement of learning in others. Good teaching/inducement‐of‐learning work is a contribution to knowledge and should be as well rewarded as the contribution to knowledge that comes from pure research. Prior professional training should also be made available to university teachers taking up administrative responsibilities.  相似文献   

20.
艺术设计专业与社会接轨密切,非常适合学生创业。艺术设计专业的学生迫切需要提高创业素质,将创业教育与专业教学融合起来,开设艺术设计岗位应用课程,积极寻找创业教育与专业课程的结合点,将艺术设计项目流程引入创业教育中,搭建以培养创新精神为核心的创业教学与实践平台,为自主创业打下坚实的基础。  相似文献   

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