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1.
Learning to be an artist or designer is a complex process of becoming. Much of the early phase of ‘learning to be’ occurs during the time emerging artists and designers are students in university art/design programmes, both undergraduate and postgraduate. Recent research reveals that a critical role in assisting students in their maturing identities as artists and designers is played by artist/designer‐academics teaching in university art and design programmes. By maintaining active art/design practices and drawing from these in their teaching, artist/designer‐academics model professional practice to students. Witnessing and interacting with such modelling is part of the process of students learning the shared discourses, views and practices of the art or design worlds to which they aspire to belong. The modelling of professional practice is critical to an artist or designer's ‘learning to be’ experience because it enables students to access the tacit and nuanced behaviours, languages and cultures that constitute contemporary art or design practice. This article outlines findings from a recent Australian study revealing the role of professional practice modelling in university art/design teaching. It highlights the centrality of professional practice modelling to artist/designer‐academics in their beliefs and approaches to teaching their academic disciplines. In critically exploring the research data and findings this article describes the role that modelling of practice plays and how it comprises a core part of the value that artist/designer‐academic participants contribute to the teaching of art/design education.  相似文献   

2.
Over ten years research into photography and education has been undertaken at Birmingham Institute of Art and Design in collaboration with the Arts Council of England, West Midlands Arts, and local community photography agencies. A range of case studies were undertaken to explore how young people used photography, particularly in self‐empowerment. These ranged from students in Further Education challenging concepts of visual stereotypes of disability, young lesbian, gay and bisexual people constructing their own website, and individuals and groups creating and modifying their own images in a shopping centre. A democratic action research methodology was developed to enable the young people to establish their own agenda and generate standards for evaluating their work. A particular feature of the later research was a self‐reflective journal that was shared between the researcher and everyone engaged in the project. This resource has considerable potential in photography and elsewhere in art and design education.  相似文献   

3.
The ability to self‐reflect is widely recognized as a desirable learner attribute that can induce deep learning. Advances in computer‐mediated communication technologies have led to intense interest in higher education in exploring the potential of digital tools, particularly digital video, for fostering self‐reflection. While there are reports pointing to the salutary effects of digital video on learners’ reflective ability, a systematic inquiry into how digital video can be utilized to promote self‐reflection in an ePortfolio context remains under‐reported. In this paper, we pose two questions: (1) Do students have the confidence to create their own digital videos for reflection and do they find this activity relevant to their learning needs?; and (2) To what extent does digital video affect the level of self‐reflection and the nature of peer feedback? Results from this small‐scale exploratory case study provide evidence in support of video use as a reflective tool in an ePortfolio context and highlight the need for considering pedagogical and technological issues that are of significance for teachers, educators and ePortfolio developers.  相似文献   

4.
In this article I report on a study into fine art lecturers’ assessment practices in higher education. This study explores the ways that lecturers bring themselves into the act of assessment (Hand & Clewes 2000). I interviewed twelve fine art lecturers who worked across six English universities. Lecturers were asked to relate to me how they learnt to assess student artwork and what informed their judgement making. My research explores the interfaces between fine art lecturers’ assessment practices, their values and identity/ies. My analysis offers a rendering of the ways that values underpin lecturers’ assessment practices. The article explores the ways that lecturers’ assessment decisions relate to their experiences as ex art students, their identity as artists, their own artistic practices, their conceptualisation of the arts arenas and the HE sector. My key overarching argument is that identity/ies and values underpin and enrich fine art lecturers’ assessment practices.  相似文献   

5.
This article sets forth a conceptual, philosophical and social agenda for art and design education in the twenty‐first century, considering how a set of beliefs articulated within US art education discourse interfaces with conceptualisations about emerging global digital media and technologies. Discussion highlights selected writings in the USA primarily, writings about art education technology orientations; and then describes the professional experiences and insights of the writer as she embraced, implemented and made sense of technology in terms of her own multicultural educational orientation in a US university. Based on these insights, this writer proposes that technology pedagogy is not actually about digital technologies per se, but about what we intend to do with new technologies in the twenty‐first century. Old notions of art as an embodiment of things that matter and a testament to the human condition are now connected to contemporary ideas about citizenship, caring and public engagement. In this trajectory, citizenship education is then posed as central to a future vision of art education in the digitally connected classroom. Caveats and limitations of the educational and transformative power of new global electronic media being set forth in this article are also noted, including paradoxical self‐contradictions within the orientation itself.  相似文献   

6.
This paper reports design experiments on two Japanese elementary science lesson units in a sixth‐grade classroom supported by computer support for collaborative learning (CSCL) technology as a collaborative reflection tool. We took different approaches in the experiments depending on their instructional goals. In the unit ‘air and how things burn’, we designed the unit where groups of students engaged in building theories on ‘how a candle stops burning in a closed jar’. In the unit ‘characteristics of various solutions’, groups of students collaboratively constructed a pH scale as knowledge artefact. In both studies, the CSCL technology was implemented mainly for facilitating collaboration between groups. Results showed that: (1) students were more likely to engage in symmetric communication (i.e. between groups as well as within groups) in the second unit, and (2) they were also more idea‐centred and more frequently shared their ideas in the second unit. The results were discussed from the perspectives of the scientific practices students engaged in and task structure.  相似文献   

7.
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   

8.
The rapid and ongoing development of digital technologies continues to create new opportunities for education. Over the last decade this has enabled the establishment of blended learning approaches and online education. More recently, Augmented Reality (AR) has emerged as a unique technology that can transform learning experiences across diverse disciplines. This article outlines the development of an AR prototype, Master of Time, which was created to educate first year students and non‐designers on the foundational principles of landscape architecture. This study examines the learning potential and benefits of AR technology with a focus on creating new practices in digital storytelling across situated experiences. In outlining project outcomes, the authors propose a series of critical design principles, strategies and methodologies for educators to apply when developing AR learning experiences across disciplines. Included within this is a framework for transdisciplinary and co‐design collaboration, which is essential for educators working in the forefront of learning technologies.  相似文献   

9.
Children's art work has often been the subject of study by researchers seeking to gain insight into the role of art making in children's learning and development. However, rarely are children's own explanations of their art making used to inform these studies. Children's perceptions of their own art making are important for research and practice in art education, because their artistic experiences and motivations determine how they will engage in and respond to art making activities. This study used ethnographic methods to learn about the art making that took place over the course of one year in an elementary school art room, and to gain insight into the students' experiences and perceptions of art‐making activity. Data were analysed using a socio‐cultural framework. By asking children why they made art and exploring children's own explanations of their art making, this study reveals some of the important intentions that children bring to their artistic activity, and some of the ways that children make meaning through art making.  相似文献   

10.
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11.
Sketch inhibition is regularly alluded to by educators within design higher education and one with increasingly marked effects on industry. Over the past thirty years, students have been observed to engage less with the manual processes of design development process in favour of other activities perceived as more attractive, to the detriment of their development as effective designers. This article offers an evaluation of literature which supports the importance of sketching to the design process across a variety of disciplines, its anatomy and functions and demonstrates its role in cognitive support, as a language, a means of reflection, communication and storage of information and the micro‐processes it embodies. Initial findings regarding the symptoms of sketch inhibition are presented: from avoidance of studio sessions and minimal design development, to an overreliance on digital tools. It considers causes, ranging from lacking skill‐sets, psycho‐social, to technological, and although further investigation is recommended to establish depth and enable development of an appropriate pedagogical framework for its management within HE, various methods are offered at this stage for use by educators: these include fine art exercises, a rigorous pursuit of quantity and even paper type.  相似文献   

12.
This is the first public output of the joint Arts Council/University of Portsmouth research project into photography teaching in GNVQ Art and Design and Media Communications and Production. It reports principally from various contacts and interviews in the first six months of the project and from the results of a questionnaire survey of art and design lecturers involved in GNVQ. The paper suggests that the increasing significance of photography in artistic cultural and social practices is not adequately reflected in formal education. It describes a variety of aims and practices in those institutions involved in GNYQ, although we have found little collaboration between art and design and media courses. In some art and design courses, photography functions mainly as an aid to research and preparatory work, elsewhere we found lecturers willing to describe it as ‘an art form in its own right’ or as a ‘fundamental part’ of the art and design curriculum. We report on the resource implications of offering substantial photography courses. some preliminary findings about the kinds of students studying art and design GNVQ, and the perceived value of official publications. The question of choosing ‘A’ level or GNVQ is raised, as is the issue of progression. We have found expectations that GNVQs will become a regular route into HE although their currency is not yet clear. Although we report difficulties with GNVQs in art and design, and more specifically with photography, we also record comments which indicate some reasons for optimism.  相似文献   

13.
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14.
This article reflects my experiences of learning art in the 1970s and 1980s and my teaching career in school art education in twenty‐first century South Korea. This autobiographical reflection shows how I have struggled with my identity as an art teacher in the post‐colonial context of Western influences on Korean society since World War II. There has been greater tension and a greater struggle for different values, practices and identities when new values and practices have been introduced into the particular socio‐cultural context of South Korea. My struggles with particular kinds of pedagogic identity valued within the rapidly changing political, economic and cultural context of Western influences on Korean art education demonstrate the hidden structural mechanism of the relationship between culture, power and identity in the post‐colonial world of globalisation. This study as an autoethnographical research provides critical insights into how identities are produced by pedagogic discourses and practices of art education that are constructed through the specific systems of practice and language which transmit and regulate such identities and values.  相似文献   

15.
Beliefs about the validity and merit of self‐, peer‐ and group‐assessment practices are presented from 213 pre‐service primary teachers and 30 staff who teach them. Both groups were surveyed using comparable items. A subset of seven staff participated in semi‐structured interviews. Staff were far more supportive of peer‐ and self‐assessment practices than their students with both groups indicating modest support for group assignments. While pedagogical factors best represent the staff support for engaging students in assessment of their own and their peers’ work, several staff in interviews revealed that their high level of support for peer‐assessment was closely linked to a time‐saving factor. Peer‐assessment was more often used than self‐assessment while both practices were reported to have increased over the past two to three years. These findings are consistent with the reported increase in participative assessment practices in higher education generally. An important implication of this research is that in order to optimise the use of participative assessment, staff need to better prepare their students by modelling and communicating their reasons for adopting such practices.  相似文献   

16.
The aim of this article is to direct the social design debate to constructivist approaches to design education in the Global South. This article provides insight into the process of participatory user‐centred design involving Ecuadorian third year graphic design students and cocoa cultivators of limited resources in Ecuador. The students and cacaoteros become codesigners of a brand identity for the farmers’ association by means of an extensive review of literature on cocoa cultivation and commercialisation in Latin America, in‐depth interviews with community members on the traditional farming practices of cocoa growing communities in Northern Ecuador and the data collected from the students’ participation in and observation of the lifestyle within the community. This article illustrates the ‘wicked’ problems faced by these design students and the relevance of their experience to the study of social design practices and design education in developing countries.  相似文献   

17.
This article describes the studio model—a cultural model of teaching and learning found in U.S. professional schools of art and design. The studio model includes the pedagogical beliefs held by professors and the pedagogical practices they use to guide students in learning how to create. This cultural model emerged from an ethnographic study of two professional schools of art and design. A total of 38 professors from a total of 15 art disciplines and design disciplines were interviewed and their studio classes were observed. A grounded theory analysis was used to allow the studio model to emerge from audio recordings of interviews and video recordings of studio classes. The model was then validated by 16 different professors at six additional art and design schools. The studio model was found to be general across art and design disciplines and at all eight institutions. The central concept of the studio model is the creative process, with three clusters of emergent themes: learning outcomes associated with the creative process, project assignments that scaffold mastery of the creative process, and classroom practices that guide students through the creative process.  相似文献   

18.
Based on two years of ethnographic engagement in a school-based digital design studio in a high school on the West Side of Chicago, Illinois, this paper conceptualizes the development and maintenance of an ethos of care in teaching and learning through sustaining affective resonance. Adopting musical metaphors as a vocabulary for affective movements, we operationalize practical and practiced methods for sustaining (actively extending) affective (care-giving and care-taking intensities) resonance (shared meaning making and cultural production). Sharing examples across years, we show the specific ways that mentors and students in the digital design studio built and nurtured care-full practices. The purpose of the paper is to explicate the development and enactment of mentoring practices that we observed in the design studio and then to consider how these practices might be shared, spread, and adapted across contexts of teaching and learning.  相似文献   

19.
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20.
Increasingly, school teachers are expected to be able to teach about and across cultures, as well as teach in digitally enriched classrooms. Teacher educators are expected to prepare their teaching students for such challenges. One university designed the eTutor online environment to enhance and support the development of pre-service teachers’ (PSTs) intercultural capability, as well as enhance their capability to use digital technologies in their own teaching practices. Over 450 PSTs and school students from eight schools across four countries interacted with each other online for a 14-week period. Participants posted blogs, comments, wall posts and shared images and videos centred on cultural exchange. Despite the challenges of access to technology and conflicting calendars, eTutor was seen by participating schools as a potentially useful way to engage their students in intercultural learning. The experience of interacting with children from multiple cultures in an online environment contributed positively to a shift, for the majority of PSTs, from an ethnocentric to a more ethnorelative worldview. However, PSTs found establishing relationships with students in the online environment challenging.  相似文献   

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