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. ‘

Thank

you

khardie@aub.ac.uk

Image: K. Hardie

Thank youkhardie@aub.ac.uk

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.