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Art Design Media Teaching Fellowship Scheme (ADMTFS) 2008-9

ADM-HEA is pleased to announce details of its Art Design Media Teaching Fellowship Awards 2008-9

 

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This scheme is part of ADM-HEA’s strategy to support the professional development and recognition of staff teaching in HE and to ensure that their work is valued and rewarded.
The aim is to recognise existing achievement and to identify and encourage future projects.

Five fellowship awards have been made under this scheme for the academic year 2008/9 and we are delighted to announce the details here:-


Kevin Burns, University of Ulster

Kevin is a weave technician/textile engineer and has been delivering practical bespoke teaching on hand-weaving for more than 22 years to Undergraduate and Postgraduate students within the University of Ulster. His background/Training/Teaching Qualifications are a 4 Year Apprenticeship as a Tool Maker, 4 Year weaving Apprenticeship as a Tenter (Loom Technician), Licentiate of the Textile Institute (specializing in woven fabric 2 year course), Associate of the Textile Institute (4 year course) Degree Equivalent, Teaching Learning & Assessment module (SEDA).

Kevin has always been a keen linen weaver but frequently experienced drawbacks and limitations with existing hand and floor loom shedding mechanisms. From the resulting difficulties he was motivated to design and develop a superior Counter-March shedding mechanism and after some exploration and a number of prototypes he successfully developed the Weavebird loom with Leclerc Looms, world leader in handloom design. This loom is an innovation in handloom weaving technology which is now being recognised throughout the world in all manner of weaving organizations e.g. Universities, schools, textile research centres, hand weaving practitioners, textile design studios etc., The real benefits of the loom have not been fully realised e.g. hand weavers who had previously given up weaving through ill health (arthritis) have come back to weaving because it is such an effortless loom to operate. The Weavebird is truly a superior handloom system that promotes ease of use. See user feedback: “I downloaded the pattern as a WIF from handweaving.net. Every project that I have tried has been a pleasure to weave on the Weavebird”.

Kevin's previous innovative developments include the design and implementation of the manufacture of screen printing  tables which can be attached to the hand-loom under the warp between the back-rail and the last heddle frame, making possible screen printing of warp yarns prior to weaving. Another development, I adapted industrial leno heddles which operate successfully on hand-looms. And the manufacture of additional 3rd back beams for hand-looms giving the students the opportunity of weaving multi layered fabrics which could potentially be used in engineering/architecture applications. These new processes broaden the range of techniques available and they promote more creative thinking for students who access the weaving workshop.

Kevin will use his ADMTFS grant to fund his project: Broadening Access to the Workshop Learning Environment, which will develop an innovative motorised hand-loom shuttle which will combine staff and technologies from various disciplines e.g. wood/metal prototyping, electronic and information technologies. It will encapsulate practical prototype design and construction, team discussions also electrical, electronic and mechanical consultation.

The hand-loom will enhance the learning experience and increase the practical participation for physically challenged students in the textile workshop environment. It will also mean these students will be less dependent on staff for practical support, in turn giving them more confidence in the weaving process and their own work. The aim is to widen participation specific to Textiles and Fashion design courses within institutions across the sector.

Jonathan Hewett, City University

Jonathan is Director of Newspaper Journalism at City University.

ADMTFS funding will enable Jonathan to develop his project for an Online toolbox: a resource to support the use of web-based tools for teaching and learning. This project focuses on the use in teaching and learning of web-based tools that are publicly available and predominantly free of charge. Examples include: wikis, blogs, RSS, social networks (e.g. Ning), video/image-sharing (e.g. Blip, YouTube, Flickr, SlideShare), and social bookmarking (e.g. del.icio.us). These can help to address some of the pressures facing teaching staff in practice-based settings (e.g. lack of time; feedback and assessment; staff:student ratios) while offering important advantages over established virtual learning environments (VLEs).

Benefits can include ease of use, cost, technical support, relevance for lifelong and professional learning, and flexibility. Many tools also lend themselves readily to collaborative and self-directed forms of learning, and so offer related pedagogical benefits, e.g. peer feedback and assessment. However, HEIs tend to focus their support on VLEs such as Blackboard rather than these tools, so innovative use of the latter in teaching and learning depends on individual pioneers among teaching staff, who do not necessarily disseminate their work. This adds to the barriers to wider implementation by busy teaching staff (who may be less familiar/confident with web-based tools than their students) in institutions where scholarly approaches to teaching and learning compete against other priorities – while the continuing pressures in HE can make it hard to innovate effectively in teaching and learning. There appears to be no such resource of the type proposed.

The expected outcomes of the project are to:-

  • Improve students’ learning experiences and lifelong learning through greater and scholarly use of relevant web-based tools that are relevant to their professional life after HE and readily available for future use (unlike most VLEs)
  • Raise students awareness of the scope to use web-based tools
  • Increase their familiarity with such tools
  • Enhance learning opportunities through support offered to teaching staff
  • Support for greater use of collaborative and self-directed learning (which are readily facilitated by many of web-based tools)

 

Mary O'Neill, Lincoln University

Mary O’ Neill studied Fine Art at Dun Laoghaire School of Art and Design (1982 - 1986) and a postgraduate in Printmaking at the Crawford College of Art, Cork (1986-1987).  After thirteen years of experience in practice and teaching during which time she won several awards, participated in residencies and exhibited widely in Europe and the U.S she returned to education in 2000 and received a degree in Sculpture from Loughborough University. During this period she found that her practice was moving from a purely visual one to a more integrated form where the distinction between theory and practice, text and image, producer of work and facilitator became less distinct and less relevant. This shift resulted in an AHRC funded PhD entitled Ephemeral Art: Memory and Loss completed in 2006.

Mary's integrated practice is discussed in a paper “Her ‘I’ am” delivered at the Writing Pad Conference “Where do we go from here” (2006). This interest has also informed and led her teaching at the University of Lincoln where she is a Senior Lecturer in Cultural Context in the Faculty of Art Architecture and Design.  Mary is currently involved in the re-design of the Fine Art programme to move towards a totally integration of theory and practice.

While continuing her research into the relationship between art and mourning, Mary's area of research has widened to include research into both the experience of teaching and learning in a rapidly changing education landscape.  At Lincoln Mary has received funding for two significant teaching and learning projects – Fund for Education Development to research the area of staff and students engagement with ethics in the faculty of Art Architecture and Design. She is also leading an Undergraduate Research Project which gives undergraduate students the experience of working alongside a staff member on a research project.  In this case the students have identified an element of the larger ethic project that relates to their own practice.

The interdisciplinary nature of her research means that Mary frequently participates in discussion with disciplines as far ranging as emotional geography, business, law, comparative literature as well as art theory and practice.  The experience of interdisciplinarity and her interest in ethical practices has also led to an interest in collaboration.  Mary is currently developing strategies to encourage and explore an interdependent practice where the sharing of knowledge, skills and information might be a more useful model rather than the focus on the individual autonomous artist.

Recent publications include:
 ‘Being Lost’ in  Davidson, J. & L Bondi (eds) Felling our way: Advancing Emotional Geographies. Burlington VT & Aldershot: Ashgate. (In press)
‘Ephereral Art: Memory and Loss’  in Schachter, J & S. Brockman (eds.)  Im/Permanence: Cultures in and out of Time. CMU & Penn State. (2008)
‘Art and Money Experience, Destruction, Exposure’ in Cox, F. & H. W. Schmidt-Hannisa. Money and Culture. Munich: Peter Land (2207)

ADMTFS funding has enabled Mary to undertake a project entitled  The Lincoln Studio: Interactive learning through staff and student collaboration. The aims of the project are to:

  • explore the value of collaborative learning in the studio.
  • introduce the students to the concept of positive externality, whereby an individual’s efforts benefit fellow participants.
  • work outside the programme, focusing on the learning experience.
  • To demonstrate strategies for working towards a shared creative goal – discussion, negotiation.
  • offer the students an innovative educational experience of working collaboratively with staff members as equal partners in the project.
  • encourage the students to actively participate in their learning through the various stages of the project – application procedure, collaborative responsibility and the evaluation of the project.
  • provide the students with an educational experience that is not solely based on their individual creativity but requires them to respond to the creative ideas of others.
  • prepare students for the world beyond the University environment in which collaborative skills are essential to successful practice.
  • provide the students with the experience of working in a space to which the public has access.

 

Barbara Strange, Arts Institute Bournemouth

Barbara joined the Arts Institute at Bournemouth in January 2000. A graduate of the London School of Economics, moving into the Higher Education sector, following a successful career as an advisory teacher. Her role has been to develop teacher training courses and staff development in teaching and learning across the Arts Institute at Bournemouth. She has written and run teacher training courses throughout this period, culminating in the successful development and validation of our successful HEA accredited PGCE for teachers of arts, design, media and performance. She has guided the peer observation of teaching scheme throughout this period, from its early beginnings in 2000, and developed it in accordance with best practice, simultaneously contributing to in house staff development, in particular having responsibility for managing the HEA Fellowship scheme for staff.

Barbara gained her MA in Art and Design Education from Brighton University where she specialised in ICT in Art and Design and wrote her dissertation on peer observation of teaching which enabled her to have greater insight into our own in house scheme through research into the work and schemes of others.

Barbara has been instrumental in developing an innovative and flexible curriculum within the Arts Institute PGCE course which facilitates and promotes the enhancement of the student learning experience, supports colleagues in the further development of deep learning and reflection on pedagogic practice and promotes a commitment to sustainable professional engagement with new directions in arts, media, design and performance education and in particular raised the intellectual rigour which graduates bring to their respective courses and institutions.
Personal professional development is also necessary to align myself to the student experience of practice in this changing educational environment. Barbara is committed to ongoing research and curriculum development in an inclusive and critically relevant environment that responds both to the specialism of education in arts, media, design and performance and to the needs of staff and students.

As a course leader Barbara's role is to bridge the philosophy of the discipline of education in identifying features of the curriculum and learning environments which encourage the development of problem solving and selecting teaching and learning strategies to advance this. Barbara is particularly committed to the management of learning in an experiential curriculum and the challenges that this brings to curriculum development and curriculum understanding. The successful integration of theory and practice and thus the development of the reflective practitioner are central to her philosophy of teaching and learning.

Barbara sees herself as a reflective and passionate teacher who is committed to raising the quality of teaching, learning and assessment both personally and within the wider community. Her commitment to this and to her own research and development is essential to the maintenance of a critically relevant educational environment that is responsive to student needs and to a continued emphasis on ensuring the quality of the student experience. It is with this spirit that she approaches the coming Fellowship year with enthusiasm and excitement looking forward to exploring fresh approaches and innovative ways of working within the art and design sector.

ADMTFS funding will enable a qualitative case study to investigate how Higher Education colleagues experience and evaluate peer observation of teaching to be carried out. Arts Institute at Bournemouth, is a small specialist provider of teaching, learning and research in the subject areas of arts, design, media and performance arts, delivering courses in both the further and higher education sectors.  The Institute places strong emphasis on the progression of graduates to the creative industries, and embraces professional standards within day-to-day course delivery, and equips its students with real-world skills and knowledge, but not at the expense of creativity and innovation. . Having pioneered the peer observation of teaching scheme at AIB and moved its emphasis from judgemental to developmental Barbara is also currently involved in the revision of this process in order that good practice may be efficiently shared throughout the Institute. In order to establish a baseline and to enable a broader perspective to be drawn the project will be conducted in collaboration with University College Falmouth/Dartington College.

Richard Trupp, Kingston University

Born in Birmingham, Richard Trupp is a practicing artist whose work has been strongly influenced by a city that once rejoiced in the sobriquet ‘the workshop of the world’. He relishes the monumental ironworks still surviving there, and relates his own attitude as a sculptor to the ‘hands-on’ attitude still found in this ‘city of makers’. Industrial materials have duly become his focus of his sculptural work.

Richard decided to create a foundry for Kingston University introducing his own techniques and experience, he took it upon himself to teach this ‘ancient art’ and the enthusiasm and fascination from students and staff since has been continuous. Within the first twelve months Richard found himself pouring bronze twice per term, (6 times per year) and students were casting their final major projects for the degree shows in bronze. The process became cost effective with students paying for the weight of bronze at cost price and using other materials such as plaster as part of their studio fees. The nature of bronze casting is such that it is a highly rewarding, inspiring and attractive process. To view and experience the process breeds enthusiasm Richard explains.

During this time interviews were being held for students enrolling on the BA Hons Fine Art course and Richard was delighted to hear that some students had given the foundry as their reason for choosing Kingston. The foundry was making good progress and because a facility of this nature at a University is rare, it became very attractive to potential new students.

ADMTFS funding has enabled Richard to embark on the ADD Project (Ancient - Digital - Dialogue) project, which is a coming together of digitally designed products and objects with the ancient ‘lost wax’ bronze casting process. For example. A student can create a 3 dimensional drawing on a computer package, transfer the drawing into ABS material (Acrylonitrile – butadiene – styrene) using the rapid prototype scanner and then ‘burn out’ the ABS object using the ancient ‘ lost wax’ technique concluding with a bronze object. Initially the project would be aimed at 35, 2nd Year BA faculty students that have been trained to use digital drawing packages within their work. The process is intended to capture the imagination of students and staff whilst opening up creative ideas and dialogue, encouraging an ongoing conversation between digital media and physical matter.

The project is designed to encourage students to facilitate new technologies within their practice in balance with historical ‘hands on’ skills and process.
Although conceived as a project to be carried out with 3D design students, because of the interdisciplinary reconfiguration of our new 3D workshops and foundry students from all disciplines are able to directly benefit.  Fine art students familiar with bronze casting have already registered an interest in doing this project and using Rapid Prototyping.  This project is seen as a two way process with either process continually informing the other.

Previous awards
Sept 2008 National teaching fellowship, Kingston University
June 2007 Kingston University Enteprise Awards for Bronze casting.
Aug 2008 Awarded solo exhibition Montreal, Canada
July 2005 Research award to the British school Rome
Nov 2000 Picker Fellowship for sculpture, Stanley Picker Gallery
May 1998 Awarded membership of the Royal Society of British Sculptors
Jan 1997 Royal Society of British Sculptors’ Artist in Residency, California (finalist)

Teaching, Education and Training

 

Present day Currently senior lecturer in bronze casting at Kingston University

1999-2000 Assistant Artist to Sir Anthony Caro, Camden

1998-2000 MA Site Specific Sculpture, Wimbledon School of Art

1994-1997 BA Fine Arts/Sculpture, Nottingham Trent University

2000 Visiting lecturer for BA Sculpture students, Kingston University, Surrey

Mar 2000 Visiting lecturer for BA students, Nottingham Trent University

 

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