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afternoon parallel sessions 5 - 8

Photos by Jenny Embleton or taken from film made by HAUS PICTURES

Sessions 5 - 8  took place from 13.45 to 15.15

Session 5

‘In the Hand’ –the effect of museum handling sessions on student learning

Alma Boyes
Senior Lecturer and Subject Leader for Design & Craft, University of Brighton and Art Design Media Teaching Fellow
Cynthia Cousens
Senior Lecturer in Design & Craft, University of Brighton and Art Design Media Teaching Fellow

Boyes and Couzens presentation

Accompanying notes to presentation

This paper presented findings from the ADM Teaching Fellowship project ‘In the Hand’ which set out to evaluate museum-handling sessions in the student learning experience. The project was set up as a longitudinal case study examining data gathered by questionnaire and interview from three sessions held at the V&A in the jewellery and ceramics departments with University of Brighton 3D students. The data revealed that it had formed a powerful and memorable ‘once in a lifetime’ experience and one of ‘self discovery’ realised through the power of direct handling of the artefacts. In the long term this impacted on their attitude of professionalism and confidence through inclusion in a research community at a high level. The students also pinpointed an increased awareness and understanding of objects in terms of their physicality, raised ambition and understanding of skills, historical perspective and established a deep personal connection with the maker, object and user.

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The Museum of (X): collecting as creative practice

Cathy Gale 
Senior Lecturer BA (Hons) Graphic Design/with Photography, Kingston University and Art Design Media Teaching Fellow

Cathy Gale presentation
 

Collecting is used across diverse creative disciplines as a research methodology: as an identifiable method or integrated into a project as a tacit part of the process to inform, educate and inspire. What is often considered a childhood hobby (by the general public) constitutes a far more fundamental method of understanding a subject/place/person for the creative student and professional.

Building on the long-standing successes of a collecting/collection-based project on BA Graphic Design at Kingston University, this project was developed with two main aims. Firstly to expand debates around the value of primary research in the digital age, when access to (apparently) limitless information online is available with one ‘click’, providing space to test innovative and experimental forms of research and interpretation. By sharing the process of critical analysis through the collected subject, issues of ‘objecthood’, material thinking and psychogeography are tackled in the studio (and online). The second main aim of the project was to enable an online exchange of research methodologies across disciplines to reveal common ground and to celebrate specialisms, thus aiding future collaborative projects. Collecting and the collected object are framed within systems of taxonomy, which aim to help students’ establish personal approaches to analysis and cognition. The Museum of (X) was designed and built as both outward-facing and as an inter-student site for exchange within Kingston University and is at the beginning of its research life rather than at the end, thanks to the ADM-HEA funding.

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Designs on Research - Developing design research communities: cross institution creative collaboration

Kirsten Hardie 
Principal Lecturer Graphic Design, Arts University College Bournemouth and National Teaching Fellow

This presentation was based upon the joint work of Kirsten Hardie and Annie Grove-White.

The dissertation, generally a written account, is not necessarily the most effective way of encouraging a student to become part of a community of disciplinary research practice. Thus research network events for undergraduate students that parallel academic staff research and learning in their discipline are not commonly staged. This presentation aimed to explore and share the collaborative work of three BA Graphic Design courses (Arts University College at Bournemouth Cardiff School of Art and Design, UWIC and Coventry University) that have created a unique undergraduate research symposium to help students develop and disseminate their research and their final year dissertation work. The presentation discussed the research of the event's co-creators Annie Grove-White and Kirsten Hardie.

The presentation considered how the symposium can help to advance and celebrate students as producers of knowledge as well an audience. Central themes of inquiry includedd the learning experience and consideration of how such events can develop students’ communication skills, confidence, and responsibility and pride in their work. Through illustrative examples and student evaluations this session considered how students' creative skills are used to develop presentations and posters to communicate their research to colleagues cross institution. It questioned if students and staff can better understand research when it is shared visually and liberated from its traditional written-only manifestation read by few.

The presentation aimed to develop audience consideration of how shared collaborative poster events can help develop learning within their specialist area - through participants' discussions. It ultimately aimed to explore the possibility of creating wider opportunities for undergraduate research work, cross discipline and cross institution in poster format and beyond, to create a new learning and teaching resource - and new dynamic collaborative relationships.

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Session 6

How to make a firing squad less scary?

Dr Peter Day
Senior Lecturer, Photography, University of Wolverhampton and Art Design Media Teaching Fellow

 

Peter Day presentation

Peter Day’s research into the effectiveness of (verbal) feedback with Art and Design students within the University of Wolverhampton (UOW 09 ILRTN funded) uncovered some deeper concerns that students held about being criticised. Using a quantitative and qualitative feedback questionnaire his research showed that a significantly larger number of respondents expressed an emotional and ‘fear’ focused response toward current feedback. In general students appreciated feedback but not the methods through which feedback was currently being delivered and appropriated. In response to a question about improving feedback at art critiques one student wrote ‘how do you make a firing squad less scary?’ In the intervening twelve months Peter has been working on an online forum that aims to do just that, to lessen the emotional impact of feedback at the critique and increase individualised peer-to-peer review, within a community and student focussed Blog. Now in its second phase Student Editors are overseeing the effectiveness of feedback and feedback terminology toward fellow students.

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Peer Observation of Teaching in Higher Education Research Project

Barbara Strange    

Freelance Educational Consultant and Art Design Media Teaching Fellow

 

 

Barbara Strange presentation

 

Barbara Strange was awarded her ADM Teaching Fellowship in 2008-09, which enabled her to carry out a research project on Peer Observation of Teaching in Higher Education. This session consisted of a presentation of this Peer Observation of Teaching project and its outcomes. There followed an open discussion and participants were invited to bring their own experiences to this discussion. A particular focus was on where peer observation now stands following Brown's review of higher education with one of its KPIs being teaching quality enhancement and how far peer observation of teaching may be expected to contribute to this area.

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The ‘Producers Panel’: Enhancing Formative Feedback through Industry Engagement in Group Critique

Liam Wells

Course Leader, BA (Hons) Film and moving Image Production, Norwich University College of the Arts and Art Design Media Teaching Fellow

Liam Wells presentation

Within the Film and Moving Image Production course at NUCA, staff and students value the group critique as a group-learning methodology. If the model/ format of group critique is balanced and appropriately timed and judged it can be the site of wide and varied learning opportunities, informing and enhancing the student experience. Whilst the group critique can inform a range of aspects of student learning, from theory/ practice articulations, negotiation and debating skills through to peer feedback, the value of the critique as an industry focused learning experience is often over-looked outside of critiques linked to ‘live’ projects.




The “Producer’s Panel’ project aims to deliver innovative models of student engagement with industry contexts within the group learning environment of the critique, using the ‘story-pitch’, used widely in film/ video industries, to enhance students understanding of their film/ video practice is relation to the practices and concerns of a variety of moving image based industries. Producers and commissioning editors from film, TV & new media based industry will be selected to join a panel which will consider and feedback upon students initial project developments from professional perspectives including audience, economics and media format.

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Session 7


Manipulating Media: using collaborative social media projects to build academic literacy in undergraduate Media Studies students

Dr Marcus Leaning

Senior Lecturer / Programme Leader Media Studies, University of Winchester

 

Marcus Leaning presentation


This paper detailed a module developed to enhance the core academic literacy skills of analysis, argument, critical thinking, information literacy, presenting, basic project management, referencing, research and writing in undergraduate Media Studies students. The lack of academic literacy in undergraduate students is a noted problem. However, courses that explicitly seek to develop these skills are notoriously unpopular with students – students often fail to see the benefit of the skills covered and the link to other areas of their study. The course detailed here uses an alternative approach; students taking the course work upon a number of ‘live’ team briefs which present problems that require the use of academic literacy. The projects make extensive use of collaborative online learning and social media.

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Manifesto for Media Education

Jon Wardle
Director of the Centre for Excellence in Media Practice and Course leader of MA Creative Media Practice and MA Creative and Media Education, Bournemouth University

 

Jon Wardle presentation

The Manifesto for Media Education project is an attempt to develop a shared understanding, some shared reasons, for media education. See http://www.manifestoformediaeducation.co.uk/

Are we seeking to develop the media producers of tomorrow, or to nurture individuals capable of holding power to account? Are we seeking to hold a looking glass up to society in order for society itself to better understand itself, or perhaps we are hoping to develop a more media literate society capable of protecting itself from evil media conglomerates?

Contributors to the project cite media education policy, research, pedagogic experience and their own autobiographies; they came from primary, secondary, further and higher education. They define their work in terms of media literacy, media education, media studies and media production and they each set out a vision of what we should be doing.

This session explored the themes that arose during the project and will seek to weave together the contrasting perspectives and approaches of the contributors in an attempt to look for ways forward in media education.

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Session 8

Workshop - ‘Tell Us About It’ Diverse Student Voices in Creative Learning in Practice

Terry Finnigan   
Head of Widening Participation, London College of Fashion, University of the Arts London and National Teaching Fellow

Terry Finnigan presentation

The ‘Tell us about it’ project was a joint CLIP CETL and Diversity & Equality Unit funded project in a large Art & Design University and is now sponsored by widening participation. Its aim is to research into the positive learning experiences of students from a wide variety of diverse backgrounds who have succeeded on their courses at a very high level.

This workshop aimed to:

  • Share an innovative project around gaining student feedback on their total learning experience.
  • Reflect on some of the creative responses produced in the form of a mini exhibition. These include artefacts, reflective writing, mind maps, video clips.
  • Discuss how these responses are informing and changing practice.

This was an interactive session where participants had the opportunity to engage with some of the responses about their learning that students created. It was also a place to reflect on different forms of feedback and how this visual response is part of a lever for changing practices in the institution. The project holders feel it is very powerful as it reflects the pedagogic practices of the subject and so may have more impact on Art & Design tutors and also new students entering the disciplines.

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Good at Teaching or Good at Writing Applications? How to recognise and reward good teaching, not just good writing!

Dr Shân Wareing    

Dean of Learning and Teaching Development, University of Arts, London and National Teaching Fellow

Shan Wareing presentation

This session explored the dimensions of recognition for excellent teaching: what is ‘excellent teaching’ and how do you gain recognition for it, if you are not also an excellent writer, or excellent at self-promotion?  It was a discussion amongst workshop participants about what the attributes and identifiers are of teachers who deserve recognition, and how to ensure this is a valid process which is as far as possible independent of how good you are at writing or at self-promotion!

 
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