This article discusses the viability of a feminist constructivist approach of knowledge through the careful reading of the work of the feminist scholar and historian of science and technology, Donna Haraway. Haraway proposes an interpretation of objectivity in terms of "situated knowledges". Both the subject and the object of knowledge are endowed with the status of material-semiotic actors. By blurring the epistemological boundary between subject and object, Haraway's narratives about scientific discourse become populated with hybrid subjects/objects. The author argues that the ethics of these hybrid subjects consists of an uneasy mixture of a Nietzschean and a socialist-Christian ethic. The article concludes by setting out why Haraway's project constitutes an interesting effort to fuse postmodern insights and feminist commitments.
This article explores how the combination of research approaches in Research Through Design (RTD) can contribute to generating applicable urban design knowledge. The article is based on learnings from the ‘Really cooling water bodies in cities’ project, a pragmatist RTD combining post-positivist, constructivist and transformative/participatory approaches along six design iterations. The results indicate that the combination of research approaches in RTD can contribute to generating applicable urban design knowledge when the approaches are carefully chosen and combined as to provide feedback on each other, based on a coherent rationale driven by clear research questions and goals.
This article explores how the combination of research approaches in Research Through Design (RTD) can contribute to generating applicable urban design knowledge. The article is based on learnings from the ‘Really cooling water bodies in cities’ project, a pragmatist RTD combining post-positivist, constructivist and transformative/participatory approaches along six design iterations. The results indicate that the combination of research approaches in RTD can contribute to generating applicable urban design knowledge when the approaches are carefully chosen and combined as to provide feedback on each other, based on a coherent rationale driven by clear research questions and goals.
In dit project zal een online onderwijsmodule worden ontworpen. In deze module zal een deel van de output van het project Bouwen met Levende Natuur worden verwerkt tot onderwijs. Het maken van online course materiaal binnen de HZ onderwijsonwikkeling, waar zowel echte casuistiek uit de de beroepspraktijk, als gebruik van ICT mogelijkheden centraal staan. Door de modulaire opbouw zal het mogelijk zijn onderdelen in verschillende courses te verwerken. De docent kan dan de module naar eigen wens, en onafhankelijk van de beschikbaarheid van interne of externe gastdocenten, inzetten voor ‘blended learning’. De benadering binnen de learning unit(s) volgt het constructivisme, activiteiten die te maken hebben met kennisoverdracht, zullen derhalve worden afgewisseld met verwerkingsopdrachten. De volledige onderwijsmodule richt zich vooral op onderwijs op het gebied van Coastal Engineering van de opleiding Civiele Techniek (CT), in eerste instantie van de Delta Academy; CT studenten blijken behoefte te hebben aan een uitleg van ecologische principes vanuit vanuit een meer technisch perspectief. De learning units/onderwijsmodule is uiteraard ook beschikbaar voor andere hbo opleidingen. Het geselecteerde gedeelte, de eerste learning unit, zal ook bruikbaar zijn voor de course Integrated Coastal Zone Management (ICZM), waarin oa het concept Building with Nature wordt uitgelegd. In de huidige vorm wordt dit onderdeel op de klassieke manier gebracht, in de vorm van een hoorcollege. De ontwikkeling van online materiaal maakt de afwisseling met het verwerken van de aangebrachte kennis eenvoudiger; de structuur daarvoor wordt in de online versie al aangebracht. Deze learning unit brengt niet alleen wat aanvullende benaderingen vanuit technisch perspectief, maar is ook een aanpassing, die het geheel hestructureert volgens het constructivisme. De course ICZM is een keuze-course, bedoeld voor Aquatische Ecotechnologie (AET), Delta Management (DM) en CT studenten; waar CT studenten meer behoefte hebben aan een technisch perspectief, heeft deze course ook te maken met DM studenten, die juist wat meer kennis zouden moeten maken met meer technische benaderingen.
mechanism for fostering innovation competenceThis dissertation focuses on fostering students’ innovation competence in higher education. The research is aimed at developing instructional strategies based on theoretical design principles to aid teachers in higher education foster innovation competence in their classrooms and assess students’ innovation competence. The research was implemented within the existing curriculum of three Netherlands universities of applied sciences in which developing students’ innovation competence was the target learning goal. To aid innovation competence learning, an innovation competence teaching mechanism was developed following education design research steps. The research includes four independents sub-studies which used different research methods. This thesis shows that students’ innovation competence can be positively influenced by instruction. The findings of this study suggested that development of students’ innovation competence takes place through explicitly coordinated teaching and learning activities, design, assessment, and reflection. It was found that this innovation-supportive learning environment influenced the actual innovation competence of students and that the way of teaching (especially a better structured, balanced and more student-centred constructivist approach to teaching) had a positive influence on students’ development of innovation competence. This dissertation has shown that every student has the potential to be innovative, and that teachers can fulfil their role in recognizing the innovation potential of students by creating a teaching and learning environment that promotes and encourages innovation competence.
In leaving the more traditional territories of the concert performance for broader societal contexts, professional musicians increasingly devise music in closer collaboration with their audience rather than present it on a stage. Although the interest for such forms of devising co-creative musicking within the (elderly) health care sector is growing, the work can be considered relatively new. In terms of research, multiple studies have sought to understand the impact of such work on musicians and participants, however little is known about what underpins the musicians’ actions in these settings. With this study, I sought to address this gap by investigating professional musicians’ emerging practices when devising co-creative musicking with elderly people. Three broad concepts were used as a theoretical background to the study: Theory of Practice, co-creative musicking, and Praxialism. Firstly, I used Theory of Practice to help understand the nature of emerging practices in a wider context of change in the field of music and habitus of musicians and participants. Theory of Practice enabled me to consider a practice as “a routinized type of behaviour which consists of several elements, interconnected to one another: forms of bodily activities, forms of mental activities, ‘things’ and their use, a background knowledge in the form of understanding, know-how, states of emotion, and motivational knowledge” (Reckwitz, 2002, p. 249). Secondly, I drew the knowledge from co-creative musicking, which is a concept I gathered from two existing concepts: co-creation and musicking. Musicking (Small, 1998), which considers music as something we do (including any mode of engagement with music), provided a holistic and inclusive way of looking at participation in music-making. The co-creation paradigm encompasses a view on enterprise that consists of bringing together parties to jointly create an outcome that is meaningful to all (Prahalad & Ramaswamy, 2004; Ramaswamy & Ozcan, 2014). The concept served as a lens to specify the jointness of the musicking and challenge issues of power in the engagement of participants in the creative-productive process. Thirdly, Praxialism considers musicking as an activity that encompasses “musical doers, musical doing, something done and contexts in which the former take place” (Elliott, 1995). Praxialism sets out a vision on music that goes beyond the musical work and includes the meanings and values of those involved (Silverman, Davis & Elliott, 2014). The concept allowed me to examine the work and emerging relationships as a result of devising co-creative musicking from an ethical perspective. Given the subject’s relative newness and rather unexplored status, I examined existing work empirically through an ethnographic approach (Hammersley & Atkinson, 2007). Four cases were selected where data was gathered through episodic interviewing (Flick, 2009) and participant observation. Elements of a constructivist Grounded Theory (Charmaz, 2014) were used for performing an abductive analysis. The analysis included initial coding, focused coding, the use of sensitizing concepts (Blumer 1969 in Hammersley, 2013) and memoing. I wrote a thick description (Geertz, 1973) for each case portraying the work from my personal experience. The descriptions are included in the dissertation as one separate chapter and foreshadow the exposition of the analysis in a next chapter. In-depth study of the creative-productive processes of the cases showed the involvement of multiple co-creative elements, such as a dialogical interaction between musicians and audience. However, participants’ contributions were often adopted implicitly, through the musicians interpreting behaviour and situations. This created a particular power dynamic and challenges as to what extent the negotiation can be considered co-creative. The implicitness of ‘making use’ of another person’s behaviour with the other not (always) being aware of this also triggered an ethical perspective, especially because some of the cases involved participants that were vulnerable. The imbalance in power made me examine the relationship that emerges between musicians and participants. As a result of a closer contact in the co-creative negotiation, I witnessed a contact of a highly personal, sometimes intimate, nature. I recognized elements of two types of connections. One type could be called ‘humanistic’, as a friendship in which there is reciprocal care and interest for the other. The other could be seen as ‘functional’, which means that the relationship is used as a resource for providing input for the creative musicking process. From this angle, I have compared the relationship with that of a relationship of an artist with a muse. After having examined the co-creative and relational sides of the interaction in the four cases, I tuned in to the musicians’ contribution to these processes and relationships. I discovered that their devising in practice consisted of a continuous double balancing act on two axes: one axis considers the other and oneself as its two ends. Another axis concerns the preparedness and unpredictability at its ends. Situated at the intersection of the two axes are the musicians’ intentionality, which is fed by their intentions, values and ethics. The implicitness of the co-creation, the two-sided relationship, the potential vulnerability of participants, and the musicians’ freedom in navigating and negotiation, together, make the devising of co-creative musicking with elderly people an activity that involves ethical challenges that are centred around a tension between prioritizing doing good for the other, associated with a eudaimonic intention, and prioritizing values of the musical art form, resembling a musicianist intention. The results therefore call for a musicianship that involves acting reflectively from an ethical perspective. Doctoral study by Karolien Dons
