Effective teaching for democracy requires an understanding of the teaching methods and educational characteristics that are effective in interventions. In order to address this requirement, we conducted a systematic literature review. We used an extensive search syntax and snowballing method that allowed us to find n = 2093 unique publications. After a screening process, we have included 54 interventions in 51 different quantitative effect studies written between 2010 and 2020. We categorized these interventions into five types of teaching methods: instruction, small-group work, assignments, projects, and democratic decision-making. We analyzed what the educational characteristics (i.e., subject matter, classroom interaction, classroom management) of these interventions were and for which democratic competences (i.e., knowledge, attitude, skill, behavior) they were effective. Our results show that teaching methods have differential effects on democratic competences. We also discuss the robustness of these results. Our study shows that there is still much to be gained in terms of research designs, the conceptualization of democratic competences, and the description of teaching methods.
MULTIFILE
The CDIO network works with the extended CDIO syllabus version 2.0 (Crawley et. al., 2011), in which two learning goal sections were added: leadership and entrepreneurship. This paper focuses on entrepreneurship and uses a case study of the Eye on Entrepreneurs (EoE) initiative in the Netherlands to reflect on the similarities and differences between the CDIO learning goals in entrepreneurship and the unconventional approach of EoE in teaching (engineering) students entrepreneurship in practice. Eye on Entrepreneurs (EoE) offers a student an intense learning experience in an informal but authentic learning context. What are the perceived strengths of their approach when it comes to effectively teaching entrepreneurship? When translating this back to the formal learning context of a university, how does this relate to the CDIO framework and syllabus especially? And what would this mean for the lecturer's competencies? Based on a case study discussion with practitioners an answer to these questions was sought. Both stakeholders from the (entrepreneurial) professional field (including talented students) and (entrepreneurship-) educators in general and from the CDIO-network were involved. The results show that what translates back to formal education is for teachers to be open minded, give space to manoeuvre and make mistakes, and have reciprocal dialogue and reflection with students when teaching entrepreneurship. Their main role should be to recognize talents and stimulate them to take initiative, show empathy and take risks in creativity. LinkedIn: https://www.linkedin.com/in/suzannececiliabrink/
DOCUMENT
This teaching toolkit for critical materials research is developed for educators in higher design and arts education. It comes out of a 2-year project funded by the NRO Comenius Teaching Fellowship program at the Amsterdam University of Applied Sciences. The project invited a group of design educators and/or researchers to develop ways to help bachelor students explore making practices that center ecosystems rather than human systems. With this toolkit, we share our tried and tested activities, which take bio-based design materials and their unique properties as a point of departure, and offer hands-on activities to critically engage in sustainable material research.
DOCUMENT
The European creative visual industry is undergoing rapid technological development, demanding solid initiatives to maintain a competitive position in the marketplace. AVENUE, a pan-European network of Centres of Vocational Excellence, addresses this need through a collaboration of five independent significant ecosystems, each with a smart specialisation. AVENUE will conduct qualified industry-relevant research to assess, analyse, and conclude on the immediate need for professional training and educational development. The primary objective of AVENUE is to present opportunities for immediate professional and vocational training, while innovating teaching and learning methods in formal education, to empower students and professionals in content creation, entrepreneurship, and innovation, while supporting sustainability and healthy working environments. AVENUE will result in a systematised upgrade of workforce to address the demand for new skills arising from rapid technological development. Additionally, it will transform the formal education within the five participating VETs, making them able to transition from traditional artistic education to delivering skills, mindsets and technological competencies demanded by a commercial market. AVENUE facilitates mobility, networking and introduces a wide range of training formats that enable effective training within and across the five ecosystems. A significant portion of the online training is Open Access, allowing professionals from across Europe to upgrade their skills in various processes and disciplines. The result of AVENUE will be a deep-rooted partnership between five strong ecosystems, collaborating to elevate the European industry. More than 2000 professionals, employees, students, and young talents will benefit from relevant and immediate upgrading of competencies and skills, ensuring that the five European ecosystems remain at the forefront of innovation and competitiveness in the creative visual industry.
Under the umbrella of artistic sustenance, I question the life of materials, subjective value structures, and working conditions underlying exhibition making through three interconnected areas of inquiry: Material Life and Ecological Impact — how to avoid the accumulation of physical materials/storage after exhibitions? I aim to highlight the provenance and afterlife of exhibition materials in my practice, seeking economic and ecological alternatives to traditional practices through sustainable solutions like borrowing, reselling, and alternative storage methods that could transform exhibition material handling and thoughts on material storage and circulation. Value Systems and Economic Conditions —what do we mean when we talk about 'value' in relation to art? By examining the flow of financial value in contemporary art and addressing the subjectivity of worth in art-making and artists' livelihoods, I question traditional notions of sculptural skill while advocating for recognition of conceptual labour. The research considers how artists might be compensated for the elegance of thought rather than just material output. Text as Archive and Speculation— how can text can store, speculate, and circulate the invisible labour and layers of exhibition making? Through titles, material lists, and exhibition texts, I explore writing's potential to uncover latent structures and document invisible labor, considering text both as an archiving method and a tool for speculating about future exhibitions. Using personal practice as a case study, ‘Conditions for Raw Materials’ seeks to question notions of value in contemporary art, develop alternative economic models, and make visible the material, financial, and relational flows within exhibitions. The research will manifest through international exhibitions, a book combining poetic auto-theoretical reflection with exhibition speculation, new teaching formats, and long-term investigations. Following “sticky relations," of intimacy, economy and conditions, each exhibition serves as a case study exploring exhibition making from emotional, ecological, and economic perspectives.
Society continues to place an exaggerated emphasis on women's skins, judging the value of lives lived within, by the colour and condition of these surfaces. This artistic research will explore how the skin of a painting might unpack this site of judgement, highlight its objectification, and offer women alternative visualizations of their own sense of embodiment. This speculative renovation of traditional concepts of portrayal will explore how painting, as an aesthetic body whose material skin is both its surface and its inner content (its representations) can help us imagine our portrayal in a different way, focusing, not on what we look like to others, but on how we sense, touch, and experience. How might we visualise skin from its ghostly inner side? This feminist enquiry will unfold alongside archival research on The Ten Largest (1906-07), a painting series by Swedish Modernist Hilma af Klint. Initial findings suggest the artist was mapping traditional clothing designs into a spectral, painterly idea of a body in time. Fundamental methods research, and access to newly available Af Klint archives, will expand upon these roots in maps and women’s craft practices and explore them as political acts, linked to Swedish Life Reform, and knowingly sidestepping a non-inclusive art history. Blending archival study with a contemporary practice informed by eco-feminism is an approach to artistic research that re-vivifies an historical paradigm that seems remote today, but which may offer a new understanding of the past that allows us to also re-think our present. This mutuality, and Af Klint’s rhizomatic approach to image-making, will therefore also inform the pedagogical development of a Methods Research programme, as part of this post-doc. This will extend across MA and PhD study, and be further enriched by pedagogy research at Cal-Arts, Los Angeles, and Konstfack, Stockholm.
