Onderzoeksplatform ‘Connected Learning: ’Al ruim vijftien jaar houdt De Haagse Hogeschool zich bezig met onderzoek als deel van haar missie. Terwijl onderwijs vaak geworteld is in monodisciplinaire vakgebieden, kan met onderzoek wat makkelijker gekeken worden naar domeinen in de samenleving (zorg, veiligheid, ondernemen, etc.) waarin complexe problematiek steeds vaker wél dan niet een multidisciplinaire aanpak vereist. Bijna niemand werkt nog alleen of met alleen vakgenoten aan problemen of uitdagingen. En die veranderende beroepspraktijk is bij uitstek het domein van het hoger beroepsonderwijs. Daar leiden we voor op. Het onderzoeken van en experimenteren met nieuwe uitdagingen in de praktijk verbindt ons sterker met de samenleving, het stelt ons in staat om ons beroepsonderwijs te vernieuwen en geeft docenten, onderzoekers en studenten de kans om zich te ontwikkelen door samen te werken aan vragen en uitdagingen die de toekomst van de beroepspraktijk vorm geven. Veel onderzoek wordt uitgevoerd onder begeleiding van lectoren die samenwerken met docent-onderzoekers, studenten, en professionals in het werkveld aan veelal meerjarige onderzoeksagenda’s die lijn aanbrengen in verschillende deelactiviteiten. Een van de manieren waarop De Haagse Hogeschool onderzoek organiseert is in de vorm van onderzoeksplatforms die zich richten op verschillende domeinen van de samenleving. Wij zijn ‘Connected Learning’, een onderzoeksplatform dat zich richt op leren in de netwerksamenleving - in de samenleving zelf, maar ook in de beroepspraktijk en in ons onderwijs. Aangenaam. Wat wij doen? Daar gaat dit boek over, dus daar verklappen we hier nog niets over. Wat verwacht u als u nadenkt over onze naam? Enig idee? Geen idee? Benieuwd? Lees verder om te ontdekken wat ons inspireert, uitdaagt en nieuwsgierig maakt. Sommige van onze ideeën zijn doordacht en doorleefd omdat we er al jaren onderzoek naar doen, andere zijn nieuw en dagen ons uit om er grip op te krijgen. Wij geven met dit boek een beeld van waar we staan in 2018. Zie het als een eerste kennismaking, met de nadruk op ‘eerste’: we werken graag met veel en verschillende partners. Zie het als visitekaartje van onze onderzoeksagenda. We hopen van harte dat u zich als lezer uitgenodigd voelt om met ons samen op zoek te gaan—misschien wel naar een gezamenlijke toekomst. ‘Connected Learning’ Research Platform: For over fifteen years, The Hague University of Applied Sciences has been carrying out research as part of its mission. While education is often rooted in monodisciplinary subject areas, research allows for a broader look at areas of society (care, security, entrepreneurship etc.), where complex problems more often than not require a multidisciplinary approach. Today, barely anyone works on problems or challenges alone or solely with colleagues from within the same subject area. Universities of applied sciences are uniquely placed to deal with these changes in professional practices; after all, we train the professionals who will one day enter that field. Researching and experimenting with new challenges in professional practice allows us to connect more strongly with society, enables us to be innovative in our professional training and gives lecturers, researchers and students the opportunity to develop themselves by cooperating on the challenges and issues that will shape the future of that professional practice. Most research is carried out under the guidance of professors who cooperate with lecturers/researchers, students and the professional field, mainly on long-term research agendas that provide an outline for various sub-activities. One of the ways in which research is organised at The Hague University of Applied Sciences is in the form of research platforms that focus on various areas of society. We are ‘Connected Learning’, a research platform focusing on learning in the network society — in that society as such, but also in professional practice and our education. Nice to meet you! So, what do we do? That’s what this book is about, so we’re not going to give anything away just yet. Just thinking about our name, what do you expect we do? Any ideas? Or not a clue at all? If you’d like to find out, keep reading to find out what inspires us, what challenges we face and what drives our curiosity. Some of our ideas are well-established because we’ve been researching them for years, while other, newer ideas are more challenging to grasp. This book provides an overview of where we stand in 2018. You could see it as an initial introduction, with the emphasis on “initial”; we work with many different partners, and we enjoy doing so. Alternatively, you could see it as a calling card for our research agenda. We sincerely hope that, as a reader, you feel encouraged to join us in our quest — possibly towards a joint future.
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This research concerning the experience and future of zoos was carried out from 2011-2012 and takes regional ideas concerning Zoo Emmen as well as global visions into account. The research focuses partly on Zoo Emmen, its present attractions and visitors while also comparing and contrasting visions on the future in relationship to other international zoos in the world. In this way, remarkable experiences and ideas will be identified and in the light of them, it can serve as inspiration for stakeholders of zoos at large. The main research subject is a look at the future zoos in view of: The Zoo Experience – an international experience benchmark; The Zoo of the Future – a Scenario Planning approach towards the future; The virtual zoo - zoo’s in the internet domain.
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Hoofdstuk 20 Part II in Understanding Penal Practice van Ioan Durnescu en Fergus McNeill Criminological and penological scholarship has in recent years explored how and why institutions and systems of punishment change – and how and why these changes differ in different contexts. Important though these analyses are, this book focuses not so much on the changing nature of institutions and systems, but rather the changing nature of penal practice and practitioners The first part of the book focuses on understanding practice and practitioners, exploring how changing social, cultural, political, and organisational contexts influence practice, and how training, development, professional socialisation and other factors influence practitioners. The second part is concerned with how practitioners can be best supported to develop the skills and approaches that seem most likely to generate positive impacts. It contains accounts of new practice models and approaches, as well as reports of research projects seeking both to discover and to encourage effective practices
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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
