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/
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The purpose of this final chapter is twofold: (1) to provide the synthesis of learnings on quality in teaching and teacher education on the basis of the analysis and discussion of the fourteen chapters collected in this monograph, and (2) to discuss implications for future research on quality in teaching and teacher education, policy and practice. In so doing, we ask: What do we know about quality in teaching and teacher education from the collected chapters and how can these findings inform future research, policy and practice in these areas? In order to answer these questions, the chapter is divided into five main parts. In the first part we identify a call that is present in all chapter: to move beyond a reductionist notion of education. In the second part we recognize the growing attention for teaching quality both as a blessing and a burden. In the third part we identify seven key dilemmas that arise from the different chapters. Next we use these dilemmas to identify implications for teacher education practice, policy and research. We conclude this chapter with some final reflections.
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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.
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Collaborative networks for sustainability are emerging rapidly to address urgent societal challenges. By bringing together organizations with different knowledge bases, resources and capabilities, collaborative networks enhance information exchange, knowledge sharing and learning opportunities to address these complex problems that cannot be solved by organizations individually. Nowhere is this more apparent than in the apparel sector, where examples of collaborative networks for sustainability are plenty, for example Sustainable Apparel Coalition, Zero Discharge Hazardous Chemicals, and the Fair Wear Foundation. Companies like C&A and H&M but also smaller players join these networks to take their social responsibility. Collaborative networks are unlike traditional forms of organizations; they are loosely structured collectives of different, often competing organizations, with dynamic membership and usually lack legal status. However, they do not emerge or organize on their own; they need network orchestrators who manage the network in terms of activities and participants. But network orchestrators face many challenges. They have to balance the interests of diverse companies and deal with tensions that often arise between them, like sharing their innovative knowledge. Orchestrators also have to “sell” the value of the network to potential new participants, who make decisions about which networks to join based on the benefits they expect to get from participating. Network orchestrators often do not know the best way to maintain engagement, commitment and enthusiasm or how to ensure knowledge and resource sharing, especially when competitors are involved. Furthermore, collaborative networks receive funding from grants or subsidies, creating financial uncertainty about its continuity. Raising financing from the private sector is difficult and network orchestrators compete more and more for resources. When networks dissolve or dysfunction (due to a lack of value creation and capture for participants, a lack of financing or a non-functioning business model), the collective value that has been created and accrued over time may be lost. This is problematic given that industrial transformations towards sustainability take many years and durable organizational forms are required to ensure ongoing support for this change. Network orchestration is a new profession. There are no guidelines, handbooks or good practices for how to perform this role, nor is there professional education or a professional association that represents network orchestrators. This is urgently needed as network orchestrators struggle with their role in governing networks so that they create and capture value for participants and ultimately ensure better network performance and survival. This project aims to foster the professionalization of the network orchestrator role by: (a) generating knowledge, developing and testing collaborative network governance models, facilitation tools and collaborative business modeling tools to enable network orchestrators to improve the performance of collaborative networks in terms of collective value creation (network level) and private value capture (network participant level) (b) organizing platform activities for network orchestrators to exchange ideas, best practices and learn from each other, thereby facilitating the formation of a professional identity, standards and community of network orchestrators.
Moderne vreemde talen-docenten op middelbare scholen willen zich meer richten op de communicatieve kant van taalonderwijs. Bestaande taaltoetsen sluiten niet altijd aan op de leerdoelen. Hoe kunnen we toetsen aanbieden waarin communicatie centraal staat? Welke gevolgen heeft dit voor de manier van lesgeven?
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.
