Qualitative and quantitative research methods were used to establish the role of the website in the educational process of Bedrijfsmanagement MKB students, and the use of the website in the student recruitment process.
This study was explorative and aimed at in-depth understanding of personal resources students use to reach success, in the demanding context of honours education.Becoming successful in higher education demands a lot from students. Considering the Job Demands-Resources model it is expected that personal resources help students succeed. We explore which personal resources benefit students’ performance in demanding contexts of honours education. Using a questionnaire and semi-structured interviews, we asked thirteen honours students of three institutions which personal resources had helped them to achieve success. Results suggest that honours students use different personal resources. Most frequently mentioned resources could be grouped around five themes: self-directiveness, inquiry-mindedness, perseverance, social involvement and motivation. Especially resources in the themes self-directiveness, inquiry-mindedness and perseverance were perceived as important facilitators for educational success. The outcomes may inform interventions to help students develop personal resources needed to handle high educational demands. Further research is needed to identify the most effective interventions.
The advantages and drawbacks of components of flexible assessment have been studied mostly from the standpoint of students and, to a lesser extent, teachers. A gap persists in understanding the collective perspectives of teachers and students concerning flexible assessment. This study aimed to explore experiences and perspectives of students and teachers regarding flexible assessment within the specific context of nursing education. Seven focus groups comprised four sessions with teachers and three with students, each involving 5-8 participants. Results showed that students and teachers have a predominantly positive perspective towards flexible assessment. They acknowledge the opportunities that flexible assessment provides for diverse forms to present evidence. However, concerns were raised regarding the design of flexible assessments, issues of fairness in rating evidence, and the understanding among teachers and students regarding the assessment processes. Additionally, discussions focused on the perceived benefit of flexible assessments, particularly concerning the time investment required for their implementation and evaluation. In conclusion, the success of flexible assessments is contingent on the careful consideration of its design, ensuring equitable evaluation of evidence, and fostering comprehensive understanding among both teachers and students. Recognizing potential disparities in views of students and teachers offers valuable insights into the effectiveness of flexible assessment. Achieving a balance between the flexibility of assessment formats, aligned forms of evidence, and an appropriate rating methodology is crucial for effective implementation.
Students in Higher Music Education (HME) are not facilitated to develop both their artistic and academic musical competences. Conservatoires (professional education, or ‘HBO’) traditionally foster the development of musical craftsmanship, while university musicology departments (academic education, or ‘WO’) promote broader perspectives on music’s place in society. All the while, music professionals are increasingly required to combine musical and scholarly knowledge. Indeed, musicianship is more than performance, and musicology more than reflection—a robust musical practice requires people who are versed in both domains. It’s time our education mirrors this blended profession. This proposal entails collaborative projects between a conservatory and a university in two cities where musical performance and musicology equally thrive: Amsterdam (Conservatory and University of Amsterdam) and Utrecht (HKU Utrechts Conservatorium and Utrecht University). Each project will pilot a joint program of study, combining existing modules with newly developed ones. The feasibility of joint degrees will be explored: a combined bachelor’s degree in Amsterdam; and a combined master’s degree in Utrecht. The full innovation process will be translated to a transferable infrastructural model. For 125 students it will fuse praxis-based musical knowledge and skills, practice-led research and academic training. Beyond this, the partners will also use the Comenius funds as a springboard for collaboration between the two cities to enrich their respective BA and MA programs. In the end, the programme will diversify the educational possibilities for students of music in the Netherlands, and thereby increase their professional opportunities in today’s job market.
This PD project aims to gather new knowledge through artistic and participatory design research within neighbourhoods for possible ways of addressing and understanding the avoidance and numbness caused by feelings of vulnerability, discomfort and pain associated with eco-anxiety and chronic fear of environmental doom. The project will include artistic production and suitable forms of fieldwork. The objectives of the PD are to find answers to the practice problem of society which call for art that sensitises, makes aware and helps initiate behavioural change around the consequences of climate change. Rather than visualize future sea levels directly, it will seek to engage with climate change in a metaphorical and poetic way. Neither a doom nor an overly techno-optimistic scenario seem useful to understand the complexity of flood risk management or the dangers of flooding. By challenging both perspectives with artistic means, this research hopes to counter eco-anxiety and create a sense of open thought and susceptibility to new ideas, feelings and chains of thought. Animation and humour, are possible ingredients. The objective is to find and create multiple Dutch water stories, not just one. To achieve this, it is necessary to develop new methods for selecting and repurposing existing impactful stories and strong images. Citizens and students will be included to do so via fieldwork. In addition, archival materials will be used. Archives serve as a repository for memory recollection and reuse, selecting material from the audiovisual archive of the Institute of Sound & Vision will be a crucial part of the creative work which will include two films and accompanying music.
This PD project explores alternative approaches to audiovisual technologies in art and creative practices by reimagining and reinventing marginalized and decommodified devices through Media Archaeology, artistic experimentation, and hands-on technical reinvention. This research employs Media Archaeology to uncover “obsolete” yet artistically relevant technologies and hands-on technical reinvention to adapt these tools for contemporary creative practices. It seeks to develop experimental self-built devices that critically engage with media materiality, exploring alternative aesthetic possibilities through practice-based investigations into the cultural and historical dimensions of media technologies. These developments provide artists with new creative possibilities beyond mainstream commercial standardized tools and infrastructures. A key component of this project is collaborative innovation with artist-run analog film communities, such as Filmwerkplaats. By fostering knowledge exchange and artistic experimentation, this research ensures that reinvented tools remain relevant to both analog film communities and contemporary media art practices. The intended outcomes directly benefit two key groups: • Artist-run film labs gain sustainable methods for evolving their practices, reducing dependence on scarce, out-of-production equipment. • Digital-native artists are introduced to alternative methods for engaging with analog processes and media materiality, expanding their creative toolkit. This collaboration also strengthens art and design education by embedding alternative technological perspectives and research methodologies into curricula, providing students and practitioners with resourceful, sustainable approaches to working with technology. It advocates for a more diverse educational paradigm that incorporates media-technological history and critical reflection on the ideologies of linear technological progress. Ultimately, this research fosters critical discourse on media culture, challenges the dominance of corporate proprietary systems, and promotes innovation, redefining the relationship between creativity and technology.
