This study investigates the knowledge that experienced teachers draw on when fostering students’ reflections. Reflective skills are crucial for advancing students’ learning. In order to promote students’ reflection productively, extensive support and scaffolding from teachers is indispensible. However, teachers are in need of more guidance in this area. To inspire pedagogies for teacher training, this study provides insight into the knowledge that teachers employ when they are engaged with promoting their students to reflect. Video vignette interviews were administered to 36 teachers in secondary vocational education for nursing to elicit their knowledge. Interview transcripts were coded using categories for assessing teachers’ curricular, pedagogical and instructional knowledge. To investigate relations between the elements of teachers’ knowledge, we performed a lag-sequential analysis that enables statistical testing of observed sequences of categorised events. Four salient relations between elements of teacher knowledge emerged: (1) instructional knowledge as instrumental to construing pedagogical knowledge; (2) instructional knowledge contingent on pedagogical knowledge; (3) instructional knowledge and curricular knowledge related to fostering critical reflection; and (4) instructional knowledge and curricular knowledge related to fostering planning. Implications for teacher training are discussed. https://doi.org/10.1080/02671522.2016.1225790
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Critical reflection, addressing students’ attitude, beliefs and values related to pressing topics in the world, plays a crucial role in developing ethical sensitiveness and critical design literacy in design education. Critical reflection is provoked by discussing self-made photos, as is demonstrated in the research method Photovoice. This paper considers Photovoice in design education for its ability to foster learning through self-guided critical reflective interactions with peers based on self-made photos. Research on how to support this is lacking. This paper addresses this gap by studying students engaging in self-guided Photovoice assignments. Results consist of adapted steps for Photovoice in education and illustrate potential as well as boundaries of self-guided Photovoice through students’ quotes and photomaps. Also, five frames of interpretation, suggested by students engaged in self-guided Photovoice, contribute to previous knowledge and may inspire the design education community to start experimenting with Photovoice in course work. The final aim is to support students in critical reflection, a crucial skill for responsible design professionals.
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Action research assumes the active engagement of the stakeholders, such as the community, in the research, and a multiple level process of reflection in order to evaluate and monitor the actions taken. This makes action research a suitable methodology to increase critical understanding of the participants. In this paper we describe the challenge of teaching action research within the context of an undergraduate community health psychology module. The module was designed using principles from transformative learning, critical pedagogy and action learning. The module took place over one semester; and 15 (13 females, 2 males) students took part in it. We discuss the background to the module development and the alignment of the learning objectives with the teaching and assessment methods, and reflect upon the students' experiences in the module and the learning outcomes. We conclude by addressing the major challenges involved in teaching action research to increase critical understanding: the ability to deep learning of undergraduate psychology students; our role and expectations as tutors on the course; and the current higher education system in which action science yet has to find a place.
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.
Within the framework of the “Greening Games” project, we will develop, test and distribute flagship didactic materials addressing the interdisciplinary nature of green digital gaming. These will be tested in selected higher education programs and finally shared as open access content for the broader academic and teaching community. It is our core strategic responsibility to educate students about the relations between digital games and environment. We believe that the more aware students of today will become greener game designers, programmers, and academic leaders of tomorrow. At the centre of our partnership’s didactic philosophy are human responsibility, ethical game design and sustainable gaming culture. Societal IssueVideo games serve as technological marvels and cultural reflections. McKenzie Wark suggests they are integral to a shared culture, fostering critical thinking. Games act as arenas for cultural values and environmental awareness. Climate-aware video games, often referred to as 'green games' or 'eco-games,' raise ecological consciousness and reconnect players with nature. For example, Riders Republic, which replicates real-world terrain using satellite imagery, inspires eco-awareness. However, the environmental footprint of video games, reliant on digital electronics and resource-intensive consoles, poses challenges. Developers, manufacturers, and gaming giants must address these impacts. Benjamin Abraham emphasizes sustainable game development as a holistic solution beyond incorporating green content.Benefit to societyBy developing teaching materials on green gaming for higher education, we create the following impact. We will…- increase the awareness of this subject among Bachelor’s and Master’s students.- enhance students’ knowledge of green gaming and their ability to integrate existing solutions into their game projects.- stimulate more research interest among research staff as well as students.- facilitate the uptake of pedagogical resources on green gaming by lecturers and professors.- create a European research community around the topic.- raise the visibility of green game studies among the game industry and wider public.
The PhD research by Joris Weijdom studies the impact of collective embodied design techniques in collaborative mixed-reality environments (CMRE) in art- and engineering design practice and education. He aims to stimulate invention and innovation from an early stage of the collective design process.Joris combines theory and practice from the performing arts, human-computer interaction, and engineering to develop CMRE configurations, strategies for its creative implementation, and an embodied immersive learning pedagogy for students and professionals.This lecture was given at the Transmedia Arts seminar of the Mahindra Humanities Center of Harvard University. In this lecture, Joris Weijdom discusses critical concepts, such as embodiment, presence, and immersion, that concern mixed-reality design in the performing arts. He introduces examples from his practice and interdisciplinary projects of other artists.About the researchMultiple research areas now support the idea that embodiment is an underpinning of cognition, suggesting new discovery and learning approaches through full-body engagement with the virtual environment. Furthermore, improvisation and immediate reflection on the experience itself, common creative strategies in artist training and practice, are central when inventing something new. In this research, a new embodied design method, entitled Performative prototyping, has been developed to enable interdisciplinary collective design processes in CMRE’s and offers a vocabulary of multiple perspectives to reflect on its outcomes.Studies also find that engineering education values creativity in design processes, but often disregards the potential of full-body improvisation in generating and refining ideas. Conversely, artists lack the technical know-how to utilize mixed-reality technologies in their design process. This know-how from multiple disciplines is thus combined and explored in this research, connecting concepts and discourse from human-computer interaction and media- and performance studies.This research is a collaboration of the University of Twente, Utrecht University, and HKU University of the Arts Utrecht. This research is partly financed by the Dutch Research Council (NWO).Mixed-reality experiences merge real and virtual environments in which physical and digital spaces, objects, and actors co-exist and interact in real-time. Collaborative Mix-Reality Environments, or CMRE's, enable creative design- and learning processes through full-body interaction with spatial manifestations of mediated ideas and concepts, as live-puppeteered or automated real-time computer-generated content. It employs large-scale projection mapping techniques, motion-capture, augmented- and virtual reality technologies, and networked real-time 3D environments in various inter-connected configurations.This keynote was given at the IETM Plenary meeting in Amsterdam for more than 500 theatre and performing arts professionals. It addresses the following questions in a roller coaster ride of thought-provoking ideas and examples from the world of technology, media, and theatre:What do current developments like Mixed Reality, Transmedia, and The Internet of Things mean for telling stories and creating theatrical experiences? How do we design performances on multiple "stages" and relate to our audiences when they become co-creators?Contactjoris.weijdom@hku.nl / LinkedIn profileThis research is part of the professorship Performative Processes
