From June 28 to July 7 the National Arts Festival took place in Grahamstown, South Africa. For the 20th time Cue, a daily print newspaper about the Festival, was produced by Rhodes University journalism students. It was the first time that the newspaper was printed in full color. Cue is at the core of journalistic production during the Festival. But nowadays, what is a newspaper without pictures or without an online edition? Cue Pix, run by the photo department at the School of Journalism and Media Studies in the AMM (African Media Matrix) provides the pictures. Cue Online is run by the NML (New Media Lab) in the same building and is mostly shoveling print content online. Cue Radio and Cue TV take care of the audio and video, and broadcast during the Festival. Up to 2000 copies of Cue newspaper were printed daily with the number of sold copies around 1600. The newspaper was sold in the Grahamstown streets for 3 Rand. The number of pages of Cue ranges from 16 to 20, including advertisements. Cue is produced by students and lecturers of the School of Journalism and consists of about 50 student-reporters, 10 sub-editors, and 2 editors (who are generally University staff). The productions layout is taken care of by a group of design students. Twenty students from the photo department take care of the pictures and rework them with Adobes Photoshop. Cue TV and Cue Radio (with a total of about 10 students) brought their reporting skills to the Festival as well. Reporting about the Festival by Cue is a major happening that has been growing over the years. From print to TV, to radio and online. This is fantastic, but also reflects equal problems in the media industry: each media platform runs their own show. Print, TV, radio and photography: they all have their own targets, content production, and some coordination. In order to take full advantage of the different possibilities of all the media platforms, convergence is the keyword.
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Explicit language objectives are included in the Swedish national curriculum for mathematics. The curriculum states that students should be given opportunities to develop the ability to formulate problems, use and analyse mathematical concepts and relationships between concepts, show and follow mathematical reasoning, and use mathematical expressions in discussions. Teachers’ competence forms a crucial link to bring an intended curriculum to a curriculum in action. This article investigates a professional development program, ‘Language in Mathematics’, within a national program for mathematics teachers in Sweden that aims at implementing the national curriculum into practice. Two specific aspects are examined: the selection of theoretical notions on language and mathematics and the choice of activities to relate selected theory to practice. From this examination, research on teacher learning in connection to professional development is proposed, which can contribute to a better understanding of teachers’ interpretation of integrated approaches to language and mathematics across national contexts.
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Biomimicry education is grounded in a set of natural design principles common to every known lifeform on Earth. These Life’s Principles (LPs) (cc Biomimicry 3.8), provide guidelines for emulating sustainable strategies that are field-tested over nearly four billion years of evolution. This study evaluates an exercise for teaching LPs to interdisciplinary students at three universities, Arizona State University (ASU) in Phoenix, Arizona (USA), College of Charleston (CofC) in Charleston, South Carolina (USA) and The Hague University of Applied Sciences (THUAS) in The Hague (The Netherlands) during the spring 2021 semester. Students researched examples of both biological organisms and human designs exhibiting the LPs. We gauged the effectiveness of the exercise through a common rubric and a survey to discover ways to improve instruction and student understanding. Increased student success was found to be directly linked to introducing the LPs with illustrative examples, assigning an active search for examples as part of the exercise, and utilizing direct assessment feedback loops. Requiring students to highlight the specific terms of the LP sub-principles in each example is a suggested improvement to the instructions and rubric. An iterative, face-to-face, discussion-based teaching and learning approach helps overcome minor misunderstandings. Reiterating the LPs throughout the semester with opportunities for application will highlight the potential for incorporating LPs into students’ future sustainable design process. Stevens LL, Fehler M, Bidwell D, Singhal A, Baumeister D. Building from the Bottom Up: A Closer Look into the Teaching and Learning of Life’s Principles in Biomimicry Design Thinking Courses. Biomimetics. 2022; 7(1):25. https://doi.org/10.3390/biomimetics7010025
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Article written by Sue Lawrence and Nol Reverda, Directors of the Macess programme. The validation of awards and courses within higher education has traditionally and, to a great extent, continues to be a national issue, with each country using its own protocol for determining standards and academic levels, and validating courses according to its nationally recognised and agreed system. Institutions in some countries, however, are able to validate courses which are delivered in an institution in another country. This practice has led to some useful collaborative arrangements in developing European postgraduate programmes for the social professions, particularly in countries where education for social professionals takes place outside of the university system, for example, in The Netherlands. Largely as a result of such collaboration, facilitated by the Erasmus programme, there is now a proliferation of courses for social professionals, which have ‘European’ in their title or as a major component of the course content. What, then, makes a programme ‘European’?
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Dariah was een Erasmus+ project omtrent Design Thinking in Arts and Sciences. Dariahteach bevat een aantal open online leermaterialen, gericht op docenten en studenten in Digital arts & humanities, maar is veel breder bruikbaar. Het is ontwikkeld voor zelfstudie, vooral voor diegene die geen toegang hebben tot specifieke trainingen in hun opleidingen, zaols design thinking. Het geeft veel achtergronden rondom makerscultuur, en concrete online cursusses met filmpjs, voorbeelden en toetsvraegn. De introductie module geeft een overzicht wat design thinking is en de module ‘how to practice design thinking’, ontwikkeld doro Guido Stompff, is vooral gericht op de praktijk en is ingeschaald als 5EC.
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Transcript of a lecture during the conference 'Is contemporary art history', Institute of Fine Arts, New York, 28th february 2014.
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In this paper we will be investigating the relevance of artistic practice-based research as a design method for interactive co-design works. Our study is based on Are You for Real?, an urban co-creation project which wasdeveloped by a cross-disciplinary project team with co-design contributions by students and youngsters. Although this case study was initially developed with and for youngsters and students of a technical vocational school, its design and creation approach addressed assumptions that are expected to be valuable for professionals as well as for educators in higher education. This study could contribute to people’s understanding of ‘real-life’ research methods for ‘real-life’ situations. For our reference framework we identified two issues that were brought forward as impediments for new cross-disciplinary courses that dealtwith interactive works in a public space. Following that, the lessons learned from our investigation are suggested as input for the next editions of these courses.
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Abstract: This study sought to provide insight into how art activities influence the well-being of long-term care residents, and how artists and caregivers collaborate in offering these activities. In two long-term care facilities for people with dementia and one for older people with chronic psychiatric disorders, an uncontrolled pre- and post-test study was conducted using a mixed-method design. Forty-six residents participated in the study. Three art activities—(a) dance, (b) music and movement, and (c) visual arts—were studied and co-created with the residents and executed by artists and caregivers together in eight to ten weeks. The Face expression scale (FACE) was used to examine the extent to which participating in the art activity influenced resident mood. Qualitative data were collected via group discussions with artists, caregivers, residents, and an informal caregiver. The results indicated that participating in an art activity positively influenced resident mood (p < 0.000). p-values for the three art activities were: p < 0.000 for dance, p = 0.048 for music and movement, and p = 0.023 for visual arts. The qualitative data revealed that joining an art activity provided a positive effect, increased social relationships, and improved self-esteem for residents. The collaboration between artists and caregivers stimulated creativity, beauty, and learning from each other, as well as evoking emotions.
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The research group ‘Community resilience, participation and social learning’ of theprofessorship Sustainable River Management at Van Hall Larenstein University of Applied Sciences, in the Netherlands explores the contribution of community art and visual arts in relation to complex public participation processes in a context of sustainability.
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We are now faced with numerous examples of the use of the word ‘open’ in the context of education. There are open schools, open universities, open participatory learning infrastructures (OPLI), open courseware (OCW), massive open online courses (MOOCs), open educational resources (OER), open educational practices (OEP) and so on (see, e.g., Atkins, Brown, & Hammond, 2007; Schuwer, van Genuchten, & Hatton, 2015). What these terms at face value seem to share is their reference to the removal of barriers to the access of education. Open universities have relaxed entrance requirements, open courseware and MOOCs allow for free access to courses, as do open educational resources and open educational practices at the levels of materials and practices, respectively, although the kinds of barriers removed and the extent to which they are removed differ widely (Mulder & Jansen, 2015). However, there is more to openness than this prima facie characterization in terms of the removal of barriers reveals. A brief overview of some existing definitions of openness in education can help to make this evident.
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