In this presentation, we offer a conceptual analysis on the notion of Moral Authorship and explore in what ways the notion is promising in the field of Teaching and Education. We compare Moral Authorship with other notions, namely ‘normative professionalism’, ‘the good professional’, ‘reflective professionalism', ‘professional autonomy’, ‘professional responsibility’ and ‘moral craftmanship’. The comparison shows that each concept has a particular focus and use in practice. The notion of Moral Authorship seems promising in at least two ways: the association with authorship leads to a renewed attitude towards professional agency, and it can combine (the most) promising aspects of other concepts. Paper presented at the AME 2017 Conference
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A Europe-wide revival of the idea of bildung as a goal for education has been gaining momentum for a couple of decades. The main idea is that bildung enables teachers, researchers and policy makers “… to explore the ways in which education might be about something more than simply the transmission of our facts and values to the next generation,” to use a quote by Gert Biesta, the Dutch professor of educational theory and pedagogy at the University of Edinburgh. Others often narrow bildung down to a process of becoming a whole person or cultivating one’s self towards civic excellence. Those ideas come from an older tradition with bildung thinkers such as the 19th century Prussian minister of education, Wilhelm von Humboldt, who promoted bildung as a key objective of public education.
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In a lifelong learning society students need to deal with the responsibility to give their learning path direction, find motivation, and prove what they have learned. What pedagogics and what kind of didactic structure do you need to bring this about in higher education? What does it mean for the professionality of the teaching staff, the organization of the teams, and the needed facilities? A co-creational approach is applied in redesigning the curriculum of the undergraduate programme Industrial Design Engineering [Open] Innovator, which offers multidisciplinary projects in authentic learning environments, and caters for the professional profiling needs of our future students. Teaching staff, students, alumni, future students, industry (including the social profit sector), and educational scientists collaborate towards the flexible, integrated and choice-based 'Project M(odular) Curriculum'. This paper describes the arguments for the choices made from an educational point of view, taking the twelve CDIO standards and CDIO syllabus as a blue print. In certain standards, project M goes beyond the framework to fulfil the needs of stakeholders, take the newest useful (engineering) educational research outcomes into account, and come to a curriculum design that will be adaptable and versatile enough to hold value for the coming ten years at least. Based on the experiences of Project M, considerations on refining CDIO standards 5, 8, 11 and 12 are presented in the discussion, together with a rationale to add a rubric score to the CDIO self-evaluation, and the discussion of minor gaps in the CDIO syllabus. LinkedIn: https://www.linkedin.com/in/ellen-sjoer-06506a2/
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Design schools in digital media and interaction design face the challenge of integrating recent artificial intelligence (AI) advancements into their curriculum. To address this, curricula must teach students to design both "with" and "for" AI. This paper addresses how designing for AI differs from designing for other novel technologies that have entered interaction design education. Future digital designers must develop new solution repertoires for intelligent systems. The paper discusses preparing students for these challenges, suggesting that design schools must choose between a lightweight and heavyweight approach toward the design of AI. The lightweight approach prioritises designing front-end AI applications, focusing on user interfaces, interactions, and immediate user experience impact. This requires adeptness in designing for evolving mental models and ethical considerations but is disconnected from a deep technological understanding of the inner workings of AI. The heavyweight approach emphasises conceptual AI application design, involving users, altering design processes, and fostering responsible practices. While it requires basic technological understanding, the specific knowledge needed for students remains uncertain. The paper compares these approaches, discussing their complementarity.
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For environmental governance to be more effective and transformative, it needs to enhance the presence of experimental and innovative approaches for participation. This enhancement requires a transformation of environmental governance, as too often the (public) participation process is set up as a formal obligation in the development of a proposed intervention. This article, in search of alternatives, and in support of this transformation elaborates on spaces where participatory and deliberative governance processes have been deployed. Experiences with two mediated participation methodologies – community art and visual problem appraisal – allow a demonstration of their potential, relevance and attractiveness. Additionally, the article analyzes the challenges that result from the nature of these arts-based methodologies, from the confrontational aspects of voices overlooked in conventional approaches, and from the need to rethink professionals’ competences. Considering current environmental urgencies, mediated participation and social imaginaries still demonstrate capacities to open new avenues for action and reflection.
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This short text was written to accompany the images on the invitation of Laura White, for which I would like to thank her very much. The text is based on a number of publications and the exhibition Object Lessons: The History of Material Education in 8 Chapters, I curated together with Imke Volkers at the Werkbundarchiv – Museum der Dinge, Berlin (Sept. 2016 – Jan. 2017) and the Gewerbemuseum Winterthur (April 2017 – Sept. 2017).
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Recent collection display practices signal what has been described as a “comeback” for the integration of broad-ranging object categories in which the boundaries between these previously separated objects resolve.Mixing objects from different object categories can take many forms, and occurs not only at the level of the objects themselves, but also at institutional levels. For categories such as painting, drawing, and applied arts, or the subcategories within, such as Renaissance drawings, porcelain, or twentieth-century art, are akin to the divisions in curatorial departments, galleries, or exhibition spaces and the people that work within them. Also, museums that were initially not “disciplined” have been re-staged to reflect the originally mixed display, such as the Bode Museum, Berlin. Moreover, even in homogenous collections, a mixing of value and status becomes possible when chronology, subject matter, style, or school are not the guiding principle. Such display strategies of mixing therefore typically create new connections and enable collections of varying values, periods, and object categories to merge and their individual artifacts to meet in new and meaningful ways
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At the age of a failing economic system and undeniable evidence of the effects humankind has had over the planet, it is necessary to look for alternatives to the way we live locally. This article explores the use of designing narratives and metanarratives to co-create imaginaries serving as the needed alternatives. This research starts by considering the historical factors to understand how industrialisation and the loss of traditional practices created a culture of disconnection from Nature in the Girona area, but also looks at why people start now reconnecting with it. The analysis is the foundation for speculative design practices to co-create a new local narrative of connection and regeneration. The project adopted the Integrative Worldviews Framework and used paradoxes to create possible future worldviews based on historical factors and literature. Citizens participated in conversational future-visioning workshops to develop and evaluate their local imagery of the previously created worldviews. This conversation-based exercise evidenced the potential of paradoxes in destructive futures to create imaginaries of regeneration. These imaginaries merge and form future stories. From the future narratives, the practice created cultural artefacts embodying a new culture of connection based on storytelling, traditional jobs, and a mythological understanding of Nature. Finally, as observed at the end of the project, these artefacts allow citizens to adopt them as their culture and expand their current worldview.
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