Currently, various higher education (HE) institutes develop flexible curricula for various reasons, including promoting accessibility of HE, the societal need for more self-regulated professionals who engage in life-long learning, and the desire to increase motivation of students. Increasing flexibility in curricula allows students to choose for example what they learn, when they learn, how they learn, where they learn, and/or with whom. However, HE institutes raise the question of what preferences and needs different stakeholders have with regard to flexibility, so that suitable choices can be made in the design of policies, curricula, and student support programs. In this workshop, we focus on student preferences and share recent insights from research on HE students' preferences regarding flexible education. Moreover, we use participants’ expertise to identify new (research) questions to further explore what students’ needs imply for several domains, namely curriculum-design, student support that is provided by educators/staff, policy, management, and the professional field. Firstly, a conceptual framework on flexible education and student’s preferences will be presented. Secondly, participants reflect in groups on student personas. Then, discussion groups have a Delphi-based discussion to collect new ideas for research. Finally, participants share the outcomes on a ‘willing wall’ and a ‘wailing wall’.
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To what extent do art students profit from cultural diversity within their group?
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Over the past fifteen to twenty years we have witnessed Dutch and European higher art education become increasingly more international, a development that is reflecting globalisation in the art world in general. The artists we work with in many of our institutes and (master) programmes come from a diversity of cultural backgrounds, sometimes covering almost all continents.My doctoral research Global Encounters at a Dutch MFA focuses on the manifestation of cultural differences within and the conditions for an intercultural dialogue about art and artistic concepts within higher art education. The question is whether these cultural differences are made explicit within the dialogues conducted in educational settings and if and how students profit from this diversity in the development of their individual practice.In higher art education students and tutors exchange views on art and artistic concepts through regular conversations. Verbalizing what they see, experience and think is therefore an important ingredient of all the encounters happening at MFA programs: a Western master program focused on art always requires room for and installs a culture of conversation. But within this conversation, cultural confusion can arise. A South-Korean student at our institute recently described her experience of how coming from another, non-Western country, being raised in a different art context, confronted her with many underlying concepts in art she did not necessarily share or even could recognize and describe as such: “I was more like an estranged Babylonian that did not understand the exchanged language of ‘ways of seeing’ […] How can I say what I see, what can I see, or more likely what should I see and after all, what do I see? If I cannot say it, don’t I see it?” This experience is not a merely individual one. Hosting a wider range of cultural backgrounds increases the diversity in concepts and constructions that are implicitly underlying the discussions and conversations within the program. As much as we would like to think that every conversation at an art program leaves room for cultural differences to be made explicit, openly discussed and fruitfully addressed, it might be the case that in the daily educational practice many of them still remain rather under the surface.
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More than 25!years after Moore’s first introduction of the public value concept in 995, the concept is now widely used, but its operationalization is still considered difficult. This paper presents the empirical results of a study analyzing the application of the public value concept in Higher Education Institutions, thereby focusing on how to account for public value. The paper shows how Dutch universities of applied sciences operationalize the concept ‘public value’, and how they report on the outcome achievements. The official strategy plans and annual reports for FY2016 through FY2018 of the ten largest institutions were used. While we find that all the institutions selected aim to deliver public value, they still use performance indicators that have a more narrow orientation, and are primarily focused on processes, outputs, and service delivery quality. However, we also observe that they use narratives to show the public value they created. In this way this paper contributes to the literature on public value accounting.
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Living Lab Environments (LLE) are a relative new phenomenon, especially in higher education. There is no unambiguous definition of LLE in the literature and several LLE are discussed. Where traditional education takes place in a classroom (a controlled internal environment), LLE experiments in a real-life environment with all kinds of stakeholder groups needed. For higher education, this research explores whether this form of education in practice is appropriate by mapping the success and failure factors. Interviews with coordinators of labs and their experience with these labs will provide clues for future research.
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The Ecocentric and Anthropocentric Attitudes toward the Sustainable Development (EAATSD) scale measures environmental concern in relation to sustainable development. This article will discuss how this scale was tested with three groups of Dutch higher education students. Findings demonstrate that anthropocentric and ecocentric values are independent of the students’ chosen course of study, suggesting that students attracted by the ‘sustainable development’ course title do not necessarily associate ‘sustainability’ with ecocentric aims. This article discusses why ecocentric values are beneficial to the objective of a sustainable society and proposes ways forward in which these values can be enhanced in learners. https://doi.org/10.3390/educsci7030069 https://www.linkedin.com/in/helenkopnina/
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In higher education, design thinking is often taught as a process. Yet design cognition resides in action and design practices. Dewey’s pragmatism offers a solid epistemology for design thinking. This paper describes a design research whereby Dewey’s inquiry served as the foundation for educating students. Three extensive educational case studies are presented whereby a design inquiry was introduced and became part of the curricula. It was found that students and coaches struggled with doubts experienced as a result of the co-evolution of problem and solution, means and ends. Four coping mechanisms were observed: (1) focus on problems, risking analysis paralysis; (2) focus on creative problem-solving, risking unsubstantiated design; (3) focus on means, risking fixation; and (4) focus on future ends, risking hanging on to a dream. By establishing a joint practice and a community of learnersthrough show-andshare sessions, the students establish solid ground.
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In today’s technological world, human intertwinement with the rest of nature hasbeen severely diminished. In our digital culture, many people hardly have any direct experience of and sense of connection with “the real” of the natural world. The author assumes that when we want to find ways to mend this gap, arts-based environmental education (AEE) can play a meaningful role. In AEE, artmaking is regarded as itself a way of potentially gaining new understandings about our natural environment. As a reflective practitioner, the author facilitated three different AEE activities, at several times and at diverse locations. On basis of his observations, memories, written notes, audio-visual recordings and interviews with participants, teachers and informed outsiders, he interpreted the experiences both of participants and himself. To this end he employed interpretative phenomenological analysis paired with autoethnography.The artmaking activities researched here aimed to bring about a shift in focus. Participants were encouraged to approach natural phenomena not head-on, but in an indirect way. Moreover, the artmaking process aspired to heighten their awareness to the presence of their embodied self at a certain place. The research questions that the author poses in this study are: (1) What is distinctive in the process of the AEE activities that I facilitate?; (2) Which specific competencies can be identified for a facilitator of AEE activities?; and (3) Does participating in the AEE activities that I facilitate enhance the ability of participants to have a direct experience of feeling connected to the natural world?In this explorative study, the author identifies facilitated estrangement through participating in AEE as an important catalyst when aiming to evoke such instances of transformative learning. In undergoing such moments, participants grope their way in a new liminal space. Artmaking can create favorable conditions for this to happen through its defamiliarizing effect which takes participants away from merely acting according to habit (on “autopilot”). The open-ended structure of the artmaking activities contributed to the creation of a learning arena in which emergent properties could become manifest. Thus, participants could potentially experience a sense of wonder and begin to acquire new understandings – a form of knowing that the author calls “rudimentary cognition.” The research further suggests that a facilitator should be able to bear witness to and hold the space for whatever enfolds in this encounter with artistic process in AEE. He or she must walk the tightrope between control and non-interfering.The analysis of the impacts of the AEE activities that were facilitated leads the author to conclude that it is doubtful whether these in and of themselves caused participants to experience the natural environment in demonstrable new and deep ways. He asserts that most of their awareness was focused on the internal level of their own embodied presence; engagement with place, the location where the AEE activity was performed, seemed secondary. The findings show that AEE activities first and foremost help bring about the ignition and augmentation of the participants’ fascination and curiosity, centered in an increased awareness of their own body and its interactions with the natural world. The present study can be seen as a contribution to efforts of envisaging innovative forms of sustainable education that challenge the way we have distanced ourselves from the more-than-human world.
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We explored how two types of study outcomes, perceived competence and earned credits, are interrelated, and influenced by self-regulation, motivation (intrinsic value and expectancy of procrastination) and deep approach to learning. The relationships between these variables were analysed in a sample of 894 first-year Dutch university students, using linear structural modelling. Results show that learning process factors play other roles in explaining perceived competence than in explaining earned credits. Perceived competence and earned credits, as two sides of the same coin in competence-based education, are only weakly related. Furthermore, this study shows that it is most likely that perceived competence affects earned credits, but a model in which earned credits affects perceived competence as possible causal relationship was also accepted, although the relationship remains weak. The practical implication of this study is that, as long as perceived competence and the number of credits are not related, competence-based higher education will not obtain optimal efficiency. For participants and researchers in higher education, it remains important to be aware that different learning goals may evoke different study behaviours in students, and the challenge for higher education is to align these goals.
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How can the teaching of biology contribute to sustainability education? The authors of this article suggest that their approach has the potential to increase the students' level of engagement with the natural environment. The scope of biology teaching can be widened by allowing room for more experience and art-based activities. Such a change may deepen and expand the learners' insights in natural phenomena, which in turn might foster or enhance an attitude of care-taking for the natural environment.
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