The COVID-19 pandemic has forced higher education (HE) to shift to emergency remote teaching (ERT), subsequently influencing academic belonging and social integration, as well as challenging students' engagement with their studies. This study investigated influences on student engagement during ERT, based on student resilience. Serial mediation analyses were used to test the predictive effects between resilience, academic belonging, social integration, and engagement.
MULTIFILE
In this paper, the success of students during their first year at the Amsterdam University of Applied Sciences at the faculty of Communication and Creative Business (formerly called Media, Information and Communication) will be compared prior to Covid-19 and during Covid-19 in the first year. With the purpose to determine the influence of the transition from offline to online education on student success. Student success is defined in two ways. First by the general average grade point (GPA) of all the exams in this first year, which in the Netherlands is the preliminary examination (propedeuse diploma issued after the first year of studies in the Netherlands). Second, the time it takes to pass all first-year exams and earn the propedeuse (diploma of the preliminary examination). Furthermore, the mandatory student choice test (SCT), taken prior to the entrance of the University, is compared with the success of the students and examined on its predictive value. This will ultimately provide insight in the implications of a year of emergency remote teaching and enhance the knowledge about influences of online education upon student success in higher education.
DOCUMENT
The COVID-19 pandemic forces millions of teachers worldwide to engage in online teaching. Teachers are exploring and experimenting with various digital forms to deliver learning content, keep communicating with students and colleagues, and assess learning outcomes. A digital knowledge-building community gradually emerges and becomes more vivid. This note reports results from a study among honors teachers and administrators from 18 schools of a large Dutch university who all shared their problems and recommendations after the first five weeks of remote teaching, Spring 2020.
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Society continues to place an exaggerated emphasis on women's skins, judging the value of lives lived within, by the colour and condition of these surfaces. This artistic research will explore how the skin of a painting might unpack this site of judgement, highlight its objectification, and offer women alternative visualizations of their own sense of embodiment. This speculative renovation of traditional concepts of portrayal will explore how painting, as an aesthetic body whose material skin is both its surface and its inner content (its representations) can help us imagine our portrayal in a different way, focusing, not on what we look like to others, but on how we sense, touch, and experience. How might we visualise skin from its ghostly inner side? This feminist enquiry will unfold alongside archival research on The Ten Largest (1906-07), a painting series by Swedish Modernist Hilma af Klint. Initial findings suggest the artist was mapping traditional clothing designs into a spectral, painterly idea of a body in time. Fundamental methods research, and access to newly available Af Klint archives, will expand upon these roots in maps and women’s craft practices and explore them as political acts, linked to Swedish Life Reform, and knowingly sidestepping a non-inclusive art history. Blending archival study with a contemporary practice informed by eco-feminism is an approach to artistic research that re-vivifies an historical paradigm that seems remote today, but which may offer a new understanding of the past that allows us to also re-think our present. This mutuality, and Af Klint’s rhizomatic approach to image-making, will therefore also inform the pedagogical development of a Methods Research programme, as part of this post-doc. This will extend across MA and PhD study, and be further enriched by pedagogy research at Cal-Arts, Los Angeles, and Konstfack, Stockholm.
