Indigenous Pottery as Economic Empowerment in Uganda

This article presents, in parts, the findings regarding the viability of indigenous knowledge and skills in terms of economical empowerment in third world countries, Uganda in particular. The paper looks at and compares the income derived from indigenous pottery making by craft‐persons, with that of government salaries for graduate teachers of primary and secondary schools in Uganda. The comparison assists to determine the economical viability of indigenous Gisu pottery. The paper also suggests the incorporation of such indigenous crafts into the formal education system so as to encourage research, diversity in the learning of art, design and technology and provide self‐employment avenues relevant to self, community and the Ugandan state. The researchers were four women from different areas of subject specialisation namely, art & design, history and heography.     

Evaluation in the Design of Complex Systems

We identify literature that argues the process of creating knowledge‐based system is often imbalanced. In most knowledge‐based systems, development is often technology‐driven instead of requirement‐driven. Therefore, we argue designers must recognize that evaluation is a critical link in the application of requirement‐driven development models because it provides the information that keeps the iterative developmental process on track. In this study we took a closer look at the decision‐making in the design of a complex performance system in a non‐profit organization. The purpose was to gain insights into the roles and functions of evaluation during the process of building a performance support system. This study adopted an exploratory case study as its inquiry method. Findings suggested that effective communication is as important a function to evaluation as is decision‐making, and that the implementation of evaluation seldom follows the textbook guidelines. That is, evaluation practice is a patchwork history of the designers' knowledge and experience. Further, neither complexity nor the informality of the evaluation protocols seems to influence the quality of decision‐making.     

试论在设计艺术院校大学生中进行创业教育的构想

面对目前日益严峻的就业形势,根据学科特色,在设计艺术院校内开展以创新和实用为核心的创业教育,已成为设计艺术类高等教育改革和发展的必然选择。设计艺术院校应该结合专业教育、创业培训课程、社会实践以及学生社团等多种方式,对学生进行创业精神以及创业系统知识和技能的培训教育。     

The Artist‐Led Pedagogic Process in the Contemporary Art Gallery: Developing a Meaning Making Framework

Drawing on recent research which examined how selected artist educators perceive themselves as arts practitioners and analysed how these constructions inform their pedagogy, this article proposes a framework of meaning making in the art gallery. Art practice is defined as a process of conceptual and experiential enquiry which embraces inspiration, looking, questioning, making, reflective thinking and the building of meanings. The pedagogic process instigated in the gallery resembles art practice in that artists seek to ‘teach’ skills including questioning and critical reflection and promote experiential learning. Hence artist educators function as facilitators enabling learners to engage directly with art works (which are seen to embody the knowledge of the artist creator and contribute actively to the construction of meaning), whilst sharing their knowledge through dialogic exchange. The devised Meaning Making in the Gallery (MMG) framework encapsulates the pedagogic relation‐ship between artist, learners and artworks in the gallery and proposes a model of creative teaching and learning which has potential application within cultural institutions and beyond.     

Supporting Pupils with Dyspraxia in the Visual Arts Does Drawing from Observation Function as an Official and Discriminatory Discourse?

This article examines the demands that pupils with dyspraxia may face when engaging with the secondary art and design curriculum in a mainstream secondary school. It explores the possibility that there is an exclusive approach to art and design, prioritising a formalist approach to the teaching of specific skills and mastery of techniques, and considers the implications that this may have for such pupils. Specific attention is paid to the role of observational drawing and the demands that this may make for pupils with dyspraxia. The article will explore existing guidance offered for subject‐based practitioners and aims to contextualise this within the current debates on art and design education and the recollections of individual experiences of art and design. It will outline the hypothesis that pupils with dyspraxia may be one group of pupils amongst many for whom their art and design experience does not offer an inclusive experience, and it seeks to question the existence of a hierarchy of practice and its subsequent relevance.     

Bridge or Barrier? Writing in Secondary Art & Design Education in the UK

What role does writing play in secondary art & design education? In the context of current debates on access and participation in the visual arts, the nature of art discourse and the value of creative subjects within the curriculum, what impact do the existing requirements have on students, teachers and the broader arena of the visual arts? This article presents the findings‐to‐date of an ongoing pilot study which set out to explore these questions. Drawing on interviews with teachers and exam board representatives, and a review of student texts and exam board documents and resources, the study found that even though writing is only a minor part of what is an essentially practice‐based subject, it was a source of significant concern and confusion. A marked disconnect was revealed between intent and practice, which in turn highlighted a series of underlying values and beliefs that seemed to further drive this disconnect. The study calls for a wider discussion of the way writing is framed, used, supported and assessed in the art & design classroom, and the need to ensure that any pedagogy and resources developed align with the values as well as curriculum of art & design. It also previews how strategies created in the context of developing more inclusive and flexible writing skills among curators and other art museum professionals may offer a useful model. The study is part of a larger investigation into the discourse/s of the visual arts, with a focus on issues of access and participation.     

Moments of Intensity: Affect and the Making and Teaching of Art

Affect often arises unexpectedly within the process of making art (along with other creative activities). In this article I argue for affect as a necessary and constructive dynamic within educational processes specifically for art and design. After a consideration of its recent neglect within art education, I revisit the notion of affect with reference to a number of thinkers who provide different perspectives, but particularly through the lens of the US psychologist Silvan Tomkins. Through him and others I seek to understand how affect can be recognised and cultivated in pedagogic situations. I do so by reflecting on the making and teaching experiences of students following an MA in Art and Design in Education and a practice‐based PhD, as witnessed by me (supervisor/co‐tutor), as recounted by students and as discussed in post‐event conversation/semi‐structured interviews.     

高职网页设计制作教学体系研究与实践

依据行业对人才的需求,针对高职艺术设计专业的网页设计制作课程教学与工作实际相脱离的现状,对高职网页设计制作教学体系进行了研究。应秉持网页设计中技术服务艺术、艺术服务人性的这样的一种理念进行教学改革;以就业岗位对人才知识结构、能力的要求为依据,进行准确的职业定位;建立完整的教学体系,优化选择教学内容;加强网页设计环节,实现网页设计环节、教学评估环节的教学实践。培养出基础理论扎实、设计水平高、技术应用能力强的网页设计人才。     

The contradictory location of high school apprenticeship in Canada

Recent education policies focus on making youth pathways more transparent while addressing skills shortage. However, there appears to be ambivalence about the target audience for ‘new vocational’ programmes in secondary schools and how they should be organized. This paper begins from the observation that Canadian policy‐makers, like those in other countries, have shown increasing interest in bringing vocational and academic tracks into closer alignment. However, drawing on empirical data from a number of case studies of high school apprenticeship, we argue that persistent tensions in educational policy and practice can be explained by the legacy of the historical development of high school vocational education, the ambivalent position of vocational education in the ‘knowledge‐based economy’ and the competing interests of different partners. We conclude that greater awareness of the distributional issues that underlie vocational education policies is needed.     

Programming as Design: The Role of Programming in Interactive Media Curriculum in Art and Design

The number of university undergraduate courses in the area of interactive media is increasing. Many of these courses are based in the schools of art and design that have traditionally valued and focused on developing the aesthetic and artistic design skills of their students. However, because of the rapid changes in new technology the relation between the technology and design has become complex. This poses new challenges for the educators in this field. The main challenge is defining the role of programming in the curriculum and the relationship between ‘coding’ skills and ‘design’ skills. The article examines different conceptual models of programming and suggests that the concept of programming as artistic and creative practice and ‘programming as design’ would be more suitable for the art and design curriculum.     

Facilitating Meta‐learning in Art and Design Education

Art and design programmes are educationally unique in that students themselves play a central role in determining their own learning needs. To be successful in their study, art and design students are required to operate with a high degree of independence and self‐direction. Developing the skills for greater self‐reliance requires students to become aware of their conceptions of the subject of study, and of themselves as learners in a particular learning context. Developing greater self‐awareness as a learner and becoming more independent in one's learning is captured by the concept of meta‐learning. In this article I present an alternative strategy to prevalent diagnostic approaches to assist in developing a student's capacity for meta‐learning in the subject context of art and design. An inquiry cycle was created to provide a structure within which to facilitate generative thinking about learning through engaging with fundamental questions related to the subject of learning (art and design) rather than the learning subject (i.e. the student). This method represents a departure from existing approaches to engaging students in meta‐learning. A pilot study used to trial the effectiveness of this strategy is also presented here. The inquiry map, and the conceptual base upon which it was developed, were found to be useful ways to structure reflective thinking about learning and to assist in developing a student's conception of the subject.     

Envisioning the Future: Working toward Sustainability in Fine Art Education

Fine art education provides students with opportunities to acquire knowledge and skills to respond creatively to their experience of society and culture. Fostering creative ways of knowing, thinking and doing requires studio learning conditions that promote the exploration of embodied perceptions, material sensibilities and conceptual ideas that are provisional, socially constructed and ever changing. Traditionally, art schools provided these conditions unchallenged because they were autonomous. Since the 1980s, however, art schools have been integrated into the academy, and face increasing pressure to meet the institutional demands of being in a university. Some argue this changed status means the academy, with its research and pedagogic traditions, is actually straitjacketing creativity. Furthermore, contemporary art practice has changed as artists are increasingly experimenting with interdisciplinary modes of working. This article discusses a two‐year major change initiative, undertaken within an urban Australian art school, designed to respond to this complex set of changed circumstances. It considers ways to address institutional compliance and viability demands while maintaining deeply held values about how to foster creativity in undergraduate students. The outcome is a new organising structure and renewed curriculum for the largest programme offering in the school: the fine art undergraduate degree. Educational renewal is conceptualised as a creative process and the approach to change is thus adapted from creative research methodologies. By treating pedagogy and curriculum design as a creative process, this change initiative, rather than straitjacketing creativity, has re‐envisioned an epistemological framework for undergraduate fine art that will sustain creativity education into the future.     

Towards a Transformative Epistemology of Technology Education

Technology Education offers an authentic and invaluable range of skills, knowledge, capabilities, contexts and ways of thinking for learners in the 21^st century. However, it is recognised that it occupies a comparatively less defined and more fragile curricular position than associated, but longer established, subjects such as Mathematics and Science. While recognising that no single factor lies behind such a condition, this paper draws upon thinking in the philosophy of technology, technology education and the ontology of artefacts to argue that transformation may be considered as an epistemic source for technology in a similar way to ‘proof’ within Mathematics and ‘interpretation’ within Science. Encapsulating technology's intimate relationship with materials, it is ultimately argued that the transformation of a technical artefact from an ill‐defined into a well‐defined ontological state constitutes a prime source of technological knowledge for pupils. Moreover, it provides an alternative route into further consideration about the nature of the domain, epistemology and curricular identity of the subject.     

正确运用缄默知识,促进高职艺术设计教学改革

缄默知识是人类非常重要的一种知识类型,也是艺术设计专业主要的知识形态。高职艺术设计专业类学生通过工学结合,在"干中学"是获取该专业缄默知识最有效的途径,缄默知识对高职艺术设计专业学生的显性知识获取、实践技能提升、创新能力培养等方面发挥着至关重要的作用。     

Meaning‐making with colour in multimodal texts: an 11‐year‐old student's purposeful ‘doing’

Colour, a visual element of art and design, is a semiotic mode that is used strategically by sign‐makers to communicate meaning. Understanding the meaning‐making potential of colour can enhance students’ understanding, appreciation, interpretation and composition of multimodal texts. This article features a case study of Anya, an 11‐year‐old student who participated in a classroom‐based research project that explored developing student visual meaning‐making skills and competencies by focusing specifically on a selection of visual elements of art and design in picture books and graphic novels. Excerpts from Anya's interview about her multimodal print text revealed that her intentional use of colour was affected by her participation in the learning opportunities afforded during the explorative study that included overt instruction about making meaning with colour. The semiotic analysis of Anya's use of colour in her multimodal text included a consideration of how the various distinctive features of colour were evident in her work. The article concludes with a discussion of pedagogical and assessment issues associated with teaching students about colour and other visual elements of art and design.     

Ethos of Ambiguity: Artist Teachers and the Transparency Exclusion Paradox

Addressing changes in conditions for practitioners that can be related to education policy in England and Wales since 2010, this article presents issues faced by teachers of art and design and their responses in practice. The current insistence on transparency in education emerges through policy that audits performativity, in a limiting skills bank. Practitioners in art and design are particularly affected by what I term ‘the transparency‐exclusion paradox’, as they battle to maintain the subject area and are ‘othered’ by the English Baccalaureate and Progress 8. I will discuss an emergent ‘ethos of ambiguity’ among artist‐teachers and contemporary artists, with a theoretical basis informed by Beauvoir and Foucault. Empirical data from research participants will be evidenced, to explore strategies of response in inclusive social practice. This article adds to literature that considers the effects of policy in implementation and it contributes to research on creative expressions of ambiguity in the arts.     

Preparing Primary Teachers to Teach Art & Design Effectively

This paper is an account of an action research project funded by the Teacher Training Agency and co‐ordinated by the Institute of Education, University of London. It critically considers the features, methodology and main findings of an enquiry into the nature of art and design components of courses of primary initial teacher education in nine institutions of higher education in the U.K. The project provides evidence to support ways in which primary teachers can effectively transform their subject knowledge in art and design into subject‐specific pedagogical knowledge. The value — for the participants — of a collective case study approach to research, along with some wider implications for art and design courses in initial teacher education are also identified.     

Making Meaningful: Intention in Children's Art Making

Children's art work has often been the subject of study by researchers seeking to gain insight into the role of art making in children's learning and development. However, rarely are children's own explanations of their art making used to inform these studies. Children's perceptions of their own art making are important for research and practice in art education, because their artistic experiences and motivations determine how they will engage in and respond to art making activities. This study used ethnographic methods to learn about the art making that took place over the course of one year in an elementary school art room, and to gain insight into the students' experiences and perceptions of art‐making activity. Data were analysed using a socio‐cultural framework. By asking children why they made art and exploring children's own explanations of their art making, this study reveals some of the important intentions that children bring to their artistic activity, and some of the ways that children make meaning through art making.     

ISD model building: From tabula rasa to apple peel

An evidence‐based practice (EBP) model is proposed to replace the more‐art‐than‐science “rope bridge” currently spanning the defining space of a training need and the designing space of a training curriculum. The rope bridge analogy symbolizes a way to address perceived deficiencies and research gaps in the analysis‐design‐development‐implementation‐evaluation (ADDIE) model. Not to be construed as mere window dressing, a developmental model of EBP‐adherent instructional design is offered as a prototype for changing ADDIE's internal landscape and making instructional design more effective.     

Modelling Experiential Knowledge Ethically: An Artefact‐Based Approach to Visually Documenting a Participatory Design Process with Young People

This article contributes to the growing debate within art and design education research about the role, legitimacy and accountability of artefacts in the creation and generation of knowledge. I present an artefact‐based approach to visually documenting and disseminating my doctoral practice‐based fieldwork that protected the anonymity of the participants whilst supporting my exploration of the situational, interactional and tacit dimensions of participation. Constructing a three‐dimensional scaled model of the fieldwork setting and using narratives from my field notes, I undertook a cyclical reflective process where I reconstructed critical moments that took place. This was used as both a tool for communicating my participatory design educational practice and for evaluating my findings with the participants. By sharing this sense‐making process, I offer an ethical means of visually documenting fieldwork when working in sensitive contexts and with vulnerable participants, setting out the dual role this design artefact played as both a producer and carrier of experiential knowledge.