Authentic learning, emerging technologies and graduate attributes: Experience...husITa
Internationally, there has been increasing concern by educators regarding developing graduate attributes such as critical scholarship, citizenship and lifelong learning to prepare students as agents of social good dealing with the complexity and uncertainty of the twenty-first century (Barnett, 2004). Conventionally, universities have used constructive alignment (Biggs, 2012) as a means of embedding graduate attributes such as the development of critical and reflective skills into the curriculum. However, the possibility of applying the nine principles of authentic learning (Herrington, Reeves, & Oliver, 2010) within the social work curriculum to facilitate the development of graduate attributes, has not been fully explored in the higher education or social work (SW) education literature. This paper addresses this gap in the literature by examining how the use of authentic learning principles by social work educators could lead to desired graduate attributes for students. In investigating the potential that authentic learning may have for developing graduate attributes SW education, this paper draws on in-depth interviews about authentic learning which were conducted with five South African SW educators from three differently placed higher education institutions. These interviews were part of a larger national study, which investigated the role that emerging technologies (ET) >Veletsianos, 2011) can play in improving teaching and learning in higher education. The transcripts of the interviews were analysed by the authors to establish whether or not authentic learning principles identified by Herrington et al. (2010) and ETs have the potential to develop desired graduate attributes in students. The findings revealed not all nine elements of authentic learning and ET existed in the case studies.
Oxford Brookes: Innovating the student experienceAnn Padley
Evolve Conference | 23 January 2020 | Oxford Brookes University
The Innovation Programmes at the University of Bristol Centre for Innovation and Entrepreneurship were created to reimagine how to prepare students to succeed in this changing world. The aim: to graduate the next generation of innovators and entrepreneurs with the adaptability, agility, transdisciplinary and innovative thinking to make positive differences in an ever-changing world.
The programmes offer undergraduate students the opportunity to study one of 14 core disciplines along with innovation; a first of its kind offering in the UK.
Ann and Malé share how integrating innovation and entrepreneurship across the four-year degree has shaped teaching and learning at the Centre and how the collaborative, transdisciplinary team of academics and industry professionals have actively and passionately engaged with students as co-creators.
Heeft u in de kerk gezeten en wilt u het nog eens nalezen? Heeft u in een andere kerk gezeten of gaat u nooit naar een kerk? Maak je een beamerpresentatie en wil je inspiratie opdoen?
Lees het gerust eens door!
(Van de psalmen en gezangen staat de tekst er niet in, omdat Slideshare de muzieknotatie niet ondersteunt.)
Presentation on development of marketing plans for heritage sites, based on Port Arthur Historic Site Management Authority (PAHSMA) Strategic Marketing Plan, 2007-2010.
Prepared and presented at a postgraduate workshop on heritage management conduced by PAHSMA and ANU at the Port Arthur Historic Site, September 2010.
Presentation on developing a marketing plan for a heritage site, based on the Port Arthur Historic Sites strategic marketing plan 2007-2010, presented to participants in a post-graduate heritage management course conducted by PAHSMA and ANU at the Port Arthur Historic Site, September 2010.
Authentic learning, emerging technologies and graduate attributes: Experience...husITa
Internationally, there has been increasing concern by educators regarding developing graduate attributes such as critical scholarship, citizenship and lifelong learning to prepare students as agents of social good dealing with the complexity and uncertainty of the twenty-first century (Barnett, 2004). Conventionally, universities have used constructive alignment (Biggs, 2012) as a means of embedding graduate attributes such as the development of critical and reflective skills into the curriculum. However, the possibility of applying the nine principles of authentic learning (Herrington, Reeves, & Oliver, 2010) within the social work curriculum to facilitate the development of graduate attributes, has not been fully explored in the higher education or social work (SW) education literature. This paper addresses this gap in the literature by examining how the use of authentic learning principles by social work educators could lead to desired graduate attributes for students. In investigating the potential that authentic learning may have for developing graduate attributes SW education, this paper draws on in-depth interviews about authentic learning which were conducted with five South African SW educators from three differently placed higher education institutions. These interviews were part of a larger national study, which investigated the role that emerging technologies (ET) >Veletsianos, 2011) can play in improving teaching and learning in higher education. The transcripts of the interviews were analysed by the authors to establish whether or not authentic learning principles identified by Herrington et al. (2010) and ETs have the potential to develop desired graduate attributes in students. The findings revealed not all nine elements of authentic learning and ET existed in the case studies.
Oxford Brookes: Innovating the student experienceAnn Padley
Evolve Conference | 23 January 2020 | Oxford Brookes University
The Innovation Programmes at the University of Bristol Centre for Innovation and Entrepreneurship were created to reimagine how to prepare students to succeed in this changing world. The aim: to graduate the next generation of innovators and entrepreneurs with the adaptability, agility, transdisciplinary and innovative thinking to make positive differences in an ever-changing world.
The programmes offer undergraduate students the opportunity to study one of 14 core disciplines along with innovation; a first of its kind offering in the UK.
Ann and Malé share how integrating innovation and entrepreneurship across the four-year degree has shaped teaching and learning at the Centre and how the collaborative, transdisciplinary team of academics and industry professionals have actively and passionately engaged with students as co-creators.
Heeft u in de kerk gezeten en wilt u het nog eens nalezen? Heeft u in een andere kerk gezeten of gaat u nooit naar een kerk? Maak je een beamerpresentatie en wil je inspiratie opdoen?
Lees het gerust eens door!
(Van de psalmen en gezangen staat de tekst er niet in, omdat Slideshare de muzieknotatie niet ondersteunt.)
Presentation on development of marketing plans for heritage sites, based on Port Arthur Historic Site Management Authority (PAHSMA) Strategic Marketing Plan, 2007-2010.
Prepared and presented at a postgraduate workshop on heritage management conduced by PAHSMA and ANU at the Port Arthur Historic Site, September 2010.
Presentation on developing a marketing plan for a heritage site, based on the Port Arthur Historic Sites strategic marketing plan 2007-2010, presented to participants in a post-graduate heritage management course conducted by PAHSMA and ANU at the Port Arthur Historic Site, September 2010.
Signature Pedagogies in Doctoral Education Are They Adapta.docxaryan532920
Signature Pedagogies in Doctoral Education: Are They Adaptable for the Preparation of
Education Researchers?
Author(s): Chris M. Golde
Source: Educational Researcher, Vol. 36, No. 6 (Aug. - Sep., 2007), pp. 344-351
Published by: American Educational Research Association
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Research News
and Comment
Signature Pedagogies in Doctoral Education:
Are They Adaptable for the Preparation of
Education Researchers?
by Chris M. Golde
This article describes two practices that can be considered signature
pedagogies of doctoral education, one in neuroscience (the journal
club) and one in English studies (the list). The practices are routinely
found in these and neighboring disciplines but are not found in other
fields. The journal club and the list share the goal of acquainting students
with the literature of a field, but apart from that, they are very different.
In addition to teaching students to work with the literature, they serve
other pedagogical goals, including socializing students into disciplinary
norms and identities. Thus they serve as windows into the underlying
culture of their home disciplines. This article considers the value of
adapting these practices into education doctoral programs and offers
suggestions for how to modify the practices to suit education.
Keywords: doctoral education; doctoral pedagogy; educational
researchers; graduate education; literature review
C
ompetently working with or "knowing" the literature of
a field is important for scholarship in all disciplines,
although it manifests somewhat differently in different
fields. All researchers and scholars work within particular tradi-
tions and build on, modify, or overturn that which has gone
before. Learning the literature requires far more than simply read-
ing widely, regurgitating key phrases and findings, and genu-
flecting to seminal researchers. It is integral to any scholarly
investigation. For educational research,
to advance our collective understanding, a researcher or scholar
needs to understand what has been done before, the strengths and
weaknesses of existing studies, and wh ...
In undergraduate research, students learn and are assessed in ways that come as close as possible to the experience of academic staff carrying out their disciplinary research.
Vaughan, michelle connecting the dots nftej v27 n3 2017William Kritsonis
William Allan Kritsonis, Editor-in-Chief, NATIONAL FORUM JOURNALS (Founded 1982). Dr. William Allan Kritsonis, Distinguished Alumnus, Central Washington University, College of Education and Professional Studies, Ellensburg, Washington; Invited Guest Lecturer, Oxford Round Table, University of Oxford, United Kingdom; Hall of Honor, Prairie View A&M University/Member of the Texas A&M University System. Professor of Educational Leadership, The University of Texas of the Permian Basin.
Issues in Linking Teaching and Discipline Based Research: Disciplinary and De...NewportCELT
Professors Alan Jenkins (Oxford Brookes University) and Mick Healey (University of Gloucestershire) present Session 1 to the Higher Education Academy All Wales Research-Teaching Nexus Action Set Conference at Gregynog Hall, 1-2 September 2009 (near Newtown, Powys, Wales, UK). Session is introduced by the conference convenor Professor Simon Haslett of the Centre for Excellence in Learning and Teaching at the University of Wales, Newport (to skip introduction move to slide 2).
Faculty Adoption of Technologies in Team-Based Learning ClassroomsBradford Wheeler
Wheeler, B., Shih, M. , & Weaver, GC. Faculty Adoption of Technologies in Team-Based Learning Classrooms. Poster session presented at: New England Faculty Development Consortium (NEFDC) 2015, May 29; Fairfield, CT.
Typologies of learning design and the introduction of a “ld type 2” case exampleeLearning Papers
Author: Eva Dobozy
This paper explores the need for greater clarity in the conceptualisation of Learning Design (LD). Building on Cameron’s (2010) work, a three-tiered LD architecture is introduced. It is argued that this conceptualisation is needed in order to advance the emerging field of LD as applied to education research.
Design Lab! Developing and Sustaining Capacity to Design Effective Online Cou...Lisa Johnson, PhD
Presentation given at OLC Innovate (April 2016, New Orleans).
Johnson, L., Kolodziej, M. & Shean, A. (2016). Design lab! Developing and sustaining capacity to design effective online courses and programs [Presentation file]. Online Learning Consortium - Innovate Conference. New Orleans, Louisiana, USA.
Lecture 4 on Critical Perspectives in Design Ethnography and Anthropology for undergraduate students at Swinburne University. We highlight the need to think about gender, power, politics and so forth to go beyond conventional design approaches
Research Through Industrial Design Industrial Design In The Context Of An A...Gavin Melles
The creative arts and industries, including design, are currently legitimating to higher
education and funding bodies how project work, documentation of research process and critical
reflection is the appropriate mix for scholarship in these fields. Central to industrial design is the
role of making and products in the design research process although this emphasis may not be
shared by the fields with which industrial design works. Cooperative Research Centers (CRCs) are
contexts where science, design and industry collaborate offering unique opportunities to examine
interdisciplinary similarity and difference and an environment for design research to prove to
government and higher education the legitimacy and quality of its work. Drawing on evidence
from two recent doctoral projects in CRC industry/university collaboration for Wood Innovation
this paper analyses the design, science encounter and its consequences for knowledge production
in the project text. The authors further argue that only a balance of prototype, process and
reflection can help establish the academic and disciplinary status of design, itself a precondition
for convincing the institutional skeptics of the current and future legitimacy and value of the creative fields.
2. 758 Gavin Melles / Procedia Social and Behavioral Sciences 2 (2010) 757–761
dual commitment to professional and scholarly values (Harman 1989) and acculturation of industry experienced
staff to ‘new’ academic practices (Rosch & Reich, 1996). Another key change for faculty and institution alike was
the development of research cultures in new universities and vocational fields, with consequent effects on staff (see
Bazeley, 1994; Beverland & Breverton1998). Prior to the reorganization of HE sector in Australia, as Davis &
Broadbent (1987) show, design was mainly taught in Training and Further Education (TAFE) with Institutes of
Technology and Colleges of Advanced Education making up the other providers, in a sector postgraduate degrees
and academic research were virtually unknown.
There are three broad meanings for the admittedly ambiguous term ‘design research’ (see Roth, 1999). The first
refers to industry-based practices or inquiry (‘research’), which aims to develop client briefs into products, spaces
and so forth (see Laurel 2003). Second, is the tradition of academic scholarship apparent in mainstream academic
disciplines and tribes (Becher 1989). When Durling (2002) observes ‘that deep understanding of the nature of
research is limited’ (p.80) in design schools he is referring to this second category. Third, there is an ever increasing
call for the development of creative and practice-based paradigms of ‘research’. Including through the introduction
of professional, practice-based and studio based doctorates. However, the academic credibility of such degrees is
debated in the academy (During 2002). As a result of these conflicting forces, it is not surprising that design
educators also have an eclectic knowledge base (Cliff & Woodward 2004). Studies in the related built environment
fields in the UK, for example, have found that faculties are transcended by different understandings of practice,
consultancy and research (Durning & Jenkins, 2005; Griffiths, 2004), which has led some to suggest that schools
and faculties house different academic and practice-oriented tribes or communities of practice (Durning 2004; see
Wenger 1999). In as study site close to the concerns of this study, Hazlekorn (2008) highlights the malaise of
vocational faculty in an applied arts department of a new university, hired originally to teaching only positions,
coping with some difficulty with a new institutional agenda for research: ‘As a consequence, many faculty lack the
requisite research background or experience and have limited capacity to compete for funding or produce the
required outcomes … Moreover, many were appointed initially to a teaching-only role in an institution which did
not prioritize research or scholarship’ (Hazlekorn 2008, p.158).
2. Institutional context and study setting
The site of this study became a dual-sector university in 1992, following its history as a Technical School and
CAE. In the so- dual-sector (TAFE/HE) institutions articulation pathways for students between the two sectors are
encouraged, and this is true for the site of this study (e.g. Doughney, 2000); the two sectors differ with the emphasis
on workplace skills and competencies in TAFE and research having contested place in TAFE (see Elliott, 1996).
Following the development of undergraduate degrees in several design fields, in 2003 a separate department for
postgraduate research offering research degrees was established (Barron, Anderson, & Jackson, 2005). Academic
credentialing of staff, increasing recruitment of students into research degrees, and recruitment of doctorally
credentialed staff, from fields outside design, including psychology, education, and art history have aimed to
consolidate an emerging academic research culture. The extent to which these ‘imports’ form other fields have been
beneficial was the subject of some comment by interviewees. In this study fifty design educators in both continuing
and sessional positions were recruited between 2006 and 2007. Participants had various levels of seniority from
associate lecturers to associate professor and backgrounds in communication design, industrial design, interior
design, film and multimedia design, art and design history and education. All interviewees responded to three broad
prompts on their background, understanding of design research, and views on the nature, value and practices of
academic design research. Interviews ranged in length from ten minutes to over an hour. All the interviews were
digitally recorded and transcribed by the author. After repeated on-line and offline analysis of transcripts a setoff
issues emerged. Selected interview quotes illustrate more general themes in the data.
3. Study analysis and results
3.1. Eclectic practitioner and academic background
The knowledge and experience base of design educators is eclectic and the biographic notes interviewees
supplied confirmed this. Many design educators began their careers in industry following three year diplomas and
3. Gavin Melles / Procedia Social and Behavioral Sciences 2 (2010) 757–761 759
degrees in a variety of institutions. Teaching often began with experiences in TAFE followed by transition into
higher education. For sessional staff with commitments in industry, teaching practices and understanding of research
were strongly linked to these industry understandings. The consequence lack of exposure to academic research
among the majority of participants meant that they were at a loss to articulate any coherent meaning for academic
design research. The fact that many had also only been exposed to so-called practice-based honours and masters
programs meant that mainstream academic practices such as reviewing the literature, ethics, and a culture of analysis
was absent for the majority. The minority of staff with conventional humanities (e.g. art and design history) and
social sciences backgrounds (e.g. psychology, education) who had been ‘imported’ to improve the overall research
capacity of the faculty provided mainstream definitions of research while pointing to the challenges and possibilities
for the design fields to build their own definitions and practices. A cohort of younger staff working on PhDs
(scholarship funded) and with limited teaching and work experience also offered clear definitions of research.
3.2. Industry inquiry, design practice and academic scholarship
The disjunct between industry inquiry and academic research in design fields is particularly evident in design as
opposed to art fields as the vocational mandate of design is weighted towards work in industry. A younger
multimedia design, who could offer no other description of the term, described design research as, ‘the fundamentals
that you're taught at - university and TAFE about uh assessing a brief and then going on to research the - and come
up with a concept and then research visual styles and reference for starting work on that’. This vocational orientation
remains strong, as one senior academic (PhD) noted, ‘And it’s a vocational industry and that tends to hijack a lot of
things like what even just the terminology of research’. In areas such as graphic design and film and multimedia,
where practice-based ‘artistic’ concerns are important (see Collinson 2005; Dallow 2003), such practitioner research
concerns were evoked but, as noted above, are contested in higher education. All interviewees were capable of
providing a practice-oriented and industry related definitions of design methods but only those with exposure to
academic traditions talked about traditional qualitative and quantitative methods and processes, e.g. ethics. A clear
consensus was evident on the irrelevance of academic concerns to design careers in industry. Such a poor
appreciation for the values of academic scholarship were further encouraged by the overt commitment of the faculty
and the university of technology to vocational industry ready training rather than fundamental research as its raison
d’être.
3.3. Humanities, engineering and science conventions f research
There have been some specific attempts to identify the disciplinary specifics of design knowledge but these
attempts remain confined to academics or inevitably biased towards some specific subfield such as industrial design
(e.g. Cross 2006) or architecture (Lawson 2006), and therefore, never candidates for the kind of universal consensus
their authors seems to aim for. Comparisons with other broad fields such as the humanities and sciences were
evoked by interviewees or explained under prompting. Implicit and explicit references to other academic practices
by participants depend in many cases on the natural affiliations some design fields have with other disciplines, e.g.
industrial design and engineering, graphic design and fine arts, etc. There was some antagonism to the idea of
‘imported’ disciplinary principles, e.g. from psychology, swamping the uniqueness of design fields. As one
experienced communication designer suggested, ‘I think a lot of the stuff that's design research is models of
something else - is modeled on something else. So it's um cognitive psychology or it's sociology or it's business or
it's um - I think they're the big ones here’. In other cases the stability and quality of conventional science and
humanities principles were commended as models.
3.4. Questioning the values and relevance of academic design
Interviewees generally agreed that the current state of the design industry in Australia put little emphasis and
value on academic design research. As one sessional with an industrial design background and consultancy put it,
‘But in Australia if you go I might be wrong but if you from what I gather if you go to Australia you got a PhD and
get a job it ain’t going to give you any more money than anyone else really’ . Design schools, therefore, find
themselves in a triple bind of having moved into a higher education sector demanding ‘academization’ and
4. 760 Gavin Melles / Procedia Social and Behavioral Sciences 2 (2010) 757–761
simultaneously industry vocational skills in an environment where only the latter are of significance to industry.
Those able to articulate definitions and practices and those who struggled to do so also questioned the value of
academic design and research to the training of designers. These varied, depending on discipline from educators
seeing an academic approach as inhibiting the essential practice orientation of design fields to those claiming such
considerations were obstacles to profitable industry practice.
3.5. Creative practice-based alternatives
The ‘romantic’ myth of the creative genius still has a powerful pull for many design fields (Fisher 1997). The
emergence of practice-based research degrees in design have been one strategy to simultaneously harness this
creative discourse and meet the pressures of design in higher education; one such program was offered in the study
site in addition to the conventional PhD. Whether such degrees and a broader creative and practitioner agenda for
doctoral and research degrees was appropriate for design research was explored by the author with some
interviewees. One senior academic with a background in education (PhD), noted that the practice-based doctorate
still required refining, ‘I think our current batch ...have probably received some poor direction in the past. In good
faith that people think this product this artefact is going to be the be all and end all. I think there was a huge lack of
consideration into what is examinable ... So I think that students have been allowed to spend a lot of time in
designing an artefact with no research foundation’. In fact, given the uncertain value of such degrees, most staff in
the study cohort preferred the conventional PhD pathway as the way forward.
3.6. Invisibility and ideological barriers of academic design research?
There was some opposition, particularly from those with some history at the institution to the ‘parachuting’ of
academics from outside design into the faculty bringing agendas of contentious value to the field, and ultimately
‘methodological intimidation’ (Seago & Dunne 1999) to more familiar art and design research practices. However,
as one industrial designer noted the outsiders were not providing good advice ‘and I think there are people from
various fields who supervise students and they are neither designers nor practicing engineers …So it’s a bit
paradoxical because we are trying to educate or help new PhD students to complete their study and we have
supervisors who come from different fields and they haven’t done that themselves’. Another concern for some
interviewees was the fact that the research agenda in the institution appeared to be unclear to them and reserved to a
minority. Those who felt somewhat excluded also suggested that the discourses of research, emanating from fields
outside design, such as psychology, art history, and education (the author’s field) created barriers.
3.7. Nature and characteristics of research training
Debates about research training in design centre on the need for traditional skills training or some modification to
accommodate the creative arts and industries (e.g. Newbury 2002). As I noted in my recent study (Melles 2009), the
emergence of alternative practice-based and professional doctorates in design has introduced the need for doctorates
to be seen as advanced professional training with coursework now included to cover the gaps in design skills for
non-designers being recruited into such programs and for designers with an evident lack of traditional academic
skills needing such training. When questioned about their preferences, and where able to articulate these, many
participants signalled the need for training in the conventional academic skills of reviewing the literature, getting
ethics consent, training for conference presentations, and following other academic norms. A significant minority,
who had limited or no exposure to academic scholarship offered, often under prompting, descriptions of research
training which equated with greater technical expertise, e.g. in software use, or more vaguely referred to other forms
of personal and professional development which differed from academic canons.
4. Discussion
The existing vocational and practice-based orientations of design educators has come under pressure to conform
to traditions of academic scholarship in higher education that HE restructuring introduced. As previous studies have
shown, the transition to research and a shift from vocational to academic ends have proved challenging for the
5. Gavin Melles / Procedia Social and Behavioral Sciences 2 (2010) 757–761 761
newer institutions. The practice logics and qualities of design fields have been accommodated to some extent by the
provision of alternative practice-based degrees fitting the creative arts and industry rhetoric. These degrees,
however, are challenged by academic traditions, and are not the degree of choice by many design educators
themselves. The inability of many participants in this study to articulate what academic research might be and their
antagonism to it seem significant. The new university sector, including universities of technology, has attempted to
develop research cultures appropriate to the dual demands of such scholarship and the applied vocational fields it
tends to privilege. This wave of academization has not been uniformly embraced by practitioner educators or the
industries to which design and other fields pay homage. The new university sector itself, however, contributes to the
malaise and choices facing educators in continuing to privilege a rhetoric of vocational competence and ‘industry
readiness’ for its programs, discourses which merely serve to confuse design educators about what matters.
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