Most recent papers:

• Drawing Analogies to Deepen Learning.
  Michelle Fava.
  International Journal of Art &amp Design Education. October 12, 2017
  This article offers examples of how drawing can facilitate thinking skills that promote analogical reasoning to enable deeper learning. The instructional design applies cognitive principles, briefly described here. The workshops were developed iteratively, through feedback from student and teacher participants. Elements of the UK National Curriculum's key stage 3 science were covered in these examples, but the method of ‘drawing analogies’ can theoretically be applied in any subject.

  October 12, 2017   doi: 10.1111/jade.12162   open full text
• From Sketch to Screen, from Scratch to Competence.
  Hyun‐Kyung Lee.
  International Journal of Art &amp Design Education. October 12, 2017
  This article is about nature artists, design researchers and scientists collaborating in a research lab with scarce resources, where communication is doubled by an art installation of drawings. It aims to identify how drawings can be used in academically different environments in order to improve co‐work processes. Data was collected in a South Korea college for two years in 2015–2016. The research question is: how do drawings influence the communication between colleagues, beyond their different backgrounds? This question seeks to examine how drawings can be used to enhance communication. Based on participants’ experiences, the case study is described according to five categories: concept and architecture communication with drawing, toilet design drawing, kindergarten students’ feedback by drawing, agar art drawings with algae and computer drawings with media art drawings. The premise here is that drawing makes you think more, learn from each other and more easily understand difficult information. This article offers a glimpse into how the evidence was generated, interpreted and disseminated in order to illuminate the benefits of drawing, using some cases as examples. It identifies the current challenges experienced by schools and argues for a fresh impetus behind drawing within interdisciplinary team projects.

  October 12, 2017   doi: 10.1111/jade.12160   open full text
• Drawing on Curiosity: Between Two Worlds.
  Ron Wigglesworth.
  International Journal of Art &amp Design Education. October 12, 2017
  This narrative of my research on drawing shares my experience of relearning drawing by hand and how the act of drawing can stimulate curiosity. This article examines its potential to enhance learning/observation in science. It describes a kinaesthetic drawing methodology and addresses pedagogical solutions for overcoming a student's declaration that ‘I can't draw’. This art creation experience was an interdisciplinary study in the faculties of art, science and education. My claim is that a hands‐on, interactive approach to learning is at play where strategies of creating images are not predetermined. What emerges is both a subjective and objective phenomenon. As knowledge production arises after the fact of drawing, an emergent process allows for reflexive methodology and intuition to come into play. As Derrida describes in Memoirs of the Blind, drawing emerges from the temporal space between the seeing and the unfolding of the drawing. This art‐based research flows in the direction of reflective practice‐based research through drawing, to address these questions by calling on the tactile and kinaesthetic dimensions of sense that drawing can engender.

  October 12, 2017   doi: 10.1111/jade.12159   open full text
• Beyond Representation: Exploring Drawing as Part of Children's Meaning‐Making.
  Kirsten Darling‐McQuistan.
  International Journal of Art &amp Design Education. October 12, 2017
  Drawing is an everyday feature of primary school classrooms. All too often however, its role within the classroom is limited to a ‘representational’ one, used to demonstrate the accuracy of children's images and representations of the world. Furthermore, drawings, which most closely ‘match’ objective, dominant perspectives are generally given greater value. Reflecting on the role of drawing in the classroom is particularly interesting at a time when there is increasing emphasis on ‘evidenced‐based’ and research‐informed practice within schools. Such a policy context, which is primarily concerned with ‘objective’ forms of evidence, raises questions about a possible role for drawing to support a more nuanced understanding of learning processes, taking account of the uniquely contextualised experiences of the children. In response to this context, this article reports on my engagement – as a primary school teacher in Scotland – with a Participatory Action Research (PAR) project with children aged five to seven. The project enabled us to explore how drawing could support our own, collective meaning‐making. The process involved employing walking and drawing as methods to open up rich linguistic spaces to enable the children to engage with and reflect on their lived experiences. The analysis of the drawings that were created surfaced many tensions within the Scottish education system, highlighted from the perspectives of the children. Such findings point to the need for more relational interpretation of ‘evidence’, arising from classroom actions and interactions, which include the perspectives of children.

  October 12, 2017   doi: 10.1111/jade.12158   open full text
• Drawing as Driver of Creativity: Nurturing an Intelligence of Seeing in Art Students.
  Howard Riley.
  International Journal of Art &amp Design Education. October 12, 2017
  The article reasserts the primacy of drawing as a driver of creativity within art schools. It reviews specific aspects of visual perception theory and visual communication theory relevant to a pedagogical strategy as a means of nurturing an ‘intelligence of seeing’ in art students. The domain of drawing is theorised as a systemic‐functional semiotic model informed by Michael Halliday's model for language, as adapted by Michael O'Toole in his 2011 The Language of Displayed Art. The model is demonstrated as an aid to the production of drawings, rather than its more‐recognised efficacy as a means of negotiating meaning from existing works. The article is illustrated with examples of drawings by the author.

  October 12, 2017   doi: 10.1111/jade.12157   open full text
• Reflective Drawing as a Tool for Reflection in Design Research.
  Mirian Calvo.
  International Journal of Art &amp Design Education. October 12, 2017
  This article explores the role of drawing as a tool for reflection. It reports on a PhD research project that aims to identify and analyse the value that co‐design processes can bring to participants and their communities. The research is associated with Leapfrog, a three‐year project funded by the UK Arts and Humanities Research Council (AHRC). It aims to transform public engagement through activating participation using co‐design practices. The article reports on the analysis of initial research findings arising from a series of workshops with members of non‐profit organisations on the Isle of Mull, in the Highlands and Islands of Scotland, in which co‐design practices were used. The article reflects on the use of drawing used as a tool to capture the author's reflections and her own personal development as a researcher. In this study the term ‘reflective drawing’ refers to the use of drawing as a tool to support the research reflection process within an ethnographic approach to the fieldwork. Reflective drawing is used in two different stages of the reflection process: (1) to record data during fieldwork enabling reflection‐in‐action, complementing field notes and disclosing visual and kinaesthetic learning; and (2) to recall lived experience during the reflection sessions conducted after the observed activity, which helps to establish a bridge between theory and practice. Reflection is defined as an intuitive process that enables the understanding of oneself within a context of practice. Hence, understanding reflective drawing requires exploration of the reflection process.

  October 12, 2017   doi: 10.1111/jade.12161   open full text
• Transformation through Repetition: Walking, Listening and Drawing on Tlicho Lands.
  Adolfo Ruiz.
  International Journal of Art &amp Design Education. October 12, 2017
  As part of my PhD practice‐based research on Tlicho lands (a self‐governed Indigenous region in Canada's Northwest Territories), drawing is being used to embody intangible cultural heritage (which includes activities such as oral history and the social practice of walking). Recent work to emerge from this research consists of two drawings created by Tlicho elders, and an animated film made of 900 graphite drawings referencing regional oral history. The process of rendering these drawings embodied experiences on the land that are repetitive, albeit transformative, such as walking or listening to multiple versions of a single story. The entanglement of continually moving lines, evident through the animation, provides a counter‐narrative to colonial interpretations of the land – particularly narratives constructed through Cartesian coordinate systems (on which computer graphics and the geometry of built environments are based). This article will describe the production of this film, while also inquiring into how line‐making provides a trace of memory, rhythmic movement and epistemology.

  October 12, 2017   doi: 10.1111/jade.12156   open full text
• Thinking Drawing.
  Eileen Adams.
  International Journal of Art &amp Design Education. October 12, 2017
  This article draws heavily on the author's critical autobiography: Eileen Adams: Agent of Change. It presents evidence of the value of drawing as a medium for learning, particularly in art and design, and argues that drawing is a useful educational tool. The premise is that drawing makes you think. This article explains various functions that drawing serves to prompt different kinds of thinking, and shares a framework that describes the purposes of drawing in supporting learning. It explains how action research was used to initiate change in the way teachers in schools and educators in other settings think about drawing, and how they might utilise it to support learning. It offers a glimpse of how evidence was generated, interpreted, validated and disseminated to illuminate practice and prompt development. It challenges teachers and researchers to create a fresh impetus for drawing as a medium for learning.

  October 12, 2017   doi: 10.1111/jade.12153   open full text
• Becoming a Design Thinker: Assessing the Learning Process of Students in a Secondary Level Design Thinking Course.
  Leila Aflatoony, Ron Wakkary, Carman Neustaedter.
  International Journal of Art &amp Design Education. September 02, 2017
  Design thinking is a collaborative problem solving and human‐centric approach that fosters innovation by elevating participants’ creative thinking abilities. Design thinking techniques and practices have been implemented into different curricula in secondary and post‐secondary education to address the need for new skills to be learned for the twenty‐first century. However, little work has been conducted to clarify how to evaluate the students’ design thinking skills gained in these courses. This study reports on a successful evaluation of an interaction design thinking curriculum in secondary level education. Several types of data sources, including participant observation, open‐ended questions and document analysis were employed to gather extensive data on students’ skills gained during the course. The results of the study inform design thinking researchers about how to evaluate design thinking skills of students in a secondary level design thinking course.

  September 02, 2017   doi: 10.1111/jade.12139   open full text
• Negotiating a ‘Radically Ambiguous World’: Planning for the Future of Research at the Art and Design University.
  Saara Liinamaa.
  International Journal of Art &amp Design Education. July 25, 2017
  Theoretically and methodologically, understanding the role of research within art and design practices is a recurring theme within contemporary dialogue and debate. In the published literature, there are many questions around how categories and definitions of artistic research are employed within the increasingly under‐resourced realm of higher education. This article contributes to this larger discussion by building up our knowledge of a particular feature of this landscape: how research policy and planning documents at art and design universities represent and define artistic research. While examining research at the level of practice remains important, we must also understand the symbolic and practical weight that institutional directives carry. In light of recent literature on artistic research and the debates concerning its evaluation and institutionalisation, this article develops our contemporary understanding of the role of the art and design university as an important mediator of conflicting perspectives on the ‘value’ of art and design research. Based on a discourse analysis of research planning documents from Canada's three independent public art and design universities, this article will argue that it is not the definition of artistic research itself that is the most contentious feature of university research planning – it is defining the value of this research that invites conflict and concern.

  July 25, 2017   doi: 10.1111/jade.12143   open full text
• Social Expectations and Workplace Challenges: Teaching Artists in Korean Schools.
  Kyong‐Mi Paek.
  International Journal of Art &amp Design Education. July 11, 2017
  Social interest in art integration for curriculum enrichment and innovation, particularly at the turn of the century, has promoted extensive institutional partnerships between cultural organisations and public schools in many countries. Stimulated by social demands for innovative educational practices, these institutional partnerships have increased the numbers of teaching artists sent to schools. These artists are expected to contribute to the development of students’ creative imaginations by providing learning opportunities beyond conventional classroom practices. However, the extent to which teaching artists are able to develop creatively within their socially expected roles remains unclear, especially considering the marginal status of the arts in formal education settings. A recent survey‐ and interview‐based study conducted by the present author in South Korea demonstrated that teaching artists in schools find the structured educational system often limits the scope of their classroom practice. This article reviews the teaching artists’ concerns and needs identified in the study context and discusses ways to support their professional development and expand the roles of institutions in improving the quality of their teaching practice. The discussion also examines historical and socio‐political factors that have influenced the persisting challenges of structural issues inherited in the Teaching Artists in Schools Program in South Korea to provide suggestions for more sustainable and instructive collaborations.

  July 11, 2017   doi: 10.1111/jade.12149   open full text
• ‘I – from dreams to reality’: A Case Study of Developing Youngsters’ Self‐Efficacy and Social Skills through an Arts Educational Project in Schools.
  Inkeri Ruokonen.
  International Journal of Art &amp Design Education. July 11, 2017
  This is a case study of a one‐year arts educational project ‘I – from dreams to reality’ in which artists worked at school with teachers and learning at the school was planned through arts‐based, co‐operative teamwork during one extra school year of 10th grade students in Finnish basic education. The theme of the year was ‘I’, and so the project was designed to highlight everyone's own way of thinking and expressing art. The research task was to determine whether long‐term holistic arts pedagogy and artist co‐operation at school have any significant connection to students’ self‐efficacy and social skills. Data has been collected through students’ self‐evaluations before and after the school year. Altogether 40 students from 10th grade participated in this case study. Half of the pupils participated in an arts educational project called ‘I – from dreams to reality’ and half formed the control group. Artists worked with the test group weekly during a period of one school year (altogether nine months). Students’ self‐evaluations concerning their self‐efficacy and social behaviour were collected by e‐questionnaire. The measures used were Likert‐based evaluation scores of pupils’ self‐assessment of their self‐efficacy and social behaviour in everyday situations at school. According to the results, artist–teacher co‐operation and learning through the arts can be worthwhile experiences to develop students’ self‐efficacy and social skills.

  July 11, 2017   doi: 10.1111/jade.12138   open full text
• The UK National Arts Education Archive: Ideas and Imaginings.
  Jeff Adams, Rowan Bailey, Neil Walton.
  International Journal of Art &amp Design Education. June 19, 2017
  The National Arts Education Archive (NAEA) is housed and maintained by the Yorkshire Sculpture Park (YSP), and managed by YSP coordinators and educators with a well‐established volunteer programme. This year, 2017, as part of the celebrations of the YSP's 40th anniversary, the Archive will hold its own exhibition entitled Treasures Revealed: a collection of items selected by people who have been involved in the Archive, whether as donors, volunteers, researchers, artists, trustees or steering group members. In parallel with the exhibition, this article aims to give voice to a selection of individuals and groups associated with the Archive, discussing their interests and experiences of it, and their thoughts on its value and importance as a repository of arts education materials, ideals and practices. Our primary motivations were to consider these different voices in relation to the purpose, direction and relevance of the NAEA today. These exchanges raise fundamental questions and debates about what art education is and what it might become, and how these historical collections, and creative engagements with it, might help to shape our contemporary thinking.

  June 19, 2017   doi: 10.1111/jade.12150   open full text
• Artistic Constitutions of the Civil Domain: On Art, Education and Democracy.
  Pascal Gielen.
  International Journal of Art &amp Design Education. June 19, 2017
  How can we understand the relationship between art, education and democracy in the contemporary Western political condition? The recent presidential elections in the USA showed that the classical model of liberal representative democracy is shaking on its foundations. The question is how can artists and education respond to this political condition? In this article it is argued that art has a special quality to address political, and especially democratic, issues. It can strengthen education in its lessons in democracy and citizenship. Art has a special quality to walk on an alternative path of democracy, namely that of the civil domain. In the civil sphere artistic qualities and skills of designing and of imagination can play a crucial role.

  June 19, 2017   doi: 10.1111/jade.12146   open full text
• Public Pedagogy and Social Justice in Arts Education.
  Lisa Hochtritt, Willa Ahlschwede, Bonnie Halsey‐Dutton, Laura Mychal Fiesel, Liz Chevalier, Taylor Miller, Chelsea Farrar.
  International Journal of Art &amp Design Education. May 21, 2017
  In this article we explore examples of public pedagogical actions and interventions, reading them through a social justice education framework lens. In our discussion we start with definitions of social justice, public pedagogy and case study methodologies. Then, we look at a variety of international examples to highlight the pervasiveness of public pedagogical opportunities in visual culture that include a festival, an individual, a citywide symposium, an online community, a cultural group and a museum exhibition. They are divided into three categories based on social justice principles suggested by Ayers et al. and later interpreted by Dewhurst: (1) Public pedagogy and social justice is rooted in people's experiences: Fiesta del Señor de Choquekillka: Ollantaytambo, Peru and Janet Weight Reed – an artist's public pedagogy utilising social media; (2) Public pedagogy and social justice is a process of reflection and action together: Ideas City Festival and the Vlogbrothers; (3) Public pedagogy and social justice seeks to dismantle systems of inequality to create a more humane society: CULTURUNNERS and sh[OUT]: Lesbian, Gay, Bisexual, Transgender and Intersex art and culture. It is our hope that in looking more closely at these international examples of public pedagogy and social justice education that the power of such alternative sites of learning is apparent and encourages further interventions and investigations in such spaces of inquiry.

  May 21, 2017   doi: 10.1111/jade.12120   open full text
• Towards a Dialogic Understanding of Children's Art‐Making Process.
  Hyunsu Kim.
  International Journal of Art &amp Design Education. May 18, 2017
  This article is intended to identify the complex process of children's art making by bringing new methodologies into the analysis of children's pictures. This article analyses the art‐making process of a selected drawing by a five‐year‐old boy. The study builds on previous findings regarding children's verbal discourses during the art‐making process in terms of aspects of learning and suggests a possible method of combining two approaches, visual and verbal discourse analyses. In the process of creating one picture, the focal child, Daniel, made a series of drawings that revealed his own interests and included other voices. In doing so, he used the picture as a mediation tool to reflect several children's personal stands, their interactive process and the larger social discourse.

  May 18, 2017   doi: 10.1111/jade.12131   open full text
• Drawing as Social Play: Shared Meaning‐Making in Young Children's Collective Drawing Activities.
  Tiina Kukkonen, Sandra Chang‐Kredl.
  International Journal of Art &amp Design Education. May 17, 2017
  The ability to construct shared meaning with peers is important for young children's social and linguistic development. Previous studies have mainly focused on shared meaning‐making within cooperative pretend play with little mention of other childhood activities that might promote intersubjectivity. This study investigated the group play that occurs within young children's open‐ended drawing activities and how this encourages the development of shared meaning. One preschool class of 4–5 year‐old children was observed over eight 1 hour free play sessions. During each session, the children were presented with a variety of drawing materials and large drawing surfaces. No restrictions were placed on the number of children that could participate, or the subject matter of the drawings. The findings support the notion that group drawing can be understood through theories of socio‐dramatic play. The children initiated and maintained shared meaning through the use of common knowledge, and applied various verbal and non‐verbal communication strategies to advance the joint theme. This study supports the integration of open‐ended drawing activities in early childhood environments.

  May 17, 2017   doi: 10.1111/jade.12116   open full text
• Responding to Big Data in the Art Education Classroom: Affordances and Problematics.
  Paul Duncum.
  International Journal of Art &amp Design Education. May 17, 2017
  The article raises questions about the use in art education classrooms of social networking sites like Facebook and image sharing sites like YouTube that rely upon the ability of Big Data to aggregate large amounts of data, including data on students. The article also offers suggestions for the responsible use of these sites. Many youth are using these sites as creative platforms and, taking their lead, the author describes his own use of YouTube as a creative tool in his pre‐service classroom. The author argues that most art educational literature that relies upon Big Data sites consider only the affordances and not the problematics involved, specifically issues of privacy and having youth effectively working as unpaid labour for global corporations.

  May 17, 2017   doi: 10.1111/jade.12129   open full text
• Design Education without Borders: How Students Can Engage with a Socially Conscious Pedagogy as Global Citizens.
  Iain Macdonald, Myrna MacLeod.
  International Journal of Art &amp Design Education. May 17, 2017
  This study examines the student experience of a third sector graphic design project in an international context. Inspired by a humanist and socially conscious perspective that was originally set out by Ken Garland's ‘First Things First’ manifesto in 1964, the project developed into a collaborative learning experience for African and European students. The aim of this project was to develop student global citizenship and mobility through a cultural learning experience in a very different environment with challenging resources and social conditions. Using student interviews and evidence from their reflective journals, this article analyses how UK design students participated and negotiated the implementation of live projects in an African context, specifically Mozambique. It also examines the wider impact on the cohort of students and friends who did not travel to Africa but followed the experience online. Risk taking, experimentation and an appetite for enquiry are attributes that students are encouraged to develop, but they can equally apply to teachers and lecturers as they develop their curricula. Within the framework of university learning, teaching and assessment strategies space can be found for design educators to look beyond corporate and conventional consumer outlets to a more socially conscious and community focus without borders.

  May 17, 2017   doi: 10.1111/jade.12117   open full text
• The Factory: an Experimental Studio for Discovering the Other.
  Bihter Almaç.
  International Journal of Art &amp Design Education. May 17, 2017
  This article discusses the idea of otherness in design education and introduces a new approach that merges the potentials of collaborative and individual design. The aim is for each individual student to discover how others design to criticise and derive their own ways of designing. Therefore, the discussion here focuses on the process of becoming aware of other designers and the importance of being with others while designing. I call this state the Field of Otherness. It is something that cannot be described or taught; it is a relative and indeterminate zone based on the existence of others. It is a set of potentials in which designers oscillate and their design aspects merge into a multiplicity. In this article I argue that by discovering others, designers encounter each other in the Field of Otherness and this enables them to design diversely. To broaden the discussion within this context, an experimental one‐day project called the Factory is explored. The main idea of the project was to introduce students to the Field of Otherness, in which they would design by continual ‘as ifs’ and oscillations to meet the other; who is precisely unfamiliar, unexpected, unknown and inexperienced. Interviews with students three months after the project are used to investigate the effects. These interviews can also be seen as fragments of the otherness experience of the students.

  May 17, 2017   doi: 10.1111/jade.12119   open full text
• Critical Thinking: Art Criticism as a Tool for Analysing and Evaluating Art, Instructional Practice and Social Justice Issues.
  Jeffrey Broome, Adriane Pereira, Tom Anderson.
  International Journal of Art &amp Design Education. May 17, 2017
  Recent educational initiatives have emphasised the importance of fostering critical thinking skills in today's students in order to provide strategies for becoming successful problem solvers throughout life. Other scholars advocate the use of critical thinking skills on the grounds that such tools can be used effectively when considering social justice issues. In this article we make the case that the teaching and learning strategies of analytic art criticism can serve as fundamental tools used not just for the study of art but can also centre critical thinking and analysis in all aspects of the art education curriculum. Our argument begins with a review of literature on the use of art criticism for critical thinking and meaning making. Then we describe our efforts to address critical thinking with our students by using the critical analysis model of art criticism and applying it to learning environments for forming reasoned judgments about teaching and learning, and also as springboard for examining social justice issues. We believe that promoting this form of affectively driven, intellectually guided critical thinking makes our students potentially more successful not just in their encounters with art and education, but also in their lives as human beings beyond school.

  May 17, 2017   doi: 10.1111/jade.12111   open full text
• The Visual Differences of the Classroom Walls in Chilean Primary Schools.
  Luis Errázuriz, Carlos Portales.
  International Journal of Art &amp Design Education. May 17, 2017
  In a world increasingly saturated with images, the visual aesthetic dimension should play a more important role in the educational processes. Furthermore, classroom walls could be considered valuable resources to introduce visual literacy among children and teachers. However, Chilean educational policies tend not to pay much attention to visual culture in the classroom. Hence, the selection of visual images displayed on classroom walls as well as the way they are exhibited should be more carefully thought through. Under the assumption that visual resources are pedagogically significant elements, the present investigation examined the images displayed on the classroom walls of the first year of primary schools in the district of Peñalolén in Santiago, Chile. We present a comparative analysis of visual environments found in different administrative types of schools (municipal, subsidised and fully private schools), using a qualitative method, as well as a quantification of the sample schools. The analysis shows that inequality between types of schools reproduces in images, favouring private schools in aspects such as the degree of planning of the visual environment, student participation in terms of production, the aesthetic quality of the images and its iconographic variety.

  May 17, 2017   doi: 10.1111/jade.12130   open full text
• NGO Art Education.
  Nadine M. Kalin.
  International Journal of Art &amp Design Education. May 17, 2017
  How is art education being put to use today? To explore this provocation, I read between the lines of teaching for civic literacy through visual arts education in the United States as mandated by the Partnership for 21st Century Skills. I consider an art education of social practice's utility within this mandate. In order to accomplish this, I describe artist Rick Lowe's Trans.lation: Vickery Meadow social sculpture project and then analyse this through a service aesthetics’ lens and neoliberal motives. In the process of overlaying social practice within the Partnership for 21st Century Skills as a model for visual arts and citizenship education toward globally competent graduates, I articulate the possible limitations of such micro‐utopian ventures for art education that amount to NGO‐esque art, making the case that these efforts, while facilitating a feeling of civic engagement, only further intensify the depoliticisation of art education acting as a form of Rancière's better police in reasserting the neoliberal status quo. I sound a cautionary note about such a pragmatic turn risking the exacerbation of our collective interpassivity through aligning art education too closely to our apparent use value for late capitalism.

  May 17, 2017   doi: 10.1111/jade.12135   open full text
• Art Education and the Moral Injunction to be Oneself.
  Albert Stabler.
  International Journal of Art &amp Design Education. May 17, 2017
  A primary function of schooling is to impart moral discipline, and art education distills this role to its core imperative of mandated pleasure, summarised by Jacques Lacan as the ‘will to enjoy’. This manifests in the insistence that, despite producing similar outcomes, students come to recognise themselves as unique and creative. In the twentieth century, art education in the USA has developed methods for extracting supposedly intimate personal expressions from young people, albeit without demanding the technical versatility, historical knowledge and critical reflection required of mature artists – the exception to this, despite its many flaws, being so‐called Discipline‐Based Art Education, or DBAE. In this article, I begin with reflections on the untapped potential of DBAE to relate to contemporary art practices. My ideas on moral instruction are expanded upon in the second section, when I undertake a ‘backwards’ history of British and American art education, in which the ideal of art class as a site of intrinsic and authentic meaning‐making is challenged by the functional requirements of education. My last section takes up a critique of critical pedagogy, in which I use the example of a project my high school students did about Michael Jackson to challenge ways in which trauma and pleasure are seen by critical pedagogues as features of experience that conflict fatally with the educational ends of individualist autonomy.

  May 17, 2017   doi: 10.1111/jade.12133   open full text
• Rethinking Education through Contemporary Art.
  Glòria Jové, Mireia Farrero.
  International Journal of Art &amp Design Education. May 17, 2017
  This article is part of a broader investigation exploring how contemporary art allows us to think about the process that underpins our teaching and learning in order to change it. We are tutors in initial teacher education and we teach, learn and communicate through contemporary art for a pedagogical module. In the following article we will show how teaching, learning and communicating through contemporary art helps future teachers to be aware of their educational models. Art encounters generate new learning and teaching experiences by allowing students and teachers to make various rhizomatic wanderings. The rhizomatic wanderings are diverse with the content and the form depending on the personal experience. The article concludes that the more rhizomatic wanderings future teachers make, the more they will be able to rethink the process of teaching and learning in order to attend to the diverse situations of classrooms of the twenty‐first century.

  May 17, 2017   doi: 10.1111/jade.12132   open full text
• The Effectiveness of Mime‐Based Creative Drama Education for Exploring Gesture‐Based User Interfaces.
  Adviye Ayça Ünlüer, Mehmet Aydın Baytaş, Oğuz Turan Buruk, Zeynep Cemalcilar, Yücel Yemez, Oğuzhan Özcan.
  International Journal of Art &amp Design Education. May 17, 2017
  User interfaces that utilise human gestures as input are becoming increasingly prevalent in diverse computing applications. However, few designers possess the deep insight, awareness and experience regarding the nature and usage of gestures in user interfaces to the extent that they are able to exploit the technological affordances and innovate over them. We argue that design students, who will be expected to envision and create such interactions in the future, are constrained as such by their habits that pertain to conventional user interfaces. Design students should gain an understanding of the nature of human gestures and how to use them to add value to UI designs. To this end, we formulated an ‘awareness course’ for design students based on concepts derived from mime art and creative drama. We developed the course iteratively through the involvement of three groups of students. The final version of the course was evaluated by incorporating the perspectives of design educators, an industry expert and the students. We present the details of the course, describe the development process, and discuss the insights revealed by the evaluations.

  May 17, 2017   doi: 10.1111/jade.12136   open full text
• An Evaluation of Oral Presentation Competency in Interior Design Education.
  Wendy Hynes, Hyun Joo Kwon.
  International Journal of Art &amp Design Education. May 17, 2017
  As digital modelling programmes become increasingly prevalent in interior design education, there is concern that graduates are entering the workforce relying too much on strong graphic presentation skills while lacking the basic ability to speak about design. This study explores the gap between practitioners’ perceptions of importance regarding oral presentation competency and students’ perceptions of their oral presentation performances. Additionally, the study explores correlations between in‐class activities and students’ perceptions of their oral presentation competency. Mixed‐methods of investigation include a Delphi study with a panel of interior design practitioners and a survey questionnaire of both practitioners (n = 102) and currently active interior design students (n = 91) in the USA. An Importance‐Performance framework is employed for comparison. Results identify performance criteria for evaluating oral presentation competency and indicate variances between students’ perceptions of their performance and industry perceptions of importance. Furthermore, students’ in‐class activities including studio critiques and written peer assessments show significant correlation with student oral presentation performance indicating activities already frequently incorporated into a design curriculum may have a greater impact on improving performance than specific oral presentation instruction alone.

  May 17, 2017   doi: 10.1111/jade.12134   open full text
• Genuine Participation in Design Practice: Towards a Possible Metric.
  Miri Segalowitz, Marianella Chamorro‐Koc.
  International Journal of Art &amp Design Education. March 16, 2017
  What is genuine participation in the context of design practice? Genuine participation is often considered the missing element that differentiates a successful participation project from an unsuccessful participation project. But what, exactly, does genuine mean and, more importantly for research purposes, how can the ‘genuineness’ of participation be measured? The present study is a first step to explore a possible metric for genuine participation. To begin, a questionnaire developed from six key topics of focus within participatory design research was created and administered to university design students. The results, analysed by a principal component analysis, yielded statistically reliable, strong, and otherwise clear and coherent patterns. These patterns were then qualitatively interpreted. The results indicated that intrinsic motivation, participation self‐efficacy and positive group affect can serve as reliable metrics for measuring the quality of the participation experience. It is proposed that future research into genuine participation consider the impact of these three variables.

  March 16, 2017   doi: 10.1111/jade.12102   open full text
• A Pedagogy of the Concept: Rereading an Architectural Convention through the Philosophy of Deleuze and Guattari.
  Randall Teal, Stephen Loo.
  International Journal of Art &amp Design Education. March 13, 2017
  In this article, we seek to unpack and enrich the notion of the design concept. We do this through the use of Gilles Deleuze and Felix Guattari's ‘concept’ in its philosophical specificity to critique less‐effective uses of the design concept. In particular, we investigate the idea that a concept is actually an aggregation of many concepts that can be seen to have a virtual consistency as a way to reframing more limited, typical, design concepts – used as justification, explanation, clarification or excuse. Our interest here is to explore how concepts can become much more useful throughout the process of design by drawing linkages between the concept and the workings of the creative process itself. In other words, we see the concept, parsed philosophically, as fusing with design thinking; and by taking advantage of this coupling each strengthens the other. Ultimately, we claim that a richer view of language and a more perfomative processes of making (diagramming) drive this coupling; and when it is working, the design concept becomes a much more useful instrument for designing.

  March 13, 2017   doi: 10.1111/jade.12095   open full text
• Design Pedagogy for an Unknown Future: A View from the Expanding Field of Design Scholarship and Professional Practice.
  Stephanie Elizabeth Wilson, Lisa Zamberlan.
  International Journal of Art &amp Design Education. February 24, 2017
  This article draws on current research investigating the notion of design for an unknown future. It reflects on recent thinking about the role of creativity in design practice and discusses implications for the development and assessment of creativity in the design studio. It begins with a review of literature on the issues and challenges associated with the assessment of creativity in design education. It then discusses and distinguishes three significant assessment models in design and creative arts education and emphasises the importance of opening debate on notions of creativity within the discipline. Following this, the article examines recent developments in the way that creativity is being practised, driven, fostered and implemented in contemporary design practice, and argues that these recent developments must feature in current scholarship about the development and assessment of creativity in design education. The article recommends areas for future research that pay close attention to developments in the rapidly expanding field of design practice.

  February 24, 2017   doi: 10.1111/jade.12076   open full text
• The Perfect Marriage? – Language and Art Criticism in the Hong Kong Public Examination Context.
  Chung‐yim Lau, Cheung‐on Tam.
  International Journal of Art &amp Design Education. February 24, 2017
  Art education in Hong Kong has undergone various changes in response to educational reform. In art assessment, a major change in the Hong Kong New Senior Secondary (NSS) Curriculum is the inclusion of art criticism as a compulsory component of the new public examination. Assessing students’ abilities to interpret art in an art criticism public examination context is a critical issue in Hong Kong because the new senior secondary curriculum and assessment has brought attention to the role of written language in the art examination paper. This means the examination assesses not only students’ abilities to interpret art, but also their language abilities required to respond to art in written form. Since this new mode of assessment of art criticism has been published a number of issues have appeared. Recent studies show that teachers and students perceive this development negatively and they believe that the written format will assess students’ written language abilities rather than their critical abilities. These findings challenge the justification of the new art assessment policy and raise questions about the role of written language in responding to art. This article aims to raise the issue of the marriage between language and art criticism in the Hong Kong public examination context. It argues and examines the relationship of language to art interpretation, reasoning in the assessment, and issues in the public art criticism examination context. The issues addressed in this article provide opportunities for researchers and policy makers to reconsider and refine the new form of examination.

  February 24, 2017   doi: 10.1111/jade.12071   open full text
• Feel the Fear: Learning Graphic Design in Affective Places and Online Spaces.
  Anitra Nottingham.
  International Journal of Art &amp Design Education. February 24, 2017
  This article explores the idea of pedagogic affect in both onsite and online graphic design learning spaces, and speculates on the role that this affect plays in the formation of the design student. I argue that embodied design knowledge is built by interactions with design professionals, activities that mimic the daily work of designers, and practices of display such as exemplar student work galleries within design schools. Therefore bodies in motion, and the places they move within, take on more importance in the making‐up of a graphic design student than we may expect. This idea has obvious implications for online design learning. Drawing on concepts from both Actor‐Network Theory (ANT) and Non‐Representational Theory (NRT), this article works three empirical instances of affect. The analysis presented is targeted towards exploring the contribution of affect to teaching in onsite and online learning spaces. As the practices described here carry through time and space to other design schools, the findings put forward have implications for a broad suite of practices in design education. Thinking through how affect plays out in the onsite design school points the way towards the creation of more vibrant online learning spaces.

  February 24, 2017   doi: 10.1111/jade.12058   open full text
• George Wallis (1811–1891) and Ernest Beinfeld Havell (1861–1934): Juxtaposing Historical Perspectives on Nineteenth‐Century Drawing Books in England and India.
  Ami Kantawala, G. James Daichendt.
  International Journal of Art &amp Design Education. October 27, 2016
  Drawing books can be seen as a vital component to teaching and learning art. They serve as an excellent resource for understanding the historical context of teaching drawing. As the industrial revolution geared forward in the nineteenth century, drawing books became a crucial source for sharing and disseminating educational philosophies for the teaching of drawing as well as understanding artistic practices. Serving many informal and traditional educational contexts, drawing books can be seen as evidence of how people learned or were taught. Although many accounts of teaching of drawing are known, little is documented about the many drawing manuals developed by art educators in England and its colonies, specifically India. This article examines nineteenth‐century drawing books by George Wallis (1811–91) and Ernest Beinfeld Havell (1861–1934) and the subsequent influence of these books on art education in England and India. Through comparison between the different approaches of authoring these drawing books, one could argue that both Havell and Wallis pursued nationalistic and personal goals by juxtaposing the authoring styles of their books. It was evident that George Wallis’ authorship of his drawing books was grounded in his philosophy of education, appreciation for design education, and dedication to England. Havell's drawing books, on the other hand, attempted to provide students with the knowledge of Indian sculpture, architecture and painting thereby exposing them to India's artistic heritage as well as raising awareness about utilising Indian art as the basis of instruction at the Indian art schools as part of the larger Indian nationalist movement against British rule. Their histories cumulatively bring to print a specific account of drawing manuals used during the nineteenth century and their influence on the teaching and learning of drawing in England and India.

  October 27, 2016   doi: 10.1111/jade.12073   open full text
• Visual‐Spatial Art and Design Literacy as a Prelude to Aesthetic Growth.
  Fern Lerner.
  International Journal of Art &amp Design Education. October 19, 2016
  In bridging ideas from the forum of visual‐spatial learning with those of art and design learning, inspiration is taken from Piaget who explained that the evolution of spatial cognition occurs through perception, as well as through thought and imagination. Insights are embraced from interdisciplinary educational theorists, intertwining and dividing their contributions along Piaget's lines into three interrelated aspects: perceptual, intellectual, and imaginative. In the quest for early literacy, the perception and ordering of universals of form, the formation and wielding of internal intellectual constructs, and the construction of metaphorical and imaginative ideas and creations are all involved in aesthetic growth. With further understanding, the arena of visual‐spatial learning as enhanced by art and design learning, may find more inclusion in general education.

  October 19, 2016   doi: 10.1111/jade.12110   open full text
• Practice into Pedagogy into Practice: Collaborative Postcards from Hong Kong.
  Carol Archer.
  International Journal of Art &amp Design Education. October 16, 2016
  A collaborative postcard project completed by 22 students as part of a drawing course conducted at a university in Hong Kong is introduced. The project entailed inviting students into an art practice in which the author was herself engaged as a practitioner as well as a researcher. After introducing the educational context in which the project took place, the author provides an account – informed by ‘participant‐observer’ feedback from students – of how the project unfolded and was experienced. In the second section of the article the creative and pedagogic efficacy of the project is considered with reference to the experience‐centred and dialogic principles expressed in the educational philosophies of John Dewey, Simone Weil, Hannah Arendt and Paulo Freire. The third section draws on insights from scholars working in a range of disciplines – cultural history, anthropology, sociology and psychology – to argue that a particular set of organisational and collaborative dynamics catalysed students’ levels of engagement, creativity and motivation. The article argues that the collaborative postcard project is an example of an experience‐centred and practice‐based pedagogy that is founded on dialogue, mutual generosity and experimental play, and engenders in students the ‘quality of mental process’ that is, for John Dewey, ‘the measure of educative growth’.

  October 16, 2016   doi: 10.1111/jade.12072   open full text
• Drawing Pedagogies in Higher Education: the Learning Impact of a Collaborative Cross‐disciplinary Drawing Course.
  Philippa Lyon, Patrick Letschka, Tom Ainsworth, Inam Haq.
  International Journal of Art &amp Design Education. October 16, 2016
  Drawing is taught in higher education across art and design but also, increasingly, in medical education, with a variety of aims and approaches. It is argued that there is a need, in both these disciplinary domains, to make more explicit the underpinning pedagogical approach to drawing and the impact that different approaches have on learning. The research described in this article focuses on an optional drawing course for undergraduate craft students and medical students. The course is run by the College of Arts and Humanities at a UK university and has a thematic focus on the human body. This qualitative case study sets out, in the context of selected theory about the teaching and learning of drawing, to explore what the learning impact of a particular collaborative model of teaching drawing was on a cross‐disciplinary student group. Findings included, with reference to Riley's framework of drawing pedagogies, that a range of philosophical and pedagogical ideas about drawing were blended from the teaching perspective in a way that enabled students from distinct disciplinary backgrounds to engage and learn. A shift was observed in students’ perceptions of drawing, with both sets of students questioning previously held assumptions about the use and value of drawing within their learning. Life drawing and anatomy laboratory drawing, in particular, provoked deep and challenging reflections about different cultural conceptions of the human body and the practice of collaborative drawing, with dialogic reflection, enabling insights to be developed into different disciplinary epistemologies.

  October 16, 2016   doi: 10.1111/jade.12106   open full text
• Reflections on the Evolving Triad Tutorial in a Postgraduate Art Studio.
  Sarah Tripp.
  International Journal of Art &amp Design Education. October 13, 2016
  This article traces the evolution of the ‘triad tutorial’. The triad model, predominantly used in the training of counsellors and psychotherapists, was originally combined with the art school tutorial model in the context of the Edinburgh Sculpture Workshop to enhance critical discourse between studio holders. The resulting hybrid, the ‘triad tutorial’, was then adapted with postgraduate students on a Master's Fine Art course at a Scottish art school. Drawing on questionnaires from a small pilot study with students, the triad tutorial is described as an evolving model that has enhanced critical discourse between students, increased student confidence and introduced students to a new reciprocal structure of critique. Links are drawn between critical self‐reflection, reciprocity and the sustainability of artistic practice. The development of the triad tutorial is described frankly, using the autobiographic timeline of the author to present the model as evolving by trial and error and born of contingency rather than design.

  October 13, 2016   doi: 10.1111/jade.12127   open full text
• International Students and Ambiguous Pedagogies within the UK Art School.
  Annie Davey.
  International Journal of Art &amp Design Education. October 13, 2016
  This article will consider the tensions and opportunities provoked by the presence of a growing number of international students at UK art schools in which ambiguity operates as an implicit value within fine art pedagogies. Challenging assumptions of lack or deficit this article will ask how responding to this changing student body might require thinking beyond the horizon of normative claims and attitudes of the art school toward a situation in which it is constituted through the divergent perspectives, and pays attention to the previous educational experiences, of its students. I suggest that this requires the art school to address with greater commitment its pedagogical dimension in order to live up to its ‘promise’ as a heterotopic space.

  October 13, 2016   doi: 10.1111/jade.12124   open full text
• Sustained Engagement to Create Resilient Communities: How a Collaborative Design Approach can Broker and Mobilise Practitioner–Participant Interaction.
  Marianne McAra.
  International Journal of Art &amp Design Education. October 13, 2016
  When conducting research with young people, studies consistently cite the need to establish trust and rapport with participants. However, what frequently goes unreported is how to evolve these often highly fragile research relationships, and the subtle tensions and negotiations that can occur. In this article I reflect on my experience of collaborating with a group of young people, identified by their school teachers as vulnerable and at risk of falling through the educational net post compulsory schooling. Through a reflexive approach, this article explores how the use of a participatory filmmaking method enabled and sustained a research relationship between the participants and myself, outlining how trust and rapport gradually emerged. Drawing on relational ethics, I describe the catalysing and democratising role creativity played in gaining insights into group dynamics and the implicit strategies adopted by the young people in the search for social self‐empowerment.

  October 13, 2016   doi: 10.1111/jade.12115   open full text
• The Emergence of an Amplified Mindset of Design: Implications for Postgraduate Design Education.
  Mafalda Moreira, Emma Murphy, Irene McAra‐McWilliam.
  International Journal of Art &amp Design Education. October 13, 2016
  In a global scenario of complexity, research shows that emerging design practices are changing and expanding, creating a complex and ambiguous disciplinary landscape. This directly impacts on the field of design education, calling for new, flexible models able to tackle future practitioners’ needs, unknown markets and emergent societal cultures. In response to design's uncertain contemporary identity, a programme of doctoral research was designed with the aim of identifying distinct approaches to postgraduate design education that could help to prepare future designers for what the thesis terms an Amplified Mindset of Design. This article presents emerging findings from this doctoral research, proposing and evidencing a conceptual framework that synthesises key movements within design, to bring clarity to the current discourse on emerging design practices. The conceptual framework of an Amplified Mindset of Design clusters this discourse into four groups: a world‐ and human‐centred worldview; integrative behaviours, social skills and visualisation. The article closes by discussing this framework in relation to design education, suggesting the Amplified Mindset of Design as a tangible frame of reference to enable the development of design education. In this context it can be used as principles for pedagogical approaches, and as guidelines for curriculum design that fits our changing disciplinary practice within a complex global environment. Furthermore, the authors contend that there is potential to apply this framework outwith the field of design, proposing that other disciplines such as management, economics and medicine could benefit from an educational experience that emphasises an Amplified Mindset.

  October 13, 2016   doi: 10.1111/jade.12118   open full text
• Who Assesses the Assessors? Sustainability and Assessment in Art and Design Education.
  Claire Robins.
  International Journal of Art &amp Design Education. October 13, 2016
  This article draws on recent research from the Pre‐Degree Summative Assessment in Art Design and Media Study, conducted at UCL Institute of Education, which found that pre‐degree art and design qualifications at levels 3 and 4 vary greatly in their appropriateness as a preparation for degree level study in art subjects. Central to the article are findings concerning external assessment processes and assessor selection and training. The research was commissioned by the awarding body of University of the Arts London in response to the then imminent Department for Education (DFE) directives for additional external assessment in all level 3 and 4 vocational pre‐degree programmes. Our research revealed the negative consequences of assessment becoming a bureaucratic process of measuring what is most easily measurable. In such instances it can become a task that is devoid of ‘expert’ knowledge and opinion. As the research demonstrates, the consequences for art education are serious. The title is appropriated from Bourdieu's sociological examination ‘But who created the “creators”?’ which casts a critical eye on the broader social landscape in which art and artists are produced and imbricated into the wider cultural order. To ask, who assesses the assessors? Is, of course, to ask a different kind of question, but never‐the‐less it is one which deserves to be opened out to scrutiny beyond the specificity of individual qualifications. This article's contribution argues for a more sustainable and radically transparent assessment regime in which professional expertise can be shared across the UK's secondary, further and higher education continuum.

  October 13, 2016   doi: 10.1111/jade.12123   open full text
• Active Learning Methods and Technology: Strategies for Design Education.
  Jillian Coorey.
  International Journal of Art &amp Design Education. October 13, 2016
  The demands in higher education are on the rise. Charged with teaching more content, increased class sizes and engaging students, educators face numerous challenges. In design education, educators are often torn between the teaching of technology and the teaching of theory. Learning the formal concepts of hierarchy, contrast and space provide the critical foundation of a design education. However, without learning the tools (technology) a student will struggle to bring their concept to fruition. This article proposes using active learning techniques, specifically peer learning, as an engaging method to augment teaching technology. Students participated in peer‐based exercises throughout the course of a semester, including technology teams, technology checklists and group software challenges. Observations and survey data conclude students comprehension of technology improved and the instructor was afforded time to spend on the teaching of theory and process. Peer learning fosters a collaborative learning community, increases leadership skills and creates lifelong learners. Although these methods were used in a design course, this study can serve as a model for other disciplines that integrate technology in the classroom or for educators seeking active learning methods.

  October 13, 2016   doi: 10.1111/jade.12112   open full text
• Using an Outdoor Learning Space to Teach Sustainability and Material Processes in HE Product Design.
  Richard Firth, Einar Stoltenberg, Trent Jennings.
  International Journal of Art &amp Design Education. October 13, 2016
  This ‘case study’ of two jewellery workshops, used outdoor learning spaces to explore both its impact on learning outcomes and to introduce some key principles of sustainable working methodologies and practices. Using the beach as the classroom, academics and students from a Norwegian and Scottish (HE) product design exchange programme collaborated on this international research project. Participants made models from disposable packaging materials, which were cast in pewter, directly into the sand, using found timber to create a heat source for melting the metal. Practical ‘learning by making skills’ created a hands on learning experience that also aimed to contribute to the debate around the concern of the loss of workshop facilities in HE education, and as a consequence a demise in teaching traditional object‐making skills and material experimentation.

  October 13, 2016   doi: 10.1111/jade.12109   open full text
• Prophetic Nomadism: An Art School Sustainability‐Oriented Educational Aim?
  Vicky Gunn.
  International Journal of Art &amp Design Education. October 13, 2016
  This discursive article proposes that the learning and teaching regimes provided within art school are uniquely placed within higher education to foster nomads. It suggests, however, that nomadism is not enough. Rather it emphasises that to reconcile art and design education with sustainability, such nomadism needs both to be prophetic and collaboratively based. Prophetic nomads are defined here as mobile, social influencers able to change perspectives through calling forward uncomfortable awakenings. They achieve this by creatively reframing what is at stake if we continue to act and be as we are. The presentation will explore the similarities between key concepts in the literacy of sustainability and the elements of prophetic nomadism. It will challenge us to reconsider these in the light of their potential generation through three ingredients of learning within art and design: reason, aesthetics and making. It will finish by declaring that as educators we should have the courage to more formally craft our pedagogies to call forth (evoke) and push‐out (provoke) sustainability‐oriented creativity through these domains.

  October 13, 2016   doi: 10.1111/jade.12121   open full text
• An Artist's Anthropological Approach to Sustainability.
  Patricia Mackinnon‐Day.
  International Journal of Art &amp Design Education. October 13, 2016
  Recent studies of sustainability draw attention to the impact art and culture have on communities. The Earth Charter, which originated in 1968, fostered the idea of ‘a sustainable global society founded on respect for nature, universal human rights, economic justice, and a culture of peace’. This article supports the idea that art can make a difference to society and examines four case studies which explore the infra‐ordinary within the immensity of social, political, historical and physical non‐art places. The stance adopted is that of an artist, anthropologist and storyteller casting light onto a cultural landscape that is so ordinary as to be not noticed at all. Whilst the methodology is slow and often undramatic, this meticulous approach is essential in that it allows the artist to develop a respect for both people and place or, as explained by Kuspit : ‘to recover a sense of human purpose in art making, engaging with the realities of life as it is actually lived’. Whereas All in the Mind was an investigation into the internal and external conflicts and structures within mental institutions and their impact on individual patients’ lives, High Riser questioned central government's approach to housing asylum seekers in Sighthill flats in Glasgow which depersonalised the individuals involved. Sojourn and Inland Waters illuminated the social demographics of a working shipyard environment. Making Visible the Invisible explores the role as a lead artist, involved in the planning stages of an urban development project, as a creative thinker rather than object maker.

  October 13, 2016   doi: 10.1111/jade.12122   open full text
• Beneath Our Eyes: An Exploration of the Relationship between Technology Enhanced Learning and Socio‐Ecological Sustainability in Art and Design Higher Education.
  Madeleine Sclater.
  International Journal of Art &amp Design Education. October 13, 2016
  This article uses published research to explore how Technology Enhanced Learning (TEL) can help to sustain learning communities to engage in creative exploration and open investigation. It then draws on this research to ask: how could we use TEL to support pedagogies of socio‐ecological sustainability in the Art and Design education community? Three interrelated themes are explored: learning communities – in developing shared values and supporting investigations around issues of concern; learning spaces – in supporting these communities and their dialogue; and theory – to illustrate and provide language to understand the values, activities and goals of participants. Theory may help us to link the impact of these community activities, supported by TEL, to global issues. This article attempts to initiate an exploration of the fundamental elements required to create pedagogies of socio‐ecological sustainability within Art and Design higher education.

  October 13, 2016   doi: 10.1111/jade.12125   open full text
• Young Children as Curators.
  Alice Hope.
  International Journal of Art &amp Design Education. October 05, 2016
  Literature that addresses young children's learning in galleries and museums typically concentrates on what is already offered and discusses what has proven to be effective, or not, in accommodating their needs. This article offers insight into how objects can be explored with early years children at school, to create greater understanding of galleries, museums and their collections. I argue that through an exploration of curation as a meaning making process, children transfer experiences to make meaning in other contexts that place high value on learning in and through art and artefacts. I present a case study carried out in a Tower Hamlets primary school where children, aged 4–5, were invited to collect and display objects in a role‐play ‘museum’, with the aim of presenting artefacts typically used in their classroom. They were encouraged to make new meaning from familiar objects through a curatorial process involving creative display and role play. This project enabled young children to address their own ‘heritage’ rather than the more typical situation in which children are taken to museums in order to learn about that of others. The findings of this study highlight values that young children place upon museums, emphasising the need for greater interaction and play when engaging with objects in educational contexts. When young children are allowed to assign their own meaning to objects by transforming their purpose, they are more likely to develop an understanding of the intentions of museums and develop more curiosity towards the curatorial decisions made by others.

  October 05, 2016   doi: 10.1111/jade.12100   open full text
• Is it ‘all about having an opinion’? Challenging the Dominance of Rationality and Cognition in Democratic Education via Research in a Gallery Setting.
  Jane McDonnell.
  International Journal of Art &amp Design Education. September 18, 2016
  This article reports on findings from a research study exploring the potential for democratic learning in a gallery education project which took place in the UK in 2006–7. In doing so, it also explores a pressing issue for education today: the question of young people's democratic education in a time of political crisis in Europe. The focus of the article lies in a critique of the primacy of rational thought, cognitive skills and verbal discussion within democratic education, and an exploration of the potential role of the arts and art education in challenging this. Specifically, the article argues that there has been an affective and corporeal deficit in democratic education, and that some forms of gallery education are well placed to address this. Although the data discussed derive from a particular time and place (the UK in the latter days of a government that rigorously pursued an agenda of social and economic inclusion through both education and cultural policy), they also have relevance beyond their immediate context, illuminating the nature and dynamics of the process of democratic learning, and its aesthetic and artistic dimensions.

  September 18, 2016   doi: 10.1111/jade.12107   open full text
• Creativity in the Bronze Age: Bringing Archaeological Research into Contemporary Craft Teaching and Learning through a Live Project.
  Rachel Persad, Joanna Sofaer.
  International Journal of Art &amp Design Education. September 15, 2016
  The CinBA Live Project sought to engage students of contemporary craft courses in the UK with Bronze Age creativity. We aimed to explore the ways in which the creativity inherent in prehistoric craft may be used as inspiration in contemporary making. It simultaneously offered institutions a unique opportunity to offer a practice‐led, research‐based live project which was distinct to those generally known to be available to art and design institutions. It offered a different experience within this established pedagogical model in art and design education by using the Bronze Age as a source of inspiration for creative practice through practice‐based research in contemporary craft within the framework of an international academic research project, and suggesting new roles for the interpretation of the prehistoric past through creative work. This article reports on the CinBA Live Project. It outlines the context of the opportunity, details our methods of facilitation, describes the activities undertaken by the students and considers the outputs and post‐project impact of the activity.

  September 15, 2016   doi: 10.1111/jade.12114   open full text
• Preschool Children, Painting and Palimpsest: Collaboration as Pedagogy, Practice and Learning.
  Alexandra Cutcher, Wendy Boyd.
  International Journal of Art &amp Design Education. September 15, 2016
  This article describes a small, collaborative, arts‐based research project conducted in two rural early childhood centres in regional Australia, where the children made large‐scale collaborative paintings in partnership with teachers and researchers. Observation of young children's artistic practices, in order to inform the development of pre‐service curriculum and pedagogy was a central aim of the project. The findings are framed with respect to pedagogy, practice and learning: the pedagogy that supports children's artmaking; the benefits of learning in and through the arts, and the notion of collective practice in early childhood settings. Findings suggest that collaborative and intergenerational artmaking in early childhood settings enable powerful learning opportunities. A combination of establishing a rich art environment, applying constraints, yet allowing for children's agency can create a rich and engaging art education, which is vital in any setting if children are to develop their aesthetic awareness, artistic skills, and critical, abstract, imaginative, collaborative and creative thinking. The role of the proactive art educator in children's development is crucial, which has implications for teacher preparation and in‐service professional development. These project findings also have implications for ecologies of learning and communities of practice from early childhood to higher education.

  September 15, 2016   doi: 10.1111/jade.12113   open full text
• Doodling Effects on Junior High School Students’ Learning.
  Mariam Tadayon, Reza Afhami.
  International Journal of Art &amp Design Education. July 18, 2016
  The main purpose of this study was to assess the effects of doodling on the learning performance of high school female students in Tehran. The design of this research was a pre‐test–post‐test with a control group. A group of 169 junior high school 12–13 year‐old students was chosen for this study. After being taught a section of the Natural Science course, the students were asked to answer questions related to the lessons. After that, their grades were used as the pre‐test scores. The post‐test was carried out after the devised treatment. During ten sessions of the same course and teacher, the students were each given a blank sheet of paper and were asked for doodling if they felt like doing it. After each session, a couple of relevant written questions were asked to evaluate how well students had learned the lessons. The experiment and control group both consisted of 27 randomly selected students; participants in the experiment group were doodlers and those in the control group did not doodle. To evaluate the doodling effect a t‐test analysis was performed. Comparison of the grades showed that the experiment group outperformed the control group significantly.

  July 18, 2016   doi: 10.1111/jade.12081   open full text
• Online Collaboration in Design Education: an Experiment in Real‐Time Manipulation of Prototypes and Communication.
  Neal Dreamson.
  International Journal of Art &amp Design Education. July 18, 2016
  The features of collaboration in design education include effective and efficient communication and reflection, and feasible manipulation of design objects. For collaborative design, information and communication technology offers educators the possibility to change design pedagogy. However, there is a paucity of literature on relative advantages and disadvantages of online collaboration for real‐time manipulation of design objects and prototypes, particularly in web design education. Using survey instrumentations, this study investigated online collaborative design practices with an application by measuring experiences of communication and interaction among twelve designers who are enrolled in a Master's programme in interactive design. The study identified barriers to online collaboration design: (1) real‐time manipulation of design objects and prototypes may increase complexity of communication interaction; (2) records of communication and invisibility of team members may attenuate quality and frequency of critical feedback to each other; (3) students’ attitudes towards collaboration, individual students’ learning goals, and completing tasks in a timely manner could reduce their engagement and increase their reliance on teacher intervention.

  July 18, 2016   doi: 10.1111/jade.12079   open full text
• Collaboration in Visual Culture Learning Communities: Towards a Synergy of Individual and Collective Creative Practice.
  Andrea Karpati, Kerry Freedman, Juan Carlos Castro, Mira Kallio‐Tavin, Emiel Heijnen.
  International Journal of Art &amp Design Education. July 11, 2016
  A visual culture learning community (VCLC) is an adolescent or young adult group engaged in expression and creation outside of formal institutions and without adult supervision. In the framework of an international, comparative research project executed between 2010 and 2014, members of a variety of eight self‐initiated visual culture groups ranging from manga and cosplay through contemporary art forms, fanart video, graffiti and cosplay in five urban areas (Amsterdam, Budapest, Chicago, Helsinki and Hong Kong) were studied through interview, participant observation and analysis of art works. In this article, collaborative group practices and processes in informal learning environments are presented through results of on‐site observations, interviews and analyses of creations. VCLCs are identified as inspiring, collaborative spaces of peer mentoring that enhance both visual skills and self‐esteem. Authors reveal how identity formation is interrelated with networking and knowledge sharing. Adolescents and young adults become participants of global communities of their creative genres through reinterpretation and individualisation of shared visual repertoires. In conclusion, implications for art education from the VCLC model for creative collaboration are suggested.

  July 11, 2016   doi: 10.1111/jade.12099   open full text
• Imitative or Iconoclastic? How Young Children use Ready‐Made Images in Digital Art.
  Mona Sakr, Vincent Connelly, Mary Wild.
  International Journal of Art &amp Design Education. July 09, 2016
  Digital art‐making tends to foreground the inclusion of ready‐made images in children's art. While some lament children's use of such images, suggesting that they constrain creativity and expression, others have argued that ready‐made digital materials offer children the opportunity to create innovative and potentially iconoclastic artefacts through processes of ‘remix’ and ‘mash‐up’. In order to further this debate, observations are needed to explore the different ways that children use ready‐made images in their digital art and the various purposes that these images can serve. Adopting a social semiotic perspective, this article offers an in‐depth examination of five episodes of 4–5 year‐olds’ digital art‐making that collectively demonstrate the diversity of approaches that young children take towards the inclusion of ready‐made images in their digital art‐making. The article discusses these findings in relation to suggestions for what adults can do to support children to adopt a playful and critically aware approach to the use of ready‐made images in digital art‐making.

  July 09, 2016   doi: 10.1111/jade.12104   open full text
• Drawing and Storytelling as Political Action: Difference, Plurality and Coming into Presence in the Early Childhood Classroom.
  Kristine E. Sunday.
  International Journal of Art &amp Design Education. July 09, 2016
  This article is an embodied representation of how narrative illustrates Hannah Arendt's ideas of action, natality and plurality. It is, in essence, a story of a story that situates the actions of two young children as an instance where difference came together through the political and public act of drawing. Throughout the unfolding of the event, and in the subsequent retelling of that event, subjectivity came into presence, for both the children and myself. Our knowing was mediated by our immediate experience and understood only in the reflection of the experience. The encounter highlights how early childhood art practices can serve as an opening for contemplating a relational theory of learning. It further illustrates how narrative frameworks provide important opportunities to respond to difference through the reorganisation and reintegration of ideas generated in action.

  July 09, 2016   doi: 10.1111/jade.12097   open full text
• Exploring, Developing, Facilitating Individual Practice, While Learning to Become a Teacher of Art, Craft and Design.
  Carla Mindel.
  International Journal of Art &amp Design Education. July 09, 2016
  The artist teacher project set out to facilitate trainee teachers’ creative practice and inform their critical pedagogy in the classroom. The approach outlined in this article encouraged them to consider predictable and formulaic practice, and to question, reflect upon and challenge orthodoxies in their teaching of art, craft and design. They critically appraised their practice within a community of reflective practitioners in critical presentations, and in their reflective writing, and discussed and debated the contradictory positions between what they explored in their individual practices as artists and that experienced in the classroom. This project highlighted how fundamental the critical presentations were because the peer‐review, feedback and support, facilitated dialogue in a creative, dynamic space and community of practice. These ‘crits’ also became a forum for airing frustrations and trying to come to terms with the re‐emergence of their artist identities while at the same time, having to suppress many of their convictions and ideals in order to conform to what they found on school placement.

  July 09, 2016   doi: 10.1111/jade.12098   open full text
• Improving Design Understandings and Skills through Enhanced Metacognition: Reflective Design Journals.
  Mustafa Kurt, Sevinc Kurt.
  International Journal of Art &amp Design Education. July 09, 2016
  The main aim of this study was to investigate and discover whether going through the process of reflection by keeping reflective design journals (RDJ) enhances architecture students’ metacognition and whether this enhanced metacognition improves their design understandings and skills. The study was a mixed‐methods design and utilised content analysis method to identify the metacognitive actions of the participants. The study also investigated participants’ attitudes towards RDJs and their views regarding the effect of enhanced metacognition on their design understandings and skills. Twenty college students registered to an undergraduate course offered by the department of Architecture participated in the research. The findings of the study revealed that by writing in their RDJs, participants were able to progressively enhance their metacognitive skills and performed several metacognitive actions by using the four main metacognitive strategies: awareness, organisation and planning, monitoring, and evaluation. The results also disclosed that participants found RDJ keeping exceptionally effective and stated that their enhanced metacognition improved their design understanding and abilities.

  July 09, 2016   doi: 10.1111/jade.12094   open full text
• Turning Polemics into Pedagogy: Teaching about Censorship in Art Education.
  Sebastien Fitch.
  International Journal of Art &amp Design Education. July 09, 2016
  In recent decades, the field of art education has seen an increasing interest in issues of social justice and social reconstruction which has led to pre‐service art educators often being encouraged to include potentially controversial topics in their pedagogy. Surprisingly, however, there seems to have been little concurrent discussion concerning the inherent risks involved in introducing polemical themes within the classroom. Indeed, despite its obvious importance, the subject of censorship is often given little attention in art education circles, save for when it has already become an active problem, such as when an instructor is accused of censorship by a student, or when forces outside the classroom seek to involve themselves in pedagogical decisions. In this article, I describe my experience creating and implementing an undergraduate pre‐service art education course on the subject of censorship. I begin by examining my students’ reactions to some of the themes explored, and then explain how discussing cases of art censorship and controversy can serve as a platform for introducing students to the key role that context plays in how we perceive, value and react to artworks. Finally, I make the argument that by including censorship as a subject within their curriculum, teachers can help students better to navigate the psychological, moral and ethical complexities of contemporary art making.

  July 09, 2016   doi: 10.1111/jade.12105   open full text
• ‘That Tricky Subject’: The Integration of Contextual Studies in pre‐Degree Art and Design Education.
  Jenny Rintoul, David James.
  International Journal of Art &amp Design Education. June 28, 2016
  Contextual studies (CS), ‘theory’, ‘visual culture’ or ‘art history’ (amongst other labels) refer to a regular and often compulsory feature in art and design education. However, this takes many forms and can sit in a variety of relationships with the practical elements of such courses. This article is based on mixed method research on CS in the BTEC Extended Diploma in Art and Design, a course that makes up a substantial proportion of pre‐degree provision in the UK. We describe aspects of the wider study then draw on two cases to illustrate and discuss the implications of different approaches to the curriculum and its integration. Our analysis suggests that a seemingly progressive flight from a discrete CS towards a designed form of integration can have unintended negative consequences, and in the light of this we suggest some ways in which course teams might reflect on their practices.

  June 28, 2016   doi: 10.1111/jade.12077   open full text
• The Position of Museum and Gallery Educators in Spain: Some Paradoxes.
  Irene Amengual‐Quevedo.
  International Journal of Art &amp Design Education. June 27, 2016
  This article presents some of the reflections articulated in the author's doctoral thesis: Saberes y aprendizajes en la construcción de la identidad y la subjetividad de una educadora de museos: El caso del proyecto Cartografiem‐nos en el museo Es Baluard. (Knowledge and learning in the construction of the identity and the subjectivity of a gallery educator: The case of ʻMapping ourselvesʼ at Es Baluard Museum), produced at the Faculty of Fine Arts, University of Barcelona (2012). The author deals with the question of the professional development of museum and gallery educators, exploring some of the paradoxes that operate in the discourses and practices that surround this collective. The second part of the article is dedicated to demonstrating the knowledge and learning implicated in the experiences of museum and gallery educators. Offering a view from the inside of the professional sphere will serve to counteract more official descriptions, in which museum and gallery education is usually understood as an artisan profession which requires little training or qualifications. Finally, this article poses questions regarding the research of educational practice within the field of museums and galleries.

  June 27, 2016   doi: 10.1111/jade.12070   open full text
• Arts Shoved Aside: Changing Art Practices in Primary Schools since the Introduction of National Standards.
  Michael Ray Irwin.
  International Journal of Art &amp Design Education. June 27, 2016
  This article reports on the understandings and practices of primary teachers in implementing the arts curriculum since the 2010 introduction of National Standards in Numeracy and Literacy within the New Zealand Education system. The ever‐mounting pressure on schools to perform to these standards has resulted in a reduction of emphasis and time allocation in the classroom to the arts. In numerous schools the arts have been marginalised to little more than that of decoration and marketing status. Data was collected using a questionnaire and individual interviews from 124 primary teachers within nine schools located in three geographic clusters. The large majority of these teachers indicated that art was not a priority, and that less time was spent on creating art works since the introduction of National Standards. The art that was taught tended to be integrated with other teaching areas. Teachers in referring to art were often referring to visual art which was the dominant art discipline. Professional development for staff in the arts was non‐existent and was never part of a teacher's professional appraisal. All aspects of the National Arts Curriculum were very rarely taught, with most teachers feeling ill prepared to implement the full arts curriculum. In classrooms where an art discipline was successful taught it was largely due to the passionate interest and prior involvement in the art by the individual teacher.

  June 27, 2016   doi: 10.1111/jade.12096   open full text
• Without Criteria: Art and Learning and the Adventure of Pedagogy.
  Dennis Atkinson.
  International Journal of Art &amp Design Education. June 27, 2016
  A key aim of this article is to present a discursus on learning and teaching in the context of art education that softens transcendent historical and ideological framings of art education and its purpose. In contrast it places emphasis upon the immanence and necessary transcendence of local events of learning that occur in whatever framing and which have the potential to extend our comprehension of what art and learning can become. It recommends a ‘pedagogical reversal’ whereby external transcendent lenses and their respective knowledge and criteria for practice are relaxed and proposes a pedagogy ‘without criteria’. A key pedagogical issue revolves around ‘how something matters’ for a learner in his or her experience of a learning encounter and trying to comprehend this ‘mattering’ constitutes a pedagogical adventure for a teacher. The notion of mattering in the context of art practice and learning cannot be divorced from the force of art which is the motive force that precipitates a potential for learning and can expand our understanding of what art and learning can become. The article is therefore premised on the idea that it is not a case of coming to understand art through established knowledge and practice but the force of art challenging us to think. The force of art, or art's event, can be conceived therefore as a process with a potential for the individuation of new worlds or to see that other worlds might be possible.

  June 27, 2016   doi: 10.1111/jade.12089   open full text
• ‘This is the best lesson ever, Miss…’: Disrupting Linear Logics of Visual Arts Teaching Practice.
  Donna Mathewson Mitchell.
  International Journal of Art &amp Design Education. June 21, 2016
  Research in visual arts education is often focused on philosophical issues or broad concerns related to approaches to curriculum. In focusing on the everyday work of teaching, this article addresses a gap in the literature to report on collaborative research exploring the experiences of secondary visual arts teachers in regional New South Wales, Australia. Drawing on qualitative data gathered through a process of educational connoisseurship and educational criticism, discussion focuses on visual arts teaching as a particular professional practice that is complex, intricate, emergent and adaptive. In drawing on themes emerging from the research, examples of unplanned aspects of teachers’ work that disrupt linear logics about teaching practice are examined. The article concludes by raising issues for further consideration and research.

  June 21, 2016   doi: 10.1111/jade.12061   open full text
• Learning to Be: The Modelling of Art and Design Practice in University Art and Design Teaching.
  Kylie Budge.
  International Journal of Art &amp Design Education. June 21, 2016
  Learning to be an artist or designer is a complex process of becoming. Much of the early phase of ‘learning to be’ occurs during the time emerging artists and designers are students in university art/design programmes, both undergraduate and postgraduate. Recent research reveals that a critical role in assisting students in their maturing identities as artists and designers is played by artist/designer‐academics teaching in university art and design programmes. By maintaining active art/design practices and drawing from these in their teaching, artist/designer‐academics model professional practice to students. Witnessing and interacting with such modelling is part of the process of students learning the shared discourses, views and practices of the art or design worlds to which they aspire to belong. The modelling of professional practice is critical to an artist or designer's ‘learning to be’ experience because it enables students to access the tacit and nuanced behaviours, languages and cultures that constitute contemporary art or design practice. This article outlines findings from a recent Australian study revealing the role of professional practice modelling in university art/design teaching. It highlights the centrality of professional practice modelling to artist/designer‐academics in their beliefs and approaches to teaching their academic disciplines. In critically exploring the research data and findings this article describes the role that modelling of practice plays and how it comprises a core part of the value that artist/designer‐academic participants contribute to the teaching of art/design education.

  June 21, 2016   doi: 10.1111/jade.12060   open full text
• Reconstructing Imagined Finnishness: The Case of Art Education through the Concept of Place.
  Martina Paatela‐Nieminen, Tuija Itkonen, Mirja‐Tytti Talib.
  International Journal of Art &amp Design Education. June 21, 2016
  This multidisciplinary article presents a methodology, a research project and selected outcomes from an environmental art education course for teacher students. The course is part of an art education minor at the University of Helsinki, Department of Teacher Education. The students were asked to construct their place through an intertextual art method that provided them the means to study their place open‐endedly as a space of plural cultural meanings. Applying the results from their intertextual process, they reconstructed their place artistically. The end product was a personal work of art that included traces of their chosen places, and created a new meaning for it. The outcome is a visual space of compacted meanings from different places. Places contain history and memories important to identity construction. The results show that the intertextual reading extends the students’ concept of place as a space for relational and plural cultural meanings. Foucault's concept of heterotopia, as it applies to otherness of places and spaces, was used alongside the intertextual art method.

  June 21, 2016   doi: 10.1111/jade.12057   open full text
• Interrupting Everyday Life: Public Interventionist Art as Critical Public Pedagogy.
  Dipti Desai, David Darts.
  International Journal of Art &amp Design Education. June 21, 2016
  In this article we explore two urban interventions art projects in the public sphere designed by our Masters’ students at New York University as they set the stage for a discussion on how urban art interventions can function as a form of critical public pedagogy. We argue that these kinds of public art projects provided a space for dialogue with people on the streets about the increased corporatisation of the public sphere. This kind of urban interventionism, we believe, is needed in art education today, as the public sphere is increasingly being eroded by private interests and it is only by reclaiming the public sphere that we can develop a cultural politics that in turn renews our democracy.

  June 21, 2016   doi: 10.1111/jade.12050   open full text
• A Fresh Theoretical Perspective on Practice‐Led Research.
  Barbara Hawkins, Brett Wilson.
  International Journal of Art &amp Design Education. June 20, 2016
  Practice‐led research in art and design has now come of age and can take its place alongside other forms of research at the academic ‘high table’. It no longer needs to be treated with ‘special consideration’ as a new form of intellectual enquiry. The research craft developed by those involved in practice‐led research admits them to a broader community of practice engaged in questioning the conceptual basis of how we perceive and make sense of the world around us. The objective/subjective divide that preoccupied an earlier generation of academics has eventually been replaced by a more nuanced epistemological framework able to embrace PhDs that include non‐textual artefacts as part of their exposition. An increasing number of academic institutions around the world have taken up the debate and now participate in practice‐led research programmes. However, for early‐career researchers in these fields there are still many hurdles to overcome, some of which are unique to this form of endeavour, as we outline. This article has been developed from a series of seminars and workshops presented by the authors to early‐career practice‐led researchers as part of their Project Dialogue programme which seeks greater engagement between the arts and sciences.

  June 20, 2016   doi: 10.1111/jade.12074   open full text
• Becoming Teacher: A/r/tographical Inquiry and Visualising Metaphor.
  Adrienne Boulton, Kit Grauer, Rita L. Irwin.
  International Journal of Art &amp Design Education. June 20, 2016
  A great deal has been written about the representational use of metaphor to understand teacher candidates’/new teachers’ conceptions of teacher practice. This article will discuss recent research that explored secondary visual art teacher candidates’/new teachers’ visualising of visual metaphors to provoke their a/r/tographical inquiry into their perceptions of practice. This article engages with the Deleuzian conception becoming as well as the ontology of difference to provoke the reimagination of metaphor in research. We offer new understandings about visualising the visual in research and the methodological implications of relational research practices.

  June 20, 2016   doi: 10.1111/jade.12080   open full text
• Inclusion and Art Education: ‘Welcome to the Big Room, Everything's Alright’.
  Claire Penketh.
  International Journal of Art &amp Design Education. June 14, 2016
  This article offers an exploration of the art room as part of a broader project to consider the ways in which normative practices in art and design education can include and exclude students. The art classroom is explored here as a ‘disrupted space’ and one that can promote movement between the structures and boundaries that affect our ways of being in, and experiencing, the world. The art room offers a space for colonising otherness, as well as an ‘alternative’ or risky physical space, a refuge, or one with the potential to disrupt the dominant educational landscape.

  June 14, 2016   doi: 10.1111/jade.12084   open full text
• The Transformative Impact of Blended Mobility Courses.
  Peter Purg, Klemen Širok, Daniela Brasil.
  International Journal of Art &amp Design Education. June 08, 2016
  Several pedagogical assets of the blended‐learning courses conducted within the ADRIART.net partnership originate from their novel site‐specific approach and intercultural value. Conducted outside school environments across Austria, Croatia, Italy and Slovenia in 2011–2014, over a dozen of these intensive Master's programme workshops mixed students and mentors from different cultural and professional backgrounds, intersecting the realms of film, new media, photography, performance, architecture and contemporary art. These short‐term academic mobility courses concluded with public exhibitions, screenings or performances, often at eminent cultural venues or in public spaces pertaining to the site‐specific character of each course. This article discusses key issues that proved beneficial for conceiving and implementing this fruitful academic collaboration format. Several curricular and organisational solutions are presented that increased the positive impact on students as well as other stakeholders in this project‐based pedagogical piloting of the Media Arts and Practices international Master's programme. Set against its curriculum‐development framework, the article examines new methodological solutions, joint mentoring models and group dynamics management, as well as some specific logistical issues. Next to developing relevant employment skills and attitudes, such production‐oriented, but process‐aware course designs offer timely academic provisions as a response to a ‘glocalised’ world. More importantly, these course designs can also foster students' engagement with the actual (social, economic, natural, political) environment and the development of life‐long learning habits.

  June 08, 2016   doi: 10.1111/jade.12101   open full text
• Destined to Design? How and Why Australian Women Choose to Study Industrial Design.
  Cathy Lockhart, Evonne Miller.
  International Journal of Art &amp Design Education. April 06, 2016
  Despite over three decades of legislation and initiatives designed to tackle the traditional gender divide in the science, technology and design fields, only a quarter of the registered architects in Australia are women. There are no statistics available for other design disciplines, with little known about why women choose design as a career path and who or what influences this decision. This qualitative research addresses this knowledge gap, through semi‐structured in‐depth interviews conducted with 19 Australian women who completed an industrial (product) design degree. Thematic analysis revealed three key themes: childhood aptitude and exposure; significant experiences and people; and design as a serendipitous choice. The findings emphasise the importance of early exposure to design as a potential career choice, highlighting the critical role played by parents, teachers, professionals and social networks.

  April 06, 2016   doi: 10.1111/jade.12053   open full text
• Cognitive Activity‐Based Design Methodology for Novice Visual Communication Designers.
  Hyunjung Kim, Hyunju Lee.
  International Journal of Art &amp Design Education. March 27, 2016
  The notion of design thinking is becoming more concrete nowadays, as design researchers and practitioners study the thinking processes involved in design and employ the concept of design thinking to foster better solutions to complex and ill‐defined problems. The goal of the present research is to develop a cognitive activity‐based design methodology for novice visual communication designers, which will be achieved by mapping the findings from a comparative analysis of novice and expert visual communication designers' thinking processes onto the prospective methodology. Under the proposed methodology, activity modes take place in a chronological flow under specific guidelines involving various forms of design cognition. The guidelines correlate to design phases from problem structuring to detailed design and to the cognitive processes of divergent and convergent thinking. The methodology gives open‐ended instruction to novices endeavouring to proceed with the design process, solve complex design problems and make better design decisions. This research has value for its unique approach to methodology development. Furthermore, the proposed methodology provides guidance for more effective cognitive activities during the design process and holds potential for implementation in design education due to its focus on the needs of novice designers.

  March 27, 2016   doi: 10.1111/jade.12054   open full text
• Drawing with Children: An Experiment in Assisted Creativity.
  Ourania Kouvou.
  International Journal of Art &amp Design Education. March 27, 2016
  This report outlines the cognitive accomplishments of young children involved in graphic dialogue with adults. A token of collaborative drawing is examined exhibiting the degree to which adult informed tutoring enabled children in their drawing development, enhanced their motivation and ability in narration and resulted in drawings meaningful to them. The case studies examined are the result of a three‐year research project conducted by undergraduate students of Athens University Department of Early Childhood Education under the supervision of the author of this article. This game‐like pedagogical strategy is inspired by L. Vygotsky's educational philosophy and based on B. & M. Wilson's model of adult–child graphic dialogue. It is understood as a method of instructing drawing enabling children to pass from that which they can achieve alone to that which they can accomplish with adult assistance. This educational approach answers to a call for a more socially accountable art education addressing the child's need to deal with issues he encounters in his everyday life and as such is open to adult and cultural interference. A similar educational approach intends to challenge the long‐standing, non‐interventionist art educational theory also known as ‘child art’ and its contention that a prerequisite for a creative individual is expression free from social and adult influence.

  March 27, 2016   doi: 10.1111/jade.12056   open full text
• An Autoethnographical Study of Culture, Power, Identity and Art Education in Post‐Colonial South Korea.
  Ok‐Hee Jeong.
  International Journal of Art &amp Design Education. March 27, 2016
  This article reflects my experiences of learning art in the 1970s and 1980s and my teaching career in school art education in twenty‐first century South Korea. This autobiographical reflection shows how I have struggled with my identity as an art teacher in the post‐colonial context of Western influences on Korean society since World War II. There has been greater tension and a greater struggle for different values, practices and identities when new values and practices have been introduced into the particular socio‐cultural context of South Korea. My struggles with particular kinds of pedagogic identity valued within the rapidly changing political, economic and cultural context of Western influences on Korean art education demonstrate the hidden structural mechanism of the relationship between culture, power and identity in the post‐colonial world of globalisation. This study as an autoethnographical research provides critical insights into how identities are produced by pedagogic discourses and practices of art education that are constructed through the specific systems of practice and language which transmit and regulate such identities and values.

  March 27, 2016   doi: 10.1111/jade.12055   open full text
• Bridging the Gap: A Manual Primer into Design Computing in the Context of Basic Design Education.
  V. Şafak Uysal, Fulden Topaloğlu.
  International Journal of Art &amp Design Education. March 06, 2016
  Design education is in need of a wider restructuring to accommodate new developments and paradigmatic shifts brought forth by the information age, all of which capitalise a move towards complexity theory, systems science and digital technologies. The intention of this article is to approach one particular aspect of this need: that is, how basic design education can be reconsidered to establish the arguably broken link between the ‘learning by doing’ tradition of a Bauhaus‐oriented basic design education with the computational and parametric logic necessitated by contemporary design technologies. The authors present the overall outlines of a basic design course as offered in Beykent University Department of Industrial Design in Istanbul, Turkey. The programme consists of a series of exercises grouped in five modules and two ‘binders’ that are structured to link the fundamental notions and operations of design thinking covered in basic design courses of the first year with the analytical and computational‐reasoning competencies that are developed mostly in the later years of design education.

  March 06, 2016   doi: 10.1111/jade.12048   open full text
• Supporting Creative Responses in Design Education – The Development and Application of the Graphic Design Composition Method.
  Hui‐Ping Lu, Jun‐Hong Chen, Chang‐Franw Lee.
  International Journal of Art &amp Design Education. February 24, 2016
  Inspiration is the primary element of good design. Designers, however, also risk not being able to find inspiration. Novice designers commonly find themselves to be depressed during the conceptual design phase when they fail to find inspiration and the information to be creative. Accordingly, under the graphic design parameter, we have developed the ‘Analytic Composition Method (ACM)’ to guide novice designers in gradually breaking through their usual modes of thinking to construct their own methods of composition. This method provides a variety of creative modes for the design field. Three stages are presented in this study. A design method is first constructed based on the results of a pretest and the existing composition methods of graphical design. We then apply the design method to three iterations of graphic design instruction. Lastly, we conduct an expert interview to evaluate the usefulness of this method. The following are the results obtained. 1. Most of the participants tested sought inspiration visually; they usually began their design process from image data and do not use the data beyond imagery. 2. The results of teaching activities show that using this method as a tool for graphic design enables various sources of inspiration to generate different modes of thinking and creative expression. 3. Our method could potentially be used for basic composition training and project design execution. However, the application of this method may vary with different design objectives.

  February 24, 2016   doi: 10.1111/jade.12045   open full text
• The Metamorphosis of Industrial Designers from Novices to Experts.
  Ju‐Joan Wong, Po‐Yu Chen, Chun‐Di Chen.
  International Journal of Art &amp Design Education. February 24, 2016
  Professional training for designers is crucial in the field of design studies. The characteristics of novices versus those of expert designers have been identified in the literature; however, studies exploring the issue of professional training processes in the actual workplace are not well developed. Our study addresses the topic by using qualitative research methods along with flexible design. Collected data from the interviewees with different work experience were analysed by open, axial and selective coding. Herein, we argue that the processes by which a designer transforms from a novice into an expert in the industry are constructed through the interaction of several complicated factors. The re‐learning inherent in design professions is implemented through knowledge transfer gained from participation in design projects, particularly regarding tacit knowledge. Also, the novice's process of learning and training yields the characteristics and skills that companies and firms require of designers; this process involves a series of disciplinary sub‐processes, from destructive to reconstructive, implemented by employers. In these sub‐processes, the subjectivity of designers is neglected, leading to the suppression of imaginative expression and feelings of alienation among these workers.

  February 24, 2016   doi: 10.1111/jade.12044   open full text
• Subjectivity in Design Education: The Perception of the City through Personal Maps.
  Ebru Yılmaz.
  International Journal of Art &amp Design Education. February 24, 2016
  Our mental maps related to the cities are limited by our personal perception and fragmented in the process. There are many inner and outer effects that shape our mental maps, and as a result the fragmented whole refers to the total city image in our minds. To represent this image, an experimental study has been conducted with a group of students. They used mapping techniques to design subjective maps. Maps, in general, are objective, and produced by standardised techniques which connote similar meanings for everyone. In contrast, artists and designers use maps as liberating objects of representations. Thus, using mapping techniques, inventing new ways of narration and gaining new understandings towards the city we dwell in are the basic aims of this study. Final designs can be evaluated as tools to question subjectivity in both design and architectural education.

  February 24, 2016   doi: 10.1111/jade.12005   open full text
• Six into One: The Contradictory Art School Curriculum and how it Came About.
  Nicholas Houghton.
  International Journal of Art &amp Design Education. February 24, 2016
  This article reports historical research which sought to understand the present‐day post‐secondary art curriculum through analysing its history in terms of changes in conceptions of art. It found that there have been six distinctive curricula: Apprentice, Academic, Formalist, Expressive, Conceptual and Professional. As a new curriculum has been introduced, it has co‐existed with much contained in a previous one. Most of the curriculum changes have taken place in the past 65 years. During this time, there has been a massive expansion in the education of artists and at the same time art schools accommodated first modernism and then post‐Duchampian aesthetics. A conclusion is that this has made for a very crowded curriculum. Moreover, despite there being an ever increasing choice of things a student might learn, it appears that there is nothing which all students have to learn. It can be problematic that one part of the curriculum is in contradiction to another part, and moreover this lack of a core raises fundamental, ontological questions about what art as a discipline is.

  February 24, 2016   doi: 10.1111/jade.12039   open full text
• Mapping Invitations to Participate: An Investigation in Museum Interpretation.
  Elsa Lenz Kothe.
  International Journal of Art &amp Design Education. February 24, 2016
  This a/r/tographic inquiry delves into questions about participatory art museum practice, specifically seeking to understand the nature of invitations to participate. Utilising drawings, writing and mapping of embodied participation, questions of how individuals are invited to participate in various locations and how these invitations inform the work of art museums that engage in participatory practice are considered. Conditions for participation, including familiarity, personalisation, enthusiasm, playfulness, narrative, uniqueness, sociability and listening, as well as anti‐invitations that contradict moves toward participation, are discussed in relation to examples from the study and scholarly writing. The purpose of this article is twofold: first, to share research about participatory practice in various locations and its implications for art museums, and second, to explore the potential of arts‐based research methodologies, particularly a/r/tography, for art museum education research.

  February 24, 2016   doi: 10.1111/jade.12041   open full text
• Do Human‐Figure Drawings of Children and Adolescents Mirror their Cognitive Style and Self‐Esteem?
  Anindita Dey, Paromita Ghosh.
  International Journal of Art &amp Design Education. February 24, 2016
  The investigation probed relationships among human‐figure drawing, field‐dependent‐independent cognitive style and self‐esteem of 10–15 year olds. It also attempted to predict human‐figure drawing scores of participants based on their field‐dependence‐independence and self‐esteem. Area, stratified and multi‐stage random sampling were used to select a sample of 600 10–15 year olds residing in Kolkata city, India. The sample comprised three age‐based strata: 10 and 11 year olds; 12 and 13 year olds; and 14 and 15 year olds. Each stratum comprised 100 girls and 100 boys. Participants’ actual age‐ranges were 10 years 1 month – 11 years 10 months (first stratum); 12 years 4 months – 13 years 10 months (second stratum); and 14 years 3 months – 15 years 9 months (third stratum). Goodenough‐Harris Drawing Test, Group Embedded Figures Test and Coopersmith Inventory were administered for assessing participants’ human‐figure drawing, field‐dependence‐independence and self‐esteem respectively. Results revealed significant positive relations among pertinent variables. Participants’ human‐figure drawing scores could be significantly predicted by their field‐dependence‐independence and self‐esteem.

  February 24, 2016   doi: 10.1111/jade.12034   open full text
• Looking for a Possible Framework to Teach Contemporary Art in Primary School.
  Edna Vahter.
  International Journal of Art &amp Design Education. February 24, 2016
  Traditionally, the learning of arts in the Estonian primary school has meant completion of practical assignments given by the teacher. The new national curriculum for basic school adopted in 2010 sets out new requirements for art education where the emphasis, in addition to practical assignments, is on discussion and understanding of art. The teacher must introduce pupils to both art history and contemporary art. As a result, primary teachers would likely serve their pupils more effectively if they reconsidered their current understandings of art education and update their teaching correspondingly. The action research method seeks to answer the following question: how should one change the art education process in primary school so that in addition to practical activities pupils would have opportunities to talk about and understand contemporary art? The article discusses a framework for modernising art education in primary school. Research shows that primary school learners are open to innovation and thus discussion of contemporary art can become a natural part of primary school art classes. The balance between creating and responding is a key to planning the art education processes today.

  February 24, 2016   doi: 10.1111/jade.12046   open full text
• Envisioning the Future: Working toward Sustainability in Fine Art Education.
  Angela Clarke, Shane Hulbert.
  International Journal of Art &amp Design Education. February 24, 2016
  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.

  February 24, 2016   doi: 10.1111/jade.12047   open full text
• Constructions of Roles in Studio Teaching and Learning.
  Dina Zoe Belluigi.
  International Journal of Art &amp Design Education. February 24, 2016
  Various constructions of supervisors and students emerge from education literature on art, design and architecture studio pedagogy. Constructions of the supervisor within the studio and during assessment are considered, with a discussion of the threads which underpin them. This is followed by a discussion of some of the current dominant constructions of the student, and possible effects of these roles and relationships on their engagement with learning. As many of these constructions may be inherited or unconscious, a concern for the agency of those involved to rupture, subvert, rescript or resist such constructions motivates this research, while acknowledging that this may be limited by structural and cultural contexts.

  February 24, 2016   doi: 10.1111/jade.12042   open full text
• ‘Before I realised they were all women… I expected it to be more about materials’: Art, Gender and Tacit Subjectivity.
  Hannah Hames.
  International Journal of Art &amp Design Education. February 24, 2016
  This article discusses a critical discourse analysis research activity undertaken with a group of undergraduate primary trainees with an art specialism. The research activity involved the use of two contrasting texts discussing the work of Karla Black, Becky Beasley and Claire Barclay. The article explores how the positioning of the two texts affected the student teachers’ ability to engage effectively with ‘women's art’ on a personal and critical level, revealing some highly subjective views and raising questions around intertextuality; particularly how an individual's understanding of contexts, meanings and histories can inform collective interpretation and highlight existing subjectivity. The article subsequently identifies that although students were keen to talk about careful selection of texts, the benefits of using multiple sources and the risks of intertextual and ‘subliminal’ contamination, they were unable to reflect critically upon their own gendered reading of the texts. It concludes that this may well be a signifier of the problem – that the student teachers did not really see a problem at all.

  February 24, 2016   doi: 10.1111/jade.12043   open full text
• Sustainable Design Re‐examined: Integrated Approach to Knowledge Creation for Sustainable Interior Design.
  Young S. Lee.
  International Journal of Art &amp Design Education. February 17, 2014
  The article focuses on a systematic approach to the instructional framework to incorporate three aspects of sustainable design. It also aims to provide an instruction model for sustainable design stressing a collective effort to advance knowledge creation as a community. It develops a framework conjoining the concept of integrated process in sustainable building practice and the learning as knowledge creation theory. It presents a case study where the framework was applied to a project emphasising the role of interior design in downtown rehabilitation by addressing economy, community and environment collectively. The integrated process involving various stakeholders for sustainable solutions is a collective effort to teach sustainable design as a knowledge creating community and sustaining knowledge advancement in society.

  February 17, 2014   doi: 10.1111/j.1476-8070.2014.01772.x   open full text
• The Integrated Design Process from the Facilitator's Perspective.
  Jeehyun Lee.
  International Journal of Art &amp Design Education. February 17, 2014
  The focus of this study was to clarify the integrated design process from an educational standpoint, and identify its influencing factors and the role of facilitator. Through a literature review, the integrated design process and the role of facilitator were framed, and through the case study, the whole process of integrated design and the facilitator's role were analysed from the preparation phase to the assessment phase. The integrated design studio was conducted for 16 weeks with third‐year undergraduate students who had various academic backgrounds. The integrated design studio was composed of three integration elements: integration of knowledge, integration of research and development methods and systematic integration of process. Each phase of the integrated design process and the facilitating role of the instructors were empirically analysed. After the integrated design studio, the students' perspective on its effectiveness and the difficulties encountered were analysed quantitatively. The results showed that the effective integration in design education should place a high importance on integration of knowledge and R&D phases, and the facilitator's role should be focused to maximise the multidisciplinary collaboration effect.

  February 17, 2014   doi: 10.1111/j.1476-8070.2014.12000.x   open full text
• Implementing Change in Architectural Design in Elementary School Art Education in Slovenia.
  Janja Batič.
  International Journal of Art &amp Design Education. February 17, 2014
  This article reports on a study of the effects of an action research project that aimed to improve the practice of teaching art in elementary schools in Slovenia. The specific focus was on the planning and execution of art tasks relating to architectural design. The planned improvements were based on the process of architectural design from recognising a real problem to finding solutions to art problems. The subjects of the research were 80 10‐year‐old fifth graders and their art and classroom teachers from two elementary schools in Maribor, Slovenia. We evaluated the effects of the implemented changes on pupils' artistic creativity by testing the pupils before and after the action research by using an artistic creativity test with which we were able to monitor the level of pupils' creative development. Test drawings made by pupils before and after the action research were evaluated by monitoring six factors of artistic creativity: sensitivity to problems, elaboration, flexibility, fluency, originality and redefinition. By using a dependent t‐test for paired samples, we examined whether there were any statistically significant differences between the initial and the final tests for each factor separately. We found that the effects of all the implemented changes were positive, with pupils scoring higher in the final tests for each of the six factors of creativity. Findings from the action research suggest that changes to the architectural design classes yielded the best results in the last action step which enabled pupils to get a sense of space during an educational walk.

  February 17, 2014   doi: 10.1111/j.1476-8070.2014.01741.x   open full text
• Critical Citizenship Education and Community Interaction: A Reflection on Practice.
  Elmarie Costandius, Sophia Rosochacki, Adrie le Roux.
  International Journal of Art &amp Design Education. February 17, 2014
  The social transformation required in a democratic South Africa can only be achieved through the transformation of perceptions and attitudes. This article argues that community interaction can play an important role not only in raising the level of societal awareness of students, but also in the development of a symbiotic relationship between an academic institution and its surrounding society. Although this process has become a common feature in many universities, evidence suggests that engagement which leads to true social transformation, including a change in deep‐seated attitudes, is rare. Consequently, community engagement risks remaining unprogressive, and has the potential to reinforce the very discriminatory attitudes and practices which it aims to overcome, while serving as a superficial response to institutional social responsibility imperatives. Through an analysis of a case study from the Visual Arts Department at Stellenbosch University, the article engages with the problems that emerge as barriers to social transformation in the relationship between the academic institution and the community, and argues that, in order that its emancipatory potential be realised, the politics surrounding community engagement, particularly its relation to social transformation, need to be identified and challenged.

  February 17, 2014   doi: 10.1111/j.1476-8070.2014.01773.x   open full text
• Concepts as Context: Thematic Museum Education and its Influence on Meaning Making.
  Olga Hubard.
  International Journal of Art &amp Design Education. February 17, 2014
  Thematic art museum education programmes – programmes where visitors make meaning of various artworks in relation to a specific preselected theme – are conspicuous within interactive museum education on both sides of the Atlantic. How do thematic programmes influence visitors' experiences with art? In this article, I explore this question based on data collected in a museum education class at a graduate school of education. The findings emphasise how the selection of a particular theme inevitably shapes the way viewers read an artwork. Viewers who are compelled by aspects of an artwork that do not ‘fit’ within the assigned theme feel frustrated in thematic programmes. These viewers contend that the thematic approach flattens the rich, multidimensional – and multi‐thematic – experiences that artworks invite. By the same token, the data suggest that the limits that themes set can promote in‐depth exploration of certain interpretive avenues in the work and yield feasible, insightful interpretations that might otherwise remain obscure. Ultimately, this article is a reminder that the themes museum educators select – or their absence – inevitably shape the way individual artworks come to life as viewers interact with them.

  February 17, 2014   doi: 10.1111/j.1476-8070.2014.12001.x   open full text
• Education through Art after the Second World War: A Critical Review of Art Education in South Korea.
  Hyungsook Kim.
  International Journal of Art &amp Design Education. February 17, 2014
  This article examines how progressive education was introduced to South Korea after the Second World War and takes a closer look at critical studies of this history. It argues that the America‐led progressive education policies, which focused on art education, were an uncritical adaptation of the superpower's educational ideology and did not contribute to the advancement of education in Korea. In order to clear the vestiges of Japanese colonial rule, many progressive reform projects, including the reformation of the curriculum, were set into motion. However, these initiatives did not address South Korea's social and economic issues but helped to maintain traces of colonial rule. They influenced the Korean people to develop a negative view of their own roots, culture and traditions. It encouraged people to consider themselves as the subjects of Westernisation and was a strategy implemented by America to have influence on South Korea.

  February 17, 2014   doi: 10.1111/j.1476-8070.2014.12011.x   open full text
• An Enquiry into Primary Student Teachers' Confidence, Feelings and Attitudes towards Teaching Arts and Crafts in Finland and Malta during Initial Teacher Training.
  Isabelle Gatt, Seija Karppinen.
  International Journal of Art &amp Design Education. February 17, 2014
  Arts and crafts are connected with a variety of emotions, and the prospect of teaching these subjects could be a source of other emotions, not necessarily positive. This study explores the feelings and attitudes of student teachers towards arts and crafts prior to any training within their degree course and examines any changes that occur following the courses. Theories of emotion and confidence are used to outline the approach of the study. This article describes the results of a survey performed in two countries, Malta and Finland, and highlights how student teachers feel degree courses in arts in Malta and in textile crafts in Finland, designed to include a strong experiential element, affect their perceptions of their own competence and confidence to teach the subjects. The method of content analysis was used to identify categories related to emotions and confidence. Altogether 53 student teachers from the University of Helsinki and the University of Malta participated in the survey in academic year 2010–11. Our findings support previous research showing positive effects on attitudes and confidence when training provides authentic artistic processes and experiences even though learners bring with them diverse experiences, and consequently experience diverse emotions, attitudes and perceptions towards arts and crafts as well as diverse levels of confidence to teach the subjects.

  February 17, 2014   doi: 10.1111/j.1476-8070.2014.12002.x   open full text
• Research into Teachers' Receptivity for Arts Infused Curricula in Taiwan.
  Yueh Hsiu Giffen Cheng, Wen‐Shou Chou, Chun Wen Cheng.
  International Journal of Art &amp Design Education. February 17, 2014
  The main purpose of this study was to understand the common attitudes and behaviours of teachers in Taiwan with regard to the implementation of arts infused curricula, as well as the individual problems these teachers encounter. From these results, we extracted reference data for the benefit of schools and policymakers in promoting arts infused curricula. The model of receptivity theory and the interrelated factors of influence shown therein were particularly useful in interpreting the attitudes and behaviours of teachers with regard to arts infused education. Teacher receptivity theory is usually applied to measure the relationships between the implementation of a new curriculum and the attitudes/viewpoints of teachers with regard to the new curriculum. With the aid of teacher receptivity theory, this study explored the difficulties and obstacles faced by teachers when implementing arts infused curricula, as well as the attitudes, behavioural intentions and considerations of these teachers. The methodology of this study included both a review of the literature and in‐depth interviews. Using the interview data, this research compiled 16 key factors of consideration for teachers with regard to arts infused curricula. These factors influence the attitudes and behaviour of teachers in relation to these curricula.

  February 17, 2014   doi: 10.1111/j.1476-8070.2014.12035.x   open full text
• Creatives Teaching Creativity.
  Charles Gustina, Rebecca Sweet.
  International Journal of Art &amp Design Education. February 17, 2014
  Creativity is very much in the forefront of current international economic news. As developing countries successfully vie with established economies for manufacturing and less‐skilled jobs, the pressure is on the developed world to move on to the next economic break‐through. Innovation and the creativity that drive it are seen as crucial to this process. Ultimately, education is viewed as the place to inculcate creativity in upcoming generations, to prepare them for the challenges (economic and otherwise) nations will face in coming years. The current global interest in the development of creative thinking for all areas of education requires teachers at all levels to construct learning experiences that generate not only creative products but also creative processes. These processes could ideally be applied across various disciplines requiring complex problem solving, engendering creative outcomes in multiple domains. While the authors assumed that teachers in the creative disciplines of art and design should take a leading role in this development of creative processes, it is not clear that this is happening. This article examines the background of the current calls for creativity, and reviews challenges to the leadership of creative teachers in teaching in non‐creative disciplines.

  February 17, 2014   doi: 10.1111/j.1476-8070.2014.01778.x   open full text
• ‘The answer is brought about from within you’: A Student‐Centred Perspective on Pedagogy in Art and Design.
  Susan Orr, Mantz Yorke, Bernadette Blair.
  International Journal of Art &amp Design Education. February 17, 2014
  This article reports on the ways that a group of third‐year undergraduate art and design students conceptualise the pedagogy they experience on their course. This study is part of broader research funded by the Group for Learning in Art and Design (GLAD) and the Higher Education Academy (HEA) that employs qualitative interviewing approaches to explore the ways that a small sample of art and design students studying in two English post‐1992 universities interpret and understand the questions in the National Student Survey (this is a questionnaire that UK students complete during the final year of their undergraduate studies). The analysis suggests that the students' conceptions of art and design pedagogy might be best understood as a form of ‘reverse transmission’ that places the students as active co‐producers of their learning. The study reflects on the centrality of project centred learning in art and design and explores the challenges concerning the nature and scope of the art and design lecturers' role, particularly in the context of the UK's increased student fee regime.

  February 17, 2014   doi: 10.1111/j.1476-8070.2014.12008.x   open full text
• Hunting for Monsters: Visual Arts Curriculum as Agonistic Inquiry.
  Nadine M. Kalin, Daniel T. Barney.
  International Journal of Art &amp Design Education. February 17, 2014
  This article explores the possibilities of placing curriculum design in close proximity with participatory contemporary art projects that potentially activate our capacities and willingness to re‐vision the future of art education. In this curricular questing we have been drawn toward art that encompasses participatory forms – chiefly relational art and relational antagonism in art – en route to modes of lived‐curriculum as agonistic inquiry. We start with an account of the historical present as engulfed in past curricular tensions with curriculum design experiencing an arrested development in its reliance on outdated, causal models of learning in order to assume greater certainty over learning. This produces an illusion of efficiency and comes with particular costs. The interaction between the distinct perspectives of curriculum‐as‐plan and curriculum‐as‐lived offers a number of theoretical opportunities for art educators to re‐engage with curricula. Next, we explore the notion of an uncertain curriculum, drawing upon relational aesthetics and bricolage to highlight curriculum as a negotiated space, while offering a student art project example that illustrates a non‐deterministic and participatory form. The authors suggest that while relational aesthetics and bricolage are helpful in the space between curriculum‐as‐plan and curriculum‐as‐lived, these are also limited. Further, we share examples and possibilities for reconsidering curriculum as inquiry, inspired by relational antagonism in contemporary art. Finally, we end with a plea for the necessity of monstrous curricular excesses and conflicts in perforating both our students' and our own current and historical borders of a field yet to come.

  February 17, 2014   doi: 10.1111/j.1476-8070.2014.01774.x   open full text
• Reforming the School Curriculum and Assessment in England to Match the Best in the World – A Cautionary Tale.
  John Steers.
  International Journal of Art &amp Design Education. February 17, 2014
  This article traces the development of a new National Curriculum in England following the general election of 2010. The prevailing political ideology of an approach based on securing ‘core knowledge’ in a limited range of preferred ‘academic’ subjects and its deleterious impact on the arts in schools is described. The vigorous debate accompanying these ‘reforms’ is summarised.

  February 17, 2014   doi: 10.1111/j.1476-8070.2014.12038.x   open full text
• Current Approaches to the Assessment of Graphic Design in a Higher Education Context.
  Susan Giloi, Pieter du Toit.
  International Journal of Art &amp Design Education. June 13, 2013
  This article provides an overview of the current trends in assessment practice within the field of graphic design. The demands placed on educators to apply sound assessment practice for Higher Education subjects is as intense in the field of graphic design as in any other. Forcing the assessment of creative visual work into existing assessment methodologies is incongruous and is often, for good reason, met with resistance from lecturers in this field. Practical art and design modules tend to fall outside of the recognised assessment methodologies as the type of skills and thinking that students must evidence are difficult to define. Lecturers, in order to encourage creativity, prefer to leave learning outcomes open ended in order to accommodate the unexpected and unique solutions that students are encouraged to achieve. This and the atypical assessment approaches taken in design subjects make justifying assessment practice to the various role players challenging. In this article current trends that make assessment more transparent, encourage deep learning and give the opportunity to assess not only the final artefact, but the creative process and the development of the student as a design practitioner, are identified. These approaches can provide lecturers with the basis for building sound assessment structures and empower them to clearly justify their assessment practice.

  June 13, 2013   doi: 10.1111/j.1476-8070.2013.01758.x   open full text
• The Evolution of Art and Design Pedagogies in England: Influences of the Past, Challenges for the Future.
  Nicos Souleles.
  International Journal of Art &amp Design Education. June 13, 2013
  This article traces the historical evolution of instructional methods in art and design education in Britain to identify the influences that inform current practices and compare the latter against recent debates on what are design education and designer in the context of the global economy and the widespread use of information and communication technologies (ICTs). This evolution starts in the thirteenth and fourteenth centuries with the master–apprentice model of learning on a one‐to‐one basis. Examination‐dominated teaching and didactic approaches prevailed up to the early twentieth century. In the latter part of the twentieth century, the entrance of art and design education into academia ushered gradual changes to pedagogy. The call for change has become more prominent in the context of the global knowledge economy.

  June 13, 2013   doi: 10.1111/j.1476-8070.2013.01753.x   open full text
• The Prefabricated Interior Design Studio: An Exploration into the History and Sustainability of Interior Prefabrication.
  Deborah Schneiderman, Kara Freihoefer.
  International Journal of Art &amp Design Education. June 13, 2013
  This article examines the integration of prefabrication into an interior design studio. A review of the literature revealed that while there is a paucity of categorical research focused on this subject, the subject is historically significant with an abundance of evidence regarding the prefabrication of the interior environment dating back thousands of years. The studio began with a research report, which uncovered a lack of specific topical historical evidence correlating prefabrication with interior design. Next, a series of lectures defined the topic ‘Prefabricated Interior Design’ and introduced sustainable strategies in prefabrication. Finally, students were instructed to create and assemble three separate prefabricated design studies. At the end of the instructional semester students were questioned about their education, attitudes, and professional objectives toward Prefabricated Interior Design. The survey uncovered that students feel Prefabricated Interior Design is ‘unrepresented’ in historical content and professional practice. The survey also revealed that students' initial awareness of prefabrication in interior design is weak, however, with the implementation of the topic into a studio‐based course their attitudes and perceptions toward prefabrication heightened.

  June 13, 2013   doi: 10.1111/j.1476-8070.2013.01747.x   open full text
• Designing Student Citizenship: Internationalised Education in Transformative Disciplines.
  Hannah Rose Mendoza, Tom Matyók.
  International Journal of Art &amp Design Education. June 13, 2013
  Design is a transformative, socially engaged practice and design education must provide a platform from which that practice can grow. Education plays a vital role in preparing design students to move beyond a purely reactive state to one in which they are actively engaged in shaping the world around them. Such a shift is built upon the provision of a holistic education that invites interaction with the concepts of democracy, engagement and empathy at the global scale. At a time when our graduates need to be prepared for global citizenship and design without borders, higher education has moved sharply toward discipline specific training and job preparation and away from liberal education and the development of critical thinking abilities. The internationalisation of education in design disciplines is reliant upon the formation of deep connections that are an embedded part of a student's larger academic career, rather than an isolated opportunity. Rather than focus on ‘exposure’, the internationalised education that design students need includes deep immersion and diverse contact in order to transform the study abroad tour into a layer of embedded experience rather than an artificial veneer. As students develop relationships with students from other cultures and experience the richness of others, they explore their own knowledges, values and assumptions. While all design graduates will live and work in a global environment, not all students are able to study abroad. Therefore, alternative opportunities for internationalising the curriculum must be explored.

  June 13, 2013   doi: 10.1111/j.1476-8070.2013.01750.x   open full text
• Assessment as a Barrier in Developing Design Expertise: Interior Design Student Perceptions of Meanings and Sources of Grades.
  Kennon M. Smith.
  International Journal of Art &amp Design Education. June 13, 2013
  This article reports on a portion of a larger qualitative study focused on a group of interior design students' perceptions of their educational experiences. Twelve interior design students enrolled in their final studio course participated in interviews intended to elicit their perceptions of key barriers encountered during their undergraduate design school experience. Among students' perceived barriers to learning, studio project grades figured so prominently that they are the focus of this article. Interviews were transcribed, coded and analysed using a constant comparative approach. Themes were developed to describe the students' conceptions of meanings and sources of grades. Interactions among main themes are examined and implications for future research are addressed.

  June 13, 2013   doi: 10.1111/j.1476-8070.2013.01746.x   open full text
• Hands On, Hearts On, Minds On: Design Thinking within an Education Context.
  Fatima Cassim.
  International Journal of Art &amp Design Education. June 13, 2013
  Today the changing nature of design practice and the role of design within a widening domain indicate that the survival of design as a profession may depend less on traditional design education and more on responding strategically to contemporary changes, influenced by ethical and environmental issues as well as technological advancements. As a result, one of the challenges facing contemporary design educators today is how to prepare and educate design students in light of the expanding and shifting definitions of the profession as well as changes in social responsibilities. To this end, the article explores the nature of the design process by presenting a model of designing. Following from this, the inherent characteristics of design thinking are identified before discussing the application of design thinking within an education context. Reference is made to the lil'green box, a social innovation project by a final year Information Design student from the University of Pretoria. The scope of the article is limited and therefore only a single case study is presented. Nonetheless, the main argument that emerges from the case study is that in order to advance design research, focus must be placed on the design (problem solving) methodologies that are taught and subsequently employed by students as part of their design training.

  June 13, 2013   doi: 10.1111/j.1476-8070.2013.01752.x   open full text
• Professional Capabilities for Twenty‐First Century Creative Careers: Lessons from Outstandingly Successful Australian Artists and Designers.
  Ruth Bridgstock.
  International Journal of Art &amp Design Education. June 13, 2013
  Artists and designers are positioned at the centre of the twenty‐first century creative economy. In order to recognise and make the most of the opportunities afforded by this new era, artists and designers still require the creativity, disciplinary depth of knowledge and technical skills traditionally possessed by professionals in these fields – skills which are a core strength of higher and further art and design education. However, they may also require a range of other, ‘twenty‐first century’ creative capabilities which are harder to define, teach for and assess, and are not the focus of traditional art and design pedagogies. This article draws upon the findings of nine in‐depth interviews with award‐winning Australian artists and designers about their careers and working practices, along with recent international research about the characteristics of the twenty‐first century creative career, in order to highlight the importance of certain professional capabilities for art and design. It discusses the implications of these findings for art and design educators in universities, and curricular and pedagogic considerations associated with embedding these capabilities into undergraduate courses.

  June 13, 2013   doi: 10.1111/j.1476-8070.2013.01756.x   open full text
• The Elements and Principles of Design: A Baseline Study.
  Erin Adams.
  International Journal of Art &amp Design Education. June 13, 2013
  Critical to the discipline, both professionally and academically, are the fundamentals of interior design. These fundamentals include the elements and principles of interior design: the commonly accepted tools and vocabulary used to create and communicate successful interior environments. Research indicates a lack of consistency in both the identification of what constitutes the elements and principles of design and the specific definitions for each of them. Elements and principles of design vary from textbook to textbook, and this lack of consistency must be addressed when creating a single cohesive interior design vocabulary. This research study sought to gather fundamental information pertaining to the elements and principles of design, such as types of class formats being employed, foundational textbooks utilised, and within each curriculum where the elements and principles were being introduced in CIDA‐accredited interior design programmes. Furthermore, this study assessed the attitudes and perceptions of interior design educators concerning the elements and principles of interior design. The elements and principles of interior design are an integral part of design students' education and will contribute substantially to their skill set in the professional realm. For this reason, it is important that the design elements and principles are taught in a consistent manner, with emphasis placed on their meanings, substance and appropriate applications.

  June 13, 2013   doi: 10.1111/j.1476-8070.2013.01761.x   open full text
• A Chaotic Intervention: Creativity and Peer Learning in Design Education.
  Kylie Budge, Claire Beale, Emma Lynas.
  International Journal of Art &amp Design Education. June 13, 2013
  Peer feedback and critique is integral to the creative practice of studio‐based textile designers. In a creative learning context, how do students perceive the role of peer feedback and critique? What conditions do students identify as being important to stimulating creativity in a collaborative peer feedback and critique‐driven learning environment? This article highlights research conducted in one undergraduate textile design programme of an urban Australian university based on a small‐scale designed learning intervention. Our study set out to explore: (1) what students thought about creativity; (2) the conditions which supported its development; and (3) the role of peer learning and critique in the learning experience of design students in a studio‐based environment. Qualitative data were collected from students about their views on creativity, peer learning and the intersection of these two areas both prior to and after the intervention. Staff observations and reflections were also explored. Findings include an increased awareness of the role of peer learning in the creative process for the majority of students. For staff, important revelations unfolded about the role of the group in peer learning and critiques, the elusive nature of creativity itself, the inherent nature of creative disciplines, and the importance of particular physical and mental environment(s) in creative studio‐based learning and teaching. This study highlighted that studio‐based learning environments (involving peer feedback and critique as a critical component of the creative process) need to consider the group dynamic at play and carefully design learning interventions accordingly.

  June 13, 2013   doi: 10.1111/j.1476-8070.2013.01734.x   open full text
• Design Education: International Perspectives and Debates.
  Jeff Adams, Wendy Hyde, Bernadine Murray.
  International Journal of Art &amp Design Education. June 13, 2013
  There is no abstract available for this paper.

  June 13, 2013   doi: 10.1111/j.1476-8070.2013.12012.x   open full text