Location of Repository

Teachers' Academy Papers



This book supports the third European League of Institutes of the Arts Teachers’ Academy and has been and designed to stimulate discussions about the contested notions of creativity. The papers and workshops question and employ creativity in many different ways. Central to many is a discussion as to whether creativity is an inherent quality, a gift that cannot be taught or learned. Others discuss how creativity may be enhanced or stifled through changes to educational policy or structures, or equally, through theoretical and critical studies or the commercial realities of professional practice.\ud \ud The papers are loosely divided into three strands. The first examines the subject of creativity with reference to overarching themes including entrepreneurship, design management and professional practice, as well as through a number of different disciplinary fields. These papers explore the limitations and opportunities presented by different teaching scenarios and contexts both within and beyond the university. The second strand examines how teaching, learning and research methods and the instruments of evaluation, assessment and curriculum design may be used innovatively, reflectively and creatively to enhance student learning; and the third strand explores questions of creativity, diversity, disability and the implications and opportunities for teachers as well as their students to reflect upon their position in the context of Higher Arts Education

Topics: W000 Creative Arts and Design
Publisher: University of Brighton
Year: 2007
OAI identifier: oai:eprints.brighton.ac.uk:6490

Suggested articles



  1. (2004b), ‘Is Knitwear Software Too Rigid?’,
  2. (2007). 1Day 2 Higher Education Academy Art, Design, Media Subject Centre,
  3. (1993). 1st Royal College of Art occasional paper,
  4. (2005). A Case for Entrepreneurship in
  5. (1999). A Creative Dialog’, Interview between Mihaly Csikszentmihaltyi and Robert Epstein,
  6. (2003). Alone and together: design team working via portable computer tools’, in Mante-Maijer, Haddon et al (eds),
  7. (2006). An Investigation into the role of CAD/CAM Technologies in enhancing the Creative Process of Knitted Fabric Design.
  8. (2005). and Learning Technologies,
  9. (1998). Artswork Centre for Excellence in Teaching and Learning in the Creative Industries, Bath Spa University, http://artswork.bathspa.ac.uk/ The Boyer Commission on Educating Undergraduates in the Research University
  10. (2007). Artswork, Bath Spa University, UK 18Day 2 Higher Education Academy Art, Design, Media Subject Centre,
  11. (2005). Assessing highly-creative ability’,
  12. (2004). Assessment for Learning’, Learning and Teaching
  13. (2000). Attitudes to Formal Business Training and Learning Amongst Entrepreneurs in the Cultural Industries: Situated Business Learning through ‘Doing with Others’,
  14. (1990). Automaticity: a New Framework for
  15. (2003). Between Production and Consumption: Fashion Buyers as Cultural Intermediaries,
  16. (2007). Big C versus little c: Creative All Our Futures: Creativity, Culture and Education,
  17. (2001). Breakthrough Thinking and the Eureka Effect: An Interview with Professor David Perkins’, Harvard Graduate School of Education, available from: www.gse.harvard.edu/news.
  18. (2006). Business Paradigms in Einstellung: Entrepreneurship Education, a Creative Industries Perspective, Paper presented at the Internationalising Entrepreneurship Education and Training Conference,
  19. (2006). Can we teach entrepreneurship?’,
  20. (2000). Case Study Research Methods,
  21. (2006). Challenging Traditional Assumptions and Rethinking Learning Spaces’,
  22. (2004). Changes in the teaching and learning process in a complex education system, Necsi Research projects.
  23. (2007). Cheo’s project: “Renegotiating the The Teachers’ Academy
  24. (1998). Closing the Loop: The Impact of Student Feedback on
  25. (2005). Cognitive Styles and Drawing Practice’, paper presented to the Improving Student Learning Through Assessment conference,
  26. (2000). Cognitive Styles and Learning Strategies,
  27. (2006). Collaborative Product Development Processes Between Textile Designers, Fashion Designers and Fashion Buyers’,
  28. (1997). Comenius and visual education’, in Design Essays, Ediciones Infinito, Buenos Aires.
  29. (2006). Commission for Architecture and the Built Environment,
  30. (1998). Communities of practice: learning, meaning and identity,
  31. (1996). Computing Our Way to Educational Reform’,
  32. (2004). Conference for Trade and Development
  33. (1990). Cooperative learning,
  34. (2005). Cox Review of Creativity in Business: Building on the UK’s Strengths,
  35. (2005). Cox Review of Creativity in Business: building on the UK’s strengths, HMSO, London, available from: www.hm-treasury.gov.uk.
  36. (2006). Cox Review of Creativity in Business: Implications for Entrepreneurship Educators, Paper presented at
  37. (2006). Creating Growth: How the UK Can Develop World Class Creative Businesses, NESTA, London.
  38. (1990). Creative Imagery, Lawrence Erlbaum, London and Hillside,
  39. (2006). Creative Process Journal 1, (unpublished) Master’s submission, Glasgow School of Art.
  40. (2006). Creative Process Journal 2, (unpublished) Master’s submission, Glasgow School of Art.
  41. (2006). Creative Process Journal 3, (unpublished) Master’s submission,
  42. (2006). Creative Process Journal 3, (unpublished) Master’s submission, Glasgow School of Art.
  43. (2002). Cultivating communities of practice: a guide to managing knowledge,
  44. (1990). Curriculum in Context,
  45. (2006). Design Alive (2007), We need to take action now, Design Council with Creative and Cultural Skills,
  46. (2002). Design Devices: digital drawing and the pursuit of difference’,
  47. (1989). Design Discourse: HistoryTheory-Criticism,
  48. (2003). Design Flair and Flexibility’,
  49. (2006). Designing Spaces for Effective Learning,
  50. (2005). Developing Creativity for the World Work: A Case Study’, Art,
  51. (2006). Developing Creativity in Higher Education: An Imaginative Curriculum,
  52. (2006). Developing Entrepreneurship for the Creative Industries: The Role of Higher and Further Education,
  53. (2006). Developing Your Teaching ideas: insight and action,
  54. (2001). Digital Natives, Digital Immigrants: Part I’,
  55. (2007). Distributed e-learning in Art, Design, Media: an investigation into current practice, Art Design Media Subject Centre, Higher Education Academy,
  56. (2006). Do Entrepreneurial Inclined Students Learn More from Simulations?,
  57. (1990). Drama and Intelligence: A Cognitive Theory,
  58. (2006). Dyslexia as Cognitive Style: Right-Brained Strategies for LeftBrained Tasks’, Higher Education Academy, online at www.brighton.ac.uk/adm-hea.
  59. (2006). Education and Skills,
  60. (1996). Education, Assessment and Society,
  61. (1986). Effective Teaching and Mentoring: Realizing the Transformational Power of Adult Learning Experiences’,
  62. (2005). Entrepreneurship Development for the Creative Industries:
  63. et al (2000), ‘Developing a Student-Centred Approach to Reflective Learning’,
  64. et al (2007), ‘Picture This: Using visual research methodology to explore the learning process through visual assessment’,
  65. (1982). Evaluating the Quality of Learning: The SOLO Taxonomy,
  66. (2004). Examiners; Quality Curriculum Authority visits to schools,
  67. (1984). Experiential Learning,
  68. (1984). Experiential Learning: Experience as a Source of Learning and Development, PrenticeHall,
  69. (1984). Experiential Learning: Experience as the Source of Learning and Development, Prentice Hall, Eaglewood Cliffs,
  70. (2001). Exploration of Evaluation and Research Methods for Improving Student Learning in Art and Design, Worcester College of Higher Education,
  71. (1996). Fashion as Communication,
  72. (2006). for Science, Technology and the Arts,
  73. (2007). for the Creative Arts
  74. for the Creative Arts (2006a),
  75. (1993). Formative assessment: Some theoretical problems and empirical questions’,
  76. (1993). Frames of Mind: the Theory of Multiple Intelligences,
  77. (1990). Glasgow: The creative city & its cultural economy, Glasgow Development Agency,
  78. (2006). Go! Co-design workshop, University of Art and Design, available at http://mlab.uiah.fi.
  79. (2007). High-level skills for higher value, available from: www.ukdesignskills.com Higher Education Funding Council.
  80. (1997). How are educators responding to the increasingly diverse enrolment in schools and universities?’,
  81. (2003). How green is your garden?, Wiley Academy,
  82. (1973). How musical is man?,
  83. (1999). How to Write a Great Business Plan’, in Harvard Business Review on Entrepreneurship,
  84. (1997). Ideas about Paul Rand’, in Design Essays, Ediciones Infinito, Buenos Aires.
  85. (1974). Image and Environment: Cognitive Mapping and Spatial Behaviour,
  86. (1976). Imaging and Visual Thinking,
  87. (1998). Improvisation by Javanese Gamelan Musicians’,
  88. (2003). Improvisation for non-music
  89. (1992). Improvisation’,
  90. (2004). Information Literacy and Dyslexia: Designing inclusive delivery’, conference paper, Ravensbourne College of Art, Design and Communication.
  91. (1995). Interpretation Theory, Ed. Siglo XXI,
  92. (2006). interview,
  93. (1968). Johannes Itten and the Background of Modern Art Education’,
  94. (2002). Knitwear in Fashion,
  95. (1992). Ladders and Links: Prerequisites for the Discussion of an International Framework of Qualifications, New Zealand Qualifications Authority,
  96. (1997). Le Corps poétique,
  97. (2004). Leader’s Guide to Education Technology, National School Board Foundation.
  98. (1999). Learning Journals,
  99. (1992). Learning to Teach
  100. Mäenpää, Marjo (2005), Multimodal Workshop: Functional design study module, University of Art and Design, available at http://mlab.uiah.fi.
  101. (2005). Making Britain the World’s Creative Hub, keynote speech to the Institute for Public Policy Research,
  102. (2003). Making Connections: Improving Spatial Abilities with Engineering Drawing Activities’,
  103. (2006). Making up and Showing off: What musicians do’, in
  104. (2001). Market Research, carried out for the ARB by Perry Nicholls, Marketting and Management Consultants, www.arb.org.uk Clews,
  105. (1995). Mentoring for Teacher Professional Development: possibilities and caveats’,
  106. (1998). Mentoring New Teachers,
  107. (2005). Metaphors and maps in evaluation’,
  108. (1995). Music, Culture & Experience: Selected
  109. (1962). National Advisory Council on Art Education.
  110. (2006). National Student Survey: Teaching Quality Information,
  111. (2006). New Professional Standards: teacher/tutor/trainer: Education in the lifelong learning sector, Lifelong Learning
  112. (1979). On Thinking,
  113. (2001). Oversold and Underused: Computers in the Classroom,
  114. (1978). Perceptions and Representations,
  115. (2005). Perforations of Transparency
  116. (2003). Personal creativity for entrepreneurship’, Active Learning
  117. (1990). Poetics of Architecture: Theory of Design,
  118. (1995). Problem Based Learning: An instructional model and its constructivist framework’,
  119. (2006). Produce: The Craft of Design’,
  120. (2006). Professional Standards Framework for teaching and supporting learning in higher education,
  121. (2000). Psychology of learning for instruction,
  122. (2002). Public Spaces,
  123. (2002). Quality Assurance Agency
  124. (2004). Reader on the aesthetics of mobility,
  125. (2003). Reconceptualising the Curriculum: from commodification to transformation’,
  126. (1999). Reflection in Learning and Professional Development,
  127. (1995). Research and Learning in Higher Education’,
  128. (2004). Rethinking formative assessment in HE: theoretical model and seven principles of good feedback practice’, Student Enhanced Learning through Effective Feedback (SENLEF) Project, Higher Education Academy.
  129. (2005). Sector Skills Agreement for Audio Visual Industries,
  130. (2006). Simulating Entrepreneurial Learning: Integrating experiential and collaborative approaches to learning, National Council for Graduate Entrepreneurship Working Paper 001, NCGE,
  131. (2000). Small group design activity and requirements on collaborative technologies’,
  132. (2007). Socially Innovative Networks’, in Karkulehto, Sanna and Laine, Kimmo (eds) (2007), Call for Creative Futures Conference Proceedings, Department of Art and Anthropology,
  133. (2000). Some design strategies for developing an online course’,
  134. (2001). Supported reflective practice: A programme of peer observation and feedback for academic teaching development’,
  135. (2007). Supporting New Academic Staff,
  136. (2002). Teaching and learning infrastructure
  137. (1998). Teaching Critical Reflection, Centre on Education and Training for Employment,
  138. (2003). Teaching for quality learning at university,
  139. (1997). Teaching Textile Design: The Black, A.
  140. (1996). Technology and Creativity,
  141. (2005). The Business of Design: Design Industry Research
  142. (2001). The Communication Bottleneck in Knitwear Design: Analysis and Computing Solutions’,
  143. (1995). The complexities of effective mentoring
  144. (1974). The Conflict of Interpretations: Essays in Hermeneutics,
  145. (2005). The Cox Review of Creativity in
  146. (2006). The Development of Creative Capabilities in and out of Creative Organizations: Three Case Studies’,
  147. (1979). The examination, disciplinary powers and rational schooling’,
  148. (2001). The Language of New Media,
  149. (2002). The Module and Programme
  150. (2002). The Moving Body: Teaching Creative Drama,
  151. (2002). The Nature of Creativity: Contemporary Bourriaud,
  152. (2002). The Prevalence of Dyslexia Among Art Students’, Dyslexia,
  153. (1996). The Relationship between Teaching and Research: A Meta-Analysis’.
  154. (1976). The role of tutoring in problem solving’,
  155. (2001). The Space of Encounter,
  156. (2002). The Textile Book,
  157. (2002). The trouble with learning outcomes’,
  158. (2005). The UK Fashion Handbook,
  159. (2006). Theatre of Movement
  160. (2007). They process Belgian and a Showcases day party. of Academy The showcases are examining how the work of those working in Higher Arts Education are harnessing new technologies to extend their teaching, practice and learning 01 The Teachers’ Academy
  161. (1994). Thinking in Jazz: the Infinite art of Improvisation,
  162. (2007). Threshold Concepts and Spatial Awareness in Automotive Design’, in Threshold Concepts within the Disciplines, to be published
  163. (1967). Toward a Theory of Instruction,
  164. (2005). Towards a Dynamic Learning Perspective of Entrepreneurship’, Entrepreneurship: Theory & Practice,
  165. (2007). Towards a more complex
  166. (2003). Towards a Radical Pedagogy: Provisional Notes on Learning and Teaching
  167. (2005). Towards the Entrepreneurial University: Entrepreneurship Education as a lever for change, National Council for Graduate Enterprise, Policy Paper 003.
  168. (2005). Towards the Entrepreneurial University: Entrepreneurship Education as a lever for change, National Council for Graduate Entrepreneurship Policy Paper 003, NCGE,
  169. (1995). Understanding Mentoring,
  170. (2006). User Information in Concepting’,
  171. (1988). Various Approaches to and Definitions of Creativity’, Appendix in
  172. (1995). Virtual Design Studio, Hong Kong
  173. (2005). Visual Abilities and Misconceptions about Plate Tectonics’,
  174. (2005). What creativity isn’t’,
  175. (2005). Why Drawing London, available online at: www.hhrc.rca.ac.uk.
  176. (2003). Writing learning outcomes and assessment criteria in art and design, Art, Design, Communication-Learning and Teaching Support Network,

To submit an update or takedown request for this paper, please submit an Update/Correction/Removal Request.