A Learning Design Studio in Mobile Learning

Mobile learning is a young and vibrant field of research and practice. Teaching a university course on mobile learning is a challenge: how do you connect the theories and case studies to students’ experience, and make them relevant for their educational practice? This paper reports on one such course which was conducted using a Learning Design Studio format: working in groups, students identified an educational challenge, conducted independent search and analysis of the relevant literature, devised an innovative solution and evaluated it. The studio approach has been used successfully by several researchers in the past. The course described here was conducted at the University of Haifa in spring 2012. During the course, students engaged with core literature, reviewed case studies, and designed, implemented and evaluated six mobile learning projects. We argue that the Learning Design Studio format is particularly suitable for teaching about mobile learning, as it situates students learning in a genuine context and allows them to learn through conducting meaningful research

‘A new kind of conversation’: Michael Chekhov's ‘turn to the crafts’

Dartington Hall, which was the home of the Chekhov Theatre Studio between 1936 and 1938, also accommodated other performing artists including the Ballets Jooss and Hans Oppenheim's music school as well as artist-craftsmen such as the painter Mark Tobey, the potter Bernard Leach and the sculptor Willi Soukop. This essay examines the training undertaken in Chekhov's studio in dialogue with the practice of these artists (who also worked with his students) and theories of practice articulated by the wider constructive movement in the arts in the 1930s. It goes on to propose that Chekhov's technique be considered as a means of achieving theatre-artistry through craftsmanship, and as an artistic technique whose reach extends far beyond the confines of actor training

Dissemination of innovative teaching and learning practice : the global studio

This project aims to disseminate teaching and learning resources from an innovative programme called the Global Studio to the ADM-HEA community. The area of innovation developed in the Global Studio was to link student teams across the globe in ‘designer’ and ‘client’ roles in order to undertake a product development project. This built on and extended the learning philosophy of learning in and through doing provided in a more traditional design studio. Throughout the project students worked in geographically distributed work groups in order to provide them with experience in using skills that would enable them to work successfully in distributed design teams

Beyond realism : into the studio

In his epilogue to this special issue’s collection of essays on early modern drama and realism, Tom Cornford returns to Stanislavsky’s studio and to the practices which gave rise to his “System.” This approach is often cited as the means by which realism came to dominate the aesthetics of theater-making in the last hundred years, and yet, as Cornford shows, it was also an attempt to go beyond realism and was inspired as much by the challenges of staging Shakespeare as it was by any other form of drama. Stanislavsky’s studio practice was widely influential and this article focuses, in particular, on Harley Granville Barker’s ideal of an “exemplary theatre” (described in his 1922 book of that title). This was intended as a theatre “founded upon corporate study by the actors,” a model which is employed by Barker to redescribe Shakespeare’s work as well as to inspire innovations in future practice. Turning to the present day, Cornford uses Barker’s ideal to evaluate some current developments in studio-based theater-making before setting out his vision of a Shakespearean studio for the future

Julee Holcombe Associate Professor of Arts (COLA) travels to China

With the support of my CIE Grant, on May 13th I left UNH and travelled to the Sichuan Province of China for two months. The CIE grant funds helped to support my faculty teaching exchange with Chengdu University, my research to investigate the different fine art practices and pedagogy in China, and lastly, to support my own photographic research and studio practice

Art, academe and the language of knowledge

In this chapter I pursue the effects for knowledge, pedagogy and learning of practice led research in art and design education. I examine how postgraduate students of art, design and museology at the Institute of Education, University of London, explore and critically engage with the implications of art as a situated research practice. In particular, I foreground the complexities and antinomies surrounding methodology when students negotiate the practice of making in a studio context that encourages them to analyse their subject identities as teachers/lecturers, students, artists, academics and researchers. The expectation of academe and the position which language (written, spoken and visual) occupies is central to the formation of these identities, negotiations and dialogues. I will demonstrate, through discussion of work produced by students, that the traditional division between engagements with art making as a ‘sensory experience’ and with reading, writing and research as ‘rational activities’, presents a false dichotomy that needs to be reappraised in the debates surrounding practice-led research and its potential for pedagogy

The Law and Morals of Interpretation

This report is a hermeneutic analytical study of a practical pedagogical situation. For three occasions I observed my own practice as a dance teacher and how a moment, choreographic approach in the governing documents for upper secondary school GY11 was executed in a group of dance students. The part is formulated in the course objectives for the courses on the arts program under the topic Dansgestaltning with focus on choreographic approach. The study is based on a socio-cultural thinking but also takes into account the prevailing gender theories and focuses on how the process of formulation level, through the transformation level is portrayed in the realization level of the dance regarding choreographic approach. The study illustrates educational research from both a dance perspective and a school development perspective. The intention of this study was to raise the awareness of how a pedagogical situation was designed and what is realized in the dance studio. Some pedagogical models are described as useful in raising awareness of the process and the realization of the aspect of moment in a dance studio. The methodology used for the study was participant observation and focus conversations. The results are reported in a discussion on a larger awareness of my own practice, and the benefits it can bring to learning, dancing and school development

Embedding sustainability in design education: the case of design project on systemic changes for sustainable businesses based on upcycling

Sustainable design education has become a prevalent practice in design education. Ramirez’s (2007) worldwide survey shows that the majority of the programmes have either compulsory or optional modules on sustainable design. In particular, projects in sustainable design studio modules often deal with social or environmental sustainability issues with little attention to the practice of design for systemic changes for sustainable businesses. This paper aims to provide one such case: design project on how to scale-up sustainable businesses based on upcycling through systemic changes. A half-day student design workshop was co-planned and organised by De Montfort University and the University of Liverpool. Second-year undergraduate students in Industrial Design, University of Liverpool participated as part of Product Development 2 module. Throughout the workshop, participating students learned different approaches to sustainable design, production and consumption, challenges faced by upcycling-based businesses in the UK, and how to generate and develop ideas, concepts and system maps to resolve complex design problems involving multiple stakeholders