Striving for the impossible? Policing and territoriality in the age of the war on terror

This article asks how variations of state territorial control have influenced police missions in the recent past, and illustrate how recent police reforms were based on the structure of a ‘western’ type state with clearly identifiable formal state institutions enjoying autonomy, that strive for a form of territorial monopoly over violence. The article argues for moving beyond such assumptions by adopting scenarios based on how territory is controlled, developing four scenarios that can enable foreign-backed police missions to adapt to local circumstances. The article draws upon the typology of territorial control developed by Hansen in 2017/2019, amending this model to be adapted for policing. It argues that each of these scenarios require different strategies and compromises in order to create functioning police forces

Striving for the Impossible? Policing and Territoriality in the Age of the War on Terror

This article asks how variations of state territorial control have influenced police missions in the recent past, and illustrate how recent police reforms were based on the structure of a ‘western’ type state with clearly identifiable formal state institutions enjoying autonomy, that strive for a form of territorial monopoly over violence. The article argues for moving beyond such assumptions by adopting scenarios based on how territory is controlled, developing four scenarios that can enable foreign-backed police missions to adapt to local circumstances. The article draws upon the typology of territorial control developed by Hansen in 2017/2019, amending this model to be adapted for policing. It argues that each of these scenarios require different strategies and compromises in order to create functioning police forces

public class Graphic_Design implements Code { // Yes, but how? }: An investigation towards bespoke Creative Coding programming courses in graphic design education

Situated in the intersection of graphic design, computer science, and pedagogy, this dissertation investigates how programming is taught within graphic design education. The research adds to the understanding of the process, practice, and challenges associated with introducing an audience of visually inclined practitioners—who are often guided by instinct—to the formal and unforgiving world of syntax, algorithms, and logic. Motivating the research is a personal desire to contribute towards the development of bespoke contextualized syllabi specifically designed to accommodate how graphic designers learn, understand, and use programming as an integral skill in their vocational practice.The initial literature review identifies a gap needing to be filled to increase both practical and theoretical knowledge within the interdisciplinary field of computational graphic design. This gap concerns a lack of solid, empirically based epistemological frameworks for teaching programming to non-programmers in a visual context, partly caused by a dichotomy in traditional pedagogical practices associated with teaching programming and graphic design, respectively. Based on this gap, the overarching research question posed in this dissertation is: “How should programming ideally be taught to graphic designers to account for how they learn and how they intend to integrate programming into their vocational practice?”A mixed methods approach using both quantitative and qualitative analyses is taken to answer the research questions. The three papers comprising the dissertation are all built on individual hypotheses that are subsequently used to define three specific research questions.Paper 1 performs a quantitative mapping of contemporary, introductory programming courses taught in design schools to establish a broader understanding of their structure and content. The paper concludes that most courses are planned to favor programming concepts rather than graphic design concepts. The paper’s finding can serve as a point of departure for a critical discussion among researchers and educators regarding the integration of programming in graphic design education.Paper 2 quantitatively assesses how the learning style profile of graphic design students compares with that of students in technical disciplines. The paper identifies a number of significant differences that call for a variety of pedagogic and didactic strategies to be employed by educators to effectively teach programming to graphic designers. Based on the results, specific recommendations are given.Paper 3 proposes a hands-on, experiential pedagogic method specifically designed to introduce graphic design students to programming. The method relies on pre-existing commercial graphic design specimens to contextualize programming into a domain familiar to graphic designers. The method was tested on the target audience and observations on its use are reported. Qualitative evaluation of student feedback suggests the method is effective and well-received. Additionally, twenty-four heuristics that elaborate and extend the paper’s findings by interweaving other relevant and influential sources encountered during the research project are provided. Together, the literature review, the three papers, and the heuristics provide comprehensive and valuable theoretical and practical insights to both researchers and educators, regarding key aspects related to introducing programming as a creative practice in graphic design education

Quality of learning materials

With this article, we wish to discuss what learning materials are and how they can be included in didactic strategies. The question of what makes a good learning material can be answered in several ways, and places demands on professional judgement. Firstly, the answer will depend on how we view the learning material, as well as what type of learning material we are looking at, which is why we will start with a definition and typology of learning materials. Secondly, we will look at learning materials from three time perspectives: the potential didactic potential, the actualised didactic potential and the realised didactic potential. We will then attempt to identify five quality perspectives, each of which can contribute to the assessment of a learning material’s quality based on objective, users, effect, standard and organisational system. As an example of how one can interpret the perspectives, we present quality principles for digital learning materials that have been formulated on the basis of existing knowledge of learning materials’ design and effect. Finally, we reflect on the significance of professional judgement in the assessment of the quality of a learning material.El arti?culo propone discutir lo que son los materiales de aprendizaje y co?mo puedenincluirse en las estrategias dida?cticas. La pregunta sobre que? es un buen material de aprendizaje puede ser contestada de muchas maneras y demanda juicio profesional.En primer lugar, la respuesta dependera? de co?mo se considera el aprendizaje mate-rial, asi? como cual tipo de material que se esta? analizando, razo?n por la cual el arti?culo comienza con una definicio?n y clasificacio?n de los materiales. En segundo lugar, seanalizara?n los materiales de aprendizaje desde tres perspectivas temporales: poten- cial dida?ctico, potencial dida?ctico actualizado y potencial dida?ctico realizado. Luego,se trata de identificar cinco perspectivas de calidad, cada una de las cuales puede contribuir a la evaluacio?n de la calidad de un material de aprendizaje basado en objeti-vos, usuarios, efectos, sistema padro?n y organizacional. Para ilustrar co?mo se puedeinterpretar tales perspectivas, se presentan principios de calidad para los materialesde aprendizaje digital, formulados en base al conocimiento existente sobre el disen?o y el efecto de los materiales. Por u?ltimo, se propone una reflexio?n sobre el significado de juicio profesional en la evaluacio?n de la calidad de un material dida?ctico.O artigo propo?e discutir o que sa?o materiais de aprendizagem e como eles podemser inclui?dos em estrate?gias dida?ticas. A pergunta sobre o que e? um bom material deaprendizagem pode ser respondida de muitas formas e traz demandas de julgamentoprofissional. Primeiramente, a resposta dependera? de como se considera o materialde aprendizagem, bem como qual e? o tipo de material que se esta? analisando, raza?opela qual o artigo comec?a com uma definic?a?o e uma classificac?a?o dos materiais. Emsegundo lugar, os materiais de aprendizagem sera?o analisados a partir de tre?s pers- pectivas temporais: potencial dida?tico, potencial dida?tico atualizado e potencial dida?ti- co realizado. Em seguida, procura-se identificar cinco perspectivas de qualidade, cadauma das quais podendo contribuir para a avaliac?a?o da qualidade de um material de aprendizagem com base em objetivos, usua?rios, efeitos, sistema padra?o e organiza-cional. Para exemplificar como se pode interpretar tais perspectivas, apresentam-seprinci?pios de qualidade para materiais de aprendizagem digital, formulados com baseno conhecimento existente sobre design e efeito dos materiais. Finalmente, propo?e-se uma reflexa?o sobre o significado do julgamento profissional na avaliac?a?o da qualidadede um material dida?tico