Student Withdrawal: Test of an Integrated Model

This study examined a model of student withdrawal that integrated the major elements of Tinto\u27s (1975) Student Integration Model and Bean\u27s (1982, 1983) Industrial Model of Student Attrition. In a sample of 315 college freshman, the results of a path analysis indicated that both social and academic integration were related to satisfaction but only academic integration was related to commitment. Neither social nor academic integration had significant direct effects on intention to withdraw. Further, of the two attitudinal variables, satisfaction was related to intention to withdraw, however, commitment was not. These findings support the integrated model of student withdrawal

Collaboration in Arts Education

This is the peer reviewed version of the following article: Adams, J. (2015). Collaboration in Arts Education. International Journal of Art and Design Education, 34(3), 280-281. DOI: 10.1111/jade.12093, which has been published in final form at http://onlinelibrary.wiley.com/doi/10.1111/jade.12093/abstract. This article may be used for non-commercial purposes in accordance with Wiley Terms and Conditions for Self-ArchivingThe merits of collaborative learning through the arts are immediately obvious: many of the arts physically lend themselves to shared contributions and joint productions –theatre, dance, murals, singing, textiles, graphics, design and printing, to name only the first to spring to mind. Underpinning each of these are social and communal learning: how to be together, and share in an enterprise. This is turn feeds into the idea of a democratic society where the learner is not only acquiring knowledge and skills, but also an understanding of what it is to be a citizen; it is hard to overestimate how important being well socialised at an early age is to the coherence of a functioning civic society. Given the seemingly obvious advantages of such an education, and the equitable society that it is designed to support, it is troubling that collaborative education, and with it arts education, is increasingly neglected in favour of individual and competitive learning

Editorial: Art for Life: Race, Gender, Disability and Class - Critical Discourses around Participation in Arts Education

This is the peer reviewed version of the following article: Adams. J. (2014). Art for life: Race, gender, disability and class - critical discourses around participation in arts education: iJADE 2013 conference issue. International Journal of Art & Design Education, 33 (3), 288-290, which has been published in final form at http://dx.doi.org/10.1111/jade.12069.This article may be used for non-commercial purposes in accordance with Wiley Terms and Conditions for Self-Archiving.A paradox that art educators often encounter in their work is that the arts, just as they are recognised for their universal and inclusive values, may also inadvertently reinforce elite and exclusive practices. Similarly, while the development of pedagogies for critical approaches to culture has positively impacted on a broad and diverse range of learners in all phases of education, the apparently democratic space of arts studio or classroom can also be a space that is governed by assessment regimes and educational conventions, and one which may also be characterised by reproduction, routine and a reliance on entrenched pedagogic practices. Such are the ways in which current arts-based educational practices may on one hand enable and include, but on the other disable and exclude. Given this state of affairs, to what extent can arts education promote an inclusive participation in ‘art for life’, and in what ways can it widen this participation? These were the questions and issues that delegates from sixteen countries at the 2013 iJADE/NSEAD research conference, held 15–16 November 2013 at the University of Chester Research and Innovation Centre, assembled to explore

Touched by Turner

This is the peer reviewed version of the following article: Adams, J. (2015). Touched by Turner. International Journal of Art & Design Education, 34(1), 2-8. DOI: 10.1111/jade.12075, which has been published in final form at http://doi.wiley.com/10.1111/jade.12075. This article may be used for non-commercial purposes in accordance with Wiley Terms and Conditions for Self-ArchivingThis is a personal reflection on an encounter with the works of the nineteenth-century painter J. M. W. Turner in London’s Tate Britain exhibition ‘Late Turner: Painting Set Free’. The article discusses the deeply subjective nature of engaging with artworks, and touches upon theories that might account for the ineffable but moving experiences that sometimes occur in such situations, often unexpectedly, and analyses the associations that might prompt them – in this case the details of dogs in some of Turner’s works. There is a discussion of the theoretical frameworks that may provide an insight into these deeply subjective, personal and yet significant encounters, and how they can provide a means to a richer understanding of an artwork. The article considers the conditions that might be conducive to these contemplative, affective experiences, and how they might occur in educational settings with appropriate forms of pedagogy. The article concludes by contrasting slow, idiosyncratic and subjective learning through artworks, with the dominant, data-based and reductive trends that currently prevail in mainstream education

Annex B Anxiety? Finding Ways out of the ICT Labyrinth for ITT Courses

This article deals with the issue of the delivery ofICT for trainees on initial teacher training (lTT) courses in response to the compulsory information and communications technology (lCT) curriculum that is part of the DfEE 4/98 Standards in lIT, annex B. It describes the courses developed in one institution, Liverpool John Moores University, to achieve this provision. The course described is PGCE art and design rather than design and technology, yet many of the features that form the successful elements of the course are applicable to lCT provision generally. This is also true of the difficulties encountered, which extend well beyond the boundaries of art and design. The projects described include utilising online galleries, making digital presentations and the organising of visual material for digital, interactive resources in the classroom. There are recommendations for an approach that is commensurate with existing classroom practice, encouraging an integrated approach to lCT development. The article includes examples of successful projects carried out i

Explaining Small-Business Development: A Small-Business Development Model Combining the Maslow and the Hayes and Wheelwright Models

This paper looks at small-business management from the standpoint of Maslow’s hierarchy of needs and Hayes and Wheelwright’s four-stage model. The paper adapts Maslow’s hierarchy of needs model to small- business development and evolution. Additionally, Hayes and Wheelwright’s four-stage model is combined with the adapted Maslow small-business development model. The implications of the new model on the development of small businesses and future research are discussed

Differential Absorption Lidar Measurements of Troposheric Ozone in the Arctic

A differential absorption lidar was constructed at the laboratory at York University and deployed in field campaigns to measure vertical profiles of tropospheric ozone. Profiles of ozone concentration were derived from the range-resolved simultaneous detection of backscatter from two or more wavelengths of laser radiation. By analyzing the absorption differences due to ozone between the two lidar returns, an ozone profile along the optical path of the laser was determined. This method is capable of resolving ozone concentrations between a range of 300 m to 8 km from the lidar. During the spring in the polar region, tropospheric ozone depletion events occur due to the presence of inert halide salt ions such as Br- in the atmosphere. After polar sunrise, this Bromine photochemistry can cause ozone concentrations near the ice surface to drop to near zero levels. Outstanding questions addressed by the lidar measurements were (a) whether significant ozone depletion occurs in layers not connected to the surface, and, (b) how local topography can influence ozone concentrations measured at land based locations such as Eureka NU. Measurements were made during three field campaigns. The first was on the Amundsen icebreaker ship of the Canadian Coast Guard as part of the circumpolar Flow Lead study. For the second campaign the lidar was installed on the Polar-5 aircraft for flights over the sea ice north of Barrow Alaska. The third campaign involved ground based measurements from Eureka Weather Station on Ellesmere Island in the Canadian High Arctic. All of the measured ozone depletions were connected to the surface, and no evidence of ozone depleted air detached from the boundary layer was found. The lack of free tropospheric depletions indicate that such events are likely rare, and not a significant ozone sink. While measuring tropospheric ozone from a land based location, the measured depletions were found to be mainly confined to the atmospheric boundary layer except in instances where surrounding topography enabled the transport of ozone depleted air into the free troposphere. This effect was common at the Eureka weather station on Ellesmere Island, which is surrounded by a number of mountain ranges

Collectively Creative: a means to perceive differently

This feature article is a response to the question " Can anyone be creative?"In dialogue with the Editor of the Hong Kong Youth Journal Elaine Morgan the argument is made that it is possible given the right environment. The significance of the creative arts in the establishment of social justice in education is highlighted

Artists Becoming Teachers: Expressions of Identity Transformation in a Virtual Forum

This article is an investigation of art and design graduates' identities as they embark upon their training as teachers. The expressive, 'confessional' nature of forum posts from their Virtual Learning Environment are analysed in relation to the students' identity transformation into teachers. This transition is profound in the case of artist teachers, for whom the contrast between their practice as a critical artist and that of a regulated professional can be severe. The usage of these socially-oriented virtual forums, and the students' identity transition is analysed in terms of identity theorists such as Butler, hooks and Wenger. There are problems of expression that are brought about by the juxtaposition of visually and spatially adept artist-learners constrained within a largely textual environment, yet this impediment appears to be ameliorated by their social-expressive exploitation of the forums