Loughborough University Library: Open Journals
Not a member yet
1614 research outputs found
Sort by
The Use of Information Technology in the Teaching and Learning of Design and Technology in Schools Control Technology - from the beginning
No full textEditorial
Get PDFThis issue of Studies in Design Education and Craft marks the tenth birthday of the Journal. Commenced in 1967 under the sponsorship of the College of Craft Education Studies in Design Education and Craft began at a time when relatively few teachers were aware of the potential of the new developments in the teaching of craft, art and technology; still fewer were practising them. Design Education was still a largely unknown designation. The publication suffered the fate of many pioneers; it ran into financial difficulties and the College of Craft Education decided, reluctantly, to discontinue its support after the end of the second year. Fortunately the support of a small group of enthusiasts led them to arrange the publication of the Journal independently; the dramatic growth in the strength and influence of the Journal in the years that followed has abundantly justified their faith. From a total of just under two hundred subscribers in 1967, Studies in Design Education and Craft has now a circulation of three thousand and is distributed world wide.In its ten years of pu blication the articles in Studies in Design Education and Craft have em braced every aspect of 'education with materials' in schools and colleges. New and old media, traditional and modern techniques, methods or organisation and planning appropriate to the changing patterns of primary, secondary and tertiary education have all been featured. The articles have traced the striking development of art design and craft education from its largely traditional practices of the 1960s through the developments of the decade to the new, more central and considerably more important role it now occupies in school and college. Pride of place has always been given to accounts by practising teachers who have regularly discussed their work with students; their objectives; their developments, their problems and their achievements. Studies in Design Education and Craft has also provided a permanent voice for the perceptive and constructive critical commentary that has accompanied such developments; a commentary that, on occasions, looks not only forwards but also backwards. This critical tradition is of long standing in the art and craft world and it has undoubtedly saved us from many of the excesses that have marred development in other areas of the curriculum - where concepts such as integration, themes, circuses, problem-solving and much else have been adopted with less than sufficient discrimination on occasions. There is little doubt that the pages of this Journal have made a contribution to the soundnees of present practice in design, craft and art education
What can we learn from Industrial Museums?
Get PDFMuseums about our industrial past are presently in fashion. Most of them are intended to 'preserve' or 'conserve' a certain 'heritage', to use the jargon of heartrending public appeals for cash. But it has also become useful to claim that industrial archaeology museums are of great 'educational' value. Most industrial museums, when school or college parties are on the point of departing, receive effusive thanks for a most 'interesting visit'. However most educators feel uncertain about the equation 'interesting equals educational'. It is not old fashioned to suggest an educational visit to an industrial museum (or indeed any other museum) can only be tested by two rather unattainable methods: (I) examination or other assessments and (2) by some science fiction meta-Kenneth Richmond test for cultural and imaginative impact. Such tests seem to be and probably are unattainable, so that it may be useful to come down to earth by hinging on the Gladstone Pottery Museum some thoughts about the educational value of museums of crafts or industries
Craft as a Liberal Education: A Response
Get PDFIt is important to correct some of the impressions that may have been created by Mr. Allen in his last issue of Studies in Design Education and Craft 9.1. Specifically I want to examine the Peters' analysis of education and the Hirst account of liberal education with reference to the place of craft education in the curriculum. I will maintain that an acceptance of the Peters-Hirst theses is perfectly consistent with an emphasis on craft education
Expert Systems in the Design Process
Get PDFComputers have been used to aid the design process for well over twenty years. Initially there were just draughting systems, but now 3-D modellers and finite element analysis packages are commonplace. As computing power has become cheaper to buy and smaller to house so the applications for these systems have proliferated and all designers are now taking an interest. Expert systems, which try to imitate human decisionmaking capability, are much newer, but as with the draughting and analytical tools they will eventually find their way into the world of computer-aided design. This article discusses the possible roles of expert systems in the design process and illustrates the use of two shells - TIMM and INSIGHT - in relation to detailed design decisions. Using a shell will impose constraints on the way the problem must be formulated and the application of TIMM to the costing of turned components and INSIGHT to the selection of a manufacturing process demonstrate the kind of structures it will be necessary to use
Craft as a Liberal Education
Get PDFIn what is called Philosophy of Education, craft, along with other practical activities, comes off badly, if it is ever discussed at all, because of two facts: those who practise Philosophy of Education have had a primarily academic education and so think in terms of what they have experienced, as well as believing that their specialized pursuits and interests (intellectual enquiry) are the principal or only forms of human excellence; and the dominance of the accounts of education of Professors Peters and Hirst which equate it with intellectual development and thus with academic schooling
The Project that Grew
No full textdesign group were set a minor project brief which required them to consider the design of an aid for the teaching of literacy and numeracy to children in the Primary age range. A number of interesting projects began to develop and one of these by a girl pupil (Wendy Allen) was particularly interesting as she related the numeracy requirement in the 'set' project to the mathematics of music - note values - time intervals, note groupings, etc. She began to devise games including 'Music Snap', 'Musical Snakes and Ladders', 'Spin a Tune', etc. One day as she explained one of these games (which consisted of throwing a die to obtain a numerical value and then counting round a board to land on a particular note, A, B flat, D etc., each child building up simple phrases of music as the game proceeded - I suggested that it might be interesting if the game board could rotate allowing say for a particular key-signature to be set, and any 'sharps' or 'flats' in that key to be indicated. Wendy was delighted with this suggestion and went home with the intention of making a card model that would do this for a particular key-signature.The following day she turned up unexpectedly with her model and very excited that she had got it to work!, indeed, she was sure it would work for other key-signatures too - a 'Calculator for Music Notation' was to emerge and become reality. In its final form the calculator was made of acrylic perspex and the 'mark 3' version can be set to indicate sharps or flats for all key-signatures where they apply, and to indicate scales, chords, arpeggios and intervals as well as Simple and complex harmonic notes.With the Calculator Project, Wendy won a major prize in the senior group of the Design Council/G .E.C. Competition in 1978
Editorial
No full textIt has become something of a cliche to open any discussion of CDT with reference to 'sweeping developments' or 'transformation of subject content'. But such is the nature of change at the moment, developments within the subject are difficult to characterise without resort to such phrases.Herein lies a serious problem both for practising CDT specialists and for those entering teaching. Many important developments and initiatives are by no means fully consolidated yet, and those which are established make the CDT specialist's job an exceedingly demanding one. It is of especial importance, in times like this, that Studies in Design Education, Craft & Technology exists as a meeting place for ideas; it is at once a forum for discussion, and a means of disseminating ideas between specialists. This particular issue of the journal aims to do both these things, and implicitly encourages all colleagues to respond to issues raised