Oslo and Akershus University College of Applied Sciences (HiOA): Open Access Journals
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En veileder og inspirator : — for forsknings- og undervisningspraksis i design-, kunst- og håndverk
No full textÅ være stipendiat med Liv Merete som veileder har vært utrolig lærerikt og interessant. Liv åpner dører og knytter kontakter, hun inspirerer, motiverer og dytter ph.d.- kandidatene sine inn i nasjonale og internasjonale nettverk der de kan samarbeide, diskutere, utvikle, presentere, publisere, arrangere og vokse faglig. Dette styrker ikke bare den enkelte stipendiats muligheter til å lykkes som forsker, men også nettverket som skal utvikle og kvalitetssikre forskning og fagkunnskap i kunst-, design-, og håndverksdidaktikk framover. Og med dette styrkes kunnskapen som formidles innenfor hele fagfeltet – fra barnehage til ph.d
Programmering i Kunst og håndverk 2018-2022 : Utviklingen av pseudokodemodellen
No full textSince it became known in early 2018 that programming would be implemented in the upcoming curricula in Art and Crafts, I started holding short workshops in the topic for teacher training students in design, arts and crafts. The purpose was firstly to give the students an insight into the possibilites that lay in combining programming and Art and crafts, and hopefully contribute to some of them wanting to orient themselves further in the topic on their own. The development of this teaching has gradually changed from year to year, in interaction with overlapping projects. Through design-based research with the aim of developing and improving my own practice, this paper looks at five years of teaching programming with an emphasis on Scratch. One experience is that it is more important that the students (and pupils) get started quickly with exploring the possibilities and limitations of programming, rather than to receive a lot of instructions before they start. Another result of these experiences is that the teaching is organized like a code, which has been named the pseudocode-model.
Helt siden det tidlig i 2018 ble kjent at programmering skulle bli en del av Kunst og håndverk i kommende læreplaner, startet jeg å holde korte kurs i programmering for faglærerstudenter i design, kunst og håndverk. Hensikten var først å gi studentene et innblikk i hva slags muligheter som lå i programmering i Kunst og håndverk, og forhåpentligvis bidra til at enkelte av studentene ville orientere seg videre i temaet på egenhånd. Utviklingen av denne undervisningen har gradvis utviklet seg fra år til år, i en vekselvirkning sammen med andre relevante prosjekter. Gjennom designbasert forskning med mål om å utvikle og forbedre egen praksis, ser denne artikkelen på fem års undervisning i programmering med hovedfokus på Scratch. En erfaring er at det er viktigere at studenter (og elever) får komme fort i gang med å utforske programmeringens muligheter og begrensninger, enn at de skal få veldig mye opplæring i forkant av en økt. Et annet biprodukt eller resultat av disse erfaringene er at strukturen på undervisningen settes opp som en egen kode, som har fått navnet pseudokodemodellen
Educational Research Literacy: Philosophical Foundations and Empirical Applications
No full textThe paper offers a novel philosophical perspective on how research literacy should be conceptualised in the educational domain. Standard accounts of teacher research literacy consider it merely a subset of the skills of an educational researcher. Therefore, the accounts largely ignore the need to anchor or embed the mode of engagement with research in the particular demands of the professional role. By contrast, we argue that a virtue-based account of the epistemic agency involved in receiving testimony can help deliver a normatively attractive and empirically plausible account that is tailored to the role. We support the account with an original in-depth analysis of actual teacher engagement with research
Editorial I. Perspectives on Design Literacy: Building on the DLIN symposium October 2022
No full textThe Perspectives on Design Literacy special issue features selected peer reviewed articles discussing the Design Literacy concept in relation to a specific area of design education. Thus, the special issue provides the design research community with a useful reference point on which to further knowledge development related to Design Literacy and it update as a framework to examine for example what it means to be Design Literate. The Perspectives on Design Literacy special issue covers contributions exploring Design Literacy in diverse contexts including the educational level covering primary, secondary and Higher Education as well as different national educational context. The special issue provides a useful reminder that Design Literacy as with other types of literacies should gain a greater prominence withing the design research community to support development of general and professional education to prepare future citizens to navigate designed artificial world which is becoming increasing automated through the rapid deployment of the AI
On following and becoming a follower: A phenomenological analysis
No full textThis paper uses phenomenological analysis to consider the phenomenon of becoming a follower. The data includes my field notes from mediated encounters with three of the most-subscribed YouTube content creators, as well as my personal recollections about these experiences, which are interspersed as event memories throughout my notes. Analyzing my event memories of these encounters enables me to follow my affective relationship to these YouTubers and their content, to untangle some of these knobby multiplicities and map the possibilities of following as they emerge. As I follow following around, as a researcher and (perhaps) as a follower myself, I reflect on the role of algorithms shaping who, what, and how we follow online media. Lastly, the methodological ramifications of a researcher becoming a follower–how following and researching bleed into each other, and why this matters–are also explored in this paper
Towards practice-based professional development by teacher educators: Perspectives from self-study research in Eritrea
No full textTeacher education reform has advocated the implementation of widely espoused pedagogic changes in many contexts, particularly in Sub-Saharan African countries. This paper focused on the central agents in the reform process, i.e., teacher educators. Framed within the emerging conceptualizations of practice-based professional development of teacher educators, the study explores perspectives for improving educators’ teaching based on the self-study experiences of the first author while supporting the reflective practices of a group of student teachers in Eritrea. Self-study methods and tools including interactive discussions among colleague educators and critical friends, journaling, and course artifacts were used while developing the findings. The findings identified the dynamics of how researching situated concerns of teaching and learning frames problems of practice and also invokes sources and situations for developing motivations of educators in maintaining inquiry and improvement stances. We argue that such a dynamic is critical in productively engaging with teacher educators\u27 professional learning in practice in similar contexts
Læringssyn i skaparrørslelitteraturen
No full textThe maker movement is rapidly growing worldwide, working with fabrication and communication technologies, insisting on making as a fundamental human activity and emphasizing humans as the key player in digitalization. It is difficult to attach the movement to a single culture, trend or event. It is more likely a result of several simultaneously trends appearing at the right time, like the Do-It-Yourself / Do-It-Together- culture, ideas and mind-set from STE(A)M-pedagogy, hacker-culture, tinkering, docracy, co-working/ collaboration, community, open source-culture is also influencing the maker movement. Maker spaces have now been established in both formal and un-formal learning environments, such as public libraries, museums and science centers, schools and universities. However, while the maker movement is about to be a well-established and highly regarded pedagogical approach working with technology in schools, it is difficult to identify what view of learning the practitioners of maker pedagogy possess. The aim of this study is to explore how scholars have described and analyzed the mind-set of the maker movement in former studies. I further question the plenitude of mind-sets uncovered in such studies and possible categorization of these. Empirically, the article will be based on several (3-6) literature reviews of former studies on the maker movement related and learning. Skaparrørsla (på engelsk Maker movement) veks raskt verda over og løftar fabrikasjon- og kommunikasjonsteknologi som nye verktøy inn i kreative prosessar, saman med det skapande menneskje som nøkkelspelar i den digitale utviklinga av samfunnet. Skaparrørsla insisterer på at å skape er ein grunnleggande menneskeleg aktivitet og i ein skaparverkstad (på engelsk Makerspace) er læringa som skjer i- og mellom menneskjer, og i møte med material og verktøy, den viktigaste verdiskapinga. Rørsla let seg vanskeleg knytte til ein enkelt kultur, trend eller hending. Snarare er det eit samanfall av fleire samtidige, som haker-, restarter- og gjer-det-sjølv-rørslene (DIY), samt ideear og tankesett frå entreprenørskap- og STE(A)M-pedagogikken m.fl. Skaparverkstader er no etablert både i- og utanfor formelle læringsmiljø i Noreg, i folkebibliotek, museum, vitskapssenter, skular og universitet. Rørsla er slik også iferd med å påverke det pedagogiske arbeidet i skulen, særleg i øving av digitale kompetansar og arbeid med teknologi. Samtidig er det vanskeleg å identifisere ei stringent retning på kva læringssyn dette styrer etter. Målet med studia er å undersøke korleis forskarar har skildra og analysert tankesettet knytt til læring i skaparrørslelitteraturen frå tidlegare studiar, internasjonalt og nasjonalt, med eit særleg søkelys på kunst- og handverksfaget. Gjennom litteraturgjennomgangar kjem det fram at den skaparsentrerte undervisninga og læringa både har fått form og fotfeste som er tilpassa og integrert i dei skulekulturane der både rørsla og forskinga har fått halde på ei stund, som i USA. I norsk samanheng er både skaparrørsla og skaparrørsleforsking kome kortare. Førebels er det fyrst og fremst STEM-fag og uformelle læringssituasjonar som har tatt eigarskap og gitt form til den skaparsentrerte pedagogikken. I kunst- og handverksfag-samanheng dreier forskinga seg i stor grad om prosjekt utført i- og av høgare utdanning.Nøkkelord: læringssyn, læring, skaparverkstad, skaparrørsle, kunst- og handverksfa
Capturing and Cultivating Print & Book : Craft Practices in the UK
No full textThe type of intensive training previously needed for crafts in the printing trade is now redundant, but as craft practices are added biannually to Heritage Craft’s UK Red List of Endangered Crafts, there is a pressing need to preserve skills whilst also creating and developing new methodologies for practice in the UK to ensure these crafts survive as part of a thriving cultural heritage.The Dissecting Crafts project was centred around supporting book craft practitioners (typesetters and manufacturers, a letterpress printer and a book binder) to gain insight and extend their practice. Using qualitative research methods, an embodied knowledge methodology was developed as a system of self-evaluation. A freely available online tool kit was developed from project findings to enable other practitioners at all skill levels access to the programme. Sharing the research stages sensitively with case study practitioners evidenced their connectedness with their tools and with what they make, through a process of validation that was not anticipated in the project. Unintrusive methods of documenting in-progress activities, the practitioner-researchers’ recordings of the craft participants’ experiential dialogue proved valuable for them to be able to harness and transfer their knowledge. The methodology and tool kit were extended to other maker practices with feedback types ranging from practice development, reflection skills, and articulation to validation
Gold and green forests : Crafted life stories about Canadian Goldenrod and elm trees
No full textSweden\u27s fauna and flora are constantly changing. Humans have not only deliberately promoted and introduced new species in horticulture, agriculture and forestry, they have also acted as a vector for the introduction of alien species through, for example, transportation and food. When these species spread rapidly and affect biodiversity, they are deemed ‘invasive alien species’. This artistic research project explores and articulates how humans, as part of a system where nature and culture meet, affect complex functioning ecosystems through the movement of species. The starting point is the iconic elm tree and how its cultural and natural ecosystems have been wiped out in large parts of Europe by the invasive fungus Ophistoma novo ulmi. With the extinction of the elm come ecological and cultural losses. Those losses are examined and interpreted in this work, in a dialogue with nature and with people. At the same time, another species is explored, the Canadian goldenrod, which, unlike the elm, is expanding rapidly. With these explorations, life stories about the elm will be created not only for our collective memory, but also for speculation about what happens when a new and invasive alien species, such as the Canadian goldenrod, spreads. The form of my narrative is based in materials, crafts and objects. It is primarily the objects and the process that are the carriers of the stories. As a ceramicist, I use clay as a sketching material, binder and a tool for documentation. These species, the elm and the goldenrod, constitute the materiality that are part of the exploration and creation
As the yellow rattle ripens’: Gardening craft as socio-ecological place-making
No full textThis paper focuses on the doing of gardens and explores how amateur gardeners relate to gardening craft in their everyday garden practices. Based on qualitative empirical work, this paper discusses how different craft methods and caring practices are employed as memory work and as a means to connect to, and create, the garden as a socio-ecological place. Based on the gardeners’ narratives, the garden is discussed as a web of self and a place where the meeting between the gardener and the more-than-human are central incentives to gardening. Gardening is an active place-making that goes beyond modifying the materiality of place. Rather, garden craft is narrated as reflecting the gardeners’ underlying relationship to and understanding of plants, soil and animals. It is the means through which gardeners connect in an embodied way to ‘the nature’ of the garden. Garden craft is proposed as an art that is passed on between generations. Gardening craft can be improved by an increased understanding of the temporality of the garden and by developing a sensitivity towards the complex socio-ecological relationships that shape a place. It is concluded that garden craft is understood as central not only to how the garden is constructed as a place but also to how the gardener relates to the garden as affecting, and being affected by, the current environmental crisis