Oslo and Akershus University College of Applied Sciences (HiOA): Open Access Journals
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Editorial II. Design education in China: a brief overview
No full textThis editorial represents a brief overview of design education in China, and then it introduces Shandong University of Art & Design (SUAD). It contains three parts. The first section describes the development of design education in China and the current situation of College Entrance Examination for design students. The second section introduces SUAD from aspects of its location, the features of design teaching and learning, and design-related actives and achievements. The last part predicts the future of design education in China
Black Screens: From problem to something useful?
No full textIn this article, we ask the question: Why do students choose to turn their cameras off during online teaching? We discuss this issue from the perspective of adaptive structuration theory and media richness theory. We use qualitative data from 169 free text answers from two surveys conducted during the pandemic: in May/June 2020 and May/June 2021. In our analysis, we have developed three categories – “the social context”, “window mirror” and the “noisy classroom” – to better understand why students turn off their cameras. Based on these categories, we describe problems that turning off the camera is a response to. These problems are: too many cues, attributes of the home that might promote negative feelings, disclosure of home and personal activities, and online self-image. Our findings are in line with other research that contends that turning off the camera helps to reduce problems, such as an invasion of privacy that could be distracting and uncomfortable, and “digital fatigue”. We contribute to the research field by describing that some students turn off their camera for another reason: to maintain their self-image. However, although turning off cameras solves problems, the resulting “black screens” create new problems, in the form of less engagement for collaborative learning activities and an increased feeling of isolation among students
The role of aesthetics in design education: Leverage of creativity through concrete and abstract form exploration
No full textDesign education has undergone transformations over time, although less emphasis has been placed on developing core areas such as form and aesthetics. Learning processes in design education are creative and comprehensive, but to an extent, learning has become a mission with a large focus on relevance and societal benefits. The designer’s role has become somewhat more instrumental, and designers’ function more often as facilitators than creators. Nevertheless, form and aesthetics are important competences that enable students to work creatively with both processes and results. As creators, design students need to develop their personal comprehension of forms and aesthetic expressions. This article demonstrates how aesthetics are activated through assignments and exercises that leverage awareness and experiences of concrete forms and abstractions. The assignments and exercises were given to bachelor’s degree and master’s degree students in Product Design at Oslo Metropolitan University, Norway, and to students from all levels (bachelor’s, master’s and PhD) at UNESP, Bauru in Brazil. Aesthetic awareness relates to perception and abstract form principles demonstrated through assignments and exercises, including various dramaturgies, results, and reflections. Examples demonstrate how haptic experiences change the way students perceive forms and spaces, particularly when the visual senses are muted or removed. Based on the students’ reflections and the results of the exercises, knowledge achieved through their explorations is equally valuable beyond the actual properties of forms and the engagement of personal affect from the creative processes.Keywords: aesthetic awareness, abstraction, comprehension of form, creativity, design educationDesign education has undergone transformations over time, although less emphasis has been placed on developing core areas such as form and aesthetics. Learning processes in design education are creative and comprehensive, but to an extent, learning has become a mission with a large focus on relevance and societal benefits. The designer’s role has become somewhat more instrumental, and designers’ function more often as facilitators than creators. Nevertheless, form and aesthetics are important competences that enable students to work creatively with both processes and results. As creators, design students need to develop their personal comprehension of forms and aesthetic expressions. This article demonstrates how aesthetics are activated through assignments and exercises that leverage awareness and experiences of concrete forms and abstractions. The assignments and exercises were given to bachelor’s degree and master’s degree students in Product Design at Oslo Metropolitan University, Norway, and to students from all levels (bachelor’s, master’s and PhD) at UNESP, Bauru in Brazil. Aesthetic awareness relates to perception and abstract form principles demonstrated through assignments and exercises, including various dramaturgies, results, and reflections. Examples demonstrate how haptic experiences change the way students perceive forms and spaces, particularly when the visual senses are muted or removed. Based on the students’ reflections and the results of the exercises, knowledge achieved through their explorations is equally valuable beyond the actual properties of forms and the engagement of personal affect from the creative processes.Keywords: aesthetic awareness, abstraction, comprehension of form, creativity, design educatio
Pedagogisk slöjd i post-pandemitid: Från förändring och lärdomar till utveckling
No full textCrafts in basic education is characterized by students, teachers and craft materials in interaction. Learning takes place in appropriate, well-equipped learning environments with room for creativity and individual solutions. Due to the Covid-19 pandemic, teaching in Finland at times completely switched to various distance applications. The conditions for meaningful distance learning varied greatly. In a previous study, we delved into how teachers of crafts handled the distance periods (Porko-Hudd & Hartvik, 2021). In this article, we reanalyze the previous study\u27s results and adopt a forward-looking perspective. The analysis results in five complementary pairs with which we open up for a discussion about how the teaching and learning in crafts can be developed based on the time before and during the pandemic. Our contribution to the discussion is summarized with a developed model for the craft context and craft work.
Slöjd inom grundläggande utbildning kännetecknas av att elever, lärare och slöjdmaterial är i interaktion. Lärandet sker i ändamålsenliga, välutrustade lärmiljöer med utrymme för kreativitet och individuella lösningar. På grund av Covid-19 pandemin, kom undervisningen i Finland tidvis helt att övergå till olika distanstillämpningar. Förutsättningarna för meningsfull distansundervisning varierade starkt. I en tidigare studie fördjupade vi oss i hur lärare i slöjd hanterade distansperioderna (Porko-Hudd & Hartvik, 2021). I denna artikel gör vi en reanalys av den tidigare studiens resultat och antar ett framåtblickande perspektiv. Analysen resulterar i fem komplementpar med vars hjälp vi öppnar upp för en diskussion om hur undervisningen och lärandet i slöjdämnet kan utvecklas med grund i tiden före och under pandemin. Vårt bidrag till diskussionen sammanfattas med en utvecklad modell för slöjdkontexten och slöjdverksamheten
Greetings from Chile
No full textI met Liv Merete Nielsen at the DRS Limerick 2018 conference. I was studying Chilean teachers\u27 use of design methods to solve pedagogical problems supported by a British Council fund. Peter Lloyd and Derek Jones brought the experience and vision of The Open University\u27s Design Thinking course. They had Nigel Cross as an unavoidable theoretical reference. I also knew Maureen Carroll and Shelley Goldman\u27s work at Stanford University to promote STEM disciplines in vulnerable schools in Palo Alto. Maureen and Shelley built on the IDEO-d.School universe and had Tim Brown and David Kelly as key references
Den kulturelle skolesekken som dissens og kunstens betydning i lærerutdanningen
No full textThe article provides an insight into parts of the national research project pARTiciPED Empowering student teachers for cross-sectoral collaborations with The Cultural Schoolbag (TCS) in Norwegian Schools (2021-2023). More specifically, the article refers to results from teacher students\u27 participation in The cultural schoolbag workshop Teiporama by the Swedish artist Sandra Norrbin. The preliminary results provide an opportunity to discuss whether the cultural schoolbag can represent a productive disturbance to dominant understandings of education, and thus create a third space between art and pedagogy.Artikkelen gir et innblikk i deler av det nasjonale forskningsprosjektet pARTiciPED Empowering student teachers for cross-sectorial collaborations with The Cultural Schoolbag (TCS) in Norwegian Schools (2021-2023). Mer spesifikt vises det i artikkelen til resultater fra lærerskolestudenters deltakelse i Den kulturelle skolesekken workshopen Teiporama av den svenske kunstneren Sandra Norrbin. Forskning knyttet til Teiporama utgjør en del av en av arbeidspakken Lab for initiating dissensus and exploring the edges in between art and education ved Universitetet i Agder (UiA). Delundersøkelsens foreløpige resultater gir anledning til å diskutere betydningen av å konfrontere lærerskolestudenter med kunst og om Den kulturelle skolesekken kan representere en produktiv forstyrrelse til dominerende forståelser av hva undervisning og pedagogikk skal være, og på den måten skape et tredje rom mellom kunst og pedagogikk
Working the Boundaries of Social Work: Artificial Intelligence and the Profession of Social Work
No full textArtificial intelligence (AI) and algorithmic decision-support are relatively new technologies within the field of social work. This paper investigates how the social work profession in Denmark responds to the current technological changes. Analysing articles from professional journals associated with the Danish Association of Social Workers, online content on the association’s website, and interviews with key actors involved in the association’s work on technology, this paper shows how professional agents legitimize and criticise these technologies, thereby performing different kinds of boundary work. The paper will show how such boundary work, carried out by the profession of social work in Denmark, change over time, and how, in the discussion on artificial intelligence, the profession reinforces its own position within the welfare state, demarcates the boundaries between the profession of social work and other occupational groups, and formulates a new professional project
Studenters bakgrunn for valg av motedesign som utdanning og deres fremtidige karriereplaner
No full textUtgangspunktet for artikkelen er vår bekymring for at studenter som starter moteutdanning uten nødvendige forkunnskaper, etter endt utdanning vil ha problemer med å tilfredsstille kravene bransjen stiller. Problemstillingen er: Hvilken betydning har forkunnskaper for valg av motedesignutdanning som fremtidig karrierevei? Forskningsmetoden er et fokusgruppeintervju med fem studenter i et motedesignprogram om deres bakgrunn for å velge en motedesignutdanning hvor design og produksjon står sentral. Studentene har ulike erfaringer som bakgrunn for sine valg. Noen har erfaring fra håndverk eller tegning i hjemmet eller fra videoer på YouTube, andre gjennom skoleoppgaver som innebærer utforming i ulike teknikker. Noen har alltid vært interessert i design og mote så lenge de kan huske, mens noen forteller om en bestemt anledning som påvirker deres valg. Studentene har også ulike planer for design- og håndverksferdigheter i sine fremtidige karrierer. Mange ønsker å bli motedesignere. De er glade for å få en breddekompetanse som dekker design av klær, å lage mønstre og realisere design i egnede teknikker og materialer, som de tror er avgjørende ferdigheter i en fremtidig karrierevei innenfor motefeltet. Dette samsvarer med informasjonen fra bedriftene vi samarbeider med. Det er stor etterspørsel etter designere, produktutviklere og mønsterkonstruktører innenfor mote- og sportsbransjen, som er jobber studentene ofte får når de er ferdige med sin bachelorgrad. Empirien diskuteres i forhold til Wengers teori om læring i praksisfellesskap og Papanes teori om designutvikling i en karrieresammenheng. Avslutningsvis diskuteres det på hvilken måte motestudenter kan være mer forberedt til å starte en moteutdanning, for senere å bli klare til å møte motebransjens virkelighet.
Keywords: designstudenter, fokusgruppeintervju, motedesign, forkunnskaper, karrierevalgUtgangspunktet for artikkelen er vår bekymring for at studenter som starter moteutdanning uten nødvendige forkunnskaper, etter endt utdanning vil ha problemer med å tilfredsstille kravene bransjen stiller. Problemstillingen er: Hvilken betydning har forkunnskaper for valg av motedesignutdanning som fremtidig karrierevei? Forskningsmetoden er et fokusgruppeintervju med fem studenter i et motedesignprogram om deres bakgrunn for å velge en motedesignutdanning hvor design og produksjon står sentral. Studentene har ulike erfaringer som bakgrunn for sine valg. Noen har erfaring fra håndverk eller tegning i hjemmet eller fra videoer på YouTube, andre gjennom skoleoppgaver som innebærer utforming i ulike teknikker. Noen har alltid vært interessert i design og mote så lenge de kan huske, mens noen forteller om en bestemt anledning som påvirker deres valg. Studentene har også ulike planer for design- og håndverksferdigheter i sine fremtidige karrierer. Mange ønsker å bli motedesignere. De er glade for å få en breddekompetanse som dekker design av klær, å lage mønstre og realisere design i egnede teknikker og materialer, som de tror er avgjørende ferdigheter i en fremtidig karrierevei innenfor motefeltet. Dette samsvarer med informasjonen fra bedriftene vi samarbeider med. Det er stor etterspørsel etter designere, produktutviklere og mønsterkonstruktører innenfor mote- og sportsbransjen, som er jobber studentene ofte får når de er ferdige med sin bachelorgrad. Empirien diskuteres i forhold til Wengers teori om læring i praksisfellesskap og Papanes teori om designutvikling i en karrieresammenheng. Avslutningsvis diskuteres det på hvilken måte motestudenter kan være mer forberedt til å starte en moteutdanning, for senere å bli klare til å møte motebransjens virkelighet.
Keywords: designstudenter, fokusgruppeintervju, motedesign, forkunnskaper, karriereval
What I learned by doing craft when I got terminal cancer: On woodcarving and psychophysical wellbeing from an insider perspective
No full textIn this paper I use theory on craft and psychophysical wellbeing to extract insights on the value and meaning I found in woodcarving after being diagnosed with terminal brain cancer. I continued to carve wood throughout the entire diagnosis and treatment period. I was already an experienced woodcarver and had done extensive research on my own making processes. Both the making and research provided meaning and value for me in my ordeal. I discuss three lessons I learned: 1) Deliberate controlling of attention on the here and now worked as a coping mechanism, giving meaning and value to my situation; 2) Grounding myself in physical touch with a close connection to the material contributed to maintaining my positive identity as both maker and researcher, and acted as another coping resource; and 3) As I made the objects, I re-made myself. My intention to save and finish these artifacts, and the joy I experienced as I finished them, gave meaning and purpose to my situation. These lessons support previous findings on craft and wellbeing, contribute insider insights on the use of wood in art making during cancer treatment, and they could potentially inspire others facing dire straits to use crafting to cope