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Social Closures: Reconfiguration of Professional Work in the Danish State School
Get PDFThe interconnectedness between the formation of a professional group and its specific tasks and competencies is at the core of sociological theories of professions. In neo-Weberian approaches to social closure, the shaping and maintenance of professional groups have been conceptualised as state-sanctioned efforts to gain control over a specific task area. However, whereas legally sanctioned monopolies have been subject to certain attention, the social dynamics of processes of professional closure in everyday work practices seem relatively unexplored. This article demonstrates how social closure can be analysed as interrelated processes, covering legal as well as practical, symbolic elements. Drawing on the case of the 2014 Danish School Reform and its introduction of a new professional group in Danish schools, “pedagogues”, the article sheds light on the interplay between a state-driven reconfiguration of a task area and the subtle dynamics of symbolic struggles between the two professions teachers and pedagogues.
Identifying Improvements in Teaching and Learning via Supervision Support: A Pragmatic Perspective
Get PDFThis article scrutinizes the professional support provided to teachers by supervisors to improve the teaching-learning process within the dimensions of learning behaviours and learning assessment in Ethiopian primary schools. The study employs a mixed-methods research design. The questionnaires were responded to by 382 in-service postgraduate diploma primary school principals and supervisors in the Educational Leadership and Management Department at Hawassa University. A semi-structured interview was conducted with 12 senior principals and supervisors. The results illustrate critical gaps in the supervision support to teachers for the improvement of learning behaviours and learning assessment. The study suggests that support-oriented supervision could play a significant role in assisting and improving the teaching and learning process. Hence, regional and federal governments should work together with development partners to enhance the competency of supervisory staff to provide enabling support to teachers and thus improve the quality of the teaching and learning processes in Ethiopian schools
Institutional Work in a Palliative Unit: “There is Less Time for Patient Contact”
Get PDFThe encounter between divergent institutional logics may be challenging for nurses, since they must balance different expectations in their daily institutional work. These challenges increase when new reforms are introduced. Our research question is: How do actors linked to a palliative care unit experience the consequences of the Coordination reform in their daily performance of care work? Our study is based on a qualitative study in a palliative care unit in a nursing home where we interviewed patients, their relatives, and nurses/department leaders. Our findings show that by downgrading the professional logic because of the Coordination reform, the focus is on efficiency and budget instead of proper healthcare. This is not satisfactory for any of the actors in our study. We contribute to the research on the reforming of the healthcare sector by focusing on how different actors experienced day-to-day activities in a context where different institutional logics were involved
Fagdidaktisk modell; – bidrag til «den gode oppgaven»?
Get PDFI kunst og håndverk er arbeidsoppgaven en læringsoppgave eleven eller studenten bruker tid på for å lære faget. Arbeidsoppgaven er verkstedsbasert, – praktisk og estetisk. Det er ikke tradisjon for lærebøker i dette faget, hvilket innebærer at læreren bruker tid på didaktisk planlegging og gjennomføring, med arbeidsoppgaven som grunnlag for læring. Artikkelen spør: Hvilke didaktiske kategorier bør inngå i en fagdidaktisk modell til støtte for planlegging og gjennomføring av arbeidsoppgaven, slik at den kan vise seg som «den gode oppgaven»? Det benyttes et semantisk teorisyn for utvikling av fagdidaktisk modell (Kvernbekk, 2005). Malcolm Ross (1978) sin modell for undervisning i kunstfagene danner bakgrunnen for utvikling av ny modell. Med utgangspunkt i læreplanen Kunnskapsløftet 2020, og fagets tradisjonelle byggesteiner (Nielsen, 2019) gjør artikkelen rede for tre grupper didaktiske kategorier i ny fagdidaktisk modell. Modellen bygger på Klafkis danningsteori (Klafki i Straum, 2018). Det argumenteres for hvordan kategorier utfyller hverandre etter Klafkis prinsipp for kategorial danning. Ny fagdidaktisk modell, Tegneblyanten, har en ekstralingvistisk størrelse som form av en tegneblyant, fagets fremste kommunikasjonsredskap i prosess så vel som produkt.I kunst og håndverk er arbeidsoppgaven en læringsoppgave eleven eller studenten bruker tid på for å lære faget. Arbeidsoppgaven er verkstedsbasert, – praktisk og estetisk. Det er ikke tradisjon for lærebøker i dette faget, hvilket innebærer at læreren bruker tid på didaktisk planlegging og gjennomføring, med arbeidsoppgaven som grunnlag for læring. Artikkelen spør: Hvilke didaktiske kategorier bør inngå i en fagdidaktisk modell til støtte for planlegging og gjennomføring av arbeidsoppgaven, slik at den kan vise seg som «den gode oppgaven»? Det benyttes et semantisk teorisyn for utvikling av fagdidaktisk modell (Kvernbekk, 2005). Malcolm Ross (1978) sin modell for undervisning i kunstfagene danner bakgrunnen for utvikling av ny modell. Med utgangspunkt i læreplanen Kunnskapsløftet 2020, og fagets tradisjonelle byggesteiner (Nielsen, 2019) gjør artikkelen rede for tre grupper didaktiske kategorier i ny fagdidaktisk modell. Modellen bygger på Klafkis danningsteori (Klafki i Straum, 2018). Det argumenteres for hvordan kategorier utfyller hverandre etter Klafkis prinsipp for kategorial danning. Ny fagdidaktisk modell, Tegneblyanten, har en ekstralingvistisk størrelse som form av en tegneblyant, fagets fremste kommunikasjonsredskap i prosess så vel som produkt
Enabling Knowledge: The Art of Nurturing Unknown Spaces
Get PDFThis article is both an exploration and a reflection on the process of generating knowledge from an encounter with the unknown. It documents what practising the ‘ethics of the unknown’ (Eeg-Tverbakk 2016) consisted of and what insights it led to in relation to two projects: ‘Childism’ (2015), based on documents from an informant who experienced child abuse, and ‘Embodied’ (2018), a performance lecture presenting both research and lived experience of involuntary childlessness. To reflect the fluidity, multi-directionality and, at points, messiness- of the process of practising the ethics of the unknown, theory and practice are not as rigidly separated in the text as the conventions of academic publication would normally require. The text alternates analysis, the voices of the authors, as well as sound files and images designed to offer experiential glimpses into the performances and the arguments. Theoretically, the concepts outlined are inspired by quite different strands of materialist thinking (object-oriented philosophy and new materialism). The research takes liberties when relating to different philosophical concepts that have proven to be useful in the practice of staging documentary material. We are not proposing a ‘method’ but rather arguing along with Erin Manning for ‘research creation’, where methods have to be invented and developed for each project. As such, this article also places itself within the discussions on post-qualitative, non-representational and performative research.This article is both an exploration and a reflection on the process of generating knowledge from an encounter with the unknown. It documents what practising the ‘ethics of the unknown’ (Eeg-Tverbakk 2016) consisted of and what insights it led to in relation to two projects: ‘Childism’ (2015), based on documents from an informant who experienced child abuse, and ‘Embodied’ (2018), a performance lecture presenting both research and lived experience of involuntary childlessness. To reflect the fluidity, multi-directionality and, at points, messiness- of the process of practising the ethics of the unknown, theory and practice are not as rigidly separated in the text as the conventions of academic publication would normally require. The text alternates analysis, the voices of the authors, as well as sound files and images designed to offer experiential glimpses into the performances and the arguments. Theoretically, the concepts outlined are inspired by quite different strands of materialist thinking (object-oriented philosophy and new materialism). The research takes liberties when relating to different philosophical concepts that have proven to be useful in the practice of staging documentary material. We are not proposing a ‘method’ but rather arguing along with Erin Manning for ‘research creation’, where methods have to be invented and developed for each project. As such, this article also places itself within the discussions on post-qualitative, non-representational and performative research
To Research by Two Hands
Get PDFIn this article, we explore artistic research methods by committing ourselves to writing in a sense Cixous is thematizing in her book Three Steps to the Ladder of Writing: a way of writing that includes what is banished, considered unclean, the mute and the missing, and by including drawing in the attempt.
Our article’s starting point is our experiences working with and producing conventional and publishable academic texts. Our experiences have, in ways that still are not transparent to us, made the transition towards achieving the right skills for producing orthodox academic texts more complicated and hurtful than we could imagine. The desired language, the academic, is a language created to represent reality in transparent ways; you are expected to be able to present the world as a series of findings. Our writing and drawing as creations are contrary to this reduction.
The text and the drawings attempt to demonstrate and discuss the possibilities of engaging in writing and drawing as production on its own terms and stop regarding them as activities that mirror what already is. Instead, we aim to experiment and thus maybe create something that was not already there, something new, something that might be missing.In this article, we explore artistic research methods by committing ourselves to writing in a sense Cixous is thematizing in her book Three Steps to the Ladder of Writing: a way of writing that includes what is banished, considered unclean, the mute and the missing, and by including drawing in the attempt.
Our article’s starting point is our experiences working with and producing conventional and publishable academic texts. Our experiences have, in ways that still are not transparent to us, made the transition towards achieving the right skills for producing orthodox academic texts more complicated and hurtful than we could imagine. The desired language, the academic, is a language created to represent reality in transparent ways; you are expected to be able to present the world as a series of findings. Our writing and drawing as creations are contrary to this reduction.
The text and the drawings attempt to demonstrate and discuss the possibilities of engaging in writing and drawing as production on its own terms and stop regarding them as activities that mirror what already is. Instead, we aim to experiment and thus maybe create something that was not already there, something new, something that might be missing
Co-designed Embroidery: Student Projects in Art and Design Education
Get PDFThis article studies three phases in a project with embroidery and pieces of textile involving students in a specialized teacher training programme in design, arts, and crafts at OsloMet – Oslo Metropolitan University (OsloMet). In an incremental research project spanning over a six-year period the project was developed and changed systematically in collaboration with the students.
The embroidery project phases demonstrate how students are included in action research and how research-based teaching is completed in the first year of teacher education. The observed results from the projects all use photographs as documentation to analyse the organisation of the education and seeks to reveal differences between the methods of cooperation and collaboration. The research question concerns how these practice-based experiences in embroidery can become empirical data for research. The empirical data underline the role of the lecturer as both artist, researcher, and teacher in influencing the dynamics of the groups but also trying to nurture artistic outcomes. Furthermore, the experiences become part of critical reflections on the art teacher’s practice or perhaps in response to her professional development review.This article studies three phases in a project with embroidery and pieces of textile involving students in a specialized teacher training programme in design, arts, and crafts at OsloMet – Oslo Metropolitan University (OsloMet). In an incremental research project spanning over a six-year period the project was developed and changed systematically in collaboration with the students.
The embroidery project phases demonstrate how students are included in action research and how research-based teaching is completed in the first year of teacher education. The observed results from the projects all use photographs as documentation to analyse the organisation of the education and seeks to reveal differences between the methods of cooperation and collaboration. The research question concerns how these practice-based experiences in embroidery can become empirical data for research. The empirical data underline the role of the lecturer as both artist, researcher, and teacher in influencing the dynamics of the groups but also trying to nurture artistic outcomes. Furthermore, the experiences become part of critical reflections on the art teacher’s practice or perhaps in response to her professional development review
AestPra – a Meta-methodology for Art and Craft
Get PDFA vast number of research methods have been developed in recent decades to strengthen the creative arts as disciplinary fields. There is an obvious need for specific methods for the creative arts that established academic scientific methods do not cover. Aside from developing and proposing new research methods, there is a need to map and position specific methods for the creative arts in ways that demonstrate how these methods are connected to other established methods within the academic scientific landscape. In this article that is based on my PhD research in ceramic art processes, I introduce AestPra, a meta-methodology used as a tool in aesthetic practice-based research, where knowledge from explorative processes is emphasised. The AestPra methodology includes a network of approaches, various methodologies, methods and strategies. The concept of aesthetic awareness is central and can be defined as an open attitude and sensitivity towards the interaction between the form and body through the material. Examples from the thesis ‘Grip, to get a grip of form: Concrete and abstract comprehension of form’ are used to shed light on the various aspects of the mode involving reflexive, materialised and data-oriented research processes. AestPra supports the combination of various methods that bring aesthetic, and embodied knowledge into play and that generate links between concrete experiences and theories.A vast number of research methods have been developed in recent decades to strengthen the creative arts as disciplinary fields. There is an obvious need for specific methods for the creative arts that established academic scientific methods do not cover. Aside from developing and proposing new research methods, there is a need to map and position specific methods for the creative arts in ways that demonstrate how these methods are connected to other established methods within the academic scientific landscape. In this article that is based on my PhD research in ceramic art processes, I introduce AestPra, a meta-methodology used as a tool in aesthetic practice-based research, where knowledge from explorative processes is emphasised. The AestPra methodology includes a network of approaches, various methodologies, methods and strategies. The concept of aesthetic awareness is central and can be defined as an open attitude and sensitivity towards the interaction between the form and body through the material. Examples from the thesis ‘Grip, to get a grip of form: Concrete and abstract comprehension of form’ are used to shed light on the various aspects of the mode involving reflexive, materialised and data-oriented research processes. AestPra supports the combination of various methods that bring aesthetic, and embodied knowledge into play and that generate links between concrete experiences and theories
A/r/tografi som tilgang til udvikling af en sanselig bæredygtighedsdidaktik i kunstfagene
Get PDFThis article presents a study conducted in the spring of 2020 by three researchers from the University of Agder with the aim of exploring and developing possible sensory-based approaches to sustainability in teacher education with a special focus on the arts. Due to the consequences that followed in the wake of Covid-19, the inquiries took an unexpected turn: Digital platforms, isolation and separate borders, became key focal points for the implementation of the project. Using a /r/tography as a methodological frame (Roussel, Cutcher, Cook & Irwin, 2018; Triggs, Irwin & Leggo, 2014; Irwin, 2013), the authors explore how everyday events characterized by affect (Massumi, 2015) and intimacy (Morton, 2018) can form the basis for bodily and sensory approaches to ecological and social sustainability. The empirical material of the study is generated in connection with the authors\u27 implementation of three “propositions”: preparation of a joint meal, joint contact with nature, and running as a joint ritual. The focus was on sensory interaction with each other and with more-than-human actors, including beets, landscapes, bodily routines and not least the digital media. In the concluding part the article analyzes and discusses how the work with the the a/r/tographic propositions led to experiences of risk, loss of control, uncomfortability and vulnerability among the participants, and how these experiences can be related to sensuous experiences in connection to the necessary transition to a more sustainable lifestyle, e.g. experiences of insecurity and loss. Finally the authors propose the areas of attention for future work with sensuous sustainability education in arts teacher education: propositions a a didactic tool, ecological awareness, and sustainability as a sesnsuous form of relating to the world.Artiklen omhandler et studie gennemført i foråret 2020 af tre forskere fra Universitetet i Agder med det mål at udvikle og afprøve sansebaserede tilgange til bæredygtighed i læreruddannelserne med særlig henblik på kunstfagene. På grund af konsekvenserne, som fulgte i kølvandet af Covid-19, tog de indledende undersøgelser en uventet retning: Digitale platforme, isolation og adskilte landegrænser, blev centrale omdrejningspunkter for gennemførelsen af projektet. Med a/r/tografi som metodologisk springbræt (Irwin, 2012; Roussel et al. 2018; Triggs et al., 2014) udforsker forfatterne, hvordan hverdagshændelser præget av affekt (Massumi, 2014) og intimitet (Morton, 2018) kan danne udgangspunkt for kropslige og sanselige tilgange til økologisk bæredygtighed. Undersøgelsens empiriske materiale er genereret i forbindelse med forfatternes gennemførelse af tre ”propositioner”: ”rødbedetartaren”, ”et sted i naturen” og ”løbeturen”. Fokus var på sanselig interaktion med hinanden og med mere-end-menneskelige aktører, herunder grøntsager, landskaber, kropslige rutiner og ikke mindst de digitale medier. I artiklens didaktiske analyser drøftes det, hvordan arbejdet med de a/r/tografiske propositioner førte til uventede oplevelser af risiko, kontroltab, ubehag og sårbarhed, samt hvordan disse oplevelser kan kobles sanselige erfaringer med den nødvendige omlægning til en mere bæredygtig livsstil, fx erfaringer af utryghed og tab. Afslutningsvis foreslår forfatterne tre fokusområder for fortsat arbejde med sanselig bæredygtighedsdidaktik i læreruddannelserne i kunstfag: Propositioner som didaktisk værktøj, økologisk opmærksomhed og bæredygtighed som en sanselig relationsform
Situating the ‘author’
Get PDF… but some arresting, thought-provoking (seductive) phrases, images, gems:
‘concepts as light seductions’
‘seduction can lead to productive entanglements’
‘qualitative interviews as betrayal/abandonment/misrepresentation of the other