International Journal of Art & Design Education最新文献

This article examines undergraduate students' experiences in creating open educational resources (OERs) in a contemporary art history course. The construction of OERs reflects an interest in feminist pedagogy and open educational practices, which aim to create a learner-centred classroom that values accessibility, equity, and cultural responsiveness. The article discusses the scaffolded assignment that guided students in researching and writing open access lesson plans. The students' work was subsequently published on the OERTX Repository website. Student-generated materials give learners the opportunity to focus on topics that interest them the most. Such a move is especially valuable since the student demographics represent a high number of women of colour and first-generation students. Given the historical marginalisation of women's and people of colours' voices in art history, the inclusion of women students of colours' research is valuable to art history pedagogy. The results of an anonymous student survey indicate that students felt that coauthoring an OER offered opportunities to communicate their interests and create more meaningful work, while at the same time, they asked for additional support in navigating group work challenges and research needs.

In Technical Universities in Ghana, the Higher National Diploma (HND) programmes are well-established higher education programmes for the provision of middle-level manpower needs of the Country. The programmes are considered industry-related, offering students the knowledge and skills required for effective performance at work. However, there is very little tracer survey on the polytechnic/technical university graduate on the relevance of the HND Industrial Art Programmes run in the polytechnics/technical universities, apart from a study on exploring the destinations of Higher National Diploma, Graphic Design graduates in the Ghanaian labour market. Therefore, the study sought to conduct a tracer study on the impact of the HND Industrial Art Programme on the Art Sector in Ghana. To carry out the study, the main objective was to assess the effectiveness and the contribution of the HND Industrial Art Programme to employment and job creation in the Art Sector in Ghana. The Concurrent Triangulated Mixed Method research approach was adopted to undertake the research. From the study, the major finding is that the Painting and Decoration (P/D), Ceramics and Leatherwork options all succeeded in creating jobs/empowering graduates to create their own jobs, but that cannot be said with the Textiles option. The findings have implications for TVET training in the country. It is therefore recommended that appropriate steps should be taken in consultation with the Ghana Tertiary Education Council (GTEC) to have a holistic review of the curriculum to make it relevant for the benefit of this ever-dynamic society.

This multiple case study aimed to investigate how digital reflective practice (DRP) influences the creative process of textile design students. Interviews were conducted with textile design instructors, heads of department, and students from four higher education textile design departments in Pakistan. The main themes elicited from the four case studies were teachers’ and students’ perceptions of DRP, challenges to its implementation, and prospects for DRP in the context of textile studio design. Digital technologies can improve students' creativity and comprehension of tasks in textile design studio courses through reflection. Furthermore, teachers can play a crucial role in helping students to utilise digital reflection technologies through mentorship.

The paper presents an experiment with a squiggle game in a design class: a joint drawing activity. The squiggle game, which comes from psychoanalysis, has been adapted to a teaching-learning situation in order to observe how graphic design practices and skills develop through creativity. The hypothesis is that the game impacts the training of participants, including teachers, by developing their creativity through the co-construction that occurs between them. A qualitative methodology based on activity theory has been set up, consisting of two phases of experimentation in a vocational training class in France. The results are based on a semiotic and cognitive analysis of the drawing activity through its components and the participants' discourse about their drawings during self-confrontations. The discussion creates a dialogue between several research paradigms in educational sciences, psychology, and psychoanalysis within artistic disciplines. It leads to the identification of four creativity methods that impact the teaching-learning processes generated by the squiggle game: the game of abstract random drawing in pairs; the figurative patterns sought through combinations of strokes (complementation); opposition between very strong former and current routines of drawing or behaviours; and rebounding from the other's prompts towards new dynamics.

To conceive a philosophy of art education that is removed from actual practice would belie the extraordinary experience of developing and making practice. In this article, I propose to explore the philosophical implications of art practice being an experience of the ‘daily extraordinary.’ A view of practice as being at once stretching and comfortable, takes the artist and viewer's responses to the strangeness of the everyday: the delightful, the shocking, or even the miraculous, in what appear to be simple and mundane experiences. If we perceive learning in the arts as a pursuit of ideas, affect and expression that occurs in regular practice, there is an inclusivity that renders both learning in the arts and philosophy of art education accessible to everyone. In this article I will refer to the Goldsmiths Centre for Arts and Learning's research programme of 2022–2023, in which events and connected teaching activities practised being All For the Arts. With visiting speakers, museums and galleries and postgraduate students, CAL researched how the vitality and challenge of art practice, which includes the individualities and expression of persons and histories made ordinary and invisible, could bring the value of learning in the arts to the fore. Including reflections from contributors such as John Baldacchino, A Particular Reality, Carol Wild, Danny Braverman, Raphael Vella, Kevin Tavin and Andrea Kárpáti, we explored inclusivity in art practice from the daily extraordinary of each speaker's developments in educational research. Also, in the company of representatives from arts organisations such as Entelechy Arts, Autograph ABP, Whitechapel Gallery, Young V&A and Bow Arts, we considered the amazing and essential factors of inclusivity in the arts – that could be encountered on a daily basis. I will gather meeting points here among this incredible range of contributors.

This essay is a plea to art educators in what is a global climate in a permacrisis both politically and physically. This is a deliberate and persuasive provocation to reorientate art education to avoid a reiteration that is taking place when the 20th and 21st centuries are compared in relation to the striking changes that are taking place in relation to a qualitative shift in technologies and the phase change of the earth. I develop this provocation by first developing the relations between art, science and philosophy of the 20th century, and art educations roll in this. I then turn to the 21st century to develop art, science and philosophy as they relate to the problematic developed by Peter Weibel and Bruno Latour in four significant exhibitions held at the KMZ. From there, I turn to anchor my theoretical support as to why Deleuze and Guattari particular expression of non-philosophy is of key import to make this plea stick in relation to both digital mediation and the post-Anthropocene.

The article proposes a relational pedagogy centred on study, to contest the affective condition of the present and how it shapes narratives of young people being disengaged and with a lack of future. In doing so, it draws from affect theory and black radical studies to outline a more complex approach to affect in university experience. It mobilises the concept of study, advanced by Stefano Harney and Fred Moten in their book The Undercommons, to direct attention to less linear and transparent space-times where study, a practice of affecting and being affected by what others do to you and what you do with it, exceeds the frameworks of the university. Further to this, the article connects study and fugitivity to what Moten calls an aesthetics of the break practiced across black studies. In doing so, it links affect to complex spatial-temporal relationalities that emerge from sensuous experimentation and creative speculation, which engage both in university and its escape. These ideas are explored through a participatory study with university students in Manchester, UK called Sensing the Black Outdoors. I present the findings derived from radical sensory-spatial experiments, which led to: (a) visual encounters centred in not looking away and staying with the material presence of blackness and (b) the development of collective experiments with sensory media for feeling and imagining alternative experiences of space and time in the city.

The loss of relational networks and life-sustaining capacities of the Earth resulting from the Anthropocene/Capitalocene provoke ambiguous pedagogical experimenting with the limits of the known. The Akokisa River of Texas is more than its extractive use-value based on humanist rationality. Water connector Ángel Faz approaches the River as more than a passive and endless resource to be extracted and manoeuvred for profit, but as an ecology of relations entangled with humans—the River is us; we are the River. As a boundary agitator, Faz speculates into unresolvable and reciprocal voids located in the excluded middles between humans and more-than-humans ripe with potential percepts and affects across River multiplicities. Such gesturing generates transcorporeal, multi-linguistic, uncanny, trickster, and shimmering pedagogies bewildering the capacity to participate in the dynamic indeterminacy and interconnectedness of the River's ongoing becoming.

As design becomes more oriented towards strategy, services and systems, design learning is no longer something apprentices can develop only with masters’ input and critique. Further, the experimentation and reflection commonly occurring inside studio-based education is insufficient. Real-world or live projects offer an alternative to learning strategic design skills and approaches such as design research, experience prototyping, visioning, co-design or systems thinking. In this paper, we report a case study of a graduate studio live project exploring the use of strategic design skills. The findings suggest that students spend more time on and practice synthesis skills for research, reframing and dealing with uncertainty. They also develop skills for modelling and prototyping to address the need to improve communication with stakeholders. On the contrary, they underdevelop skills such as speculation, stakeholder facilitation and implementation viability. While live projects offer benefits, not all strategic design skills are equally used. Instructors’ main role is to coach students and prepare them to interact with the client. Learning evaluation focuses not only on the process but also on the outcomes.

In this paper, we explore the evolution of graphic design and its education in Ghana. Graphic design emerged in Ghana through colonisation, which influenced the perceptions of traditional art forms. We review the tensions between Western and indigenous trends in Ghanaian art and design and explore existing pedagogical philosophies in Ghana's graphic design education. Ghana's rich traditional and cultural values, including spirituality, proverbial meaning and symbolism, are embedded in its art and design. Colonisation and the adoption of Western religion and global values caused indigenous Ghanaian art to be regarded as primitive and fetishistic. Similarly, Ghanaian graphic design was and continues to be influenced by the West. We argue that designers must embrace their cultural identity, both professionally and educationally, to empower the graphic design community to decolonise Ghanaian design.