Keynote Speakers

Diana Laurillard

Professor of Learning with Digital Technologies, UCL Knowledge Lab, Institute of Education

Formerly Head of the e-Learning Strategy Unit at Department for Education and Skills (2002-2005); Pro-Vice Chancellor for learning technologies at the Open University (1995-2002). Researching MOOCs for professional education in challenging contexts, learning design, and digital games for dyscalculia.

Current projects: ‘The Transformational Potential of MOOCs’ in the Centre for Global HE at UCL-IOE; the project on ‘Future Education’ in the RELIEF Centre at UCL-IGP. Recent book: ‘Teaching as a Design Science’, Routledge.  Lifetime Contribution Award, E-Assessment Association; Honorary Life Membership, Association for Learning Technology and Fondation Universitaire, Bruxelles.

www.researchcghe.org/about/profile/diana-laurillard/

Exploring the chance to innovate in blended and online pedagogies

The first part of this session will show how we can achieve students’ active engagement in learning with online pedagogies. The underlying theory is derived from many decades of research into student learning, and is represented in the Conversational Framework, as a usable basis to inform teachers’ approach to learner centred design. The framework is neutral with respect to pedagogic theory, but is designed to embrace them all, from didactic teaching to social constructivism and experiential learning. This provides us with an approach to both conventional and digital methods that begins with what it takes to learn, and what students need from us as teachers. Examples will be drawn from a variety of subject areas, including art and design.

The second part will show how the learning design principles represented in the Conversational Framework have been used to develop an open online design tool for teachers, the Learning Designer. The tool supports teachers as they design the sequence of activities for their students, making use of the Conversational Framework ideas, and providing the teacher-designer with feedback on what kind of learning experience they have designed. Again, examples come from a range of subject areas. This new approach enables us to reconceptualise teaching as a ‘design science’, where as teachers we are not isolated but part of a community, building on the work of others, experimenting, and sharing ideas to develop our new teaching community knowledge of how to support blended and online learning.

 

Chila Kumari Singh Burman

British Artist

BA Hons Printmaking (1st Class), Leeds Polytechnic, 1976 - 1980

Printmaking MA, Slade School, 1980 - 1982 

Honorary Doctorate and Honorary Fellowship, University of the Arts London, 2018

Chila Kumari Singh Burman has worked across the mediums of printmaking, painting, installation, sculpture, photography and film. Overtly political since the 1970s, Burman’s work examines cultural identity, gender and representation, continually questioning the role of women, especially south-Asian women, in the world. In 2017 Burman was awarded an honorary doctorate for her contribution to the arts from the University of the Arts in London. Works in public collections include the Tate collection, Wellcome Collection, Science Museum  Collection, Arts Council Collection, Wolverhampton Art Gallery, Walsall New Art Gallery, etc. 

www.chila-kumari-burman.co.uk

Ice Cream Tigers

My ongoing recent ‘Bindi Girls’ explore Asian feminisms through a collection of feminine forms. A continued theme of ice cream references my father, who arrived as an immigrant from India in the 1950s, and was an ice cream man for over thirty years. My use of ice cream as a motif also satirises the sexualisation of women in the ice cream industry, particularly referencing a flake advert.

My work is vajazzled with gems and crystals, using the aesthetics of consumerism and glamour; giving a new meaning to materials which could be perceived as cheap or kitsch. My use of the bindi subverts its testimonial connotations in Hinduism to signify marriage, and are personally sourced from markets in India and from my relatives in Punjab. Similarly, the repeated motif of flowers, which are central to religious ceremonies in Hindu rituals, represent sexuality.

‘Flirt - Eat Mone’ uses bindis to represent rays of light or wings, reflecting the energy and power of the figure to subvert stereotypes of South Asian women. The utilisation of bindis is significant to me due to my experience in euro-centric British art schools in the 1980’s, where I was discouraged from working in relation to my heritage.

Parallel Sessions

The programme of parallel sessions is organised based on common interest themes where possible. Delegates are required to select the parallel sessions they will attend prior to the conference. Places in each break out room are limited and will be booked on a first-come-first-served basis.

Please note that the programme of Parallel Sessions may be subject to alterations.

See below for a list of papers and presenters in each breakout room on Saturday 27 March, or view the PDF version for the schedule including abstracts.

To select your places in the Parallel Sessions, please visit the Eventbrite booking page.

 

Breakout Room 1

 

Online experiential AR & VR learning tools in history museums

Hyun-Kyung Lee  |  Yonsei University

 

Challenges and opportunities: creative approaches to museum and gallery learning during the pandemic

Kate Noble  |  The Fitzwilliam Museum

 

Youth Participation in a Contemporary Art Gallery: affect, reproduction and liminality

Cassandra Kill  |  University of Nottingham

 

Outliers and Community Builders: Museum mediation and cultural participation as political actions

Inês Pereira de Almeida de Bettencourt da Câmara  |  ISCSP - UL / Mapa das Ideias

 

Breakout Room 2

 

Facing challenges during the pandemic: re-imagining pre-service teacher training in museum education

Victoria Pavlou  |  Frederick University, Cyprus

 

Encounters in Orbit: facilitating access to learning, care and community

Annabel Crowley  |  Central Saint Martins, University of the Arts London

 

Inclusive museum education: is it really feasible during the pandemic crisis?

Victoria Pavlou & Ivi Papaioannou  |  Frederick University, Cyprus

 

Falmouth Creative, Connected, Courageous Challenges (Falmouth CCC)

Mandy Jandrell  |  Falmouth University

 

Breakout Room 3

 

Talking to art and design students at home: Evaluating the differences in student engagement online

Lorraine Marshalsey  |  University of South Australia

 

In praise of the classroom

Carol Wild  |  University of Warwick

 

Making place for a studio for children: Inclusive pedagogy in context of space and place

Marike Hoekstra  |  Amsterdam University of the Arts

 

‘From two metres’ constellated pedagogy and the new space of school

Joanna Fursman  |  Birmingham School of Art, Birmingham City University

 

Breakout Room 4

 

Participant recruiting during COVID-19

Poopak Azhand  |  Glasgow School of Art

 

The value of children’s participation in Art, Craft and Design Education research

Liam Maloy & Pat Thomson  |  University of Nottingham

 

Research Skills Immersive Induction: Preparing widening participation First Year transitions week students for Undergraduate study

Rickie McNeill  |  Glasgow School of Art

 

Towards more inclusive group work amongst design students

Rim Fathallah  |  University of Toronto

 

Breakout Room 5

 

The value of collective memories of shared space in the creation and inhabitation of online studio

Digger Nutter  |  Glasgow School of Art

 

Inclusive immersive spaces for remote digital storytelling

Emily Godden  |  Anglia Ruskin University

 

A thematic analysis investigating the potential value of VR technology to support the development of graffiti art practice and education

Ying Zhang  |  Glasgow School of Art

 

Breakout Room 6

 

First-year Interior Design Students’ Perception: Usability of digital and collaborative sketch software for brainstorming idea

Sherly de Yong & Yusita Kusumarini  |  Petra Christian University

 

Cultural Inclusion on a Masters Programme:  A case study in internationalisation

Brian Cairns  |  Glasgow School of Art

 

Digital Resources: the artistic doctorate experience

Inês Bento-Coelho & Jools Gilson  |  University College Cork

 

The First Year Experience: Interdisciplinary, collaborating communities - blending hybrid learning in digital and analogue

Katy West  |  Glasgow School of Art

 

Breakout Room 7

 

You are the object of your own observation: Experiments in art and perceptual illusion

Antony Hall  |  Manchester Metropolitan University

 

Toolkit for digital intimacy

Proximity Collective  |  Manchester Metropolitan University & The University of Cumbria

Anne-Marie Atkinson, Ann Carragher, Sarah-Joy Ford, Antony Hall, Jackie Haynes & Rebecca Howard

 

Virtual Studio: Experiments in moving Fine Art studio education online

Anne-Marie Atkinson  |  Manchester Metropolitan University

 

The Invisible Drawer

Lucy Turner  |  Arts University Bournemouth