11:00 - 11:15 GMT | Welcome & guide to the 2021 online conference
11:15 - 12:15 GMT | Keynote Speaker: Diana Laurillard
12:15 - 12:45 GMT | 30-minute break
12:45 - 15:00 GMT | Parallel sessions
15:00 - 15:30 GMT | 30-minute break
15:30 - 16:15 GMT | Keynote Speaker: Chila Kumari Singh Burman
Image: Chila Kumari Singh Burman, Tate Britain Winter Commission © Sue Fisher, Nov 2021
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/
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.
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.
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.
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.
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
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
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
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
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
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
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