Research Methods

Posted on 15th January 2024 by Michelle Lin-Braby

The action research cyclical process of Kemmisand McTaggart (1981) was adopted through the steps of (1) Plan, (2) Act, (3) Observe and (4) Reflect. 

Kemmis and McTagarts (1998) Action Research Cycle

Action Research workshop planning:

The workshop aim is to promote and/or foster the development of a deeper understanding of how diverse identities intersect and influence artistic practice?  This will allow culture exchange among students to foster belonging in the classroom and creating inclusive artistic environment

Cultural Exchange: The workshop will provide a platform for students to engage in cultural exchanges by sharing personal experiences, artistic influences, and cultural traditions. This will help them to gain a richer understanding of diverse perspectives, fostering empathy and cross-cultural collaboration.

Intersectionality: Through discussions and activities, students will explore the concept of intersectionality and understand how different aspects of identity, such as race, gender, sexuality, and socioeconomic background, intersect to shape individual experiences and creative expressions.

Positionality: By examining how one’s social, cultural, and historical context informs their artistic practice, students will gain insight into positionality and biases as artists and designers.

Creating Inclusive Artistic Environments:The workshop will create inclusive artistic environments that embrace diversity and intersectionality.

Participant Questionnair:

  • What new knowledge have you gained about diversity, equity, and inclusion from this workshop? Open-ended question (OE)
  • How did this workshop help you reflect on your own identity and positionality? (OE)
  • Can you describe your own intersectionality? (OE)
  • I am more aware of my own privileges and disadvantages after this workshop. Likert scale question (SC)
  • I felt comfortable sharing my experiences and background during the workshop. (SC)
  • How did this workshop emphasize the value of intercultural exchange in your view? (OE)
  • The discussions enhanced my awareness of my own cultural assumptions and biases. (SC)
  • Do you feel better equipped to relate to diverse perspectives after this workshop? How so? (OE)
  • Are you more aware of discrimination/equity issues in the art world? Which issues? (OE)
  • Do you have a greater grasp of how identity impacts artistic practice after this workshop? In what ways? (OE)
  • I better recognize the importance of inclusion in the arts after this workshop. (SC)
  • Do you feel equipped to help create an inclusive environment in the classroom now? How so? (OE)

Participants will attend a 45 mins workshop during one of their studio sessions.  Students will be debrief regarding to the workshop and the anonymous online questionnaire at the end of the session.

Screenshot of Pilot Padlet

PgCert Action Research 23/24 Pilot

Reflection: Thinking about Research Methods

Suitable research methods that I was thinking to apply to the participant data. It would include open ended text as well as likert scale data.

Quantitative Analysis of the likert scale questions

  • Descriptive statistics (e.g. frequencies, means) could summarize overall trends in the quantitative Likert scale responses related to awareness, openness to share, recognition of issues, and feelings of preparedness.
  • Inferential statistics like t-tests, ANOVA, or regression could test for differences across demographic factors like gender or course level.

Qualitative Analysis of the open ended text

  • Thematic analysis seems well suited for the open-ended qualitative responses, allowing you to identify common themes and meaning related to the workshop experiences.
  • Content analysis could systematically code and quantify qualitative data around key concepts of interest.

Mixed Methods that would combine both types of analysis

  • A mixed methods approach combines quantitative summaries and statistical tests with thematic coding of open-ended data. This leverages the strengths of both methodologies.
  • Qualitative data can contextualize and interpret quantitative findings. Multi-method triangulation improves validity.

Other Potential Methods

  • Focus groups to follow up on key survey findings may clarify results or reveal additional insights.
  • Social network analysis could map connections formed and knowledge flows resulting from the workshops.

Bibliography

Kemmis, S., & McTaggart, R. (2007). The Action Research Planner: Doing Critical Participatory Action Research. Thousand Oaks, California: Sage Publications.

Kemmis, S., McTaggart, R., Nixon, R., Kemmis, S., McTaggart, R. and Nixon, R., 2014. Introducing critical participatory action research. The action research planner: Doing critical participatory action research, pp.1-31.

Koshy, E., Koshy, V., & Waterman, H. (2010). Action Research In Healthcare. London: SAGE Publishing.

Koshy, V. (2010). Action Research for Improving Educational Practice: A Step-By-Step Guide.London: SAGE Publications Ltd.

Stringer, E., & Genat, W. (2004). Action Research in Health. Upper Saddle River, NJ: Pearson Prentice-Hall.

Wang, S., 2015. Action research as a research method. International Journal of Humanities and Social Sciences, 2(1), pp.98-103.

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Action Plan

Posted on 15th January 2024 by Michelle Lin-Braby

This is my actual research timeline with milestones

Action plan timeline
  • Ethics form – DONE
  • Draft activity plan/brief – DONE
  • Run pilot with colleague/student – DONE
  • Get feedback – DONE
  • Refine activity – DONE
  • Draft in colleagues to observe – DONE
  • Prepare observation templates – DONE
  • Run activity – DONE
  • Capture outputs – DONE
  • Reflect on session – DONE
  • Debrief with observers
  • Collate feedback
  • Plan next steps
  • Presentation slides
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Rationale

Posted on 15th January 2024 by Michelle Lin-Braby

I am currently teaching on the CertHE programme. The action research was inspired by the Inclusive Practice unit. In the Academic Year 2022/23 we enrolled for the first time home students in the Level 4 cohort.  It was intriguing to see how individual home students faced challenges and had to adapt to create a sense of belonging within the group.  

My Academic Practice context and The Art of Adapting

One of the social justice issues within my academic practice that drew my attention was the CSS student survey.  Students requested more collaboration with peers and to enhance their student experience.  They requested more inclusive learning activities in the classroom environment, See Fig.1 for a CSS overview.

Fig.1 CSS Summary Overview Level 4 CertHE

In 2021/22 1% of home (UK) students enrolled to Level 4 CertHE,  80% were of Chinese nationality and 19% other international students. (see Table 1). The data shows a significant rise in 20222/23 of home students, with 10% home students, 67% Chinese and 23% other international students.  We are hoping to recruit more home students to create an ethnic diverse learning environment.  The design of the Action Research project is to promote Cultural Exchange, Intersectionality, and Positionality in Design, Media and Screen pathway.

NationalityLCC L4
2021/22%2022/23%
Chinese10180%9067%
British National11%1410%
Indian32%86%
United States citizen32%43%
South Korean22%32%
Taiwanese43%32%
Hong Kong54%11%
Thailand22%11%
Canadian11%0%
Ukrainian11%11%
Turkish0%21%
Japanese22%0%
Philippine11%0%
Russian0%11%
Bahraini0%11%
Indonesian0%0%
Australian0%11%
Polish0%11%
French0%11%
Macanese0%11%
New Zealander0%11%
Singaporean11%0%
Argentine0%0%
Jordanian 0%11%
Total127100%135100%
Table 1 Level 4 CertHE data

My project was inspired by Aisha Richards and Terry Finnigan’s “Embedding equality and diversity in the curriculum: an art and design practitioner’s guide”.  (Richards and Finnigan, 2015).

Their practical guide provides an overview of key equality and diversity issues within art and design higher education curriculum, basing on existing institutional challenges.  The case studies offer inspiring models of enhancing inclusion, from staff development initiatives to efforts expanding representation in the curriculum. While acknowledging unique pedagogies in creative disciplines.  I was particularly interested in strategies drawn from critical pedagogy, e.g. Bourdieu’s cultural capital and community of practice.  I am inspired by Shades of Noir that support change in behaviour and practice as I can relate from my own positionality. The emphasis on policy linkages, data, training, and student-staff partnerships provides a constructive framework. 

(Action research is both a philosophy and methodological approach.  It is a form of simultaneous action and enquiry, which enables you to experiment with creative and innovative methods.)

The action research project linked in with the Specialist studies Orientation to Design, Media and Screen unit on the programme the project is titled:  Places and Spaces.  

I ask students to consider their place & spaces not as a physical place, but their identity in society and their own place and spaces in society.

(You are required to undertake a small-scale social justice-oriented action research project, which addresses an issue you have identified in my Teaching and learning practice.)

(Having mapped your existing understanding and experience to your chosen issue.  Determine the scope and feasibility of your project and pose a research question.)

My artist workshop introduces artist identity, positionality and intersectionality.  During the workshop I participated the activities by sharing my own artist identity, positionality and intersectionality.  This allows students to consider theirs in return and share it with the group.  (Padlet) (Padlet mapping) (Questionnaire)

(You will continue to further your knowledge while planning, executing, documenting and reflecting on an intervention.  With reference to codes of practice of ethical research)

The importance of Inclusive learning theory

In the inclusive learning theory, I came cross Aisha and Terry’s embedding equality and diversity in the curriculum: an art and design practitioner’s guide: “The concept of critical pedagogy (Freire 1968; hocks(1995) is key for embedding this work into inclusive and transformative learning.  This involves reflecting on how education can be seen as transformational and linked to social justice.” This shows link and connection to my initial planning in intersectionality and positionality as a workshop.  

Why it is important in the context of the institution?

In my initial planning for the workshop during my IP unit. This was one of my inspiration to base the workshop linking in with reference artist from different background and ethnicity.

The work is important within the Academy as UAL Strategy 2022-2023 has three Guiding policies;

  • Guiding policy 1: To give our students the education they need to flourish in a changing world. 
  • Guiding policy 2: To bring a high-quality creative education to more students than ever before. 
  • Guiding policy 3: To change the world through our creative endeavour. 

I feel that Guiding policy 3 focusses on creating a better world.  There are ideas that I would like to include in my action research project, especially in ‘Case Study 4: UAL Decolonising Arts Institute;’ It supports my Action Research project in creating an Inclusive Artistic Environment that embraces diversity and intersectionality. 

“Too often, the work of Black and Asian creatives is under-represented in public life. In 2017, research by the Department for Education found children in UK schools, of whom 31% are from ethnic minority backgrounds, were introduced to the visual arts by teachers who are 94% white. UAL’s Decolonising Arts Institute was founded to help change this. In November 2021, it received a grant from the Freelands Foundation as a contribution towards this work. UAL’s three-year programme will place 20 Black and Asian artists on residence at top art organisations across the UK. They will oversee new commissions for permanent collections.”

I was interested in ‘The Practice of Dialogue in Critical Pedagogy’ as a framework that I am going to employ to develop my action research.  The areas of Critical theory and feminist theory offer useful lenses to investigate power relations and examine the practice of critical pedagogy and dialogue. Critical theory reveals how the societal inequalities shape the classroom dynamics.

????By following my research, many writers have drawn on Freire’s work in relation to “a theory and practice of critical pedagogy related to both formal and nonformal educational settings (Giroux, 1994,200; Macedo, 2006; McLaren, 1994; McLaren & Companeras y Companeros, 2005; McLaren & Kincheloe 2007; Shore, 1992, 1996).  As well as to critique and reform such approaches from feminist, postmodern, and cultural perspectives (Hooks, 1994; Jones, 1999; Orner, 1992; Rome, 1997”

???Feminist theory highlights gender oppression and masculine norms. Together these frameworks help the artefact to give voice to marginalized students and develop inclusive practices that empower diverse learners. Applying these theories in the workshop will support dialogue and diversity in the classroom, while also pointing to ongoing challenges of supporting critical pedagogy across different areas needing further development.

Reference:

Richards, A. and Finnigan, T., 2015. Embedding equality and diversity in the curriculum: An art and design practitioner’s guide. York: Higher Education Academy, Available online: https://www. heacademy. ac. uk/node/11103 (accessed on 20th Dec 20

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Workshop 1

Posted on 28th September 2023 by Michelle Lin-Braby

Am I not answering your questions properly?’ Clarification, adequacy and responsiveness in semi-structured telephone and face-to-face interviews PDF Link

The paper “‘Am I not answering your questions properly?’ Clarification, adequacy and responsiveness in semi-structured telephone and face-to-face interviews” by Irvine et al presents a study comparing semi-structured qualitative research interviews conducted via telephone versus face-to-face. The study seeks to contribute empirical evidence on how interview mode affects the spoken interaction and resulting data. The analysis draws on techniques from Conversation Analysis to compare 11 interviews (6 telephone, 5 face-to-face) originally conducted for a study on mental health and employment. Several interactional differences emerged: The researcher offered more formulations and completions of the interviewee’s talk in face-to-face mode. Interviewees requested slighty more clarification of questions in telephone interviews. The researcher provided fewer vocalized acknowledgement tokens in telephone mode. Interviewees checked more explicitly that their responses were adequate in telephone mode. Telephone interviews tended to be shorter than face-to-face. Possible explanations are discussed, including differences in rapport, listener effort, and expectations of interviewer involvement. A key implication is that telephone respondents may feel less confident they are satisfying the interviewer’s needs. The study represents an initial foray into systematic empirical comparison of interview modes. Further research with larger samples would help establish more robust findings on the interactional consequences of telephone versus face-to-face in qualitative interviewing.

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Inclusive Practice Unit 2 – Blog 3

Posted on 29th June 2023 by Michelle Lin-Braby

illustration by Cynthia Kittler

A reflection on Hahn Tapper’s “A pedagogy of social justice education: social identity, theory and intersectionality”

Hahn Tapper’s work on a pedagogy of social justice education offers a fascinating insight for developing and fostering inclusive learning environments.  In this publication I learnt the importance of social identity, theory, and intersectionality, Tapper highlights the need to recognize and address the complicity of social identity, intersectionality and empowerment in education.  Tapper’s approach to encourage critical thinking, empathy, and self-reflection, enabling students to understand the interconnections between various social issues and identities is fascinating.  I am inspired by the publication to create an artefact to promote an intersectionality approach with inclusive learning on my course.  Tapper’s emphasis on intersectionality reminds us of the importance of recognizing and valuing the unique experiences and perspectives of marginalized communities. Ultimately, his pedagogy serves as a powerful tool for promoting equity, justice, and social change within educational settings and beyond.

CTS part 2 – migration, identity and inclusion

It would be interesting to include Hahn Tapper’s publication as part of the pre-session reading material in the Contextual Theoretical Studies (CTS) resource. This links in with the assessment criteria under “(Knowledge) Develop, reflect on and review ideas in resolving problem using a variety of theoretical and practical skills to identify and investigate appropriate primary and secondary sources relevant to your chosen field of study.”   As within the Unit Assignment “the theory critical report will evidence a substantial body of references that have inspired and are relevant to the work during the personal progression unit.”

I am in the process of creating a workshop during induction that aims to explore and foster a deeper understanding of how diverse identities intersect and influence artistic practice, defined as follows:

Cultural Exchange: The workshop will provide a platform for students to engage in cultural exchanges by sharing personal experiences, artistic influences, and cultural traditions. This will help them to gain a richer understanding of diverse perspectives, fostering empathy and cross-cultural collaboration.

Intersectionality: Through discussions and activities, students will explore the concept of intersectionality and understand how different aspects of identity, such as race, gender, sexuality, and socioeconomic background, intersect to shape individual experiences and creative expressions.  The workshop echoes the statement from Shades of Noir (2017) ‘Intersectional Film”:

“Intersectionality is an analytic sensibility, a way of thinking about identity and its relationship to power. Originally articulated on behalf of black women, the term brought to light the invisibility of many constituents within groups that claim them as members, but often fail to represent them. Intersectional erasures are not exclusive to black women. People of color within LGBTQ movements; girls of colour in the fight against the school-to-prison pipeline; women within immigration movements; trans women within feminist movements; and people with disabilities fighting police abuse — all face vulnerabilities that reflect the intersections of racism, sexism, class oppression, transphobia, able-ism and more. Intersectionality has given many advocates a way to frame their circumstances and to fight for their visibility and inclusion.”—Kimberlé Crenshaw

Positionality: By examining how one’s social, cultural, and historical context informs their artistic practice, students will gain insight into positionality and biases as artists and designers.

Creating Inclusive Artistic Environments: The workshop will create inclusive artistic environments that embrace diversity and intersectionality. 

I found the UAL Ethnic Representation Index a useful resource to unpick this topic and to froster the sense of belonging within the course cohort. “We have sought to build an index that can give a comprehensive perspective on the different facets of becoming anti-racist institutions,we have identified metrics that cover student experience, academic inclusion, and institutional governance as well. While bringing Black, Asian and Minority Ethnic students into our universities is essential, it is not enough: students of all backgrounds must feel an equal sense of belonging, must thrive equally in their academic work, and must be equally protected from abuse and discrimination.”

What I found within the report is the lack of diversity among staff and students. This would be interesting to investigate further. The key findings from the report include:

  • Average B.A.M.E student representation (32%) does not match B.A.M.E representation among academics (17%) or professors (10%).
  • For Black students (9.5% of students) the problem is worse, with Black academics (2.7%) and professors (0.7%) falling short of the student average.
  • Black students, in particular, face significant entry barriers, with 78% of universities, analysed as part of this report, less likely to make Black students an offer to study when they have the same entry profile as other applicants.

Reference

Lucy Bourton. (2018). A catch-up with the always brilliant Cynthia Kittler. [Online]. It’s Nice That. Last Updated: 31 August. Available at: https://www.itsnicethat.com/articles/cynthia-kittler-illustration-310818 (Accessed 19 July 2023).

Hahn Tapper, Aaron J. “A Pedagogy of Social Justice Education: Social Identity Theory, Intersectionality, and Empowerment.” Conflict Resolution Quarterly, vol. 30, no. 4, June 2013, pp. 411–445, https://doi.org/10.1002/crq.21072. (Accessed 16 June 2023).

Shades of Noir (2017) ‘Intersectional Film’. Available at: https://shadesofnoir.org.uk/journals/intersectional-film/ (Accessed: 11 June 2023). 

UAL Ethnic Representation Index (2022) Available at: https://www.arts.ac.uk/__data/assets/pdf_file/0030/375735/ERI_Ethnic-Representation-Index.pdf (Accessed: 18 July 2023).

UAL: London College of Communication. (2023). CertHE: Preparation for Design, Media and Screen. [Online]. Unit Assignment. Available at: https://ual-moodle-sitedata.s3.eu-west-2.amazonaws.com/35/2d/352d194598871a2f2b6828c49867a2fdf2f7436 [Accessed 19 July 2023].

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Inclusive Practice Unit 2 – Blog 2

Posted on 29th June 2023 by Michelle Lin-Braby

A reflection on Kwarme Anthony Appiah Reith’s lecture on ‘Creed’

Kwame Anthony Appiah’s Reith lecture offers a thought-provoking exploration of the complex nature of religious belief and its place in contemporary society. Appiah highlights the importance of recognizing the diversity of creeds and the need for respectful engagement with different faith traditions. He emphasises the role of discussion and understanding in fostering tolerance and mutual respect, challenging the notion that creed must inevitably lead to conflict. By encouraging an open-minded approach that values empathy and human connection, Appiah presents a compelling argument for embracing the richness and complexity of religious beliefs as a means of promoting a more inclusive and harmonious world.

CTS part 2 –migration, identity and inclusion: I would love to add ‘The Reith Lectures’ in Mistaken Identities by Kawame Anthony Appiah as part of the teaching resource.  This could be add onto the PowerPoint Presentation in the Identity session and the group Padlet.  I would play sections of the podcast to gauge students’ interest and ask them to consider the impact of their identity through the influence of their cultural background and religion. This links in with the assessment criteria under “(Realisation) Demonstrate an understanding of, and practically apply, contextual knowledge of the subjects and its wider areas of influence.”  As within the Unit Assignment learning outcome include, “the critical and informed analysis within the theory critical report will evidence consideration of current issues (locally and internationally) that would also relate to your personal progression topic. Using primary and secondary sources, you will demonstrate that you have understood how the theoretical and practice – based references can be applied towards your practice.”

A reflection on SoN Higher Power: Religion, Faith, Spirituality & Belief: Social justice/buddhism/queerness by Tiffany Webster

Tiffany Webster’s exploration of social justice, Buddhism, and queerness sheds light on the interconnectedness of these themes and the potential for transformative change. She examines how consumer orientated Buddhism was influenced by capitalism which shares similarities with Christian megachurches.   As a Buddhist myself, I know there are different forms of Buddhism practice, so find that this is a narrow view.   Webster underlines the importance of challenging unjust systems and promoting inclusivity within both religious and social spheres.  Webster invites us to re-examine traditional concepts of gender and sexuality, raising acceptance and liberation. Webster’s reflection reminds us of the power of intersectionality, spirituality, and activism in the pursuit of a more inclusive and compassionate world.

CTS part 2 –migration, identity and inclusion: It would be interesting to add Tiffany Webster’s ideas as part of the teaching resource.  This could be adding onto the pre-session reading material in the inclusion session and the group Padlet.  It would be a good discussion task for the students to share their views on the article and reflective view on the perspective of religion and identity. This links in with the assessment criteria under “(Knowledge) Develop, reflect on and review ideas in resolving problem using a variety of theoretical and practical skills to identify and investigate appropriate primary and secondary sources relevant to your chosen field of study.”   As within the Unit Assignment “the theory critical report will evidence a substantial body of references that have inspired and are relevant to the work during the personal progression unit.”

Reference:

Kwame Anthony Appiah, The Reith Lectures, Episode 1 Creed (2016) BBC Radio 4, 18 October. Available at https://www.bbc.co.uk/sounds/play/b07z43ds (Accessed 29 May 2023).

Shades of Noir (2017) ‘Higher Power: Religion, Faith, Spirituality & Belief’. Available at: https://shadesofnoir.org.uk/journals/higher-power-religion-faith-spirituality-belief/ (Accessed: 20 June 2023). 

UAL: London College of Communication. (2023). CertHE: Preparation for Design, Media and Screen. Unit Assignment. [Online]. Available at: https://ual-moodle-sitedata.s3.eu-west-2.amazonaws.com/35/2d/352d194598871a2f2b6828c49867a2fdf2f7436 [Accessed 19 July 2023].

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Inclusive Practice Unit 2 – Blog 1

Posted on 29th June 2023 by Michelle Lin-Braby

A reflection on the work by Christine sun Kim.

Christine Sun Kim is an inspirational artist whose work challenges the conventional boundaries of sound.  Her works explore an unconventional visual interpretation of sound, language and communication.  Following her journey as a Deaf artist in How I became an artist: Christine Sun Kim and how she uses visual and performative elements to convey sound in our daily life,  Kim’s work prompts us to question our senses and see the possibility of sound art.  

According to an interview by McDermotte Kim stated, “I’ve used technology for immersive experiences or to give people a new listening skill, and video is about capturing the spatiality of sign language. I’ve also done large public artworks, like murals. These started when the Whitney asked me to do one [in 2018] and then continued with billboards for the collective For Freedoms. I started thinking about public art, what people see every day, and the idea of imposing our Deaf way of being onto hearing people’s everyday lives.” The work allows us to appreciate a diverse way in which we experience and communicate in the world.  Her artistic influences push the boundaries of what is possible in the realm of the art world.

My inspiration is to include Christine’s work as part of the Orientation to Design Media and Screen unit. This links in with the assessment criteria under “(Enquiry) Develop, reflect on and review ideas in resolving problem using a variety of theoretical and practical skills to identify and investigate appropriate primary and secondary sources relevant to your chosen field of study.”   As within the Unit Assignment “Your Process and Research Document will evidence a body of references that have inspired and are relevant to the work you will produce during this unit. You should evidence a staged progression of design explorations using different methods that are relevant to your subject matter.”

Christine Sun Kim will be an amazing artist to add in the Artist Research Bank on Padlet.  I will introduce Christine’s film as part of the brief induction and share my thoughts and reflection with the studio group.  This will allow students to consider the possibilities of creating artwork with sensory experience.  I believe her work will have an impact and bring a new aspect to the Soundscape project.

Christine Sun Kim in her studio, Berlin, January 2022. Photo by Ériver Hijano for Art Basel.

In one of The journal Shades of Noire‘ issues on disability, it mentions an important step towards magnifying marginalised voices ‘and to show important data and sharing the intersectional experiences of individuals with disabilities.  In the artical Academic Truth I feel the article resonate with my intersectionality and positionality as an academic.  “I see and help others like me or different in many other ways and that makes us vulnerable.  I use my vulnerabilities as a mechanism – a frame and cannon to illustrate my students and fellow peers that they are all unique too.”

I was fortunate to attend a workshop on “Working briefs using sensory mediation” with Jhinuk Sarkar. The workshop was inspired by Christine Sun Kim’s work to use the seven senses to link and connect with creative practice.  It has provided me with thought provoking approach how to work with Sight (Visual), Smell (Olfactory), Hearing (Auditory), Taste (Gustatory), Touch (Tactile), Balance & Movement (Vestibular), Body Awareness (Proprioception).  I will look forward to sharing my insight with the studio group and create a workshop that links in with sensory experience.

Jhinuk’s Academic Study Support Workshop

Padlet:

https://padlet.com/ualwide/jhinuk-s-academic-study-support-workshop-64jon4xfac2u?utm_campaign=added_comment&utm_medium=desktop&utm_source=notifications

Reference:

Christine Sun Kim (2012), A Selby Film. Available at: https://vimeo.com/31083172 (Accessed: 1 June 2023)

Sarkar, J., 2022. Why the smell of metal could shed a tear and other sensorial narratives. Journal of Illustration, 9(1-2), pp.181-215.

Shades of Noir (2020) ‘Disabled People: The Voice of Many’. Available at https://issuu.com/shadesofnoir/docs/disabled_people (Accessed: 1 June 2023)

UAL: London College of Communication. (2023). CertHE: Preparation for Design, Media and Screen. Unit Assignment. [Online]. Available at Available at: https://ual-moodle-sitedata.s3.eu-west 2.amazonaws.com/e5/30/e530dd251c7f70bd77003670cb82b9fb882b172 [Accessed 19 July 2023].[Accessed 19 July 2023].

Resources:

The power of small in creativity – Richie Manu

Workshop slides

Why the smell of metal could shed a tear and other sensorial narratives by Jhinuk Sarkar

https://www.artbasel.com/stories/how-i-became-an-artist–christine-sun-kim?lang=en

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Teaching Reflection Model

Posted on 23rd March 2023 by Michelle Lin-Braby

The reflective practice is an important and integral part of teaching.  To be able to step back from a teaching practice experience and begin to analyse and examine it and then introduce new ideas.  Pretty (1998) states that,

‘Mistakes are not only inevitable, they are a necessary part of your learning process.  If you don’t have the occasional failure, you are not experimenting enough’.

My teaching experience at CertHE is a rewarding one.  I have been able to discuss any diverse issues with other lectures and from that, draw on different points of view and different experiences.   We tend to think the area of Design, Media and Screen as highly specialised but I found colleagues from other areas would perceive a different view of certain problems.

I looked at several models of reflections and their strengths and weaknesses of them.  The models include the reflective cycle from Gibbs (1988) Fig 1, 

                                                   Description

Fig 1: The reflective cycle from Gibbs (1988)

Kolb’s (1984 cited by Dickinson, 2000), Four-stage model of reflection comprised of concrete experience, reflective observation, abstract conceptualisation and active experimentation.  The concrete experience stage gives an opportunity to discuss the problem and to look at actions that could be taken.  The reflective observation stage then encouraged these actions to be followed up and the final two stages involved implementing and suggested strategies before beginning the cycle again.  I felt that the cycle appeared to provide a clear and distinct process and it would have provided an experiential reflection of the problem.  However, it did not contain the ‘what’ factor, which Driscoll’s provided.  The problem will need an outcome and perhaps it would not be solved immediately.  But the best solution needed to be found and form those new strategies could then be taken into place to implement in the lesson.

The model of reflection ‘The what?’ (Driscoll, 1994)(P27) contains three elements of reflection, he stated

  1. What? – A description of the event.  
  2. So what? – An analysis of the even.  
  3. Now what? – Proposed actions following the event. 

The structured reflection and its relationship to an experimental leaning cycle, and each stage of the three elements interact within the experiential learning cycle. (Fig. 2)   It allowed a clear pattern of reflection of the problem where an outcome would emerge at the end. 

Figure 2 The WHAT model of structured reflection (Driscoll 1994), (p27)

I intend to use this reflective model in one of my studio unit as part of formative assessment.   I felt the questions will provoke thought and provide a clear sequence of questions to analyse the problem and drawing a satisfactory conclusion. 

References

Gibbs, G. 1988. Learning by doing: a guide to teaching and learning methods, Oxford: FE Unit Oxford Polytechnic

Driscoll, M. P. (1994). Psychology of learning for instruction. Allyn & Bacon.

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Assessment – Part 2

Posted on 23rd March 2023 by Michelle Lin-Braby

Summative assessment

Image by Michal Jarmoluk from Pixabay

            Assessment that is used to measure the extent of learning, which has taken place at the end of a period of learning, is referenced to as summative assessment.  This approach is frequently contrasted with ‘formative assessment’ – Studies have shown that formative assessment is an important aspect of teachers’ classroom work and that it entailed to improving the aspect of teacher’s classroom work, in term enhance the learners’ achievement.  Summative assessment is the more familiar, and more appealing, tests and examination that seek for summary evidence of students’ capabilities.  I used both assessment methods, John Gardner stated assessment for learning:

  • Is part of effective planning;
  • Focuses on how students learn
  • Is central too classroom practice;
  • Is a key professional skill;
  • Is sensitive and constructive
  • Fosters motivation

In Art & Design disciplines, Summative assessment usually taking place by the

end of a project. The assessment is followed by the assessment criteria in different Units and aspect of Art.

It is important to have a Summative assessment especially in Art & Design subjects.  The effectiveness of this form of assessment from my experience promotes learners to gain an understanding of their subject criteria and set a target for the learners to accomplish their goals.  It is also a way to encourage motivation in the creativity environment and to raise achievements.  

            Whatever form of assessment I am using, I am particularly sensitive to the students’ feelings and reactions.  Students with creativity aspiration are sensitive towards their own work.  Informal assessment by observation and general questioning enables me to assess students without putting too much pressure on them.  

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Assessment – Part 1

Posted on 23rd March 2023 by Michelle Lin-Braby

Formative assessment

Image by Michal Jarmoluk from Pixabay

Assessment offers a way of checking that learning has taken place.  It occurs at the beginning of learning, from time to time during learning and to identify learning needs and retention for learning.  It uses feedback comments rather than marks or grades with sensitivity to engaging the learners’ learning process. This is referenced as formative assessment.  I use primarily formative assessment in my teaching role as I feel it should be an ongoing process of inspiring creativity between the lecturer and the student.

One example I have used was the student’s individual learning plan in the tutorial programme.  In the 1:1 tutorial, students were given feedback on their current achievement against the expected level of achievement.  The reason I have chosen to use Formative assessment was to make the learning outcomes clear, share assessment criteria effectively and provide learners with immediate feedback.  Students were given the opportunity to discuss with the tutor how to improve any weaknesses.  The tutorial sections have been proven as constructive for the learners.  It gives the learners positive feedback and a guide for improvement.  

Overall, I feel there are action points for further development in formative assessment.

  • Formative work includes new ways to improve response between teaching and learning, in ways that requires new teaching strategies, and significant changes in preparation of lessons.
  • Essentially the teaching strategies are aimed at developing the effective learning, underlining that the students must be actively involved in the process for the assessment methods to be constructive.
  • From the Formative assessment, the result will have to be used to adjust the teaching and learning, involves a significant aspect of change in lesson plan or teaching methods.
  • The ways, in which the Formative assessment can improve a learner’s motivation and self-esteem, this can benefit students to engage their learning process through self-assessment.
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