Teachers' Academy 2013 Utrecht and Amsterdam
Videos and Photos from ELIA Teachers' Academy 2013
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Teachers Academy 2013 Day 1 from ELIA on Vimeo.
Teachers Academy 2013 Day 2 from ELIA on Vimeo.
Teachers' Academy 2013 Day 3: Teachers' Academy Meets NEU NOW LIVE Festival
from ELIA on Vimeo.
Photos are now available online!
Scroll down to view all photos from the three days of the Teachers' Academy.
A sincere thanks to all the Teachers' Academy delegates! After a series of stunning days of art, dialogue, collaboration, and exploration the ELIA Teachers' Academy 2013 has come to a close. Warm gratitude to the presenters and speakers as well as the staff who contributed to making this conference a success.
122 participants from 21 countries came together in Utrecht and Amsterdam for an inspiring conference centred on 'Preparing the Artists of Tomorrow'.
Click the link 'Delegates List ELIA Teachers Academy 2013' under Downloads to view the full participants list.
The full programme and the papers presented are available on this website.
Partners
The ELIA Teachers’ Academy 2013 has been hosted by the Utrecht Schools of the Arts (HKU).
EC Support
The ELIA Teachers’ Academy is supported by the NECXT - New European Creative Talent project, financed by the European Commission and organized in connection with the ELIA NEU NOW LIVE Festival.
All images courtesy of Robin van den Ploeg (watermarked) or Darek Fortas.
Theme
The ELIA Teachers’ Academy is a platform for new ideas and innovative practices for educating the next generation of artists.
The ELIA Teachers’ Academy 2013 will address the following themes:
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Social entrepreneurship (sustainability, co-creation and new business models)
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Digital technologies (their use and impact in teaching environments and arts practices)
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The artist as content maker (re-imagining the craft of content production in and outside the arts).
The 3 day programme offers keynote speeches, presentations, workshops and panel discussions. The in-depth exchange of ideas at the ELIA Teachers’ Academy in Utrecht will provide a critical framework for informed discussions on selected work presented in the NEU NOW LIVE Festival in Amsterdam.
Programme
Please click date for detailed view of programme, including sessions, workshops and speaker information.
Utrecht
Location: HKU - Theatre Faculty
Janskerkhof 17/18 Utrecht
15.00 Registrations and Coffee
17.30 - 18.30 Official Opening
Welcome Speeches
Introduction to the NEU NOW LIVE Festival Programme
18.30 - 22.00 Buffet Dinner with Pecha Kucha
Music Performance from Utrecht Conservatorium
Utrecht and Amsterdam
Location: HKU - Utrecht Conservatorium
Mariaplaats 28, Utrecht
09.00 - 09.30 Registration and Coffee
09.30 - 10.30 Keynote Speeches
10.30 - 11.00 Coffee Break
11.00-13.00 Three Parallel Sessions
13.00-14.30 Lunch Break
14.30 - 16.30 Three Parallel Sessions
17.00 - 18.00 Bus Ride to Amsterdam
Location: Compagnietheater
Kloveniersburgwal 50, Amsterdam
21.15 - 22.30 NEU NOW LIVE Festival
Amsterdam
Location: Brakke Grond
Nes 45, Amsterdam
09.30 - 10.00 EQ-Arts Session
10.00 - 11.00 Keynote Speech
(Lucy Neal)
11.00 - 12.30 Session with the NEU NOW LIVE Festival Artists
12.30 - 13.30 Lunch
13.30 - 15.00 Gallery Visit
15.00 - 15.30 Un-dress NEU NOW LIVE Festival Performance
16.00 - 18.00 Cinema Programme
18. 00 - 19.30 Dinner
19.30 - 20.00 NEU NOW LIVE Festival
Location: Compagnietheater
Kloveniersburgwal 50, Amsterdam
21.00 - 02.00 Closing Party Teachers' Academy and NEU NOW LIVE Festival
Presenters
Sessions
María Isabel Alba Dorado
School of Architecture at the University Antonio Nebrija
Intersections in Architectural Creation
Paul Barrett
Birmingham City University
Identifying Essential Ingredients for Future Focused Art and Design Courses
John Bell
The University of Westminster, Kingston University
The Studio as Hackerspace
Petra Bole
Academy of Design Ljubljana
How to think the content of design in the product design in Slovenia between 1945 and 1991 and the influence of collective memory on today's design context
Colin Bourne
Trinity Laban Conservatoire of Music and Dance, London
The Dance Artist as Re-creator
John Casey - Shaun Hides - Jonathan Shaw
Coventry School of Art & Design
Taking Care of Business: Reimagining the Art College in the 21st century - Social entrepreneurship, Digital technologies
Chris Cuming - Karl Rouse
The Royal Central School of Speech and Drama
Accidental Festival
Lieve Dehasque - Filip De Roeck - Liesbet Verschueren
LUCA School of Arts
The Discursive as Production Mode
Rachel Feuchtwang - Gwenoële Trapman
The Theatreschool, Amsterdam School of the Arts
Creative Producing: Making Places and Cultural Enterprises
Pascal Gielen
Fontys School of Fine and Performing Arts
The Biotype of the Hybrid Artist
Lucia Giuliano - Stefano Mirti
ABADIR Academy - interactiondesignlab
WHOAMI. From Online Education to Design Game
Jukka Heinänen
Metropolia University
Omnes viae Romam ducunt
Chris Jones
Emily Carr University of Art and Design
Virtual Studios: Online Models For Teaching Graduate Students In The Arts
Ásthildur Björg Jónsdóttir
Iceland Academy of the Arts
Art and Sustainability: The Effectiveness of Place-Specific Education
Kerry Meakin - Neville Knott
Dublin Institute of Technology
A Digital Learning Experience in Tertiary Design Education
Cor Noltee - Sijn van Santvoort - Johan Kolsteeg
HKU - Utrecht School of the Arts
Student Connectivity in Practice
Maria Stranekova
Tomas Bata University Zlín
Fashion at the Edge
Mary Troup
Royal Conservatoire of Scotland
Teaching Artists’ Future Practice
Bert Vandenbussche
Luca School of Arts - Sint-Lucas Gent
Stimulating Nimble Thinking: How Experiential Education Changed Lecturing
Pecha Kucha
Renske de Groot
Fontys School of Fine and Performing Arts
Guerilla Art-Interventions in the Public Domain: The Power of Informal Education in the Field of Creative Industries
Matt Johnston
Coventry School of Art and Design
Photography Photobooks
Christoph Lang - Alexandra D'Incau
University of Applied Sciences and Arts
MODUSMODUL - Stop Gathering Points
Brigid Mc Leer - Jane Ball
Coventry School of Art and Design
Occupation Workplace
Jasna Kralj Pavlovec
Academy of Design Ljubljana
Metamorphosis of Wood
Daniela de Paulis
PhD Art - Royal Academy of Art, The Hague
Visual Moonbounce and 'OPTICKS'
Pernille Skov
CAKI - Centre for Applied Artistic Innovation
Entrepreneurship within Arts Education: professionalization / an enterprising mindset / artistic innovation
Joris Weijdom
HKU - Utrecht School of the Arts
The Media and Performance Laboratory (MAPLAB) – a place for research and development of collaborative creative processes, mixed reality performances
and interactive experiences.
Keynotes
Zurich University of the Arts
Preparing the Artist of Tomorrow: Facing the Fields of Tension of Global Culture
HKU - Utrecht School of the Arts
How Would a Game Solve It?
Game Design Principles as a Didactic Toolkit in Higher Arts Education
Accommodations
ELIA has made preliminary reservations in various hotels in Utrecht and Amsterdam, listed in the subpages to the right.
Please notice the numbers of rooms available is limited and these can be guaranteed only until the deadline indicated for each hotel.
June is high season for the Netherlands and both Amsterdam and Utrecht will be fully booked in this period. We strongly advise all delegates to make their booking as soon as possible.
To minimize commuting time delegates are also advised to stay in Utrecht the night of Monday 24 June and in Amsterdam the night of Tuesday and Wednesday.
At the end of the day on Tuesday 25 June a bus transfer from Utrecht to Amsterdam will be organized; delegates can then easily reach their accommodations in Amsterdam.
For delegates that do not wish to change hotel and would prefer to stay in Amsterdam the whole time, trains from Utrecht to Amsterdam are running every half en hour till 1.00 a.m. and every hour the whole night. Please refer to the national train service website,
www.ns.nl/en/travellers/home
The Netherlands
Delegates of The Teachers' Academy will have the opportunity to explore and enjoy two of The Netherlands greatest cities, Utrecht and Amsterdam.
Utrecht
Utrecht is the beating heart of the Netherlands. With a medieval city centre small enough to explore on foot, but still large enough to enjoy world class festivals, modern architecture, trendy shops and interesting museums, Utrecht bustles with life. 65,000 students and an extensive number of cultural events; friendly outdoor cafés and restaurants.
For more information about Utrecht, things to see and entertainment, please visit the official tourism website:
www.visit-utrecht.com/en
From this site, a Utrecht City Guide app is as well available for free download.
Amsterdam
Famous all over the World for its charming 17th century canals, Amsterdam combines a modern metropolis with a friendly and relaxed environment and the small scale buildings with its intimate atmosphere that visitors find unique. From its earliest days, Amsterdam has been a bustling hub of commerce that welcomed other cultures with open arms.
The city has the highest museum density in the world and is home to cultural highlights, such as the
Van Gogh Museum,
Anne Frank House,
Hermitage Amsterdam and after years of renovation the recently re-opened
Rijksmuseum, as well as a great number of events and festivals.
For more information about Amsterdam, getting around, events and entertainment, please visit the official tourism website:
www.iamsterdam.com
Travel Information
Utrecht
How to get to Utrecht
By plane and train
From Schiphol Airport there are direct train connections (stop trains and intercity) to Utrecht taking 30 minutes.
The station area is undergoing a ‘facelift’ with the ultimate goal to combine the station and the old city centre. Inconvenience is limited as much as possible and Utrecht remains easily accessible.
Distance by train from Utrecht to Amsterdam is 30 minutes. Delegates will travel by bus from Utrecht to Amsterdam on Tuesday evening.
Daily international trains from and to Brussels (2 hours), Cologne (2.5 hours) and Paris (3,5 hours). For more info, including schedules and route planners, go to
www.ns.nl or
www.nshighspeed.nl.
By car
From the Ring Utrecht follow the signs to centrum into the city center. You will then automatically enter the city via the main roads. It is wise to follow the main roads as long as possible. This is faster than driving through neighborhoods and residential areas. The parking places are indicated near by the center.
Amsterdam
How to get to Amsterdam
By plane and train
Amsterdam Airport Schiphol is situated approximately 20 km south-west of Amsterdam. During the daytime, an average of five trains an hour run from Schiphol to Amsterdam Central Station. Distance by train from Schipol to Amsterdam city centre is 30 minutes as well as the distance between Utrecht and Amsterdam.
Delegates will travel by bus from Utrecht to Amsterdam on Tuesday evening.
By car
Each year, about one million visitors arrive in Amsterdam by car. While the city is very hospitable to drivers, the inner city is quite an enclosed area. Before arriving, it is advisable to learn about the city's motorways, roads and parking options in order to make the most of your trip.
It is typically recommended to make use of the parking garages and park & ride facilities outside of the central area. These offer excellent public transport connections which enable you to reach your final destination quickly and efficiently. During your stay in Amsterdam, travelling by bike, tram, bus or metro is a relaxing option for wherever you have to go.
Getting around in Amsterdam
By Bicycle
Cycling is a fun, efficient and easy way of getting around Amsterdam – just like the locals do! With bicycle rental shops all over the city featuring reliable and reasonably priced rental bikes of all shapes and sizes, it is the ideal mode of transportation. Take a moment to
read about biking in the city and its rules.
By Public Transport
Amsterdam has an excellent network of trams, busses and metro lines covering the whole city.
Single tickets can be bought in the main metro stations and on trams and buses; however cheaper deals as daily tickets can be bought in many shops and public transports stations.
More information and a route planner is available via the following links:
www.iamsterdam.com/en-GB/experience/plan-your-trip/getting-around/public-transport
en.gvb.nl/service_en_verkoop/reisproducten/Pages/Reisproducten.aspx
http://en.gvb.nl/reisinformatie/Pages/Reisinfo-overzicht.aspx
NEU NOW
The ELIA Teachers’ Academy – Preparing the Artist of Tomorrow, will work in partnership with the ELIA NEU NOW LIVE Festival which takes place in Amsterdam. This festival is an innovative international platform for talented graduating artists – nominated by Higher Arts Education Institutions and Universities across Europe and beyond – selected by an international jury of experts, who will present themselves to a wider international audience within a professional arts context. For more information see
www.neunow.com
Programme Monday 24 June
Utrecht
Location: HKU - Theatre Faculty
Janskerkhof 17/18 Utrecht
15.00 Registrations
17.30 - 18.30 Official Opening
Welcome Drink and Speeches
Introduction to the NEU NOW LIVE Festival Programme
18.30 - 22.00 Buffet Dinner with Pecha Kucha
Music Performance from Utrecht Conservatorium
Pecha Kuchas
First Group
Joris Weijdom
HKU - Utrecht School of the Arts
The Media and Performance Laboratory (MAPLAB) – a place for research and development of collaborative creative processes, mixed reality performances
and interactive experiences.
Jasna Kralj Pavlovec
Academy of Design Ljubljana
Metamorphosis of Wood
David Butler
Newcastle University, School of Arts & Cultures, Fine Art Department
The New Normal?
Second Group
Christoph Lang - Alexandra D'Incau
University of Applied Sciences and Arts
MODUSMODUL - Stop Gathering Points
María Isabel Alba Dorado
School of Architecture at the University Antonio Nebrija
Intersections in Architectural Creation
Matt Johnston
Coventry School of Art and Design
The Photobook Club
Third Group
Pernille Skov and Morten Ø. Andersen
CAKI - Centre for Applied Artistic Innovation
Entrepreneurship within Arts Education: professionalization / an enterprising mindset / artistic innovation
Brigid Mc Leer - Jane Ball
Coventry School of Art and Design
Occupation Workplace
Programme Tuesday 25 June
Utrecht and Amsterdam
Utrecht
Location: HKU - Utrecht Conservatorium
Mariaplaats 28, Utrecht
09.00 - 09.30 Registration and Coffee
09.30 - 10.30 Plenary Session
Christoph Weckerle
Zurich University of the Arts
Preparing the Artist of Tomorrow: Facing the Fields of Tension of Global Culture
Willem Jan Renger - Evert Hoogendoorn
HKU - Utrecht School of the Arts
How Would a Game Solve It?
Game Design Principles as a Didactic Toolkit in Higher Arts Education
10.30 - 11.00 Coffee Break
11.00-13.00 Three Parallel Sessions
New Media Practices - Workshops Session
|
Making Content - Round Table Discussion
|
11.00
to
13.00 |
Colin Bourne
Trinity Laban Conservatoire of Music and Dance, London
The Dance Artist as Re-creator |
John Bell
The University of Westminster, Kingston University
The Studio as Hackerspace |
|
Petra Bole
Academy of Design Ljubljana
How to think the content of design in the product design in Slovenia between 1945 and 1991 and the influence of collective memory on today's design context |
Bert Vandenbussche
Luca School of Arts - Sint-Lucas Gent
Stimulating Nimble Thinking: How Experiential Education Changed Lecturing |
Social Entrepreneurship - Paper Presentations
|
13.00-15.00 Lunch Break
15.00 - 17.00 Three Parallel Sessions
New Media Practices - Paper Presentations
|
15.00
to
17.00 |
Chris Jones
Emily Carr University of Art and Design
Virtual Studios: Online Models For Teaching Graduate Students In The Arts |
Kerry Meakin - Neville Knott
Dublin Institute of Technology
A Digital Learning Experience in Tertiary Design Education |
Mary Troup
Royal Conservatoire of Scotland
Teaching Artists’ Future Practice |
Social Entrepreneurship - Round Table Discussion
|
15.00
to
17.00 |
|
Ásthildur Björg Jónsdóttir
Iceland Academy of the Arts
Art and Sustainability: The Effectiveness of Place-Specific Education |
Maria Stranekova
Tomas Bata University Zlín
Fashion at the Edge |
Paul Barrett
Birmingham City University
Identifying Essential Ingredients for Future Focused Art and Design Courses |
Rachel Feuchtwang - Gwenoële Trapman
The Theatreschool, Amsterdam School of the Arts
Creative Producing: Making Places and Cultural Enterprises |
Making Content - Workshops Session
|
17.00 - 18.00 Bus Ride to Amsterdam
Amsterdam
Location: Compagnietheater
Kloveniersburgwal 50, Amsterdam
21.15 - 22.30 NEU NOW LIVE Festival Performance
Face Off
Programme Wednsday 26 June
Amsterdam
Location: De Doelenzaal
Kloveniersburgwal 87, Amsterdam
10.00 - 10.30 Welcome Coffee
10.30 - 11.00 Keynote Speech 'Imagination as a Source of Renewable Energy' - Lucy Neal
11.00 - 12.00 Session with the NEU NOW LIVE Festival Artists
12.00 - 12.15 Coffee Break
12.15 - 12.30 Book presentation: Training Artists for Innovation: Competencies for New Contexts
by Joost Heinsius (Cultuur Ondernemen/Culture-Entrepreneurship)
and Kai Lehikoinen (University of the Arts Helsinki- Theatre Academy)
12.30 - 12.50 EQ-Arts: Enhanching Quality in the Arts
presented by Lars Ebert (ELIA Senior Advisor)
12.50 - 13.00 Closing remarks
13.00 - 14.30 Lunch (Restaurant Harkema)
15.00 - 16.30 Cinema Programme
16.30 - 18.30 Gallery Visits and Performance Un-dress NEU NOW LIVE Festival
19.00 - 20.45 NEU NOW LIVE Festival Performances and After Talks
From Albums
Landfall
20. 45 - 22.00 Dinner (Restaurant Harkema)
Location: Compagnietheater
Kloveniersburgwal 50, Amsterdam
21.30 - 02.00 Closing Party Teachers' Academy and NEU NOW LIVE Festival
Ásthildur Björg Jónsdóttir
Iceland Academy of the Arts
Art and Sustainability: The Effectiveness of Place-Specific Education
Abstract
Jónsdóttir will discuss how art teachers and artists can make their education and teaching practise relevant to sustainability in place-specific settings. Further elaboration on the potential of using art and the creative process of artists as a source for research on sustainability will be explored.
In-Depth
We all want to live ‘the good life’ but we do not all agree on what ‘the good life’ actually is. Many believe that material consumerism leads to ‘the good life’. Although that is one way of looking at it, money is not the only way to improve one’s quality of life. Family, friends, good health, diversity, safety, independence, a healthy and beautiful environment, empathy and caring are all parts of our lives that together form our quality of life. To create the foundations for ‘the good life’ one needs to foster many different qualities as well as understand how they interact with one another.
If you consider your self to be living ‘the good life’, you would most likely want to maintain it. If you and others do not understand the concept of sustainability in all its forms, you would probably not live your life in a sustainable manner, and therefor not be able to live ‘the good life’. The key to sustainability is to live life in such a way that one maintains the good life without diminishing the quality of life for one’s own and generations in the future. One way towards a sustainable society is through education. All art educators should explore how art can contribute to education for sustainability using democratic working methods, which entail a constructive and empowering influence on the individual. In Education for sustainability (EFS) one aim is for the public to participate in a community that promotes good health and integrity and takes precautions. Culture and the possibilities that arts offer can develop an understanding of the impact of human activity on the environment. The arts have educational potential in promoting ethical values and could be used to promote responsible behaviour (Hicks & King, 2007), for example, by getting students involved in “real world” situations or by confronting important social issues through artistic endeavours. Many artists deal with values in their works. In art education students learn that works of art, artists and designers have a place in their communities, and that specific works of art contain cultural narratives about their own and other cultures. Even though technical skills are important they should never preclude visual imagination.
Students bring a great deal of declarative knowledge with them when they enter art universities. Therefore once in different programs, a great deal that is taught can be declarative. This is the process by which their knowledge and experience is transformed into knowledge in action. It is a challenging task for scholars and teachers to create educational settings that give space for developing existing knowledge, skill, mind, character, or ability.
Visual arts do not only provide pleasure and enjoyment, but also enable us to gain deeper insight and awareness. Visual literacy, like language literacy, is culturally and place specific although there are universal symbols or visual images that are globally understood. Each location’s different visual element affect the public that lives there. Therefore, a place-based approach is useful when teaching students about visual knowledge.
A place-based approach adds an extra dimension to art education and increases the potential of working with visual knowledge through art education, including the field of sustainability. It is crucial to gain a deeper way of thinking and understanding to work with issues people can connect to personally. To get a sense of place is one good way to do it. To explore and connect critically, culturally and creatively connects facts and values.
Place-based education is focused on students’ and teachers’ experiences, so that the places bring meanings to educators, students, and citizens in tangible ways. Place-based education, therefore, bridges the gap between scholarly discourses and practices and the living world. With place-based education teachers and students can get a first hand experience of local life, which gives them the potential for understanding the political process taking place and hopefully to have some influence on it. Gruenewald (2003) suggests that there is a need to focus on the local and understand it if it is to be transformed.
Visual arts are a vital part of cooperative and collaborative approaches in EFS. Such education must be based on critical thinking and moral foundations, creating a general attitude that could lead to a brighter future for everyone. Place-based education offers a way to address important issues in education promoted in the 2011 national curriculum in Iceland. It does so by offering opportunities for integrating the arts within and across other subjects. To connect to one’s own place, experience and values through critical reflection should be a natural part of all learning. The art discussed in this paper looks critically at ideas and issues, making connections and crossing disciplinary boundaries, juxtaposing forms and ideas that bring the viewer to new insights and new knowledge about personal places.
Working with localised social actions, activating the inhabitants gives a potential for conservation with an ecological approach where human culture is nested in ecological systems (Gruenewald, 2003). Smaller societies like Iceland can develop local models of sustainability with place based education as a central element.
It has been pointed out that some scholars have criticized place-based education for neglecting the ways in which socio-cultural differences, inequality, and politics contribute to environmental degradation (Gruenewald, 2003). But by connecting it to EFS, this concern could be solved since a radical view of EFS involves taking into account society as a whole and understanding different disciplines that facilitate the adoption of a holistic approach to the issue being addressed (Huckle, 2006).
References:
Gruenewald, D. A. (2003). The best of both worlds. A critical pedagogy of place, Educational researcher, 32 (A), 3-12.
Hicks, L., & King, R. (2007). Confronting environmental collapse: Visual culture, art education, and environmental responsibility. Studies in Art Education 48 (4), 332-335.
Huckle, J. (2006). Education for Sustainable Development: A briefing paper for the Training and Development Agency for Schools (London, Training and Development Agency for Schools).
Bert Vandenbussche
Luca School of Arts - Sint-Lucas Gent
Stimulating Nimble Thinking: How Experiential Education Changed Lecturing
Abstract
After having attended a training course on experiential education ‘lecturing theory courses’ became a different didactic practice. It aims no longer at communicating certain canonical facts on art history and art theory, but rather at stimulating the nimble thinking of students. Reflective observations and moments of ‘not knowing’ are crucial in this education of ‘thinking artists’.
In-Depth
“There are times in life when the question of knowing if one can think differently than one thinks, and perceive differently than one sees, is absolutely necessary if one is to go on looking and reflecting at all” - Michael Foucault
Summary
Starting teaching theory courses at a college of arts several years ago, I found myself repeating the same ‘pedagogical project’ as I was used to when studying Art History at the university. This implied classical lectures for students making notes, the expectation of them studying by hard in order to reproduce the subject matter at the exam (as the one and only point of ‘assessment’). Of course, the main goal was to heighten the students’ level of knowledge and insight. However, this changed after having attended several training courses on experiential learning (in 2007 and 2009) and after starting to work as a freelance trainer in experiential education myself for several Belgian organizations (a.o. Outward Bound Belgium and Terrago). Although I still value the possibilities of transferring knowledge and stimulating insight by lecturing in a ‘classical way’, I nowadays have a different perspective on ‘doing theory’ at an art school.
Theory courses are now mainly considered as ‘broad learning contexts’ shared by teacher and students, consisting of lectures as well as discussions, presentations by students based on personal research, visits to the museum or theatre, individual creative assignments (e.g. reflective postcard) and/or small group assignments. The course is no longer aimed at transmitting a certain canonical body of knowledge to the student (I don’t present myself any more solely as a ‘context expert’), but rather having students direct their own learning objectives (what does each student wants to learn within this broad learning context?). Therefore a personal journal (kept by each student) and an alternative evaluation practice (individual reflection report) is crucial.
In this way, ‘doing theory’ became a kind of practice which does not aim to discipline thoughts of the students (in order to know the ‘right’ historical and theoretical information and the concerning ‘right’ questions), but rather to help them to sharpen their reflective capacities. This explains the importance of ‘thinking aloud together’: teacher and students have to co-think while the course is being unfolded (hence the importance of an alternative way of lecturing, stimulating students discussions by group assignments and presentations). Thinking doesn’t mean any more creating certain disciplined thoughts, but rather engaging in a process of what can be called nimble thinking. Reflective observations and moments of ‘not knowing’ are crucial in this education of ‘thinking artists’.*
*Inspired by Rudi Laermans, “Disciplining Thought vs. Nimble Thinking. Possible Stakes of Teaching Theory”, Pascal Gielen & Paul De Bruyne (red.), Teaching Art in the Neoliberal Realm: Realism versus Cynicism, Amsterdam, Valiz, 2012, pp. 154-164.
Brigid Mc Leer
Jane Ball
Coventry School of Art and Design
Occupation Workplace
This presentation addresses questions about how the art school can mimic and anticipate the contingency and dialogic quality of contemporary models of practice, as alternatives to the studio model, through reflection on a recent group project entitled 'Occupation Workplace'.
Chris Cuming
Karl Rouse
The Royal Central School of Speech and Drama
Accidental Festival
Abstract
Intended as a highly interactive event with considerable participation and analysis from those in attendance, the presentation will explore the role of the entrepreneurial artist and, as a result of this, explore the roles of social entrepreneurship, digital technologies and their application, and the artist as content maker or producer using The Royal Central School of Speech and Drama's
The Accidental Festival as our starting point. Using our practiced based research in the field we will share our experiences and seek to find others who wish to begin engaging with these practices, or who may already have projects with parallel themes.
In-Depth
The Accidental Festival, now in its ninth year, is a four-day festival of Arts events and installations, produced by students of The Royal Central School of Speech and Drama, inviting both emerging and established artists to apply with fresh ideas from across the arts spectrum. In its history it has had more than a thousand applications, and has been held at prestigious venues such as the Institute of Contemporary Art (ICA) and the Battersea Arts Centre (BAC). The Festival will return to the Roundhouse in Camden for its third consecutive year with a new team of 23 young artists who manage the event, and their learning, as they negotiate this difficult and ‘real-world’ scenario and project.
If it goes wrong, it goes wrong before a paying public audience, there are no extensions or mitigating circumstances. The event is judged based upon its success, it audience development and sales, as well as the diversity of the programme and the prestigious and international nature of its artists.
It was initially conceived as a project to give students practical experience in creative producing -teaching them the essential business skills that simply cannot be learnt from a textbook. Every year the new student teams have taken charge of their own team structure, budget, brand identity, artistic programming, presentation of the festival space, marketing, ethos and outreach programme.
Students have been mentored by professionals and alumni who have, during their time as students, completed the project and gone on to work as producers in venues across the globe. Since its creation in 2005, the Festival has welcomed over 200 international guests and artists. It has taken pride giving new and emerging performers the chance to work alongside those already well-established in their fields.
Our discussion will consider the history, development, and appraisal of The Accidental Festival. Within our provocation we intend to show, and reflect, upon student achievements in such a ‘real-world’ project.
We will consider what role a project such as this has in the creation of the practitioners of tomorrow.
Examples of these projects are raised in the following film:
www.windandfoster.com/cssd/Accidental09.mov
http://www.windandfoster.com/cssd/dinnerwithpa.mov
http://www.windandfoster.com/cssd/accidental_festival_2008.mov
The Accidental Festival Programme Launch at The Royal Opera House
http://youtu.be/3y3R52aF1Ss
The Accidental Festival Promotional Video
http://youtu.be/rZtYFLqEtkM
Chris Jones
Emily Carr University of Art and Design
Virtual Studios: Online Models For Teaching Graduate Students In The Arts
The presentation will outline some recently developed models for online instruction in the Masters-level programming at Emily Carr University, including the integration of a ‘Virtual Studio’ network with more traditional online course delivery systems and real-time connectivity platforms. The discussion focuses on the challenges in representing and teaching material practices online, as well as the emergent potentials that seem inherent to these new models.
Christoph Lang
Alexandra D'Incau
Lucerne University of Applied Sciences and Arts
Modusmodul – There will be no ETCS-Points!
Abstract
Based on the theses that above all, each institution (in our case an art school) consists of administrative and organisational structures, linguistic terms, space oscillations etc. which effects and impacts are hidden at first sight and are only revealed to those inaugurated and willing to see and realize, we explored if and how the multilayered nature of such an institution has an influence on the practice and artistic contents of our students.
In-Depth
Modusmodul was a voluntarily, supplementary course with the studio practice at the MFA program at Lucerne University of Applied Science and Arts. It's aim was to address institutional restraints (spacial, organisational) the format was open with no pre-defined output in form and content.
Our sublime intention was to activate the agency of the students, to turn their attention to the relations between tutor, student and institution. We thinks it‘s crucial to initiate and rise the awareness about such structures and systems and only a non-compliant teaching-learning experiment can accomplish such empowerment.
The group of fine arts students together with two members of the teaching staff (Alexandra D'Incau and Christoph Lang) regularly met to discuss institutional issues and the given spacial circumstances of their studio space. They decided to form additional “organisational units” and embodied these units over a self-defined time-span. Members of the units got into contact with administration staff of different departments of the University and researched various topics mostly through E-Mail conversation but also with on-site visits. Others investigated the themselves and the students studio spaces. Further an online survey was created and sent out to the teaching and administrational staff of the Fine Arts and Design Department.
The accumulated collection of material, questions, theories and practices was discussed within the student groups and with invited guests from abroad.
The group also decided to intervene as Modusmodul within the so called «Information days» where the university acquires potential new students. A collective performance over many hours contrasted the “official façade” with a “dysfunctional behaviour” of the students' group.
After one semester the group agreed to stop their activity and work towards a publication of selected material as an Annual Report. This report comprises of various official documents, collections of photographs from within the institution, correspondences with various staff members, the results and interpretation of the survey, research findings in texts and illustrations by the students etc.
The presentation at the ELIA Teachers' Academy will focus on the Annual Report so to say the hardcopy product of the process. The Annual Report will be for sale in Utrecht. We will further address question of Higher Art Education under the given Bologna system. We state that the circumstances of education must be criticised and discussed as preliminary starting point of a teaching-learning situation. This allows the students and the tutors to take full responsibility for the shared time and projects.
Colin Bourne
Trinity Laban Conservatoire of Music and Dance, London
The Dance Artist as Re-creator
Abstract
Learning to restage past choreographies through an embodied understanding of dance re-creation and reconstruction processes.
In-Depth
The Historical Project has been a feature of the BA (Hons) Contemporary Dance programme at Trinity Laban Conservatoire of Music and Dance (previously Laban Centre London) since 2001. During the project students are immersed in an intensive period of study which focuses on the restaging of dance works by choreographers who have made an important contribution to the development of contemporary dance in the 20th and 21st centuries. Students learn about the historical, social and cultural contexts in which the works were originally created and undertake preparatory classes and technique classes which are designed to equip them with the skills necessary to meet the particular demands of each piece. The result is a learning experience which integrates theory and practice and which exposes students both physically and intellectually to dance works of historical significance.
This paper will focus on another strand of learning that takes place during the project: the students’ development of knowledge, skills and understanding relating specifically to the processes involved in acts of
re-creation.
During the project students are exposed to a variety of creative processes leading to dance re-creation, these processes are guided by a variety of factors: the nature of the work itself, the historical period in which the work was originally created, any extant recordings or documentation and, importantly, the particular expertise, experience and approach brought to the process by those responsible for the re-creations: dance historians/scholars, dance notation specialists, original dancers from the work or even the works’ original choreographers.
Dance re-creation from archived material
Three works by Rudolf Laban have been re-created as part of the Historical Project: The Swinging Temple (Der Schwingende Tempel, 1923), Night (Die Nacht, 1927) and Green Clowns (Die Grunen Clowns, 1928). Each piece was reconstructed using material held in the Laban Archive which contains Laban’s personal papers, notation scores, photographs, drawings and books documenting his creative life in Germany during the 1920s and 1930s. For each re-creation Dr Valerie Preston-Dunlop, who began her dance training under Laban and went on to research extensively and write about his life and work, collaborated with a contemporary choreographer to interpret the fragments of archival information available and produce a version of the original work. Dr Preston-Dunlop refers to this aspect of the process as “choreo-archaeology” as it involves the study of the choreographer and the artistic, socio-cultural and political contexts of his dance works alongside an analysis of surviving material relating to his creative output. In addition Dr Preston-Dunlop draws on her personal experience of knowing and working with Laban to retain in the work an authenticity of choreographic style and performance aesthetics. The resulting pieces are described as re-creations rather than reconstructions as exact replications of the original works are not the aim. Through process-led devising workshops involving improvisation strategies, an investigation into choreological principles (based on Laban’s own approach to understanding, anaylising and generating movement) and active contributions from the student dancers, a new work emerges. The work is true to Laban’s choreographic and thematic intentions but has a relevance for contemporary dancers and audiences alike. This process reflects Laban’s own approach to the creation of dance theatre where a fixed form was not the intended choreographic outcome.
Dance re-creation from scores
In recent years three Martha Graham works, Primitive Mysteries (1931), Celebration (1934) and Diversion of Angels (1948), have been re-created with reference to dance scores obtained from the Dance Notation Bureau (DNB). Based in New York the DNB produces and houses notated scores by around 300 choreographers, allowing their works to be revived by future generations of dance artists and the movement to be reconstructed with accuracy and authenticity. The scores for the Graham pieces were created using Labanotation, originally devised by Rudolf Laban in the 1920s, and students are introduced to this and other methods of recording, analysing and re-presenting human movement through the use of symbology. During the restaging process a dance notator works alongside the rehearsal director and performers to interpret the score and to give the dancers a detailed understanding of the structure of the dance work and an insight into the nuance and significance of specific movements.
Written scores can also be used in the re-creation of dance works as was the case in the restaging of various Fluxus events (1960s) and Steve Paxton’s Satisfyin’ Lover (1967). The Fluxus artists and Paxton recorded details of the structure, content and staging of their pieces in the form of simple instructions for future rehearsal directors and performers.
From these experiences of restaging dance from notated and written scores students learn about the importance of dance documentation in the re-creation process and they are made aware of the need to investigate methods of recording their own creative working processes and completed choreographies - for themselves and, potentially, for the benefit of others who may wish to analyse and even re-create their work.
Dance re-creation from recorded images
For the re-creation of some dance works the rehearsal director and students have used DVD and on-line recordings as an invaluable resource for the restaging process. Such recordings are easily accessible in the studio, especially through mobile technology such as laptops, tablets and smart phones. The use of these devices enables students to continue to rehearse in their own time and without the presence of the rehearsal director. However there are limitations to this method of reconstruction as the recorded images may not always communicate the three dimensionality of the dance work as effectively as some forms of symbology can. Therefore to ensure that the work is embodied rather than simply imitated form what is viewed on the screen, students need to use recorded images in conjunction with other methods of dance documentation or with the additional input of the rehearsal director or choreographer.
Dance re-creation from embodied experience
Many choreographers and dance companies will only allow works to be restaged by dance artists nominated by the company. This gives them control over the rights to licence the restaging of their works and, in effect, to assure a level of “quality control”. These “approved” dance artists are usually current or past members of the company who have performed in the work themselves professionally. This was the case in the reconstructions of works such as Merce Cunningham’s Scramble (1967), Twyla Tharp’s Torelli (1971) and Mats Ek’s Down North (Pa Norrbotten, 1985).
Central to these re-creation processes is the communication of an embodied understanding of the work in question, conveyed from the rehearsal director to the student dancer through direct instruction. The process is aided by the dance artist’s recollection of their personal experiences of working with the choreographer and of their own past physical involvement in the creation and performance of the work. In this way the students have a “direct line” to the choreographer which instils a sense of legitimacy and of being faithful to the original choreographic vision.
Dance re-creation by the choreographer
Reinhild Hoffmann’s Dido and Aeneas (1984), Rosemary Butcher’s Scan (1999) and Lea Anderson’s Smithereens (1999) were all reconstructed/restaged by the choreographers themselves. In these cases the project can provide students with the most authentic creative working experience and the most accurate re-creation of an historical work, giving the dancers an in-depth insight into the original choreographic intention. Students also have the benefit of being able to enter into a dialogue with the choreographer and to interrogate the work more fully.
Some choreographers may take the opportunity to revisit and even re-interpret their work, allowing the piece to be informed (consciously or sub-consciously) by artistic experiences garnered during the intervening years since the work was first created. For some choreographers realising the truth of the original piece might not be paramount and they may wish to make changes to the work to reflect ways in which they have developed and matured as dance makers. Other choreographers may seek to preserve the original integrity of work by clearly identifying for the students the piece’s location within their artistic timeline. Whatever the case, the students learn effectively about the broad range of considerations which may inform the creative choices they face when restaging dance works.
Conclusion
As a consequence of the wide variety of creative experiences provided by the Historical Project as outlined above, the practical skills gained by the students are equally diverse and will include skills associated with theoretical and practical research, reading and interpreting scores and notating, documenting and reconstructing movement. The students are also exposed to artistic issues such as achieving authenticity, re-interpreting the cultural past, understanding and communicating the choreographer’s original intention, recognising and responding to how contemporary audiences might view “historical works” and re-contextualizing historical, socio-cultural and political themes. The skills which students develop can be applied in their professional lives to the documentation and recreation of their own dance works or to the restaging of works by other choreographers. Restaging existing works is a growing part of many contemporary dance artists’ portfolio careers as interest increasingly turns to preserving the works of important choreographers through live performance, in both theatrical and educational contexts.
Cor Noltee
Sijn van Santvoort
Johan Kolsteeg
HKU - Utrecht School of the Arts
Student Connectivity in Practice
Abstract:
In this workshop participants will learn step by step how to make an online platform and how to inform and engage students using gaming principles. Participants will play the role of teacher and student to experience the power of personal connection and fast feedback. After the workshop participants will be able to make a blog that is connected with facebook, twitter and mail and will receive a 10 step DIY guide to get started.
In Depth:
Many educational institutions are challenged to fulfil their missions in the complex new global reality arising as a result of advancements in digital technology. They are having serious difficulties engaging and retaining students. Whereas many are suffering a crisis of disengagement, digital and other social media are attracting audiences in unprecedented numbers. These audiences are participating in new kinds of forums that supersede traditionally differentiated modes of activity and locations—like work-play, school-home. These audiences are creating, sharing, mixing, modifying, searching out, curating, critiquing and commenting on content that inspires them, in order to build new kinds of communities and ecosystems of engagement that follow them wherever they go.
These trends are part of a new reality, replete with challenges and opportunities. In this new reality the scope and skill set of engaged student and teachers is widened, and many traditional modes for learning, problem solving and participation are rendered less relevant.
It is therefore essential that we create new relevant modes of engagement and models for learning, problem solving and participation.
This is the context for our Workshop. We believe online technologies have a positive impact on connectivity and the principles that underlie them have vital roles in engaging twenty-first century students. We believe they have a unique relevance as social and engagement tools.
Our belief is grounded in an educative experiment on student connectivity and engagement.
During an intensive creative project at the School of Arts and Economics of the Utrecht School for the Arts, arts management students were continuously connected to each other and to teachers. Using a combination of standard online platforms, students were confronted with challenges and questions outside ‘office hours’ and outside school.
Results:
1. a remarkably productive buzz an social coherence
2. an instant feedback system for student AND teacher
3. a transparent content platform where students could see what they where doing
4. a learning by sharing experience for students.
The project lasted four days in reality but generated online activity for several more months. The project was monitored, evaluated and it will be repeated. This project proved to have a valuable, pedagogical basis of using social media in arts management education. The positive impact on both content and process, as well as the student experience of time, creativity and learning curves will be the basis for further improvements. We believe that this experiment leads to a robust conceptual and practical framework for the use of social media in creative projects.
David Butler
Newcastle University, School of Arts & Cultures, Fine Art Department
The New Normal?
Abstract
Use by artists of Meanwhile/Pop up/Empty Shop space is increasing. Will these models persist? What opportunities might they create for students? How can universities respond to this?
In Depth
LifeWorkArt is a professional practice programme for fine art students and graduates at Newcastle University. It supports real world projects linking entrepreneurship and visual art practice.
Newcastle is typical of many UK provincial cities. It has a well developed arts sector with a heavy reliance on public funding – this has been a complex mixture of arts and other funding (eg tourism, regeneration etc). That funding landscape has changed radically – including the city council proposing to cut its entire arts budget from 2013.
A large part of the visual arts sector is artists initiated. Student and graduate projects have been key to that. Entrepreneurship and new models for cultural businesses have featured in this and impacted on the development of the sector.
Before the regeneration of the nineties and early nougthties, the typical picture of cheap rents and empty properties contributed to artists projects leading to a growth of studios, galleries and non-venue based organisations. The upside of the recession, for artists, is the re-emergence of those opportunities.
Empty Shops funding from the previous government supported a series of projects using empty city centre buildings. Significantly, the initiatives that have sustained themselves were set up by graduates with no experience of running large-scale projects. Two six storey, city centre office blocks are now arts spaces housing studio groups, lecture rooms, galleries, performance and social spaces (eg NewBridge houses 70 artists and four galleries http://thenewbridgeproject.com/).
Though based on short-term leases these projects look likely to run for some time, with the potential for more buildings to become available.
• How are these kinds of organisation responding/adapting to the current economic climate?
• What is the potential for a new ‘business’ mix to sustain itself in the city centre?
• What impact does this have on students?
Jasna Kralj Pavlovec
Academy of Design Ljubljana
Metamorphosis of Wood
The purpose of the project Metamorphosis of Wood was to acquaint students with the problem of preserving the tropical woods of the Orinoco River. Ultimately, this was to enable them to comprehend sustainable living from the past and transfer it to the present and future in their own work, using the Orinoco River as a guide.
John Bell
University for the Creative Arts
The Studio as Hackerspace
Abstract
Bell's architectural design studio utilises customisation or hacking as primary origination processes to disrupt the superficial condition of objects in order to explore their potentials as sites for invention. Developed in workshops, the programme sets out a twofold approach, setting academic research alongside speculative tinkering.
In-Depth
Pedagogical approach
Customisation begins with products, not with materials. Modern products are very difficult for the end user to adapt. When we speak of customising mechanical or electronic systems, difficulties may reside in the materials used in their construction, their physical design or in the legal frameworks surrounding their use. It is particularly the case that within the domain of digital equipment, there has been a profound cultural shift from the early days of home computing, where hobbyists were encouraged to understand, create and adapt hardware and software. Whether intentionally or not, ergonomics and interface design have become sites of dissuasion: the perfected surface resists interrogation.
We can thus say that customisation requires authorisation, in the sense that in order to begin to customise, there is the requirement for an empowered user. It is the aim of the studio to bring about the understanding that it is both possible and desirable to intervene and to adapt the seeming completeness of our object. This enables us to develop proposals utilising customisation or hacking as primary design processes, rather than from the notorious ‘blank page’: to disrupt the superficial condition of the device in order to explore its potentials as a site for invention. Students are encouraged to work through engaging with objects as material systems, the interrogation of these systems provides the starting point for new proposals. Design methodology is discussed in workshops and tutorials, the programme stresses an essentially twofold approach, stressing research alongside practical tinkering. Appearance and aesthetics are given equal prominence in discussions around the developing work.
Case Study
The studio as seedbed for research: customisation as a tool for concept design. The paper will trace a student’s experiments in steam bending old LP records using a customised wallpaper stripper and an augmented printer carriage to an ongoing investigation into computer controlled slump thermoforming of polymer sheets.
John Casey
Shaun Hides
Jonathan Shaw
Coventry School of Art & Design
Taking Care of Business: Reimagining the Art College in the 21st century - Social entrepreneurship, Digital Technologies
Abstract
This paper advances the case for open models of higher art education in the 21st century. To achieve this, we propose using open educational practices (OPAL, 2012) as a form of social entrepreneurship, supported by digital technologies. Based on our own and others recent experiences in open education we outline the nature of the problems we face, some of the practical working responses that have already appeared, and describe emerging potential solutions that can build on the progress achieved to date
In-Depth
Click
here to view/download the complete paper as a PDF.
Joris Weijdom
HKU - Utrecht School of the Arts
The Media and Performance Laboratory (MAPLAB) – a place for research and development of collaborative creative processes, mixed reality performances
and interactive experiences.
Abstract
HKU's MAPLAB is a space for the artistic exploration and teaching of interactive digital technologies within the field of Mixed Reality Performance. An interdisciplinary and practise led approach to research, practise, education and creative making processes.
In-Depth
Interactive digital technology is all around us both in our professional and private live. It has entered also the domain of art education facilitating information exchange, creation processes and artistic collaboration. Many times however these technologies are not designed to be flexible, open and simple enough to support artistic practises in which the creation process is one of trial and error. Where ideas are explored through sketching and adaptations based on a dialogue with the emerging form. How can interactive digital technology be used in an art‐educational context? What setup is needed to facilitate the design of mixed reality experiences as a means for collaborative brainstorming through experiential setups?
The Media and Performance Laboratory (MAPLAB) is founded in 2011 by the Research Centre Theatre Making Processes at the Faculty of Theatre, Utrecht School of the Arts. It is initiated and led by Joris Weijdom, head of the research group Virtual Theatre. The main goal of the MAPLAB is to provide a space for research into the potential of interactive technology in a performative context, and to translate this knowledge, methods and tools into didactic strategies. In the modular approach to space, tools and the diversity of interdisciplinary making processes the MAPLAB provides outstanding conditions to research, design and develop at the intersection of the performing arts, media and interaction. The space, methodology and tools used are however not only useful for the performing arts. The MAPLAB provides an environment in which any collaborative creative design process and/or educational context can be researched and explored.
In the MAPLAB students of both BA and MA level work together through many types of activities, mostly in a professional context, in a hands‐on environment to learn by experience, and develop a better and grounded understanding of using interactive technology for their own creative practise. These activities vary from ordinary courses to learn basic tools and principles, to more in‐depth shorter workshops on specific topics, to longer research projects within the context of an external professional assignment. MA students also use the MAPLAB to design, build en test prototype setups as part of their individual research projects.
National and international professionals from many different fields of expertise and organisations have researched at the MAPLAB aspects of Mixed Reality technology, within their own practise. These sessions result in a much better understanding of the nature of interactive technology in a making process, its potential for their own artistic practise and many times have produced inspired idea’s and sketches for the next phase of their research or (artistic) production. BA and MA students benefit from these professional researches by either supporting the research as trainees or developers of the tools and materials, through presentations and lectures by these professionals, or through the dissemination of the knowledge gained into new workshop formats and technical tools.
We will present the MAPLAB facility, its philosophy, tools, didactic methodology and some hands‐on experience of its possibilities for teachers in Arts‐Education.
Suggested reading
More information on the MAPLAB and the research group can be found at:
www.maplab.nl
Performing Mixed reality, Steve Benford and Gabriella Giannachi, MIT Press, 2011.
Designing interactions, Bill Moggridge, MIT press, 2007.
The art of interactive design, Chris Crawford, No starch Press Inc, 2003.
Creativity – Flow and the psychology of discovery and invention, Mihaly
Csikszentmihalyi, HarperCollins Publishers, 1996.
Jukka Heinänen
Metropolia University
Omnes viae Romam ducunt
Abstract:
In this workshop it will be demonstrated, by means of a series of small, practical exercises how through observing, expressing and sharing you get access to your central themes and motifs. Starting from writing simple sentences about our everyday environment and ending up seeing the story of our life in these lines produced in a couple of minutes. The purpose will be to show that we don’t have to go far to find something new: it’s more about learning to see more clearly.
In Depth:
One of the challenges in teaching future artists in general and creative writing in particular, is the question of how to teach someone to do his/her own thing - not to follow certain rules or certain ideals. You need techniques, of course, and you need to have a perspective on different traditions, and you need to follow your time, but how to guide someone who might be a little lost and needs help in finding the central theme or direction of his/her own work.
As a playwright and lecturer in dramaturgy and creative writing, I have found out that I focus more and more on trying to develop one’s ability to make observations.
Observation, as I see it, is an area and an activity, where the surrounding world meets one’s inner world in a way that creates something new. If we are able to use our observations as starting points and structuring pillars of our work, we are standing on a solid ground in the middle of different forces trying to direct our creative process. A work of art that is based on an observation rather than a model, trend, style or some aesthetic principle, is naturally linked with our shared reality without being too obvious. A work of art can be far from being realistic, but if its roots are in an observation, it is more recognizable – it can be complex without being incomprehensible.
Making observations is also a very natural thing for us. Everyone of us has his/her own unique view of this world. The problem here - and a young art student is often a very good example of this – is that we often think it’s not enough and we get lost in our attempts to create something that would be enough.
In this workshop I’d like to demonstrate, by means of a series of small, practical exercises (questions, writing tasks and improvised stories) and discussions on outcomes of these exercises, how, through observing, expressing and sharing you get access to your central themes and motifs. We can start from writing simple sentences about our everyday environment and end up seeing the story of our life in these lines produced in a couple of minutes. My mission here is to show that we don’t have to go far to find something new: it’s more about learning to see more clearly.
Kerry Meakin
Neville Knott
Dublin Institute of Technology
A Digital Learning Experience in Tertiary Design Education
Abstract
A different approach to attaining learning outcomes was taken while teaching a Design subject in an Institute of Technology in Dublin. It was hoped that new methods of delivering practical tuition would be more beneficial to students and lecturers from both a learning and time perspective.
The approach taken was an Action Research project, which consisted of a trial of a digital artefact, compiled by one of the authors, as a teaching tool. The artefact consists of an iBook that offers text content in each chapter alongside interactive illustrations on the fundamentals of the subject.
In-Depth
This research documents the results of a study of trialing a new teaching method to first and second year students studying a BA in Visual Merchandising and Display in an Institute of Technology in Dublin. An Action Research approach was taken to complete the research, which took the form of trialing a digital artefact, compiled by one of the authors, Knott, as a teaching tool. The rationale for conducting this research was that due to lowered lecturing staff levels and heavily weighted teaching hours, a different approach to attaining learning outcomes was neccessary while teaching this practical based subject. It was observed by lecturers that fundamental visual merchandising and display principles were not being allocated the required amount of practical class time for first and second year students to fully grasp the concepts. It was hoped new methods of delivering practical tuition to visual merchandising and display students would be of increased benefit to them and lecturers from both a learning and time perspective.
The fundamental practical skills of Visual Merchandising and Display are used internationally and are an important aspect of the course. These fundamentals must be grasped and understood by the students as they are the foundations of their knowledge and the bedrock from which they build their creativity. They need to know and understand the rules so they may in future be able to break them.
Before novices take on more than they chew, it is always wise to understand the basic rules. Once this valuable knowledge is instilled in them, they will have a deeper understanding of the ehics behind designing a window and how best to capture the publics attention
(Morgan, 2008, p.70)
The artefact consisted of an iBook; therefore an iPad was made available in the classroom for the students to access the iBook during practical classes. Students used the iPad to refer to the interactive iBook for the correct practical steps to take rather than wait for the tutor. The aim of this project was to research the learning of the students to ascertain the benefit of interactive digital learning for the student cohorts, the impact of this type of learning on teaching time, and whether or not digital learning should be considered for other design orientated subjects in the same faculty.
During semester one of the academic year 2012/2013 the first and second year BA in Visual Merchandising and Display students were asked to voluntarily complete a survey on the validity of the digital artefact as a teaching method. The survey involved the collection of data from students regarding their opinions on whether or not they felt this method of teaching would work for them as individuals. The conclusive feedback from the study indicated that opportunities for digital learning enhanced the students overall learning and retention experience, encouraged learners to develop, and to exceed their creative and theoretical learning of the course. From a tutoring perspective it took less time to deal with individual problems as students could refer to the iBook and therefore freed time in the class for immediate feedback.
References
Morgan, T. (2008) Visual Merchandising – window and in-store displays for retail. Laurence King Publishing: London.
Lieve Dehasque
Filip De Roeck
Liesbet Verschueren
LUCA School of Arts
The Discursive as Production Mode
Abstract
This workshop invites 20 participants to build a speculative flow, an installation modulated by devices as a room, 20 artist-teachers, tables and a hybrid documentation. Sparring partner is Ai Wei Wei dropping a Han Dynasty Urn.
In-Depth
Click
here to view/download the complete paper as a PDF.
Lucia Giuliano
Stefano Mirti
ABADIR Academy / interactiondesignlab
WHOAMI. From Online Education to Design Game
Abstract
Learning from (with) social media, a one hour workshop to understand the logic of it. For the good and for the bad. Everyone can participate. If you know nothing about social media, it's even better. No computer or other materials needed.
www.whoami.it
In-Depth
WHOAMI (who am I) is an experimental project exploring new methods of sharing knowledge in higher education. As an alternative to traditional schooling, Whoami's model is based on blended learning and mixes online interactions with offline activities, along a vertical system.
WHOAMI is developed using the typical role-playing mechanisms.
A role-playing game (RPG) is a system in which players assume roles of characters and interact together within a fictional setting, guided by a game master. The game master is a designated player whose role is to describe the scenario, conduct the activities and guide the players into their character development. Players assume the roles of characters within a narrative, either through literal acting, or through a process of structured decision-making or character development.
WHOAMI is thus a platform where students are transformed into players and designers into game masters through a number of activities shaped as missions and challenges.
The game’s primary objective is to enable the players to increase their design-related skills and get them to understand their main personality traits through a series of practical activities.
The workshop will try to simulate/reproduce the interaction between the game master and the players’ community as it works in the WHOAMI virtual platform.
During the workshop the game master will invite participants to build things together, learn new skills, and understand their attitudes, through different activities presented as challenges.
In a one-hour workshop we will try to reproduce a community dynamics, where each participant will interact and compete with other players giving and receiving constructive feedback about the challenges launched by the game master. In this way, players -doing practical activities, observing and being observed- will test their social influence and will understand who they are discovering their strength, their wisdom, their charisma and amability doing things with other people.
www.abadir.net
www.interactiondesign-lab.com
María Isabel Alba Dorado
School of Architecture at the University Antonio Nebrija
Intersections in Architectural Creation
Abstract
Architecture has a large subjective component. Thoughts and creation are intimately related in any project and process, although the architecture is realized through building systems and materials, it is only possible by building conceived thought. Students should be brought to reflect and work consciously with their personal experiences. Schools shouldn’t remain indifferent to the vicissitudes of life.
In-Depth
The architectural project is primarily associated with an autonomous fact a creative process that transcends any relationship of cause and effect and that leads us to understand the action to project not as a mechanical action that leads to the resolution of a problem, but as a speculative process that affects the entire object created and placed, either directly or indirectly, in agreement the various aspects of it. Thought and creation are intimately related in any project and process, although the architecture is realized through building systems and materials, is only possible by building conceived thought. This requires on the one hand, knowledge of guidelines, rules and principles of the discipline objectifiable architecture but on the other hand, requires, like any creative act, function in dialectical relationship with other material that is not specific of this discipline and is part of a personal world, the result of our experience in the world, in which the architectural project is in most cases based or should all its richness.
The proposed architecture has a large subjective component and staff that not only we can not detach ourselves when it comes to design, but also involved in the very process of defining project largely architectural object development and before which, the architecture of the proposed teaching should not remain indifferent, even more, it would be necessary to deepen my her. It will, therefore, this aspect of the architectural project staff to become the object of study in this research.
Teaching Project staff should consider this aspect of the project action, showing a form of work that takes students to reflect and work consciously with their own experiences and personal experiences they already own, from his way of perceiving the world, their culture or their identity as a human being, taking them to the field of architecture so that they, help you implement the whole process that involves creative and speculative architectural development. Well, as Aldo Rossi say, perhaps only the worst schools can remain indifferent to the vicissitudes of life. However, some can express them, others do not.
Maria Stranekova
Tomas Bata University Zlín
Fashion at the Edge
Abstract
This presentation points to the current issues in fashion design in local environment. Overviews possible ways of how fashion merging with arts in mutual relationship through interdisciplinary collaboration within various departments at Tomas Bata University, Zlín.
In Depth:
Fashion in the postmodern era gradually merged with the arts through experimental work of fashion designers in new "fashion on the edge" phenomenon. Designers called “the artists in fashion” through their work creates unique author's statement comparable with a contemporary artists.
Presentation points the current issues in practice, overview possible ways how the fashion can merge with arts in mutual and also ambivalent relationship. How fashion nowadays taking big part in creative industry and can positively (also negatively) affect our lives and society, also the important role of designer in local environment.
In my tutoring experience I want highlight the above mentioned phenomenon. Work of students react to recent developments in the field of fashion design and fully use the potential of interdisciplinary collaboration within a departments of Faculty of Multimedia such us: Shoe design, Photography, Graphic design, Animation, Audio-visual, 3D Design, etc. The result is clothing or project in its artistic as well as commercial position. The most innovative, sophisticated and unique design usually up rise from cross disciplinary projects where the conceptual development of creativity is based on ideas such us: -fashion at the edge, tradition versus new media (old in new ways, new in old ways) experimental and eco (minimum of resources to achieve the maximum effect in designing), entrepreneurship (how to make it real? new establishment of fashion business as an reaction to current situation of absence of fashion and design industry in local environment in Czech and Slovakia in ideas positively affect local economy, politic and helping build “new center and workshops” for creative development)
Zlín was the place where the global shoe empire was developed by the Bata family in the first half of the 20th century and become famous worldwide as unique place so-called “Utopian city”. My intention as a lecturer at TBU also Academy of Fine Arts and Design is not only to give students the basic knowledge and practice but also – the visions and dreams to believe that that new energy of the student projects can step by step renew the creative entrepreneurship, tradition, craftsmanship and fame of Czech and Slovak design.
Presentation will be accompanied with photo documentation of the best fashion project realized at FMK: Project Czech. Slovak, NEWINTAGE- setting up a new lifestyle brand inspired by vintage style and golden era of the city of Zlin, EXIT annual fashion show
Mary Troup
Royal Conservatoire of Scotland
Teaching Artists’ Future Practice
This paper offers an account of music students’ experience of using wiki-enabled technology and social media in a community of practice, to document collaborative work processes leading to sustainable learning opportunities in performance arts.
Matt Johnston
Coventry School of Art and Design
The Photobook Club
Two years ago Johnston was tasked with improving what was very poor engagement with library resources in the photography department. By creating an experience around these books and artifacts as well as bringing a wider community into the classroom via online discussion, he was able to create a vibrant and engaged Photobook Club. This project has been shared amongst the department and has spread to other institutions and individuals. There are currently 24 Photobook Clubs in more than 10 countries.
Pascal Gielen
Fontys School of Fine and Performing Arts
The Biotype of the Hybrid Artist
Abstract
Based on research about the evolution of artistic careers in the last 35 years, an artistic biotope will be proposed in relationship with the growing quantum of the hybrid artists. The consequences of the research outcomes for art schools, their policy, the curriculum and the teaching process in classrooms will be the central focus of the talk.
In-Depth
The Hybrid Artist is a research that was done in 2011 and 2012 by researchers Camiel van Winkel and Pascal Gielen (Avans and Fontys, The Netherlands) about the evolution of the careers of visual artists in Belgium, the Netherlands and Norway. For the research more than 200 alumni which finished their studies between 1975 and 2005 at 6 art schools where interviewed by an e-questionnaire after which followed 75 personal in-depth interviews. Questions were asked about the development of their careers (income, combination of jobs), their relationship with the contemporary professional art world, and about the role their education in art schools played in their development. The research resulted in a detailed description of a typology of alumni based on their professional career, including the evolution of this typology over 35 years. In this typology we see that the type of the hybrid artist, which is combining autonomous art and applied art in his/her work is a growing one. At the same time we discovered that artists have more than ever the need to protect their artistic biotope in which they can find a good balance between on the one hand research and development, and on the other hand the possibilities to discuss, show and sell their work. To realize this balance, entrepreneurial skills are important, but they are certainly not enough.
In this lecture the artistic biotope will be explained and discussed in relationship with the growing quantum of the hybrid artistic type. The consequences of the research outcomes for art schools, their policy, the curriculum and the teaching process in classrooms will be the central focus of the talk. The general outcomes of the research about artistic careers will be related to the evolutions of art schools after the Bologna agreement of 1999. The effects of this agreement and the different implementations in European countries, are discussed by teachers and theorists in the book Teaching Art in the Neo-Liberal Realm (eds. Pascal Gielen and Paul De Bruyne, 2011). The insights of this book and the results of The Hybrid Artist research will be confronted to give a picture of the artist and the art school of tomorrow.
Paul Barrett
Birmingham City University
Identifying Essential Ingredients for Future Focused Art and Design Courses
Abstract
In order to fully address a rapidly changing world there now appear to be essential elements fundamental to the curriculum design and delivery of future focused Art and Design courses. In this presentation the aim is to highlight these ‘ingredients’ and consider whether they should be common to all creative arts degrees regardless of specific disciplines.
In-Depth
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here to view/download the complete paper as a PDF.
Pernille Skov and Morten Ø. Andersen
CAKI - Centre for Applied Artistic Innovation
Entrepreneurship within Arts Education
On how to deal with entrepreneurship and professionalization, an enterprising mindset and artistic innovation in arts education today.
Petra Bole
Academy of Design Ljubljana
Considering Slovenian Product Design Content from 1945 to 1991 and the Influence of Collective Memory on Contemporary Design
Abstract
This presentation will explore the relationship of memory to design within a given society. So called “socialistic design” produced products, which have had a recognizable importance to those societies. While the uniformity of most household goods resulted in a lack of uniqueness, this period also yielded designs that remain forever etched in history, and we can’t help but ask - why?
In-Depth
There were a number of very interesting products designed during the period spanning from 1945 to 1991, the near-50 years that Slovenia was a part of former Yugoslavia, a socialist state and a federation made up of six socialist republics (Slovenia, Croatia, Serbia, Bosnia and Herzegovina, Macedonia and Montenegro). The products of that time, which were mass produced for all six Yugoslav cultural diverse republics, were made and designed to be durable and have a functional aesthetic.
In 1991, Slovenia becomes an independent country. What has changed contextually and content-wise in the last 21 years in the relationship towards product design and manufacturing?
Cultural diversity is reflected in different art practices, languages, beliefs, values and aesthetic criterions; the more diverse a society is, the harder it will be for everyone to have similar aesthetic criterion. Emile Durkheim used the term “the collective consciousness” to explain the way in which a diverse society can create social solidarity and function, unity, which can extend to their attitude towards design. Why have Tomos motorbikes and Gorenje washing machines and refrigerators had such success in all of the former Yugoslavian countries. Why did the Yugo car became an icon of Yugoslavian design? Are today's designers aware of the influence of collective memory on their work?
One of the case studies shown will be the example of Zlatarna Celje, the jeweler established during the period of 1945-1991. The company was characterized by distinctive jewelry design that is still recognizable today. The Zlatarna Celje brand was synonymous with the highest aesthetics and craftsmanship in the area of human adornment. Its influence on the collective memory was so strong that even today public opinion towards this brand remains favorable.
The history of design is the remembered past over which we have no influence, but it is an important part of our lives. Collective memory, meanwhile, is the active past that forms our identities. How much influence can collective memory have on a product designed today?
Contemporary usage of the term “collective memory” is derived from Emile Durkheim and Maurice Halbwachs sociological critique of philosophy and memory as a matter of how minds work together in society, how their operations are structured by social arrangements: "It is in society that people normally acquire their memories. It is also in society that they recall, recognize, and localize their memories.”
This presentation will explore the relationship of memory to design within a given society. So called “socialistic design” produced products which have had a recognizable importance to those societies. While the uniformity of most household goods resulted in a lack of uniqueness, this period also yielded designs that remain forever etched in history, and we can't help but ask - why?
Rachel Feuchtwang
Gwenoële Trapman
The Theatreschool, Amsterdam School of the Arts
Creative Producing: Making Places and Cultural Enterprises
Abstract
Discussion of recent findings from research for the Performing Arts Production BA of the Theaterschool Amsterdam into Creative Producing in the UK, US and Flanders. The discussion focuses specifically upon current impact on teaching practices in cultural entrepreneurship and production in the performing arts and its relationship with the contemporary professional theatre and performing arts.
In-Depth
In recent years there have been noticeable shifts and development of work by contemporary artists and cultural operators in Europe in which closer relationships have been forged towards locations, audiences and public spaces within which new works are researched and take place. This is partly in response to a wider shift where new convergences of media and social behaviours are defining more active participation and dynamic relationships with the public. These shifts in turn demand reassessment, redefinition and redesign of the competencies and roles required to understand, facilitate and implement these processes and productions into compelling cultural experiences, and in particular how the academic and practical learning institutes are adapting to accommodate renewed perspectives for teaching new generations of performing arts professionals and practitioners.
Current models of theatre making and production are largely determined by carefully designed structures inherent to touring companies and theatre buildings - predominantly proscenium arch stages and black box studios. Increasingly however new generations of performing artists are seeking to question these boundaries, looking beyond the confines of the rehearsal room to incorporate alternative methods of creative research & collaboration into their making processes, opting to make work for non-theatrical spaces outside of the regular touring circuits.
Paradigm shift
Enabling this change in a renewed theatre and performing arts paradigm requires new skills sets, capabilities and competences from both within the makers and their organisations as well as the places and people that present the work: the theatres, podia and festivals. It also requires additional insight, knowledge and critical analysis to enable the cycle of working processes to achieve success; making the interlocking relationships flow between the idea, the resources, the product and the public; holding it together as an overarching conceptual whole.
Creative Producing has become used as a term within the performing arts to describe the function of the producer (or producing organisation) as being equally involved with the artistic seeding of a concept as with the production process necessary for executing and delivering a project. The term may also be used to describe the joined-up functions in content development, resources and public engagement. Although the process isn't new the different functions are often split between content generation (artistic) and operations (business) where jobs, responsibilities and accountabilities run alongside each other in parallel. Where a creative producing approach is evident these trajectories converge and allow more risk-taking, innovative and potentially dynamic cultural experiences to be developed.
Across the breadth of the European subsidised arts and culture sectors the renewed attention and requirement for entrepreneurship has largely focussed on market-oriented approaches as alternative business models to reduce the public purse of state subsidy to the arts. Simultaneously academic and training courses increasingly use entrepreneurship as a currency term in arts management and leadership. Within current structures in the Dutch performing arts responsibilities for entrepreneurship are interpreted within roles of business and operational management, encompassing funding, marketing, communications and PR, but not concept or initiation, making, or producing. In other words the conventional split between content and operations.
This paper proposes that cultural entrepreneurship and creative producing are complementary domains, where innovation from a content perspective brings about renewed models in organisational structures as well as in delivering dynamic experiences and events.
Most importantly there is a need for understanding entrepreneurialism in the arts and culture as more than market opportunity and diversity of funding base, but as a set of interlocking values. Within this broader interpretation other aspects of entrepreneurship come into play: innovation, creative vision, strategy, risk calculation, all of which require both artistic, creative and business acumen in order to achieve financial and market sustainability in a mixed economy. Without knowledge, skills and ability to generate & produce dynamic creative and cultural content, such cultural enterprises risk failure.
Renske de Groot
Fontys School of Fine and Performing Arts
Guerilla Art-Interventions in the Public Domain: The Power of Informal Education in the Field of Creative Industries
This presentation focuses on an ongoing case study of Foam photography Museum Amsterdam that experiments with the concept of informal education and the development of talented young professionals in the field of creative industry.
It explores the ideas of authentic and challenge based education and the powerful use of informal networks outside the classical school domain.
When preparing artists and art-educators for their professional practice, we need to broaden our focus and also look at other skills a young professional in the field of creative industries needs to develop.
Tom Oosterhuis
MeVOLUTION / AHK-Amsterdam School of the Arts - Dance Department
Lucy Neal

Lucy Neal is a theatre-maker and educator who has spent her life excited by celebratory events and how they act as a catalyst for change. Co-founding Director of the London International Festival of Theatre (1981-2005), her current work looks at how the arts inspire different ways of living within the ecological limits of a finite planet. Active in the grass-roots
Transition Town movement since 2008, she is writing, Playing For Time, about transitional arts practice and acts of creative community. Co-author of MMM’s
Sustainable Ability, she is Happiness Associate on the
Happy Museum Project, and co-founder of
The Case For Optimism. She is co-author of
The Turning World - stories from the London International Festival of Theatre (Gulbenkian) and was awarded an OBE in 2005 for services to drama. She is Chair of Project Phakama, an international youth arts organisation and Vice Chair of the English Folk Dance and Song Society. She lives in South London with her husband and four daughters and enjoys swimming at the open-air Tooting Bec Lido.
Photo Credit: Marcel Van Meesch
Christoph Weckerle
(Paper written with Simon Grand)
Zurich University of the Arts
Preparing the Artist of Tomorrow: Facing the Fields of Tension of Global Culture
Globalisation has involved the arts and culture in the worldwide transfer of knowledge, creativity, and human resources. We currently observe fundamental debates concerning the creation, formation and future development of global culture(s), as well as the emergence of entrepreneurial activities, cultural projects, artistic strategies and governmental initiatives, in order to invent and define, enact and shape, possible futures for global culture. The findings of these debates are of interest far beyond the cultural sector.
Global Cultures are characterized by a multitude of controversies and perspectives, concerning the relationship between the global and the local in cultural innovation, the interplay of the economic and the cultural dimension of new initiatives and projects, the complex dynamic of the public and the private in organizing platforms and spaces for creation, interaction and exchange, the multitude of ways in which West and East, South and North relate or differ in their approaches to cultural innovation, the importance of considering both, the hardware and the software, the preservation of what we value and innovation, in order to create new possible futures, and thus the mutual interdependence between creation and communication.
The artist of tomorrow has to become familiar with these fields of tensions, new artistic and entrepreneurial strategies should become part of the curriculum of leading Art and Design Universities. Therefore, researchers of Zurich University of the Arts and Business University of St. Gallen focus on both, the macro and the micro level of Cultural and Creative Industries:
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on the macro level global culture means realizing that different geo-regions use very different approaches towards and definitions of Cultural and Creative Industries, and that successful strategies must be able to deal with different political, historical, and economical frameworks rather than intermingeling them.
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on the micro level, global culture implies that we observe multiple actors with their unique repertoires of practices, strategies and methods, their specific creation, realization, production and communication processes, as well as their unique business, organization and management models.
The combination of the micro and the macro approach in the Culture and Creative Industries offer new ways of facing the challenges of globalized art systems and correspondent labor markets and will be a pillar in the education of the successful artist of tomorrow. The artist of tomorrow will act as a creative actor in organizations moving "at the edge", inventing new forms and approaches, which provide new and unconventional perspectives.
Willem Jan Renger
Evert Hoogendoorn
HKU - Utrecht School of the Arts
How Would a Game Solve It?
Game Design Principles as a Didactic Toolkit in Higher Arts Education
A student group bursting with energy, movement and talk. And, on another moment: a student group leaning backward without any motivation to learn new things. These are the traditional classroom situations where our teachers are confronted with. They keep on being challenged to put in their own energy, to give more, in order to create a more balanced and productive learning situation. In order to create a dynamic learning situation with a productive knowledge transfer we need a self supportive dynamic burning triangle.
On the 3 points we find: Fuel - the content to be acquired; Oxygen: the students' motivation to learn; Temperature: the urgency of the learning situation. In a traditional learning situation teachers spend most of their energy on Oxygen and Temperature to keep their students and the lessons going. They use their Fuel comparatively little: the teacher's energy is less directed towards their main expertise. In order to keep the fire going they tend to out-source the content of their lessons in books and videos.
What about designing a learning system in which the triangle is supported by the students in the group themselves? What about lighting a fire that keeps on burning without a teacher having to put his energy on it all the time? What about giving teachers the place at the fireplace monitoring the dynamics of the flames and adding new fuel to make it burn more fiercely?
How A Game Can Solve It
Today, multiplayer games and online communities provide us with attractive contexts in which knowledge transfer takes place in systems that are supported by the participants themselves, and in which the teacher takes the role of expert and monitor. These systems do an integrative appeal on the participants' following competencies:
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Knowledge and understanding of a specific content
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Individual Authorship, the ability to give one's own meaning and signature to the content
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Creative Competence, the ability to create one's own learning situation
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Cooperation & Communication, the abilty to work and communicate in a team
These learning situations are created by game designers who are trained to select and compose the components of knowledge or experience; the mechanisms in which these components of knowledge or experience are interrelated, the rules how players or participants get to that knowledge on the right moment and in a way that suits them; and the aesthetics and nature of that experience.
Although our approach to learning is a radical one which results from developments in a technology driven society, this does not necessarily mean that we use new technologies in all of our designs. We can use the principles of game design in selfsupporting learning situations with and without using computers.
In the systems we design we position students and teachers in a situation where the exchange and even production of knowledge happens on the right moment and the right place: the context for immediate application is provided for.
Suggested Reading
Flanagan, M. (2009), Critical play, The MIT press,
Massachusetts.
Hawisher, Gail E. and Cynthia L. Selfe, James Paul Gee. Gaming lives n the twenty-first Century.
McGonigal, J.(2011) Reality Is Broken: Why Games Make Us Better and How They Can Change the World The Penguin Press.
Groen, I. & Boschma, J. (2006), Generation Einstein.
Jenkins, H. et al. Confronting the challenges of participatory culture.
Johnson, S. (2006), Everything Bad Is Good For You.
Charles Leadbeater (2009), We-Think: Mass innovation, not mass. Profile Books.
Markus Montola (2009), Pervasive games - theory and design, Morgan Kaufman Elsevier, Burlington.
Zalen and Zimmerman (2004), Rules of Play, The MIT press, Massachusetts.
Shaffer, D. (2006), How Computer Games Help Children Learn, David Shaffer, Palgrave Macmillan.
Utrecht Accommodations
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Apollo Hotel Utrecht City Centre
Vredenburg 14
3511 BA Utrecht
Deadline: 1 June 2013
Single Room Price: 148.50 Euro
(exclusive 5.5 % city taxes, including VAT – Breakfast is not included)
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Sandton Malie Hotel
Maliestraat 2
3581 SL Utrecht
Deadline: 1 May 2013
Classic Single Room Price: 115.00 Euro
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Superior Single Room Price: 125.00 Euro
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NH Centre Utrecht Janskerkhof
Janskerkhof 10
3512 BL Utrecht
Deadline: 1 May 2013
Average Single Room Price: 120.57 EUR
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Amsterdam Accommodations
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NH City Centre Amsterdam
Spuistraat 288-292
1012 VX Amsterdam
The deadline (1 May 2013) for pre-reserved rooms has passed. Delegates can still find available rooms on the hotel website:
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Amstel Botel
NDSM-pier 3
1033 RG Amsterdam, Netherlands
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Single Room Price: 90 Euro
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Promotion Code: G13020003
Please note, a free ferry service runs from behind Central Station directly to the NDSM Werf, where the Botel is located, all day approx. every 14 minutes. The ferry trip takes less than 10 minutes and is very easy to use. The ferry runs from 07:00 in the morning until 00:45 at night. During the evening hours a free shuttle bus is available.
MERCURE Hotel Amsterdam City
Joan Muyskenweg 10
1096 CJ – AMSTERDAM
Deadline: 22 May 2013
Single Room Price: 69.50 Euro (including taxes and breakfast)
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The MERCURE Hotel Amsterdam City is located in the South of the city; the city centre is reachable by public transport (Metro 51 and Tram 25 – approximately 30 minutes to the event venues)
Ibis Amsterdam Centre Hotel
Stationsplein 49
1012 AB Amsterdam, Netherlands
Deadline: 21 March 2013
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