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Which clippings match 'Practitioners' keyword pg.1 of 1
14 JULY 2012

UK Association for Learning Technology

"Learning technology is the broad range of communication, information and related technologies that can be used to support learning, teaching, and assessment.

Founded in 1993, ALT is registered charity number 1063519. We are the UK's leading membership organisation in the learning technology field. Our purpose is to ensure that use of learning technology is effective and efficient, informed by research and practice, and grounded in an understanding of the underlying technologies, their capabilities and the situations into which they are placed.

We do this by improving practice, promoting research, and influencing policy, through bringing together practitioners, researchers, and policy makers in learning technology."

(The Association for Learning Technology, UK)

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TAGS

1993ALTAssociation for Learning Technologye-learning • effective and efficient use of learning technology • ICT • improving practice • influencing policy • information and communication technology • instructional technology • learning designlearning support • learning technologists • learning technology • learning technology capabilities • learning technology field • membership organisation • policy makers • policy makers in learning technology • practitioners • promoting research • registered charity • related technologies • research and practiceresearchers • support assessment • support teaching • technology affordancesUK • underlying technologies

CONTRIBUTOR

Simon Perkins
25 JUNE 2012

e-flux: an international visual art network

"Established in January 1999 in New York, e–flux is an international network which reaches more than 90,000 visual art professionals on a daily basis through its website, e–mail list and special projects. Its news digest – e–flux announcements – distributes information on some of the world's most important contemporary art exhibitions, publications and symposia.

The daily digest is put together in cooperation with nearly two thousand leading international museums, art centers, foundations, galleries, biennials and art journals. Our focused and selective approach to the information we choose to distribute has been rewarded by an exceptionally high degree of attention and responsiveness from our readers."

(e–flux)

Fig.1 "Pussy Riot" performing on top of Lobnoye Mesto stone platform on Red Square in Moscow. Photograph: Anna Artemeva/AFP/Getty Images.
Fig.2 Sally Mann "Candy Cigarette" 1989. Immediate Family. New York: Aperture, 1992.

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TAGS

1999announcementsart • art biennials • art centresart exhibition • art foundations • art galleriesart gallery • art journals • Castello di Rivoli Museo dArte Contemporanea • contemporary artcontemporary art exhibitionscontemporary art publicationscontemporary art symposiadaily digeste-fluxe-mail list • Generali Foundation • Guggenheiminstitutions • international museums • international network • Moderna Museet • MoMAmuseum • Museum Ludwig • Museum of Modern ArtNew Yorknews digestpractitionerspublicationsspecial projectsTateTate Modernvisual art professionalsWhitney Museum

CONTRIBUTOR

Simon Perkins
13 JANUARY 2012

Training for Practice-Based Research: Adaptation, Integration and Diversity

"Our study was concerned with adapting existing research methods courses to accommodate practice–based research training rather than creating new programmes. Lest we are tempted to develop courses customised exclusively for practice–based research students it is worth noting that practice–based research does not present as a unified mode of studying for a PhD. There are differences between and within subject areas, different modes of study, and there are different outcomes. In the case of PhDs by Composition at the University of Edinburgh, the outcome to be examined is a portfolio of compositions suitable for presentation as a concert programme. No written component is required, other than musical notation and programme notes. ECA defines practice–based research as 'the exploration of a subject of enquiry through practical work accompanied by a related text' (ECA Grad School Student Handbook 2005–2006). The usual model at ECA is for a series of artworks or designs in conjunction with a thesis text, which may take the form of documentation, rationale, justification, position–statement or critique.

As mentioned, the strong assertion for practice–based research is that it is no different than any other kind of research, or, at least, it is as different from the rest as they are from each other. Our trial research methods course included students of archaeology, architecture, landscape architecture, history of art, visual and cultural studies, sound design, history of music, furniture design, fine art, sculpture, drawing and painting, and architecture by design. In fact student feedback singled out archaeology and laboratory–based research into architectural structures as having the least support from the course. Practice–based students also found the course content less than satisfactory to their needs, but personal attention from the art–practice researcher/tutor seemed to ameliorate such deficits, and certain lectures would at least make mention of practice–based research, even if to indicate that it may be an exception to the case under discussion. The importance of this basic level of recognition applies equally to transferable skills training. Practitioners singled out time management, scheduling and planning as crucial in the context of exhibitions and performances, involving the management of a range of conflicting variables.

We conclude that acknowledgement of practice–based research, along with every other mode of research represented in the class, is the least that can be expected in a research methods course. The minimum provision is for intellectual space for practice–based students to give voice to the issues that affect them, and an invitation to discuss the relevance of the material presented in lectures. A further level of engagement involves exposure to personnel who have an investment in the mode of research under discussion, even if that mode of research is not incorporated into the curriculum.

But practice–based research students drew attention to the need for formal practitioner input as vital in delivering insights into ways of working, particularly from those who have already gained PhDs through this mode of study. Practitioner input is to be included within the portfolio of expertise that includes historians, archivists, musicologists, technical experts and information specialists.

Whereas it is desirable to inject yet more course content to accommodate the different groups in a student cohort, this recommendation raises the issue of how to do so in the context of a diverse student cohort. Students from all areas reported their appreciation of the chance to study with students from different backgrounds and in different disciplines. Disciplines can be sufficiently different, but with common threads. In the course under study these threads were highlighted in discussions and at the student conference that culminated the course. Learning through a recognition of difference was also emphasized in the course documentation and some of the lectures and exercises. Difference, provocation and appropriation are major stimuli to creative production and can be exploited in a research methods course that supports a diverse range of students. This is abetted by an ethos of openness and conviviality within the course, identifying possible linkages, and teaching staff being open in discussion contexts. A diversity of research methods delivery is a seam to be mined in the case of practice–based research. In this, the potential eclecticism of practice–based research can provide a model for other modes of research, expanding the idea of what a PhD is or can be.

None–the–less in our trial course the issue of relevance surfaced frequently. The plan had been to deliver course material of general relevance in a lecture format, open the session to discussion and then provide break–out groups organized along disciplinary lines. In practice, the break–out groups proved too informally constituted to fulfill this purpose, and by this stage in any session the lecturers' and students' appetites for further delivery was diminished. Students wanted to discuss, often across disciplinary lines and according to other than disciplinary configurations. The discussions were regarded as extremely valuable, but not in addressing specific disciplinary needs. There is a need for some classes at least that specifically address practice–based research issues.

We conclude that there is value in providing at least one lecture/session on the problematics of research from a practice–based perspective, and involving practitioners. This discussion can also be highly relevant to humanities students whose interest in research may be more eclectic that students in disciplines with a scientific or empirical orientation. Rather than remove practice–based research students from the cohort for special attention, the alternative is to identify students from science–based disciplines, or those working with strictly prescribed methodologies, for alternative instruction. Practice–based students reported their desire to participate in debate and discussion with interested students beyond their own fields.

In summary, practice–based research students benefit from working in a diverse context and do not necessarily require their own course. In fact practitioners reported that there are benefits in being exposed to a variety of different approaches which may shed new light on their research, and the opportunity to make interdisciplinary connections. Nor did students demand their own course, just the recognition of the issues that affected their candidature, the introduction of certain themes pertinent to their modes of research, and exposure to experienced practitioners."

(Richard Coyne and Jenny Triggs, 2007)

TAGS

art-practice researchercurriculum design • ECA • exegesis • experienced practitioners • exploration of a subject of enquiry • insights into ways of working • Jenny Triggs • modes of research • modes of study • musical notationPhDposition-statement • practical work • practice-basedpractice-based research • practice-based research students • practice-based research training courses • practitionersrationaleresearchresearch methods • research methods course • research trainingRichard Coyne • thesis text • transferable skills • University of Edinburghwritten component

CONTRIBUTOR

Simon Perkins
17 JANUARY 2011

Computer Art at the Victoria and Albert Museum

"The V&A has been collecting computer–generated art and design since the 1960s. More recently, the Museum acquired two significant collections of computer–generated art and design, and together these form the basis of the UK's emerging national collection of Computer Art.

The Museum's holdings range from early experiments with analogue computers and mechanical devices, to examples of contemporary software–based practices that produce digital prints and computer–generated drawings. The earliest work in the collection dates from 1952 and is a long exposure photograph of electronic beams on an analogue computer, by artist Ben Laposky.

More recently, the V&A has acquired a large digital inkjet print from 2008, which is nearly two metres long and was created using pixel mapping software designed by American artist Mark Wilson.

The collection consists predominately of two–dimensional works on paper, such as plotter drawings, screenprints, inkjet prints, laser prints and photographs, as well as artists' books, from around the world. Early practitioners of computer art were working in Britain, France, Germany, and Spain, as well as the United States, Japan and South America."

(Victoria and Albert Museum)

Fig.1 Herbert W. Franke 'Oscillogramm' (1956)

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CONTRIBUTOR

Simon Perkins
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