Items where Subject is "Other"

The Creative Interventions research project examined creative arts student experiences of work-related learning (WRL) activity in the public and third sectors. It set out to explore how such experiences contribute to students’ employability skills, how these are identified by the students and how the activities are valued by students, the higher education institution (HEI) and the external partners involved. This report was primarily written for academics (both within the creative arts and other
disciplines); the Higher Education Academy (HEA); employability support workers (e.g.careers staff); and employability policy-makers.
The project took place between 2008-2010, and was a collaboration led by the University
of the Arts London (UAL), in partnership with the Arts University College at Bournemouth (AUCB) and the Surrey Centre for Excellence in Professional Training and Education (SCEPTrE) at the University of Surrey. It was part of the National Teaching Fellowship Scheme (NTFS) project strand initiative funded by the Higher Education Funding Council for England (HEFCE) and managed by the HEA.

Exploring musicactively can be restricted for someone with cognitive, physical, or sensory impairments. They may face barriers to participation and diminished experiences between their musical expression and the music making means available to them. Technology can be used to bridge these gaps and focus on a person’s capability to create personal instruments that allow for active music making and exploration of sound. Thisdoctoral research aims to look at the use of music technology within the school setting and the needs of the users and those around them.Drawing on this and following an Action Research methodology, a tool will be developed following a participatory design process that utilises both hardware and software, in a modular fashion, to provide a flexible and adaptable system to facilitate music making and sound exploration.The desired outcome will be a toolbox that allows users to put together instruments that suit the needs of those playing them allowing access to musical expression.

Creation of new interfaces for musical expression can be especially challenging when targeted at end users having complex learning needs. Such users have sensory, cognitive, or physical impairments, which affect their ability to play traditional instruments, leading to a diminished music making experience. Technology can often help bridge the gap between the user and their musical intentions. However, its use in schools introduces additional constraints, such as, affordability, acceptance by staff and acceptable learning time. We developed the SenseEgg system to address these issues.

Young men, especially from working-class backgrounds, often lack the space, capacity, or opportunity to reflect upon masculinities and their role in shaping future trajectories. By devising mechanisms to engage young men differently in creative activities, participants in our project were supported to think beyond assumed futures and explore new possibilities. Mobilizing the theory of possible selves, this article draws on data across three creative university outreach workshops in England with 18 participants who were given the opportunity to explore masculinities using creative writing, photography, and dance/movement. Combining artifact analysis and semi-structured interviews, the article argues that these workshops created safe spaces for young men to articulate their concerns and fears about harm and risk in everyday life while facilitating an exploration of alternative possible selves.

Design and manufacturing innovations are important competitive attributes in the premium marine sector. The adoption of an open innovation process has the potential to deliver behavioural and technological transformation. This pilot study illustrates an open innovation approach to explore the benefits of digital innovation when designing new products within the premium marine industry. The research demonstrates how an open innovation approach will flourish when focused on co-creation in collaboration with a network of cross-functional partners.

This research study examined and tested how the pedagogical elements of live art contribute to young people's development and potentially play a transformative role in secondary education. It offered an alternative art syllabus that incites response-ability and respects individual freedom in secondary education, using creative modes of self-exploration that embrace embodiment, vulnerability, and unpredictability. These elements have shown a potential to transform the perception of assessments in education.

The creative turn within geography has seen a number of returns to the artists’ studio as a site for exploring the vital, immanent, and affective relations that form these spaces of creative practice. Where interviews, observations, collaborations, with artists have directed attention to the non-representational, this paper approaches the studio as both a scene, and an atmospheric staging. Taking up broader discourses around the scenographic, it argues that scenes not only take account of the durational and compositional construction of studio spaces, but can be understood as a form of training and attunement through which participants are enrolled in the joint composition of studio atmospheres and registers. It directs attention to the agency that these compositions have in the production of the studio imaginary.

In exploring the mnemonic role of gardens, this paper will first focus on the value of gardens as both a palliative for melancholy, as liminal enclaves, and as carefully constructed surrogate memory systems. Their importance as places for reflection and recovery is examined through the lens of post-war Flanders, with a brief examination of the immense task required to recover the land from the trauma of the First World War. The paper then examines the manner in which pilgrims and veterans took their personal narratives to the battle zones. With so little to see, the bereaved had to reclaim lost names from the lost land; this process is explored through the work of the gardeners who had to ‘plant’ memory and to architects who designed vast monuments to enumerate those who had simply vanished without trace. Noting Fabian Ware’s transformational contribution to this process, this paper examines how the sites of battle became named and reclaimed, how shallow ditches and slight mounds were rendered sites of reverence, and how garden cemeteries have become the epicentres of ritual remembering. Two ‘mirror’ sites of national memory are examined – the ‘Anzac’ headland in Turkey, and the Memorial parkland and gardens of Shrine Reserve in central Melbourne, both hallowed places strewn with symbolic trees, designed gardens and abundant rhetorical ‘topoi’. They are also places where the seed and soil of distant battlefields has been mingled with the national landscape, where the front has literally been transplanted to another country. The paper concludes by suggesting that the garden memorial is an essential component in the future of remembering, creating open and inclusive spaces which rely on participation and careful nurturing to ensure that memory stays alert, relevant, and passed on from generation to generation.

In 1989, at the age of 22, Paul Lewin left Bristol, where he had studied Fine Art for three years and travelled three hours south to West Penwith in Cornwall. He intended to stay for a few months so that he might rekindle an interest in the Cornish landscape he had first experienced at art school. He never returned north and has been based in the far south-west ever since.

Lewin hailed from Manchester, that vast conurbation and 'ideopolis' in the north-west of England, arguably the country's second city after London. As a young boy of seven or eight, he remembers being taken for a visit to nearby Stockport College of Art by his father, who was then studying textile design and helping to mix the coloured gouache paint for intricate wallpaper and carpet designs. A talented child at secondary school, the young Lewin showed such potential in drawing that he gained a place at the same college, which was then renowned (as it still is) for its attention to the essentials of fine art practice. Lewin prospered under the guidance of such lecturers as Duncan Watnough and Derek Wilkinson who laid taught drawing from rigorous observation and laid down the principles of the craft of painting.

This new book takes the form of a collection of existing paintings, and others created specifically for this publication, each painting marking a walking line west from Newlyn along the headland to Land’s End, then north to Zennor. The images are accompanied by a text written by Paul Gough. contextualising Paul Lewin’s practice in the history of Cornish painting, the tradition of en plein work, but also offers a commentary on the artist’s sojourn across West Penwith. The book also includes an interview between the painter and writer which covers the artist’s approach to painting, his methods, materials and those artists and writers who matter most to him.

This report examines a range of measures used by selected countries to encourage the translation of public sector research. The information and data on which this discussion is based has been largely provided by specially commissioned country reports. These reports have been supplemented with information drawn from a review of the literature.

There is an identified urgent need for Australia to improve the application of outputs from its investment in publicly funded research.

Utilising country comparisons, this project will analyse international best practice approaches to encouraging and facilitating research translation, commercialisation and collaboration. This will include an analysis of measures to facilitate collaboration between researchers, businesses and other organisations, focusing on government strategies as well as industry, institutional and sectorial approaches. The resulting report will make evidence based findings about how current levels of translation, commercialisation and collaboration in Australia could be improved and examine how international models could be applied in Australia.

Plastics have now been our most used materials for over fifty years. This book adopts a new approach, exploring plastics’ contribution from two perspectives: as a medium for making and their value in societal use. The first approach examines the multivalent nature of plastics materiality and their impact on creativity through the work of artists, designers and manufacturers. The second perspective explores attitudes to plastics and the different value systems applied to them through current research undertaken by design, materials and socio-cultural historians. The book addresses the environmental impact of plastics and elucidates the ways in which they can and must be part of the solution. The individual viewpoints are provocative and controversial but together they present a balanced and scholarly un-picking of the debate that surrounds this ubiquitous group of materials.

The voices of autistic children and their families are routinely underestimated and overlooked in research and practice. Research is challenged methodologically in accessing the views of autistic people who, by definition, are characterised by social and communication difficulties. Consequently, many voices remain unheard and experiences undocumented. This has important implications for the validity of research that is interested in improving the life experiences of marginalised groups since the representation of those experiences is partial and dominated by research perspectives that prioritise particular kinds of evidence. This situation matters because there remains a substantial gap between research and practice such that the longer-term outcomes for autistic people across social, educational and economic indices remain poor. We argue that research can only make an impact on practice if there is a genuine commitment to gathering and understanding these different sources of evidence in ways that connect research and practice from the start. This protocol describes a methodological project funded by the Economic and Social Research Council in the UK. The ‘Our Stories’ project applies and extends a participatory Digital Stories methodology to explore the research challenge of gathering a range of views from autistic children, families, and practice in authentic ways and at points of transition. Digital Stories is an accessible and inclusive methodology that supports the sharing of views and experiences in visual, video form. We describe the rationale for, and design, of the project across four pilot studies in different contexts as well as our approach to analysis and ethics. While our project focuses on autism, the knowledge we gain is applicable to research and practice much more widely and to any voices or groups who are marginalised from the traditional ways of doing research and to any contexts of practice.

Recent decades have seen increasingly complex external regulation applied to higher education providers. This has accentuated the role of heads of quality, who require considerable specialist knowledge and insight to ensure that organisational practices align with regulatory expectations. However, while the existing literature recognises that heads of quality do not perform a uniform role, it does not typically discuss the key organisational features which explain the differences in the role or necessarily position of heads of quality as third space professionals. Drawing on a comparative case study of three universities, the article extends our understanding by confirming that heads of quality can legitimately be termed third space professionals and by showing that heads of quality must navigate their environment in different ways according to the degree of access to the third space offered by their organisation. A more structurally situated explanation of third space activity is thus required. The article also reflects on the tendency to discuss a particular group of third space professionals and to characterise their experience as though it were broadly common. It argues for a more nuanced explanation, taking account of organisational structure as a further variable which may help to explain the experience of the third space professional.

The increasing complexity of external regulation and quality metrics applied to universities in recent decades has emphasised the importance of the internal role of Head of Quality. This thesis discusses the social power and professional autonomy of Heads of Quality in higher education in England. It considers the types and levels of power and autonomy they exercise, and how this is affected by organisational structure. Following a scoping survey with responses from 52 Higher Education Institutions (HEIs) in England, 11 interviews were conducted across three case study HEIs, selected as representatives of particular organisational types, with staff in similar roles interviewed in each case. Alongside the Head of Quality, interviews were also conducted with their line manager, a direct report, and a senior academic with responsibility for quality management. The thesis proposes a new exploratory typology of HEIs according to organisational structure, based on the degree of centralisation / devolution and the strength of hierarchical control. Secondly, it offers an enhanced understanding of the role played by ‘third space’ professionals within English higher education, typified by the Head of Quality. It argues that the ‘space’ in which these third space professionals operate is not uniform, and that while each Head of Quality exercises professional autonomy, the ways in which these are enacted is dependent on organisational type and the availability of different bases of social power. It therefore adds to the literature on third space professionals in higher education, by proposing a more structurally-situated explanation for the phenomenon which also considers organisational type. Finally, the thesis proposes a model of social power and the deployment of professional autonomy according to organisational type. These findings extend our understanding of the exercise of social power and professional autonomy within different types of HEI, and have practical implications for universities, individuals with responsibilities for quality assurance, and the wider professional workforce.

Independent filmmaking is often faced with difficulties. For the team behind San Sabba, the issue resided in the invisibilities embedded in the film’s location: a concentration camp within the city of Trieste. This article will explore how and why the writer and director of San Sabba considered Trieste as an archive of multiple histories, memories, and postmemory due to the historical findings the film is based on, and how silenced history informed a phenomenological examination of what a landscape can add to the collective memory. Linking other locations in the city, which contribute to the elucidation of stories and histories deprived of public attention, this article analyses the historical data and considers the ontological qualities of the landscape as an archive where dominant narratives impact the understandings of present and past identities.

This article examines Milner’s artistic insights in “The role of illusion in symbol formation” (1952) and “Psychoanalysis and art” (1956). She notes how Milner extends existing psychoanalytic formulations of art as substitution and reparation to include exploratory motivations towards the undiscovered. Scott situates Milner’s thinking within her artistic community namely Ben Nicholson and Cedric Morris, citing overlaps of experimental “free” drawing, unconsciously interchanged body parts, and mixing the “visitation of the gods” with everyday objects, potentially used to explore human relationships.

Despite their many political and philosophical allegiances, Deleuze and Derrida might— in accordance with Deleuze and Parnet’s dictum—be best described as the opposite of a couple. While their mutual hostility towards conceptual stasis, overly linear approaches to temporality and excessively centred notions of subjectivity targeted a number of common philosophical opponents, this apparent unity of purpose arose out of some seemingly incommensurable tensions: Deleuze’s mode of ontological enquiry squared poorly with Derrida’s rejection of metaphysics; Deleuze’s positive engagement with the sciences, and his prioritisation of material-sensation sat awkwardly with Derrida’s more pervasively textual and somewhat idealist orientation; and Deleuze’s development of an impersonal concept of Husserlian expression served to check Derrida’s rather more stringent and single minded rejection of phenomenological presentism.

It is important to remember, however, that like Derrida, Deleuze was predominately a writer—albeit a writer with an at once affective, performative, and corporeal agenda. Indeed, when taken at face value, it would seem to have been Derrida who more directly explored the graphic potentialities of experimental writing. Deleuze’s emphasis upon performativity, emergence, and onto-genetic construction nevertheless serves to extend and supplement the Derridian account of textuality by exposing its neglect of the process of writing. In so doing it foregrounds the potential for Deleuzo-Derridian philosophy to instantiate a genuinely aesthetico-conceptual image of thought.

The chapter considers elements at play in the establishment of our current historical knowledge. Looking at past events as complex adaptive systems, it demonstrates why the current mediation of history is oversimplified. By formulating the possibility of a complex narrative matrix (environment), it explores its potential in offering both an archive of evidence drawn from multiple agents, and presenting the evolving relationship between them in time. This matrix aligns itself with a simulation of a CAS, the primary interest being the VR matrix' ability to be both an interactive interface enabling exploration of the evidential material from different points of access, and a construction able to reveal its procedural work; a dynamic that elicits the creation of meaning by including the reasoning behind the chosen archival material, the product of the process, and the process itself.

Leaders of international humanitarian and development organizations (IHDOs) contribute to providing aid to many of the world’s poorest and most disaster-affected people in South Asia. Challenges they face include increasing demands for compliance, accountability, and transparency against the need to deliver on intended results and objectives. Leaders are required to provide vision, strategy, consistency, and security in contexts that are increasingly volatile, uncertain, complex, and ambiguous (VUCA). Constant changes and instability in the operational, political, and social environments in South Asia contradict traditional linear thinking and planning of programs and cycles. IHDOs, with their increasing regulations and procedures, and dwindling organizational space and time stymie innovation and creativity, while calling for increased yet potentially inappropriate professional standards to be applied against ground realities and human capital available. Diverse cultural dimensions must be accounted for including those of the country, the people, the organization, the team, and the leader themselves. Further, IHDO leaders must establish and nurture relationships with a multitude of stakeholders, aside from their teams. These include their organizational hierarchy and peers, donors, government representatives, clients, service providers, local civil society organizations, academic institutions, media, and their program beneficiaries; each relationship comprising its own nuances and consequences. Leaders must be versatile if they are to be successful, appropriately balancing the application of their characteristics and competences. For this, a new philosophy, theory, and practice of leadership versatility is presented that leaders and their IHDOs can promote and apply in their endeavors to face and overcome the above challenges in South Asia.

Research Methods: The Basics is an accessible, user-friendly introduction to the different aspects of research theory, methods and practice. This third edition provides an expanded and fully updated resource suitable for students and practitioners in a wide range of disciplines including the natural sciences, social sciences and humanities.

It is structured in two parts – the first covers the nature of knowledge and the reasons for doing research, the second explains the specific methods used to conduct an effective research project and how to propose, plan, carry out and write up a research project.

This book covers:

• Reasons for doing a research project
• Structuring and planning a research project
• The ethical issues involved in research
• Different types of data and how they are measured
• Collecting primary and secondary data
• Analysing qualitative and quantitative data
• Mixed methods and interdisciplinary research
• Devising a research proposal and writing up the research
• Motivation and quality of work.

Complete with student learning tasks at the end of each section, a glossary of key terms and guides to further reading, Research Methods: The Basics is the essential text for anyone coming to research for the first time.

New to this edition is free access to a set of digital resources. This contains case studies, to- do lists, quizzes on aspects of research related to the chapters in the book and useful PowerPoint presentations for lecturers.

Music is essential to most of us, it can light up all areas of the brain, help develop skills with communication, help to establish identity, and allow a unique path for expression. However, barriers to access or gaps in provision can restrict access to music-making and sound exploration for some people. Research has shown that technology can provide unique tools to access music-making but that technology is underused by practitioners. This action research project details the development and design of a technological toolkit called MAMI – the Modular Accessible Musical Instrument technology toolkit - in conjunction with stakeholders from four research sites. Stakeholders included music therapists, teachers, community musicians, and children and young people. The overarching aims of the research
were: to explore how technology was incorporated into practices of music creation and sound exploration; to explore the issues that stakeholders had with current music technology; to create novel musical tools and tools that match criteria as specified by stakeholders, and address issues as found in a literature review; to assess the effectiveness of these novel tools with a view to improving practices; and to navigate propagation of the practices, technologies, and methods used to allow for transferability into the wider ecology. Outcomes of the research include: a set of design considerations that contribute to knowledge around
the design and practical use of technological tools for music-making in special educational needs settings; a series of methodological considerations to help future researchers and developers navigate the process of using action research to create new technological tools with stakeholders; and the MAMI Tech Toolkit – a suite of four bespoke hardware tools and accompanying software - as an embodiment of the themes that emerged from: the cycles of action research; the design considerations; and a philosophical understanding of music creation that foregrounds it as an situated activity within a social context.

Within the field of digital musical instruments, there have been a growing number of technological developments aimed at addressing the issue of accessibility to music-making for disabled people. This study summarizes the development of one such technological system—The Modular Accessible Musical Instrument Technology Toolkit (MAMI Tech Toolkit). The four tools in the toolkit and accompanying software were developed over 5 years using an action research methodology. A range of stakeholders across four research sites were involved in the development. This study outlines the methodological process, the stakeholder involvement, and how the data were used to inform the design of the toolkit. The accessibility of the toolkit is also discussed alongside findings that have emerged from the process. This study adds to the established canon of research around accessible digital musical instruments by documenting the creation of an accessible toolkit grounded in both theory and practical application of third-wave human–computer interaction methods. This study contributes to the discourse around the use of participatory and iterative methods to explore issues with, and barriers to, active music-making with music technology. Outlined is the development of each of the novel tools in the toolkit, the functionality they offer, as well as the accessibility issues they address. The study advances knowledge around active music-making using music technology, as well as in working with diverse users to create these new types of systems.

Music technology can provide unique opportunities
to allow access to music-making for clients with complex needs. While there is a growing trend of research in this area, technology has been shown to face a variety of issues leading to underuse in this context. This literature review is a collation of information from peer-reviewed publications, gray literature, and practice. Focusing on active music-making using new types of alternate controllers, this review aims to bring together information regarding the types of technology available, categorizes music technology and its use within the music therapy setting for clients with complex needs, catalogues work occurring within the field, and explores the issues and potentials surrounding music technology and its use in practice.

Students entering art and design courses in UK higher education come from a range of educational and cultural backgrounds. These students frequently report finding academic writing challenging. Expectations as to the nature of description, analysis and criticality can also differ across subject areas. As a result, students need support in developing their ability to communicate appropriately within their disciplines – their academic literacies. This study applies genre analysis to identify ways in which students express critical thinking in undergraduate Visual Effects Design and Production essays. The findings highlight common ways of linking ideas through exemplification, drawing conclusions from grounds, and challenging the validity of assumptions. Ways of expressing the strength of claims and indicating the writer’s attitude are also frequently used in the sample. The findings are then integrated into a practical model for impromptu teaching of writing by subject lecturers. The article confirms understandings of the way students express criticality in essays, and aligns insights from genre analysis and academic literacies in a novel way. The outcome is a proposal for a practical, low-preparation approach to teaching academic writing within the disciplines.

The idea of a ‘third space’ located between academic and professional domains has proven useful in exploring changing academic and professional roles in higher education, including in online learning. However, the role of technology in accounts of third space activity remains under‐explored. Drawing on research into the introduction of Massive Open Online Courses (MOOCs) at three UK higher education institutions, it is argued that both social and technical factors must be considered to understand, plan for and manage the third space roles and structures which emerge in such initiatives. This study focuses on learning designers, confirming that they act as third space ‘blended professionals’ in the somewhat distinctive case of MOOC development. However, it also proposes the concept of a socio‐technical third space in which blended professionals act as hubs in a metaphorical network of activity, using social and technical means to shape their own roles and those of others.

In university educational technology projects, collaborations with external partners pose a range of opportunities and challenges. Educational projects are often associated with unbundling of conventional higher education roles though there is limited empirical work in this area. This is particularly the case with massive open online courses (MOOCs), where further research is needed into the production of courses and the roles of those who produce them. This study investigated the extent to which conventional roles of academics are unbundled during MOOC production partnerships between universities and an external MOOC platform provider. The findings indicate that aspects of conventional educator roles are substantially unbundled to learning designers and other seemingly peripheral actors. Unbundling is partially driven by pragmatic decisions shaping course production processes which need to accommodate the massive and open properties of MOOCs, the nature of cooperation agreements with external platform providers and the reputational risk associated with such public ventures. This study adds to empirical knowledge on the unbundling of roles in online learning projects, and the findings have relevance for those involved in decision-making, planning and development of such projects in higher education.

In what ways do changing notions of social class correspond with key developments in the history of fashion? Focusing on examples ranging from 18th-century Britain to aspects of the global fashion industry in the early 21st century, 'Fashion and Class' examines the meaning and evolution of the term 'class', from its Marxist origins to modern day interpretations. Did industrialisation, technological change and developments in fashion retailing bring about a degree of 'class levelling' or in fact intensify class antagonism? And to what extent does modern mass consumption and cheap labour revive some of the ethical issues faced in 19th-century British textile factories? Exploring a variety of case studies that examine the changing relationships between fashion and class in different historical contexts, from the French revolutionaries of the 1780-90s through to the changing relationships between couture, designer and high-street fashion in the mid-20th century and onwards, this book is essential reading for those wishing to understand the ways in which the fashion system is closely connected with ideas of class.