ADC-LTSN
Art, Design & Communication
Learning & Teaching Support Network
Newsletter Five
May 2001
Editorial
Welcome to edition number 5 of the ADC-LTSN
newsletter. Our most recent development is the all
new ADC-LTSN website, please check it out if you
haven’t already on www.bton.ac.uk/adc-ltsn. We
have worked with a great team of web developers
at RDT Design (www.rdt.co.uk) to bring you a site
which addresses issues in learning and teaching
in our subject areas as well as being a useful
resource. For example, all the back editions of the
newsletter (1 – 4) are available there in a
downloadable PDF format. We welcome your
comments on useability and content and will
incorporate feedback into our constant updating
of the site. Please email on adc-ltsn@bton.ac.uk
and let us know what you think.
Funded projects that are particularly relevant to
our subject focus are again a central feature in
this edition. We highlight the work of the DNER
(Distributed Network Electronic Resource) projects
which have recently commenced. The FDTL 3
(Fund for the Development of Teaching and
Learning: Phase 3) projects are also profiled;
GWAMP – Group work assessment in media
practice, who will also be launching their website
in June at www.gwamp.com; GLAADH –
Globalising Art, Architecture and Design Histor y
and Employability and the Media Studies
Curriculum. (See page 6 to find out more. Details
and links to each of these projects can be found
on our website too.)
(August 2001) there will be an announcement
about those appointments. We hope that this will
focus subject interests in a clear context when
working with us in learning and teaching.
The second phase of the ADC-LTSN Learning
and Teaching Project Fund has also just been
finalised, of 20 strong applications, five were
selected for funding and details of each project
are given on page 2. The fourth phase of FDTL
begins soon, and in FDTL 4 Art and Design is
one of the subject areas for project funding. The
subject centre has been involved in eliciting and
consulting on themes for project activity in the
subject so as to align project bids to the real
needs of the subject community. Details will be
available soon via the National Co-ordination
Team website at www.ncteam.ac.uk and we will
be involved in the FDTL annual conference to
explore the possibilities for FDTL 4 – for details
of the conference see their website.
Finally, some recent staff news. Welcome to
Sarah Harwin who joined us in March as a 0.5
administrative assistant, Sarah has a background
in Graphic Design and has worked in local
government. Tina Williams our research officer,
has recently been confirmed as a full time
member of staff (previously a 0.5) which will give
her more time to concentrate on developments
in pedagogic research supporting staff and
project teams.
The subject centre is developing too and I am
pleased to announce that there was a lot of
interest for our recently advertised posts for
Academic Developers in Art and Design and in
Media and Communication. In the next edition
Linda Drew
Subject Centre Manager
Reminder: ADC-LTSNForum
We would really like your department to be
represented at our first annual forum on 17th
July (see calendar for details). Remember to let
us have the name of the person who will be
attending by 31st May.
Contents
1
Editorial
2
ADC News
Learning & Teaching Project Funds
2
Sector News
3
Calls for Participation
ADC–LTSN Contact Information:
Centre Administrator Kath Bowden
or Sarah Harwin Administrative Assistant
LTSN Subject Centre 20 Art, Design & Communication
University of Brighton, Faculty of Arts & Architectur e
68 Grand Parade, Brighton BN2 2JY
Telephone/Facsimile 01273 643119
Email adc-ltsn@bton.ac.uk Internet www.bton.ac.uk/adc-ltsn
In collaboration with Coventry University, the University of Dundee and
the University of Ulster
Delivery partners: Cumbria College of Art & Design, Falmouth College of
Arts, Plymouth University, The Surrey Institute of Art & Design, University
College and Swansea Institute of Higher Education
4
Funded Projects
DNER Projects for Art, Design and
Communication
8
Event Reports
Implementing an Online Learning
Environment
6
FDTL3 Projects for Art, Design and
Communication
8
Book Reviews
7
Forthcoming Conferences
11 Resources
12 Calendar
Supporting excellence in HE Learning & Teaching: Fine Arts, 2D and
3D Design, Film and Media Studies, Communication Studies, History
of Art, History of Design
Staff:
Bruce Brown Director
Stuart Laing Deputy Director
Linda Drew Centre Manager
Pauline Ridley Project Leader Staff Development
Paul B Clark Publications Editor
Tina Williams Research Officer
Kath Bowden Centre Administrator
Sarah Harwin Administrative Assistant
Copyright 2001 Copyright for this published material is held by the
LTSN Art, Design and Communication unless stated otherwise.
Contributors may use their material elsewhere after publication without
permission, but the following note should be included: “First published
in the LTSN Art, Design and Communication Newsletter, issue number
and date”. Permission is required for use by a third party. Opinions
expressed are those of the authors.
The LTSN Subject Centre for Art, Design and Communication is one of
24 subject-based centres jointly funded by the Higher Education funding
Council for England, Higher Education Funding Council for Wales, The
Scottish Higher Education Funding Council, and the Department of
Education for Northern Ireland. We are an affiliate of the ILT.
The Institute for Learning and Teaching and The Learning and Teaching
Support Network can be contacted at:
Genesis 3, Innovation Way, York Science Park
Heslington, York YO10 5DG
Telephone 01904 434222 Facsimile 01904 434241
Email enquiries@ilt.ac.uk Internet www.ilt.ac.uk
Edited by Paul B Clark
Designed by Daniel Eatock www.foundation33.com
ISSN:1471-4035
ADC News
Learning & Teaching Project Fund
A collaborative approach to ensuring effective
and appropriate support for students with mental
health difficulties on the Art & Design Programme
of Study at University College Worcester
Institution: University College Worcester
Sector News
The ADC-LTSN Learning and Teaching Project
Fund is designed to help promote the use
of effective learning and teaching activities in
Art, Design and Communication, to encourage
the development and sharing of innovative
approaches and to raise awareness of the
importance of evaluating the effectiveness of
educational methods.
The project is underpinned by a multi-agency
collaborative approach to supporting students
with mental health difficulties on the Art and
Design course at UCW. The project team will
collaborate (drawing on expertise from outside
agencies as appropriate), to identify, and work
towards eliminating barriers to the curriculum,
assessment, and/or the development of
transferable/employability skills. Staff
development and raising students’ awareness
about mental health will feature as major
components of this small-scale research project.
The project team will share good practice and
materials with the London Institute’s Disability
Team who have agreed to act as their critical
friends for the duration of the project.
Funding Awarded £3,000
TASI, the Technical Advisory Service for Images
TASI provides free help,advice and guidance for
those in the Higher Education sector involved in
creating or using digital images. We are very
pleased to announce our upcoming programme
of training workshops. Detailed information and a
booking form can be found at:
www.tasi.ac.uk/ training/ bookingform.html
We have earmarked up to £25,000 per year
to support projects; the maximum funding for
any one project will normally be £5,000.
The Project Fund will:
• encourage a culture in which innovative
developments in learning, teaching and
assessment are valued and acknowledged
at national level
• promote good practice in the development
and evaluation of innovative methods of learning,
teaching and assessment
• disseminate within the wider community
innovative methods or materials originally
developed for use within a single institution.
The second phase of the ADC project funding
initiative was completed on the 20th April when
the five project proposals below were informed
of their successful bids.
The development of pedagogy in relation to
learning how to lear n
Institution: The London College of Fashion
There is burgeoning research into approaches to
learning (Marton 81), some of which is located
within an art and design context (Davies 1994,
Shreeve 2000). The Dearing report with its focus
on concepts of graduateness emphasises the
importance of learning how to learn as an
essential key skill (NCIHE 1997). Thus there is
wide acceptance that students should know
more about their own learning.
This project explores the link between research
into learning how to learn and student experience.
The project will identify and develop pedagogic
practice in relation to the development of learning
how to learn for students within the field of art
and design. A pack of resources for students and
a staff development pack for lecturers will be
developed, piloted, trailed and circulated.
Funding Awarded £5,000
Developing Web based Interactive Multimedia
Resources for Art and Design
Institution: Grays School of Art, The Robert
Gordon University
This proposal is a development of a web based
multimedia resource tool for non-programmers,
for the purpose of compiling online lecture based
teaching resources, specifically for Art and
Design. The aim of this bid is to further develop
this resource by adding levels of interactivity in
order to increase its effectiveness as a method.
The output from this project will be a user friendly
template that allows non-programmers to build
multimedia documents easily and to incorporate
greater levels of student feedback.
Funding Awarded £5,000
2
Methodologies for learning, teaching, and
assessment in art and design
Institution: Nottingham Trent University and
Manchester Metropolitan University
In 1988 the CHEAD/CNAA Working Party on
Teaching and Learning Strategies in Art and
Design recorded; ‘The close tutor-student
working of art and design is a quality to be
respected, and it is admired by other disciplines.
We do not disregard it, and certainly do not ask
the tutor to withdraw from contact. We suggest
however, a new purpose for that close working,
through a different type of contact’.
This project will investigate a range of
methodologies used in learning, teaching and
assessment in art and design higher education,
against a background of increasing numbers
of students, and the broadening of student
access. Since the CHEAD/CNAA statement, a
lot has changed and very little about contact
has been documented. Two large Fashion &
Textiles departments, at two major HE
institutions, will work together in order to audit
and record the methods of tutoring and
assessment currently in use in both institutions,
propose changes in methodologies, and begin
to consider transferability across the sector.
Funding Awarded £3,000
Effective Assessment in Art & Design
Institution: The London Institute, Royal College
of Art, Wimbledon School of Art (CLTAD)
As a result of the recent Quality Review of Art
and Design, The Quality Assurance Agency has
reported that one of the significant areas in need
o improvement in the sector is assessment. In
the new Quality framework published by the
QAA, there are clear expectations, for the next
round of review, which relate to assessment. In
particular, that there is a clear relationship
between the intended learning outcomes and the
criteria used to assess them, Also, it will be left
to programme providers to determine how the
different levels of achievement are differentiated.
This project is intended to provide support for
the sector in achieving these expectations.
Funding Awarded £3,000
We are now inviting submissions for phase 1 of
our 2001/2002 project funding. The deadline for
submissions is 1 November 2001.
The workshops have been tailored to the needs
of image digitisation projects, as well as to those
involved in using digital images in teaching and
research contexts.
Workshops for Image Capture include:
Capture/Digitisation - Beginners
Capture/Digitisation - Intermediate
Capture/Digitisation - Advanced
How to Photograph your original materials for
digitisation
Workshops for Digitisation Projects include:
• Image Processing and Manipulation for
Collections Setting up an image database cataloguing & metadata
• Managing a Digitisation Project
• Collections Management
• Quality Assurance
• Managing Digital Preservation
• Deciding if you should digitise
• In-house digitisation vs. outsourcing
• You’ve digitised but now what?
Workshops for Using Digital Images include:
Creating images and incorporating them into
Teaching, Research and Learning Materials
Finding and Using Images for Teaching and
Learning “Funky File Formats”
The cost of the workshops are:
£75 to £125 for any single practical workshop for
participants from UK Higher and Further
Education. Participants are welcome from
outside HE/FE, but should contact TASI for details
of the relevant fees. www.tasi.ac.uk/
VADS - Visual Arts Data Service
The Visual Arts Data Service is delighted to
announce the launch of ‘The Design Council
Archive’ online image collection and the re-launch
of the ‘London College of Fashion College
Archive’, both accessible from:
http://vads.ahds.ac.uk/search.html
NEW - Design Council Archive
The Design Council Archive digital image
collection, produced by The Design Council
Archive, Design History Research Centre,
University of Brighton, as part of the JISC Image
Digitisation Initiative (JIDI), comprises over 3000
images and accompanying catalogue records.
The on-line collection samples the Design Council
Picture Library’s development from the mid
1940s, providing a photographic survey of postwar British products and interiors, including a
wide coverage of design from around the world.
The collection includes unique visual records of
landmark exhibitions such as ‘Britain Can Make It’
(1946) and the ‘Festival of Britain’(1951)and items
as diverse as Coronation souvenirs and Alison
and Peter Smithson’s House of the Future.
The collection is of importance to historians of
design and visual culture and also to economic,
business and social historians and a valuable
resource for those concerned with the study of
material culture and changing patterns of design
education.
IMPROVED - The London College of Fashion
College Archive
This collection was also digitised as a result of
the JIDI project, and is now being relaunched by
VADS in order to bring richer and more complete
catalogue records to complement the 900+
images. For the first time, access to larger images
is also being made available from this collection.
The London College of Fashion College Archive
is a collection of historical materials which
chronicle the history of the College from its origins
as two early needle trade schools up until the
1970’s.This collection contains images of blackand-white and sepia photographs from the
Archive depicting a wide range of subjects
taught at the schools over the years. These
include, fashion, design, clothing technology,
dressmaking, tailoring, millinery, furriery,
upholstery, embroidery, beauty, hairdressing,
wigmaking, physical education, science, drama,
and general studies. Also included, are images
of photographs which provide an insight into
events and activities related to the colleges, for
example, the education of women and men,
student club activities, school visits, World War II
evacuations, a Royal Visit by the Queen Mother,
various ceremonial openings, and the architectur e
of the colleges and other buildings.
These exciting new online resources join VADS’s
other collections which include;
The Basic Design Collection: Bretton Hall
Imperial War Museum Concise Art Collection
Halliwell Collection: Bretton Hall
Documentary Photography: Jacob Riis Computer
Aided Learning Package
Millais Gallery, Southampton Institute, Archive:
1996 - 1999
Other Educated Persons: Art & Art Organisations
in the East End of London
1972 - 1999
Glasgow School of Art Degree Shows
Surrey Institute of Art & Design, University College
Student Shows
University of Portsmouth, Illustration Department
Student Shows
VADS URL: http://vads.ahds.ac.uk/search.html
Medialib - JISCmail list for Media Librarians
in Academia
This list is directed at Librarians who have
responsibility to researchers, academic staff and
students involved in researching, teaching or
studying the media. The media forms a growing
part of the higher education curriculum issues
that are of relevance include archives; search
tools; resources; resource developments;
national and international policy initiatives.
You can visit the Medialib website at:
www.jiscmail.ac.uk/lists/medialib.html for
instructions on how to join and to review the
archives.
Calls For Participation
Designing Britain 1945–1975. The Visual
Experience of post-war Society: A call for
teachers in the Art, Design and Communication
sector to contribute to the development of the
DNER (the Distributed National Electronic
Resource) for Learning and Teaching.
First Call for Participation - An opportunity to
develop a teaching and E-learning resource for
the 21st century.
We seek proposals for the authoring of Art,
Design and Communication E-learning package
modules and require expressions of interest from
HE academics and practitioners with recognised
experience of the sector.
Each proposal should identify and describe an
E-learning and teaching resource module that will
utilise visual resources from the design archives
held at the University of Brighton in the Design
History Research Centre and complementary
collections elsewhere.
The emphasis of this project is on content
creation, in that the selection of the materials
should be determined by specific teaching and
learning objectives in Art, Design and
Communication. The presentation of modules
will be innovative and should enhance existing
teaching and learning processes. An expression
of interest should be submitted to the Project
Team by 11/05/2001.
Each proposal will be considered and eight will
be selected. The Authors whose proposals are
successful will create the content and will be
active members of the project. This will entail
identification of the subject, specification of
material then authorship and production.
Each Author selected will be paid £1,500 in
addition to the costs of travelling to meetings
and workshops held in Brighton.
For further details about the archive refer to the
Design History Research Centre Archive web
site: www.brighton.ac.uk/descoarchive/
For further details about the project refer to the
project web page: www.jisc.ac.uk/dner/
programmes/projects/designbrit/
Contact:
For an informal discussion about this project
please don’t hesitate to contact any of the
Project Team
• Karen Peart - Project Manager
T 01273 643304 E K.Peart@brighton.ac.uk
• Dr Catherine Moriarty - Curator, Design History
Research Centre
T 01273 643219 E C.Moriarty@brighton.ac.uk
• Sheridan Wiseman - Administrator
T 01273 643304 E S.Wiseman@brighton.ac.uk
DEBE - Developments in Economics and
Business Education Conference
17 - 18 September 2001
The first Developments in Economics and
Business Education conference will review the
latest developments in teaching and learning
practice, showcase outstanding innovations and
provide a forum for the sharing of ideas and
experiences. University of Bristol
Monday 17th September: Teaching and Learning.
Rethinking approaches and exploring effective
practice: • Creative assessment • The use of
case studies • Effective learning • Embedding key
skills • Problem-based learning • Large / Small
group teaching
Tuesday 18th September - Information and
Communications Technology (ICT) and its
implementation Introducing the use of new
technologies in learning and teaching and
exploring the issues of effective integration into
existing or new curricula. • Creation of online
learning materials • Online assessment • Virtual
seminars • Use of Virtual Learning Environments
• Games and simulations • Using data
• Incorporating key skills
Both days will have a variety of workshops,
presentations and paper sessions.
You are invited to submit one or more proposals
related to one or more conference themes as
follows: Paper presentations (30 mins talk, 10
mins questions) Paper proposals should describe
original work with evaluation of outcomes or
proposals for evaluation.
Poster presentations
Criteria are the same as for paper proposals, but
caninclude works in progress. Posters will be
displayed throughout the conference, but ther e
will also be a dedicated session to give delegates
an opportunity to discuss with poster presenters.
Workshop/Discussion sessions (60 mins)
These sessions provide an opportunity to address
the conference themes more interactively,
allowing colleagues from different institutions to
share their views and experiences.
All accepted abstracts will be published on the
Web site before the conference and included in
the conference handbook.
Submission details:
Please see the online form available from:
www.economics.ltsn.ac.uk/debe/
Address for Proposals/correspondence:
Project Bids for Designing Britain
Design History Research Centre
Faculty of Arts and Architecture
University of Brighton
68 Grand Parade Brighton BN2 2JY
3
Funded Projects
DNER Projects for Art, Design &
Communication
Adding value to the UK’s learning, teaching and
research resources: the Distributed National
Electronic Resource (DNER)
The DNER is the networked environment that
provides users in further and higher education
with a range of digital collections and advisory
services to support their use. Its cornerstone
is the development of a managed and mediated
environment for accessing quality assured
information resources on the Internet. These
resources include textbooks, journals,
monographs, theses, abstracts, manuscripts,
maps, music scores, still images, geospatial
images and other kinds of data, as well as
moving picture and sound collections.
3. Crafts Study Centre. Led by the Surrey
Institute of Art and Design, University College.
4. Designing Britain 1945-1975: the experience
of Post-War Society. Led by the University of
Brighton.
5. Textile Images. Led by the Surrey Institute
of Art and Design University College.
6. FILTER: Focusing Images for Learning and
teaching - an Enriched Resource. Led by ILRT,
Bristol
There are also three smaller projects to enhance
existing JISC services for image collection based
at ILRT, VADS and TASI. Further information
about these projects, and the rest of the projects
funded to develop and enhance the DNER for
learning and teaching can be found at:
www.jisc.ac.uk/dner/
Sue Gollifer, Dissemination Officer London
Institute s.gollifer@linst.ac.uk
The DNER can be thought of as having two
components:
• The underlying information environment: how
to find, access and disseminate quality
information resources.
• A collection of information resources (referred
to as “content”) of particular value to the research
and education community.
The DNER has the potential to provide real
improvements in the presentation of educational
resources and associated services. One of the
principles behind the DNER is that it is not a
centralised service, and does not rely on a single
dedicated entry point. In fact it is possible, and
even desirable, that end users in the education
sector will already be using parts of the DNER
without being directly aware of it. The overall aim
is an environment integrated with and embedded
in the fabric of learning, teaching and research.
As a complex and rich environment the DNER
will by nature undergo a process of continuous
evolution and development. Some would argue
that educational resources have always been
distributed throughout the libraries, museums and
archives of the UK, and thus a nascent DNER has
always existed. The DNER programme and other
activities led by the DNER programme office are
intended to cement the technical infrastructur e
of the DNER and also re-articulate the concept
of a shared national information resource in an
evolving network space. There is therefore an
inherent challenge in this development.
The stakeholders in the DNER are the UK HE
and FE education community, other users of the
UK networks such as the National Grid for
Learning, the New Library Network, the National
Electronic Library for Health and the emerging
network of information providers, including
libraries, museums, data archives and galleries;
the international academic and learning
community and data creators and publishers.
Recent successful bids in the subject area bids
for the JISC Enhancing the DNER for Learning
and Teaching, Circular 5/99 Programme Area B:
Enhancing JISC Services for Learning and
Teaching are:
1. ArtWorld: Resources for learning and teaching
in world art. Led by the Sainsbury Centre for
Visual Arts at the University of East Anglia.
2. BuilDNER - Building Image Database. Led by
South Bank University
4
Department of East Asian Studies from University
of Durham. The Far Eastern Department,
Victoria and Albert Museum is a proposed third
consortium member from the later stages of
the project.
For further information contact:
Paul Child, Project Manager: ArtWorld
Sainsbury Centre for Visual Arts University of
East Anglia Norwich NR4 7TJ
T +44 1603 593246 F +44 1603 259401
E p.child@uea.ac.uk
BuilDNER
A project to create a digital bank of building
images for the DNER
The Learning Information Technology Centre
(LICT) at South Bank University have been funded
through the JISC under the 5/99 programme for
a 12 month project to digitise approximately
20,000 pre-indexed 35mm slides of buildings
and architectural features, after which the digital
images will be mounted in the VADS JISC funded
repository for wide dissemination.
SBU’s Library has long held a buildings slide
collection, now totalling over 40,000 slides
collected by the Faculty of the Built Environment.
The collection comprises purchased slides, slides
developed from photographs in books and an
estimated 20,000 original slides over which SBU
has full rights
The collection is indexed according to the
Building Industry Thesaurus and is now a web
compliant database working under the softwar e
package DBTextWorks. The index is accessible
at: www.lisa.sbu.ac.uk/slides/.
The slides collection has been routinely exploited
over the years by Built Environment teaching staff
for the compilation of presentations, seminars,
etc and by students undertaking research.
Image from ArtWorld archive- Little Dancer aged fouteen years.
Edgar Degas (1834-1917)
Digitisation is being carried out by iBase,
www.ibase.com/ following SBU’s Tendering
procedure, in accordance TASI guidance found
at: www.tasi.ac.uk/building/jidi.html.
ArtWorld
ArtWorld is a three-year JISC funded project
relating to the provision of digital images and
associated resources for the enhancement of
learning and teaching in world art studies across
a partnership group of museums, art galleries
and academic departments.
The project is managed by Paul Sandford,
Researcher in LITC, overseen by John Akeroyd,
Head of LIS at SBU. A project website has been
set up at: litc.sbu.ac.uk/buildner
In part the project has arisen from a need to
address some of the most persistent problems
in teaching and learning from world art and
archaeology collections: objects are often widely
dispersed, out of context and too fragile to
interrogate effectively. Recent developments in
technology have made it possible to solve some
of these problems. Digital recording and the
latest broadcast media allow intense scrutiny
of otherwise inaccessible objects to a greater
number of people, whether learners or teachers.
The Sainsbury Centre and its partners wer e
ideally placed to carry out this project given their
wide experience, innovative teaching methods
and strong interest in new technology. This
project is a collaboration between University
of East Anglia and the University of Durham and
includes: the: Sainsbury Centre for Visual Arts;
Sainsbury Research Unit; School of World Art
Studies and Museology from UEA and The
Oriental Museum; Department of Archaeology;
Department of Anthropology; and the
The Crafts Study Centre Collection and
Archive: CSCCA
The CSCCA digitisation project is a collaboration
between the Surrey Institute of Art and Design
University College and the Study Centre. The aim
is to digitise images of all artefacts in the Centre’s
collection of 20th century crafts, together with
textual items from part of the archive. This will
produce a total resource of 3000 images from the
collection and 1000 images of documents relating
to modern craft – a subject which has little
material to serve it at present - and be delivered
finally through the Visual Arts Data Service
(VADS). The project will benefit from
interoperability with VADS’ other collections and
the work VADS is doing to promote the use of its
collections for teaching and learning. Ultimately,
the project addresses the propagation of teaching
and learning through access to the collections
and serves the needs and interests of makers,
critics, scholars, researchers and enthusiasts of
contemporary crafts.
For further information on the project, contact
Paul Sandford: sandfopa@sbu.ac.uk
Marion Wilks, Project Director:
E mwilks@surrart.ac.uk
Barley Roscoe, Project Manager:
E broscoe@surrart.ac.uk
Chris Casey, Photographer
E ccasey@surrart.ac.uk
Michael Eadie, Project Assistant:
E meadie@surrart.ac.uk
Surrey Institute of Art and Design, University
College, Farnham Campus
Falkner Road, Farnham, Sur rey, GU9 7DS
T/F 01252 719550
The project shares the goal of the VADS project
Promoting the use of on-line image collections
in learning and teaching in the visual arts
(PICTIVA) and it will collaborate closely with
VADS on this initiative.
Contact Details:
Project Manager - Karen Peart
Project Administrator -Sheridan Wiseman
Design History Research Centre
Faculty of Arts and Architecture
University of Brighton
68 Grand Parade, Brighton BN2 2JY
T 01273 643304
Textile Images
This project is devoted to the digitisation of the
Textile Collection at The Surrey Institute of Art
and Design University College. This collection
was initiated in the textile department in the early
1950’s, by Ella McLeod, as a teaching aid to
support her philosophy of learning through doing.
Image from the CSCCA- Raku Model of Workshopand Kiln at
Abiko, 1917
Designing Britain 1945-1975.
The Visual Experience of Post-War Society: a
project to contribute to the development of the
DNER for Learning and Teaching
This project, based at the Faculty of Arts and
Architecture at the University of Brighton, seeks to
enhance access to the resources housed within
its expanding Design History Research Centr e
(DHRC) Archives and associated sur rogate
collections. The DHRC Archives form a unique
body of material which chart the history of British
design in the twentieth centur y. Since 1993 the
University of Brighton has committed
considerable expenditure on maintaining and
developing the DHRC Archives and making them
available to ever widening communities. For
instance, a recent incentive project has enabled
digital access to three thousand images via the
Visual Arts Data Service (VADS).
The objective of this project is to enhance
course curriculum and learning experiences
by creating new electronic teaching and
learning visual resources. The source material
will derive from archival collections that are
recognised as significant to the study of design
and visual culture.
At the outset teachers will be invited to use the
collections as a source to identify material for
digital learning and to author learning modules.
Templates will then be developed to reconfigure
the chosen content, utilising innovative
presentation technologies. The end product will
consist of a number of modules incorporating
visual resources aimed at and delivered to the
HE community. The method will be through VADS
to the relevant JISC Data Service or Centre in
order to fit into the JISC Virtual Image Service
(VIS) framework. (See our Call for Participation
on page 3)
Complementary materials will also be included
from other institutions such as the Design
Collection at the Arts Institute at Bournemouth.
A broad based collection covering a variety of
historical and contemporary cloths, illustrating a
wide range of qualities and techniques, it has
throughout the years benefited from generous
bequests and gifts , and now consists of some
2,000 artefacts. Muriel Rose, patron of the crafts
from the 1920’s and crafts officer of the British
Council in the 1950’s, bequeathed a valuable
collection, including block printed textiles
produced by the influential craftswomen, Phylis
Baron and Dorothy Larcher. Further examples of
printed textiles include a collection of English
and French engraved roller prints from 17501850 and work by significant contributors to the
subject through the nineteenth and twentieth
centuries - William Morris, Joyce Chisolm, Enid
Marx, Susan Bosence and Sally Greaves-Lord.
Examples of woven textiles range from a
collection of Coptic textiles from 800-100 AD
through to an extensive collection of British
woollen cloths, Kashmir shawls, African strip
weaving and Scandinavian furnishing fabrics
from 1950-1990. The collection includes work by
notable designers and handweavers of the
twentieth century - Alice Hindson, Paula Trock,
Rita Beales and Peter Collingwood.
Amelia Aden:
E auden@surrart.ac.uk
Linda Brassington: E lbrassington@surrart.ac.uk
The FILTER Project
Focusing Images for Learning and Teaching.
The ILRT (Institute for Learning & Research
Technology) recently received funding from the
Joint Information Systems Committee (JISC) for
the Focusing Images for Learning and Teaching an Enriched Resource project (FILTER).
FILTER will build on experience gained from the
successful Bristol BioMed Image Archive project
(www.brisbio.ac.uk/) by examining further the use
of images for learning and teaching in specific
subject areas. The FILTER team will work with six
Learning Technology Support Network Subject
Centres (Engineering; Geography, Earth and
Environmental Sciences; History, Classics and
Archaeology; Information and Computer Sciences;
Physical Sciences; Sociology, Anthropology and
Politics) to develop examples of image datasets.
These datasets will demonstrate practical
pedagogical applications for a range of image
types in subject-specific areas. They will be
accompanied by supporting documentation such
as “How-to” guides and case studies, as well as
descriptive metadata to facilitate searching and
retrieval of resources. The sets will be stored in
a database that will be made available on the
Web for learning and teaching purposes. The
project will start in April 2001 and run for two
years. For further information contact: Jill Evans
ILRT T 0117 928 7164 E jill.evans@bristol.ac.uk
The overarching purpose of the textile collection
has always been to provide actual examples,
which students are encouraged to handle,and
use as a primary source for study. The collection
aims to develop students critical judgement and
aesthetic awareness and to stimulate discover y
and encourage innovation.
The digital image quality is therefore of
considerable importance, to enable us to capture
some of the more subtle qualities of the
artefacts. We aim to focus on a section of the
collection creating a series of images of each
object showing specific elements and details.
The images will be supported by text and the
database structured to enable the user to follow
strands of exploration giving the facility to
research personal interests and directions.
Image from BuilDNER archive - Windmill shop at Alton Towers
The digitisation project will enhance and support
this effective teaching resource, widening
availability and access both to our students and
beyond. Eventually linking with other collections,
enabling a rich cross fertilisation of information
and high quality images to be accessible to
scholars, practitioners and educationalists. We are
already working with the Crafts Study centre and
we hope to build on this exciting new development.
5
FDTL3 Projects for Art, Design &
Communication
Projects funded under phase three of the Fund for
the Development of Teaching and Learning
(FDTL), a HEFCE and DHFETE funded initiative.
The following are the three cur rent projects that
relate to our subjects areas. There will be more
Art and Design projects in the next round of
projects, FDTL4.
GWAMP - Group Working Assessment in Media
Production
In the Subject review for Communication and
Media, the QAA identified a particular problem in
the assessment of collaborative work in media
production. The Media School at Bournemouth
University has initiated a project to help resolve
this problem.
The project has been called GWAMP, an
unforgettable anagram of ‘Group Working
Assessment in Media Production’.
The three-year FDTL phase 3 project seeks to
identify good practice in assessment in this area,
and to support changes, where appropriate, to
assessment strategies. The target audience is all
academic staff involved in the teaching of media
production.
Three partner institutions, Liverpool John Moores
University, Cheltenham and Gloucester College of
Higher Education and Bournemouth University
–together with the LTSN Subject Centre in Art,
Design and Communication- are working to
identify and produce video case studies of group
work assessment.
The dissemination strategy will involve workshops
in institutions across the country to stimulate
debate and change. In addition, a website
including e-mail discussion groups, bulletin
boards and source materials will be established
and maintained for the duration of the project and
beyond. Finally, a conference will aim to share
best practice with other subject areas. The project
will be evaluated externally by London Guildhall
University.
As the recently appointed Project Manager for
GWAMP (replacing Jaldeep Katwala) I am building
a website which will become a central resource
of information and advice. As well as taking some
time to soak up information like a sponge, I am
also preparing questionnaires for distribution to
HE institutions across the country to survey the
extent of group working assessment in media
production courses throughout the sector.
In my role as a lecturer for the Bournemouth
Media School I often find myself marking group
work and I therefore understand the problems
of this form of assessment. Group project work
is essential as industry practice depends on
people working together and the industry sees
group work as an important transferable skill for
graduates. Over the next few years as GWAMP
progresses we should begin to see a greater
awareness of the issues, and the sharing of
good practice in group working assessment.
Andrew Ireland Project Manager
E aireland@bournemouth.ac.uk
www.gwamp.com
6
GLAADH: Globalising Art, Architecture and
Design History
GLAADH is a new project for teachers of art,
architecture and design history in Higher
Education institutions across the UK. Funded
by the Fund for Development of Teaching and
Learning supported by HEFCE, the project is
managed jointly by art and design historians
at the University of Sussex, Open University and
Middlesex University.
Over the next three years, it seeks to encourage,
enable and embed cultural diversity in the Art,
Architecture and Design History curriculum. We
start from the premise that much of the current
range of teaching in the subject was not properly
identified in the last round of Subject Review.
To help redress the balance, we will identify
existing good practise amongst the 45
Universities reviewed. We aim to highlight,
promote and support emerging teaching and
learning strategies in the subject, appropriate
to a multicultural society within a global context.
The project will launch relevant staff development
initiatives to help teachers across the UK
integrate the arts of less traditionally studied
regions, including Asia, Africa and the Americas,
into the curriculum. It will supply advice and
practical resources, including new teaching and
learning materials, to those seeking to develop
new project specifications which will help
broaden the curriculum in art, architecture and
design history. Information about the project
will be available through a website and
newsletter, used to disseminate examples of
good practise, and issues and debates related
to cultural diversity, as well as providing support
in curriculum development.
In the first year GLAAD will:
• Carry out a survey of existing provision
amongst 45 Universities that were monitored in
the the last Subject Review
• Support the plenary session at the AAH
conference to stimulate discussion
• Launch its website and newsletter
• Hold a conference for interested teachers of
art, architecture and design history
In the second year GLAADH will:
• Develop its website with case studies of
teaching and learning materials
• Develop a resources guide
• Identify a number of sub-projects for more
intensive collaboration
In the third year GLAADH will:
• Hold a series of regional workshops, and a
summer school
• Develop web-based teaching materials
The project management team consists of:
University of Sussex: Professor Craig Clunas and
Norma Rosso (Project Manager)
Open University: Dr Catherine King and Viviana
Narotzky (Project Research Officer)
Middlesex University: Dr Simon Ofield and Leon
Wainwright (Project Research Officer).
For further information please contact:
Norma Rosso, GLAADH Project Manager, Essex
House, University of Sussex, Falmer, Brighton
BN1 9RQ, T 01273-606755 F 01273-678644 E
N.Rosso@sussex.ac.uk
Employability and the Media Studies Curriculum
Attacks on and negative representations of Media
Studies courses in the press over the last decade
have not stemmed the popularity of, or the range
of, undergraduate media related courses on offer.
Media academics have been concerned that
these criticisms obscure factual evidence about
the quality of media courses and the employability
of Media Studies graduates. Recent figures show
that Cultural, Communications and Media Studies
graduates are more likely to find employment than
graduates in cognate disciplines (SCCCMS, 1996).
In order to assess these perceptions four
universities, Sunderland, Central England, De
Montfort and Sheffield Hallam, all of whom have
an excellent record (endorsed by QAA) in Media,
Cultural and Communications Studies, have
joined in this FDTL research partnership. A
second tier of institutions (yet to be identified)
will take part in development and dissemination
workshops in years two and three of the project.
The three-year project aims to examine:
• the ways in which skills which enhance
employability can best be developed within the
Media Studies Curriculum;
• the ways in which such curriculum elements
and their related pedagogies can best be
integrated within the wider curriculum;
• the success of these curriculum elements in
terms of the production of both specific learning
outcomes and transferable (key) skills;
• the degree to which such curriculum elements
enhance the employability of graduates who have
taken them.
Year One of the project consists of conducting
a survey across the four partner institutions and
is concerned with identifying a matrix of skills
(specific and transferable) which are felt to
enhance the employability of Media Studies
graduates. Preliminary findings indicate three
destinations which media studies graduates enter:
media jobs, media related jobs and generic
graduate jobs. These are based on the perception
that media studies degrees develop three kinds
of skills in its students: specific (production skills,
media knowledge etc.), academic (research etc.)
and generic (teamworking and so on).
Participants of the survey have identified the work
placement/experience option, the production of
a showreel/portfolio of work; the combination of
theory and practice and self directed study as
specific strengths of media studies degrees.
It is the combination of the above mentioned
aspects, specific to Media Studies programmes,
that develop graduates who are confident,
outward looking and have the ability to work
on their own initiative in media and non media
industries.
Years two and three of the project will produce
and disseminate (through a conference,
workshops and web materials) criteria for and
models of good practice in the design, content
and organisation of curriculum and pedagogic
practice within a broad-based undergraduate
Media Studies Curriculum
For further information please contact the Project
Administrator: Vicky Ball, School of Arts, Design
and Media, Forster Building, Chester Road,
Sunderland, SR1 3SD, T 0191 5152101 or at
vicky.ball@sunderland.ac.uk
Living in a Material World III (2001)
We are now taking bookings for this international,
inter-disciplinary conference; the third in this
series. This year it will be taking place at the
University of Brighton, 25-27 June, in association
with the series’ originators, Coventry University.
The theme, ‘Navigating the Material World’,
has been responded to by contributors from
the fields of history; literature; social science;
psychogeography; cultural geography; media,
cultural and material culture studies: as well as
generating perspectives from practitioners in the
production of material culture. For further details
and booking information, please refer to the
web site which is being continuously updated
with new abstracts and programme highlights,
or e-mail the organisers at liam@brighton.ac.uk
with any queries.
‘Navigating the Material World’ carries within it
the idea of the many ways in which we traverse,
interpret and make comprehensible the territories
we inhabit. Engagements with the material world
are multiple, diverse, overlapping, imaginary,
virtual. Emotional, political, commercial and
geographical negotiations are part of increasingly
complex lives in which the voyages made do not
necessarily cover ground but may cover time,
space, or cyber-space. It poses the question:
By what means do we plot our route?
Lesley Whitworth, Design History Research
Centre, University of Brighton
www.brighton.ac.uk/liam/
Radiodyssey
University Of Sussex July 19th- 21st
An international conference of the Radio Studies
Network and University of Sussex.This conference
will draw on research and ideas from the UK,
Europe and beyond, to assess the present state
and future prospects of radio, focussing in
particular on its place in contemporary European
cultures after a decade of deregulation and
reconstruction.
Papers will cover issues that cur rently engage
broadcasters and academics, for whom, from
whatever discipline – media studies, cultural
studies, economics, history, politics, anthropology,
sociology, politics or drama - radio is important.
The organisers are keen to group papers around
the following sessions:
• Radio Audiences
• Music Radio
• Radio Futures
• Public Service Broadcasting in a Commercial
Era in Europe
• Internet Radio and Radio Ar t
• Teaching and Learning in Radio
• Radio and Media History
• Programmes and Producers
• Radio Policymaking
2001: a Radiodyssey will appeal to academics,
researchers, broadcasters and journalists – or,
indeed, anyone with an interest in radio.
Keynote speakers who have been invited include
the US media historian Michele Hilmes (whose
Forthcoming Conferences
keynote address, will be: "British Quality,
American Chaos: Historical Dualisms and What
They Leave Out"), the official historian of the
BBC Jean Seaton, the Canadian musician and
theorist Jody Berland, the Controller of BBC
Radio One Andy Parfitt, and the renowned radio
producer Piers Plowright.
There will be sessions on European Radio in a
Commercial Era, Radio Audiences, Listening,
Teaching and Learning Radio, Radio and Media
History, Radio and the Music Industr y, Women
and Radio, Programmes and Perceptions of
Radio, Radio Archives, Identity and Citizenship,
RSLs and Community Radio.
Contributors from as far a-field as California,
Australia, Poland and Sweden – as well as from
the UK - will deliver papers on subjects as
diverse as ‘Music, Radio and the Internet’, Postdevolution Radio in the UK, Prison Radio, Muslim
Radio, Radio and the Record Industr y, Oral
History, Radio Drama, Test Match Special, and
Children’s Broadcasting.
New research findings on the extent of radio
teaching in the UK and on the employability of
radio students will be unveiled at the conference,
and plans for a new journal devoted to the study
of Radio will be announced.
Delegates to 2001: a Radiodyssey will also be
able to attend an ESRC-sponsored Seminar on
‘The Future of Radio’, which includes
presentations on digital radio and radio drama’s
new-found relationship with film.
There will be round-table discussions, the
opportunity to meet and talk informally over
drinks and meals, some radio entertainment, and
at least one session – ‘The Early Review’ – in
which journalists, producers and academics will
come together to listen to – and criticize - new
and ‘lost’ radio programmes. Delegates will also
get the opportunity to explore Brighton during
free time on the Friday evening.
Residential accommodation is available on the
University of Sussex campus for the night of 20
July, where the conference itself will also take
place. Early registration is recommended.
Details of registration and cost can be found at
our website: www.bournemouth.ac.uk/
radiodyssey/programme.html
David Hendy, Radio Studies Network: School of
Communication & Creative Industries, University
of Westminster, Northwick
Park, Harrow HA1 3TP.
T +44 020 7911 5800 x4755
F +44 020 7911 5943
E hendyd@wmin.ac.uk and
davidjhendy@yahoo.co.uk
T 020 7911 5800 x4755.
7th European Conference on Creativity and
Innovation
Organised by The European Association for
Creativity and Innovation (EACI)
December 9, 2001 - December 12, 2001 and will
take place in the Netherlands at the campus of
the University of Twente.
In the tradition of the EACI the conference will
be a meeting place for practitioners from industry,
academic researchers and professional
consultants. All participants will be encouraged
to give a presentation; be it either an academic
paper presentation, a small creativity workshop
or a presentation of a new innovation tool. For
participation in the professional programme no
formal screening is foreseen. Everyone who
wants to present something is allowed to do so.
Only the time schedule of the conference gives
limitations.
For the academic programme however there will
be a screening procedure. Academic researchers
are encouraged to send in papers in the fields
of creativity and innovation. All papers should be
based on empirical research and should meet
the normal academic standards. The conference
language will be English.
Pre-register today through our website
www.eaci.net to make sure you will have a spot
on the conference.
Free Conference Listings
The British Education Index and Education-Line
provide an education conference listings service
at: www.leeds.ac.uk/educol/conflist.htm
The service is free, and freely accessible, with
current readership at about 50 visits per day, and
steadily rising. They are keen to include all major
conferences. There is an on-line form to submit
which makes the process of advertising very easy.
The form is at:
www.leeds.ac.uk/educol/confnot.htm
The conference itself has been supported by:
Radio Studies Network, University of Sussex, the
British Academy, the Radio Authority, the Radio
Advertising Bureau, and GWR. The seminar on
‘The Future of Radio’ is part of the ‘Radio,
Culture and Society’ series funded by the ESRC.
General enquiries to:
Dr Kate Lacey, Radio Studies Network: School
of European Studies, University of Sussex,
Falmer, Brighton BN1 9QN.
T +44 1273 606755 x 2088 F +44 1273 623246;
E k.lacey@sussex.ac.uk).
Sally Grant, Secretary, Academic Services,
Bournemouth University, Talbot Campus, Fern
Barrow, Poole, Dorset, BH12 5BB
T +44 1202 595725 F +44 1202 595475
E sgrant@bournemouth.ac.uk
7
Event Reports
Implementing an Online Learning Environment:
A Total University Experience
at Coventry University, 7th December 2000
This event focused on the introduction of WebCT
across the university and the management of
change, offering opportunities to explore and
debate the implementation of online learning.
Andy Syson, Head of Learning Technology,
presented the student view of WebCT and
explained the nature of the use of the software
at Coventry, which is in its second year of
operation.
Every student is registered on the WebCT system
and every module is set up with a course
template, incorporating minimal tools, for the
module tutor to use and modify as they wish.
Tutors do not have to use the WebCT facilities
for their course, but are encouraged to do so.
Currently 20% of the 2800 online modules are
actively used, and there are 76500 student
accounts on the system.
Coventry have built their own front end to WebCT
which asks the student or tutor for their username
and then takes them straight to a list of the
modules on which they are registered. The system
reads off the administration records (which
already existed as an integrated system) and so
all information relating to the student is valid and
any changes are automatically updated.
Students and tutors can click on modules from
their list to access them via a password. Each
module has e-mail, a discussion board, content
pages, an assessment area, a student area where
marks and progress can be viewed, and a help
page. All link to the university homepage, the
library catalogue, a study skills page, old exam
papers and careers.
Frances Deepwell, from the Centre for Higher
Education Development (CHED), talked about
staff development and supporting change. The
role of CHED is to ease the way towards an
integrated online learning environment for staf f
and students.
At Coventry, there was a managed, universitywide implementation of WebCT. The decision was
top-down and championed by the vice-chancellor.
The process involved a £1 million investment in a
‘Task Force’ acting as agents for change, set up
in 1997. Each subject centre had a member of the
Task Force acting as a ‘champion for change’ and
organising staff development. WebCT was not
imposed on staff but it is the only online learning
package supported by the university.
A WebCT Management Group has been set up
to deal with the system, including members of
the Computer Centre, as a sub-group of the
Teaching and Learning Committee. The
commitment to WebCT and online learning has
been written into Coventry University’s Teaching
and Learning Strategy.
8
The system is being evaluated at different levels.
Key findings so far indicate the need for online
registration to modules, improvement to the
student record system, a continued staff
development programme, and for the schools
to take ownership of the student induction
process. The vast majority of student opinions
collected are in praise of the system.
Book Reviews
British Television: A Reader
Edited by Edward Buscombe
Reviewed by Jane Barford
A presentation from Anne Davidson
demonstrated her own innovative use of WebCT
for teaching her modules, giving advice and
suggestions for tutors, and the afternoon was
dedicated to hands-on experience of the
communication, content and assessment
aspects of the software.
Comment: The day was informative and
interesting but would have benefited from mor e
information and discussion on the reasons
behind Coventry’s commitment to online
learning, given that a huge amount of money had
been spent and only 20% of modules were
actively using WebCT. The underlying pedagogy
was not considered in any of the presentations,
and as use of the electronic facilities is not yet
compulsory it would be interesting to know the
level and nature of student use. Perhaps, though,
Coventry’s initiative should be seen as one still in
its infancy and it is possible that the adoption of
WebCT will provide the university with future
opportunities for new ways of learning and
teaching, as well as an integrated and automated
administration system.
Christina Williams Research Officer ADC-LTSN
E c.m.williams@bton.ac.uk
Edward Buscombe’s book is a well produced
volume organised in two parts, containing fifteen
chapters and featuring a range of contributors
with established reputations in the field of Media.
Part one deals with the histories, structures and
economies of the television industry in Britain,
and part two looks at programmes and
programme content.
The book is constructed as a series of vignettes
that may be used as stand-alone chapters within
a coherent whole. Such a structure facilitates
student sampling of a range of viewpoints and
academic opinion that can be used to support
specific topic areas or reinforce a general
knowledge base. A particularly pertinent example
is Buscombe’s coverage of the history of British
television. Much has been written on the history
of British television, from Reith himself (1924) via
Briggs (1961, 1965), to Seymour-Ure (1996) but
for a generation who have grown up with
television it is history that does not immediately
relate to their experience. Buscombe’s cogent
and reflective Introduction, coupled with Paddy
Scannel’s conceptual analysis of Public Service
Broadcasting in chapter two provide a useful
foundation for generic undergraduate modules
in media and culture, and have relevance for
optional modules on structure and control of
media industries or media and communication.
Students are also likely to feel distanced from
the political context in which the BBC, and latterly
commercial television, were instituted and
developed. This book goes some way to
addressing this difficulty, particularly in Sylvia
Hartley’s highly factual and grounded chapter on
Channel Four Television. Coverage includes the
contribution of major players and stakeholders in
that venture, and has useful statistical information
on programme costs and ratings that firmly place
television as an industry competing with other
media industries. Students studying modules on
multimedia publishing or media engineering would
benefit from the business aspects of this chapter.
As a former media professional, I am well aware
of the gulf between media practice and academic
theory, or more accurately, between practitioners
in either field. Buscombe brings a clear-eyed
approach to both theory and practice in his book
and steers clear of any sentimentality in his
choice of contributory chapters. These range
from the highly personal, with Andy Medhurst’s
retrospective and affectionate work on Gilber t
Harding as an unlikely media role model, to
Annette Hill’s contemporary Crime and Crisis:
British Reality TV in Action. Her chapter
references current concerns about the television
industry: declining standards, negative influences
on children, and the ever-blurring line between
documentary and drama, but emphasises the
popularity of the genre with audiences. In doing
so she raises political and social issues provides
useful discussion points to build on.
Similarly Graham Murdock’s treatise on
broadcasting finance and public culture explores
the contradictions and contrasts between public
service broadcasting, “something held in trust
and in law for every citizen” (Potter:1993), and
commercial television, “first and last a business”
(p.118). Murdock contrasts the traditional British
perception of audiences as citizens with the
American perception of audiences as consumers,
and contributes directly to the debate, evoked
elsewhere in the book, on whether television
content may be studied in isolation from its social
and economic imperatives. Such topics,
particularly in our current climate of “joined-up”
teaching, encourage students to adopt a crossmodule attitude to the application of theories,
themes and concepts, and is highly pertinent in
terms of their learning outcomes at degree level.
Part two of British television: A Reader reinforces
this thematic approach in its discussion of
programmes, particularly in its coverage of
audiences and their relationship with media texts.
David Buckingham’s trenchant 1997 work on
Creating the Audience, (again firmly grounded in
industry needs), and Christine Geraghty’s seminal
work on soap opera lead into Postmodernist
evaluation of masculinities (Whannel) and work
on sitcom and textual framing.
From a research viewpoint I was particularly
struck by Tom O’Regan’s chapter on The
International Circulation of British Television;
which examines the factors contributing to the
popularity (and marketability) of British television
products. One of these is the marketing of
“Britishness” as a cultural value. Having recently
published work on this myself I am well aware of
its social (and political) relevance (Barford: 2000).
Given the multi-cultural nature of UCE’s, and
other urban universities’ target student
populations, this topic area is a vibrant one for
work done in popular culture or heritage and
tourism modules and a basis for individual
research projects.
Contrary to some texts on television, Edward
Buscombe’s book is capable of engaging
students’ imagination at undergraduate level
and providing a stimulating introduction for
conversion students at postgraduate level. The
content is well-chosen and intellectually diverse,
and the editor provides a constructive guide to
further reading in an excellent bibliography. This
is a very timely and relevant textbook.
References
Barford, Jane A. Looking for a New England:
Cultural Constructs in a Devolved Britain (in)
Approaching a New Millennium: Lessons from
the Past – prospects for the Future. Proceedings
of the 7th. conference of the International Society
for the Study of European Ideas (ISSEI) 14-18
August 2000, University of Bergen. Published by
the HIT centre at the University of Bergen for
ISSEI on CD ROM.
Briggs, A. (1961) The Birth of Broadcasting: The
History of Broadcasting in the United Kingdom,
volume 1. Oxford, Oxford University Press, 1961.
Briggs, A. (1965) The Golden Age of Wireless:
The History of Broadcasting in the United
Kingdom, volume 2. Oxford: Oxford University
Press, 1965.
Potter, Dennis, Occupying Power, Guardian, 28
Aug. 1993, 21.
Reith, J. (1924) Broadcast over Britain. London:
Hodder and Stoughton.
Seymour-Ure, Colin (1996) The British Press and
Broadcasting since 1945. Oxford: Basil Blackwell.
British Television: A Reader Edited by Edward
Buscombe Published by Oxford University Press
2000
ISBN 0-19-874265-7 362pp Paperback £15.99
Jane Barford, Senior lecturer, School of
Information Studies, University of Central
England Email: jane.barford@uce.ac.uk
Benchmarking for Higher Education
Edited by Norman Jackson and Helen Lund
Reviewed by David Buss
It may seem premature to publish a book on
Benchmarking in Higher Education when only
half of the 42 groups have completed their
Subject Benchmarking Statements, but this
collection of articles considers benchmarking
across a much wider field than the current QAA
exercise. The editors, Norman Jackson and
Helen Lund, have brought together papers which
they have grouped into three sections to
consider how benchmarking can Improve the
Quality of Educational Practice and Regulate
Standards; Improve the Quality of Administrative
and Business Processes and Services to Support
HE; and thirdly How Benchmarking works in
other HE Systems and Transnational
Benchmarking. The concept of benchmarking
originates from the practice of surveyor ’s use of
a permanent reference point against which levels
can be compared and measured. Any thoughts
that it is therefore a simply process to apply to
Higher Education are quickly dispelled as we are
introduced to various forms of benchmarking
which can be developmental, regulatory,
implicit/explicit, independent/collaborative,
internally/externally focused – the latter of which
can be competitive, functional or generic. The
process can be vertical or horizontal, qualitative
or quantitative. We can benchmark against
descriptors, specifications, or examples of
practice. Benchmarking can and has been used
in Higher Education to compare and evaluate
curricula frameworks, learning outcomes (subject
specific and generic), assessment practices and
regulations, departmental performance, degree
performance, the learning environment, quality
management systems, the student experience,
student recruitment, the learning infrastructure,
and no doubt – sooner or later – benchmarking
itself will be benchmarked.
The three principal sections of the book are
preceded by two chapters in which the editors
introduce the reader to the definitions,
methodologies and conceptual vocabularies of
benchmarking, followed by an historical
contextualising of the subject. While the authors
concede that there are many definitions of
benchmarking (reflecting different personal
interpretations of process and outcomes), there is
a consensus that the exercise involves identifying
reference or criterion against which something
can be measured to facilitate comparison and
evaluation for improvement, accountability and/or
regulation. Mantze Yorke argues that we have
actually been benchmarking in Higher Education
for some considerable time without realizing it, for
example, through student questionnaires and the
external examining system, although the latter is
a form of Benchmarking which is unstructured,
unsystematic and largely implicit.
Given the topicality of the subject for Art and
Design, many of you reading this review will, like
me, turn first to chapter 7 Benchmarking the
Outcomes of Learning in which Norman Jackson
and Vaneeta D’Andrea consider the findings of the
initial pilot scheme which involved three subjects –
Chemist ry, History and Law. Working to the QAA’s
brief that the Benchmarking Statements should
focus on the general intellectual outcomes of
learning in a subject rather than defining curric ular
content, these three groups produced radically
different outcomes which the authors compare
and then analyse the possibilities, difficulties and
limitations of the benchmarking process. It was
suggested at the time that the Lawyers had
p roduced a set of rules, the Chemists had
p roduced a set of formulae, and the Historians
had written an essay. Joking apart, the pilot
scheme illustrated quite emphatically at the outset
that int erventions designed to influence academic
st and ards are most likely to be successful if
applied through the subject community.
With only three Benchmark Statements available
to the authors, the rest of this chapter is more
speculative, anticipating what might result from
the total exercise. In part ic ular, they highlight the
implications of Subject Benchmarking for teaching,
learning and assessment, and the need for the
benchmark information to be combined with
c urriculum mapping. Benchmarking demands a
large-scale movement from the traditional norm
referenced compensation assessment model
t ow ards a criterion-referenced system, which
would in turn, bring about consistent interpret at ion
and implementation by assessors, external
examiners and academic review ers. Yes please!
Mantze Yorke contributes a chapter which raises
questions about the value of benchmarking.
Following the Dearing Report, benchmarking has
acquired a meaning which is driven by the
imperative of regulation and conformance with
pre-specified standards. Whilst acknowledging
that they can be useful for various purposes, the
author draws our attention to what he perceives
to be the potentially adverse effects of
benchmarking. He warns that precise specification
of outcomes and standards will be unwieldy and
acknowledged more in the breach than in the
ob servanc e, and may constrain the freedom of
st ud ent ’s to test and challenge the boundaries of
their subject. Nor do they provide informat ion
about how to improve matters. Most import ant ly,
the author claims that benchmarks inevitably miss
out a lot of the essence of the truly higher
education experience.
9
This book provides a useful and informat ive
overview of a process which is a popular tool for
self-evaluation and self-improvement in industry
and commerc e and which is now being
inc reasingly employed within education. To what
extent Higher Education will improve as a
consequence of Subject Benchmarking will not be
evident for some years to come, but the positive
and cooperative response made by the Art and
Design community to Subject Benchmarking goes
a long way towards the developmental
benchmarking model favoured by Mantze Yorke
and which is characterised by voluntarism, mutual
t rust, and a primary commitment to selfd et ermined improvement .
I for one would welcome a further publication
which compares, analyses and evaluates the full
42 Subject Benchmark Statements once these
have all been published later this year.
Benchmarking for Higher Education
Edited by Norman Jackson and Helen Lund
Published by SRHE and Open University
Press 2000
ISBN 0335 204538 (pb) £25.00
ISBN 0335 20454 6 (hb) £65.00
David Buss, Chair of the Art and Design Subject
Benchmarking Group. E DBUSS@KIAD.AC.UK
The Cyberc ult ures Reader, edited by David Bell
and Barbara M. Kennedy
Reviewed by Eryl Price-Davies
Cyb erc ult ures has developed an increasingly high
p rofile on a wide range of courses within UK
Higher Education over the past five years. Many
of these courses focus on a range of practical/
technical issues, such as web-site design, but
alongside these there are also a significant
number of courses that offer students
op p ortunities to engage with a series of broad lybased theoretical debates, loosely group ed
around the social uses of computer- b ased
communication technologies. It is this latter group
of courses for which this edited collection aims.
Defining ‘cyberc ult ures’ is far from straightforward.
No single widely accepted definition exists,
instead there is a bewildering array of competing
definitions – all of which claim, to a greater or
lesser extent, to map the contours of this wide
and disparate area. To outline just three:
Douglas Rushkoff describes it in terms of a ‘do-ityourself’ approach to cultural production and
consumption. He coins the phrase ‘electronica’
to describe a culture of musicians, ravers,
clubbers, digital samplers, and Internet users.
His perspective is focused on the localised use of
communication technologies, such as sampling,
digital rec ording/editing, and multimedia projec t s.
Linked to this is a simultaneous suspicious
d ist rust of, and fascination with multinational
capitalism, and its corporate struc t ures.
Thus, for Rushkoff, ‘electronica’ is a celebration
of creativity and imagination unfettered by the
shackles of corporate control. It is playful, and
utopian – it embraces a politics of difference,
and the plurality of postmodernism.
Mark Dery conflates ‘cyberc ult ures’ with
“ c omp ut er-age subcultures”. Under this heading
he examines not only the construction and
p resentation of Internet identities, but also the
p erformance art of groups such as the Survival
Research Laboratories, Mark Pauline, Stelarc, and
10
Genesis P. Orridge. This definition port rays
c yb erc ult ure as a mixture of Mad-Max styling,
post-apocalyptic attitudes, and hi-tech outlaws
existing at the margins of an authoritarian
dominant culture. Body modifications, such as
p iercing, scarification, tattooing, implants and the
use of prosthetics are the visible tribal markings
of this culture, and the Internet is the ‘non
spatially located’ playground .
David Silver ignores the broader cultural
manifestations of both ‘electronica’ and
‘ c omp ut er-age subcultures’, in favour of a focus
on ‘computer mediated communication (CMC).
Cyb erc ult ure is a collection of cultures and
cultural products that exist on and/or are made
possible by the Internet, along with the stories
told about these cultures and cultural prod uc t s
David Bell and Barbara Kennedy adopt an
ap p roach which combines aspects of all the
above definitions, though with a discernab le
focus on issues surrounding sexuality and the
b od y. Four out of the nine sections into which
the reader is divided deal with these themes
more or less directly (cyberfeminisms;
cybersexual; cyberbodies; and post-(cyber)
bodies) whilst the remaining five range from
ap p roaches to cyberc ult ure, and
c yb ersub c ult ures, to discussions of virt ual
geography and cyberc olonizat ion.
Each of the nine sections is prefaced with an
article from either Bell or Kennedy, and both
authors contribute an introduction to the whole
collection. These introductions consist of a
‘Users Guide’ provided by Bell and a piece, titled
“ The ‘virtual machine and new becomings in
p re-millennial culture’ from Kennedy.
Of the two, Bell offers a more conventional
int roduction, highlighting specific themes and
debates, and encouraging the reader to adopt
a ‘non-linear approach’. Indeed this aspect is
heavily stressed. We are told that the read er’s
job is:
“ …not to begin on page one and read through
to the last word of the volume, but to flick and
flit, to find and chase your own hot links, to
trace each rhizome, each thread, and to make
connections that work for you.”
Given that this is the way that most readers
make use of a Reader in any case, this injunction
does seem to be making a virtue out of reality
(a ‘virtuous reality’ rather than a virtual one?).
But it does more than that – by the use of that
w ord “ rhizome” it tips the wink to those in the
t heoretical know, that we are embarking on a
trip into the domains of Deleuze and Guattari.
This is made most explicit in Kennedy’s
int rod uc t ory essay. Here we have a quasi-poetic
piece of writing which explores a subjective
experience which happened to the author – a
near-fatal car crash – and the possibilities this
offers for thinking about the relat ionship s
between humans and machines. The central
point is that cyberc ult ure is a “continual
exploration of new identities, new subjectivities,
their merging with machines, bodies and
technologies, within the greater machine of a
technological, cultural and aesthetic (in the
Guattarian sense) evolution.”
Depending on your view of the usefulness, or
ot herwise, of Deleuze and Guattari’s work, and its’
relevance for Cyberc ult ures, this essay provid es
either a fascinating poetic exploration, or it offers
little help in making sense of the range of critical
debates. Truth be told, I find myself inclining
t ow ards the latter position…but the strengths
of this collection (and they are many) lie less in
these two opening essays, than in the carefully
selected readings that follow.
As the definitional problems alluded to above
indicate, almost everyone with an interest in
this topic will have a different emphasis, and it
is all too easy to be critical on the basis of things
that have been left out. For my own part, I would
have wanted to have included more material on
the fictional representations of cyberspace –
especially the work of ‘Cyberpunk’ authors such
as William Gibson, Bruce Sterling, Greg Bear,
and Neal Stephenson, and, in theoretical terms,
a fuller engagement with the material aspects
of Cybercultures, and the divisions which exist
between the ‘information rich’ and the
‘information poor’. Neither of these aspects
get detailed coverage here, instead what we
do get is a rich assemblage, in Bell’s words “an
exercise in ordering and architecture”, of essays
which offer a set of often overlapping or even
contradictory approaches.
Part One – Approaching Cyberc ult ures is
especially useful, offering, as it does, five carefully
chosen essays, each of which indicates a set of
distinctive themes. This is a section which I can
imagine finding most useful in discussion with
students. Parts Two and Three – on Popular
Cyb erc ult ures and Cybersubcultures, cover a
range of topics from the (over) familiar discussion
of Blade Runner and Total Recall (why is it that
these are always the films chosen?), to ‘flame
wars’ and on-line discussion groups. Parts Four,
Five, Six and Seven, as mentioned earlier, deal
with sexuality and the body, whilst the final parts –
Eight and Nine – include pieces on ‘Virtual Urban
Fut ures’, and ‘Cyberspace and the globalization
of culture’ resp ec t ively.
There is no doubt that this collection performs
a very valuable service in bringing together so
many disparate essays, and in offering its’ own
distinctive theoretical approach. I’m not entirely
convinced that it would stand alone as the only
‘essential purchase’ for a Cyberc ult ures course,
at either undergraduate or postgraduate level –
but it is certainly a book that I would rec ommend
most highly to have in any academic library, and
to make use of as a key ‘background text’ on any
course which encourages students to examine the
multifaceted relationships between humanity and
its technologies.
The Cyberc ult ures Reader edited by David Bell
and Barbara M. Kennedy (Routledge, London,
2000) ISBN 0-415-18379-0 (PB) £17.99
Eryl Price-Davies, London College of Music and
Media Thames Valley University, St. Mary’s Road
London, W5 5RF
T 020 8231 2256 E eryl.p ric e- d avies@t vu.ac .uk
Resources
indexes reproductions of works of art that
appear in indexed periodicals. Accessed
through the Web. Institutional subscription and
ATHENS username required.
http://edina.ac.uk/art-index-retro/index.html
This is a selection of the the information, data
and electronic reference resources compiled
by the Arts and Humanities Data Service and is
reproduced here with their permission.
AVANCE
AVANCE is a database of over 20,000 audiovisual programmes. Entries are selected for
their usefulness in higher education and cover
films, videos, slides, sound recordings, tapeslide packages, computer courseware and
interactive multimedia. Most of the records
relate to currently available material and contain
full distribution details. Accessed through the
Web. Currently freely available.
www.bufvc.ac.uk/
Bibliographic, reference & research information
Arts and Humanities Citation Index
Part of the ISI Web of Science. Bibliographic
database that features a wide range of journals,
and searching by citation. Records include
articles (including any references cited), abstracts,
editorials, letters and reviews. One of three
citation databases available for individual or
simultaneous searching. Accessed through the
Web. Institutional subscription and ATHENS
username required. http://wos.mimas.ac.uk/
International Bibliography of the Social
Sciences (IBSS)
Bibliographic database with an international and
interdisciplinary focus. Coverage extends beyond
the core social sciences and encompasses
related disciplines such as histor y, folklore,
archaeology, art history, linguistics, gender, media
and cultural studies. Dating back to 1951, and
updated weekly, records include articles, books,
book chapters and reviews in a range of
languages, and a growing number of English
language abstracts. Accessed through the Web.
Free institutional subscription. ATHENS username
required. www.lse.ac.uk/ibss/
Periodicals Content Index (Full Text)
Contains information from the tables of contents
of thousands of English and other European
language journals, plus images of the full text
of some of these journals. Material ranges from
the date the journal was first published until 1990
providing learners, teachers, and researchers
with detailed and comprehensive access to the
periodical literature in their academic disciplines.
Accessed through the Web. Institutional
subscription and ATHENS username required.
http://pcift.chadwyck.co.uk
Art Abstracts
HW Wilson’s Art Abstracts comprises the
bibliographic contents of over 300 leading art
periodicals - journals, museum bulletins and
yearbooks. The database gives references to
articles, reviews, exhibition listings and many
other types of material. Unusually, reproductions
of works of art that appear in the periodicals are
also fully detailed. Coverage is from 1984 as an
index, with added abstracts from 1994 to the
present. The database currently has nearly
400,000 records and is updated monthly.
Accessed through the Web. Institutional
subscription and ATHENS username required.
http://edina.ac.uk/art-abstracts/index.html
British Universities Newsreel Project (BUNP)
A database of British newsreel production
between 1910 and 1979 It contains 160,000
records from 21 newsreels and cinemagazines,
and is designed to make information on the
newsreels available for academic study.
Accessed through the Web. Freely available
to institutional/individual members of the
BUFVC and ac.uk addresses
www.bufvc.ac.uk/newsreels/
BUFVC Television Index
The BUFVC Television Index is a selective index
to more than 12 years of television programmes
broadcast on the five UK ter restrial channels.
The online index begins on 1 July 1995 and
concentrates on documentary programmes,
but there are also references to news and
current affairs, music and drama Accessed
through the Web. Currently freely available.
www.bufvc.ac.uk/
COPAC
COPAC provides free access to the unified
online catalogues of 18 major university
research libraries in the UK and Ireland. It offers
a single point of access to details of materials
held in many different locations and covering
the range of arts and humanities subjects.
Documents date from c.1100AD onward and
c.300 languages are included Records
represent a wide range of materials and
increasing numbers incorporate links to the fulltext of the document. Accessed via the Web
and Telnet. Freely available. http://copac.ac.uk/
Oxford English Dictionary Online
Authoritative definitions of over soo,ooo words,
supported by over 2 s million quotations tracing
usage through the centuries. Accessed through
the Web. Institutional subscription required.
http://dictionary.oed.com/
Publications online
JSTOR
A unique digital archive collection of core
scholarly journals starting with the first issues
(many of which date from the 1800s). Users can
browse, search and print articles from the
Art Index Retrospective
complete back-runs. Subjects covered include
HW Wilson’s Art Index Retrospective provides
history, literature, anthropology, philosophy,
searchable indexing spanning 55 years of ar t
African-American studies and Asian studies.
journalism from 420 noted publications around
Accessed through the Web. Site licence
the globe, reflecting coverage provided from 1929 required. www.mimas.ac.uk/jstor/
through 1984 (equivalent to volumes 1-32 of the
printed index). Coverage includes EnglishNational Electronic Site Licence Initiative
language periodicals, yearbooks, and museum
(NESLI)
bulletins, as well as periodicals published in
The National Electronic Site Licence Initiative
French, Italian, German, Spanish, and Dutch.
delivers a national electronic journal service to
In addition to articles, Art Index Retrospective
the UK higher education and research community.
The NESLI managing agent is the JlSC’s official
negotiator for full text electronic journals. Site
licences available for individual ejournais or
packages of ejournals. Accessed through the
Web. www.nesli.ac.uk/
Subject gateways
Humbul Humanities Hub
The Humbul Humanities Hub is a service of the
Resource Discovery Network. Humbul is
developing an online catalogue of Internet
resources relevant to teaching and research in the
humanities. In collaboration with subject
specialists the Hub finds, evaluates and describes
resources for the study of English language and
literature, other European languages and
literature, history, archaeology, classics, religion,
and philosophy. The Humanities Hub is also
developing a range of other services for the UK
humanities community. Accessed through the
Web. Freely available. www. humbul.ac.uk/
Creative Arts Data Services
The Performing Arts Data Service (PADS)
The PADS collects and promotes the use of digital
data resources to support research and teaching
in the performing arts, namely music, film,
broadcast arts theatre, and dance. As well as
providing information and support in data
documentation, encoding formats and digitisation
processes for time-based media, PADS currently
provides four significant collections in its digital
library: Scottish Film and Television Archive
Catalogue; Scottish Music Information Centr e
Catalogue; Five Centuries of Music Multimedia
Catalogue; King Lear Performance Photographs
Collection. Accessed through the Web. Freely
available. www.pads.ahds.ac.uk/
The Visual Arts Data Service (VADS)
VADS maintains a searchable on-line archive of
digital resources for use by the visual arts
community for learning, teaching, and research.
Collections currently available through VADS
include: Imperial War Museum Art Collection;
‘Other Educated Persons’ - Art & Art
Organisations in the East End of London 1972 1999, a multimedia web resource; Documentar y
Photography: Jacob Riis Computer Aided
Learning package; London College of Fashion
Archive VADS also promotes good practice in the
creation, management and preservation of digital
resources through an advisory, training and
publications programme. Accessed through the
Web. Freely available http://vads.ahds.ac.uk/
Axis Online Database
Axis is a national contemporary visual arts service
providing information about artists and makers
living/working in Britain to a national and
international audience via the largest interactive
database of contemporary British art on the
internet Accessed through the Web. Freely
available. www.axisartists.org.uk/
For a copy of the Resource Guide for the Arts and
Humainities or further information contact:
Liz Lewis, Resource Guide for the Arts and
Humanities, Arts and Humanities Data Service,
75-79 York Road (8th. floor), London SE1 7AW
E resguide@ahds.ac.uk
T 020 7928 7991 F 020 7928 6825
11
Forthcoming Staff Development Events
Conferences and Calls for Papers 2001/2002
For further information and booking details for
all the events listed here, contact Sarah Harw in,
Administrative Assistant: T 01273 643119
E adc-ltsn@bton.ac.uk Additionally, visit our
website www.bton.ac.uk/adc-ltsn for regular
updates to the 2001 programme or join the
ADC- LTSN JISC mail list to receive advance
notice of ADC related events.
25- 27
European Learning Styles Information Network
6th International annual conference, University of
Glamorgan. www.elsinnet.org.uk/ conference2001;
T 01443 482679
29 June-1 July
Sc reen Studies Conference University of Glasgow
E Screen@art s.gla.ac .uk
Other Contact Details
CLTAD (Centre for Learning & Teaching in Art &
Design): 020 7514 8162 www.c lt ad .ac .uk
OCSLD (Oxford Centre for Staff Learning and
Development): 01865 484618
www.brookes.ac.uk/ services/ ocsd/ listcourses.html
JULY
4- 6
ILTAC2001, University of York
E conferenc e@ilt .ac .uk
5
The Bologna Declaration: Implications for UK
higher education, Wob urn House, London (£150)
Cent re for Higher Education Research and
Information T 020 7447 2561
E cheri@open.ac.uk www.op en.ac .uk/ c heri
12-15
Locating the Victorians, Science Museum London
www.sciencemuseum.or.uk/ reserachers/ victorians
17
The 1st ADC-LTSN Annual Forum at Imperial
College, London.
The programme includes workshop sessions on
assessment, curriculum development, projec t
funding and other themes, such as the
implications of Subject Benchmarking.
Come and exchange ideas about teaching and
learning with subject colleagues, and help plan
the ways that ADC-LTSN can support the work of
your department over the coming year.
The Forum is free (including lunch and all
refreshments) but places are limited and will be
allocated on a first come first served basis.
Please discuss with colleagues to ensure that
your department is rep resent ed .
19- 21
Radiodyssey - Radio Studies Network
Conference, University of Sussex
Dr Kate Lacey T 01273 606755
www.b ournmout h.ac .uk/ rad iod yssey/ ind ex.ht ml
(see page 7 for details)
JUNE
2
Designers at work: the process and practice of
p at t ern design.Study Day at MoDA, Middlesex
Universit y, Cat Hill, Barnet, Herts EN4 8HT
Enquiries: T 020 8411 5244
E l.hoskins@mdx.ac.uk
5
CLTAD Designing Your Writing: Writing Your
Design: Devloping the writing skills of Art &
Design students.
7
OCSLD Supporting students with disabilities in
higher education
9
3rd Annual Interd isc ip linary Conference at the
Dep artment of Arts and Media, othering England
Buc kinghamshire Chilterns University College.
High Wycombe Campus, Buckinghamshire.
Contact Dr. Anita Biressi
E Anita.Biressi@bcuc.ac.uk or
Dr. Heather Nunn E Heather.Nunn@b c uc .ac .uk
www.bcuc.ac.uk/ whatson/ artmedconf/ poster.htm
12
A Concise Guide to Powerful Communication
on the Web at the Cadogan Conference Centre,
Swansea. Hosted by the Swansea Institute Digital
Media Special Interest Group To reserve a place
please contact the Digital Media Centre.
T 01792 481027 F 01792 205305
E dmc@sihe.ac.uk
12
OCSLD Supporting students with dyslexia Oxford
13
OCSLD Subject assessment review London
14
OCSLD Active learning in small group s
Birmingham
21
Workshop on Pedagogic Research in Art, Design
and Communication
Dundee Contemporary Arts Contact: Gillian
M c Laren
E gjmclaren@art .fineart .d und ee.ac .uk
22
Meeting the Challenges of Diversity:. A workshop
on the Pedagogical Issues surrounding the
‘ Widening Participation’ mission within Art Design
and Communication Higher Education Coventry
Universit y. Contact Peter Playdon:
p .p layd on@c ovent ry.ac .uk
25-27
The University of Brighton in collaboration with
Covent ry University conference ‘Living In A
Material World (LIAM) III.’ www.brighton.ac.uk/ liam/
AUGUST
6-8
ICALT2001 Madison, WI, USA Conference
Theme: Advanced Learning Technologies:
Issues, Achievements and Challenges
ht t p :/ / lt t f.ieee.org/ ic alt 2001/
SEPTEM BER
9- 11
The 9th Improving Student Learning Symposium:
“ Imp roving Student Learning Using Learning
Technologies” Edinburgh www.b rookes.ac .uk/
servic es/ oc sd / 1_oc sld / isl2001.ht ml
12
Association for Learning Tec hnology’s (ALT)
c onference “Changing Learning Environment s”
University of Edinburgh www.ed .ac .uk/ alt c 2001
17-18
DEBE - Developments in Economics and
Business Education Conference
University of Bristol The first Developments in
Economics and Business Education conference
Monday 17th - Teaching and Learning
Tuesday 18th - Information and Communications
Technology (ICT) and its implementation
www.economics.ltsn.ac.uk/debe/
OCTOBER
6
Day Conference on Tourism and the Media
E r.jackson1@derby.ac.uk
NOVEM BER
8
SAND 2001 Swansea Animation Day. For furt her
information contact the Digital Media Centre.
T 01792 481027 F 01792 205305
E dmc@sihe.ac.uk
15
The seventh SACWG ( Student Assessment
and Classification Working Group) National
Workshop Novotel Hotel, Wolverhamp t on.
Harvey Woolf T 01902 322448 F 01902 322629
E H.Woolf@wlv.ac.uk
DECEM BER
9- 12
7th. European Conference on Creativity &
Innovat ion
University of Twente, Netherlands Pre- registration
for the conference (both academics and nonacademics) can be done through:
www.eaci.net E eaci@eaci.net F +31-53-4338465
2002
M ARCH
22- 24
Creativity in Question An internat ional,
mult id isc ip linary conferenc e
Ed inb urgh University Conference Centre, 22-24
M arch 2002 To register interest and find out more
about it, please visit the conferenc e
website at: http://art s.q muc .ac .uk/ b ac s/ c reat ivit y
or email conference co-ord inat ors:
jvalentine@qmuc.ac.uk or rbutt@qmuc.ac.uk
NB Some events may be limited to internal staff
or those from institutions within the local area.
ADC events are open to all. Let us know about
your workshops, conferences and other events,
so that we can help to publicise them; and tell
us what else you would like ADC to do to
sup p ort your teaching.