We need to talk

'We need to talk' examines the discursive framework of LEVEL as a feminist art collective and engages with conversation as a strategy for bringing diverse individual voices to the forefront of the feminist discussion. The words in the audio works, were recontextualised from a series of dinner party conversations, which focused on the role of women and feminism in the 21st century. The thoughts and ideas of sixty women have been transcribed, edited and re-recorded through the artists’ individual voices. Placed in a specially constructed ‘lazy susan’, this audio installation speaks of the experience of sharing information, ideas and experiences ‘around the table’. The fabric patterns on the floor cushions have been designed from banners created in collective workshops with women in Brisbane and Melbourne, Australia, as a way of translating personal statements and political ideas into the everyday.

Food for thought

'Food for thought 'embraces the notion that a revolution can start at the dinner table. In the 1970s Judy Chicago’s work 'The Dinner Party' sparked debate and brought attention to the significant contribution of women throughout history. LEVEL drew from the central idea of this work - the gathering of women around the dining table - in order to explore the richness of ideas that this kind of debate generates as a contemporary form of consciousness-raising.

 As part of the 2012 Next Wave Festival, LEVEL hosted a series of dinner party events and banner making workshops at the Footscray Community Arts Centre. Dinner themes addressed the role of women in the arts and in the media, the significance of feminist generations in Australian art and the role of art to bring about political change for women.

Training AAC users in user-centred design

User-centred design (UCD) with a focus on usability provides product developers with a design approach in which users are involved in every stage of the process: when gathering requirements; when evaluating alternative designs; and when evaluating interactive prototypes.The characteristics of people who use augmentative and alternative communication (AAC) make it difficult to follow a truly UCD approach, which in part may contribute to the high rejection of AAC devices. Training workshops have been delivered to introduce users and AAC professionals to the UCD process.Initial feedback indicates that they feel more empowered to evaluate systems and to engage in the design of new systems after attending the workshop.

Successful application can only be achieved through reliable knowledge discovery: an Introduction to RIKD 2010

RIKD 2010 is the Third International Workshop on Reliability Issues in Knowledge Discovery. This paper provides an introduction to the workshop. It summarizes the main workshop features and provides a formulation of the field of reliable knowledge discovery.

The Popular Education Network of Australia (PENA) and Twenty-First-Century critical education

Drawing on the philosophies and writings of Paulo Freire regarding education as activism, this paper will explore the history and activities of the Popular Education Network of Australia (PENA). The network, founded in 2009, involves educators, academics and community workers, working together on issues relating to critical pedagogy and social change in schools, communities and adult education contexts. Two symposia have been organised on critical education in Australia. In 2010, ‘Teaching and Learning for Social Justice and Action’ was the inaugural gathering. In 2012, ‘Freire Reloaded: Learning and Teaching to Change the World’ featured a diverse range of workshops and Professor Antonia Darder as keynote speaker and observer. Through the perspectives and experiences of five academics involved in PENA, this paper will explore the group’s activities and reflect on the inspiration drawn from the work of Freire, Darder and others. Creating spaces for discussion of critical pedagogy affords opportunities for academics, educators, teachers and activists to reflect on their practice and also leads to further spontaneous networking and planning of action. In this paper we argue that there is continuing importance, in fact urgency, in producing places and spaces for conscientisation to occur, and for examples of critical education to be shared amongst 21st century educators.

Open House : Improvisation evening. Improvised reading

Within the Improvisation practices Symposium over ten day from Nov 27 - Dec 7 , Critical Path and director Margie merlin held a series of workshops and performance. Within this program I was invited to perform on the last evening of the symposium within a 1 hours program of improvised performances

Seminars on improvisation

These seminars will involve exercises, guided improvisation and improved performance that bring together diverse practitioners from different communities (across 4 continents) formed/informed by different contexts and histories to provide a focused and rich platform for engagement. The aim of the seminars will focus on clarifying what Andrew, Jondi and the participants mean by improvisation, how we use it, what are its dimensions and what do we imagine its future to be. The workshops will encompass experiential, anecdotal, theoretical and philosophical pathways, in no particular order.

An educational programme for parents on the body image of preschool-aged boys

This study was designed to increase parents' awareness of their role in their preschool child's body image and increase positive body image attitudes. In total, 118 parents (54 intervention, 64 control) of boys aged -3-6 years completed a two-session educational workshop. At post-test and the 3 months' follow-up, parents in the intervention group compared to the control group reported a greater level of perceived knowledge on how they may influence their son's body image and a greater level of body appreciation. These results indicate that educational workshops are effective in improving parents' knowledge to improve their son's body image.

An evaluation of the impact of using authentic design and build industry projects in project-based learning

BACKGROUNDChisholm’s ‘first year experience’ is a significant feature of the new industry focused Bachelor of Engineering Technology program delivered in association with the South East Melbourne Manufacturers’ Alliance (SEMMA). This conceive-design-implement-operate (CDIO Initiative) program commenced as a full time program in first semester 2012. Whereas it is common for CDIO Initiative programs to have a first year experience program containing a project typical of the type of industry project they would complete as a graduate engineer or engineering technologist, this goes further by using real industry projects provided by SEMMA members.This design-and-build industry project runs across both semesters supporting project-based learning in three first year subjects. A concern is that the industry involvement of the projects adds substantially to an already heavy student workload. This has been further increased by the addition of two additional first year initiatives: writing workshops, and training in, and substantial use of, student oral presentations. It is recognised that an excessive workload could lead students to adopt surface learning approaches in other subjects.PURPOSEThe goal of the project is to evaluate student perceptions of the value and work load impact of the industry project and the other new first year initiatives.DESIGN/METHODCentral to this project is a student survey-based evaluation of the industry project based learning that is the core of the ‘first year experience’. The participants were limited to the small group of students who, in a single year, completed all three subjects that comprise the ‘first year experience’. To avoid compromising the results the survey was administered by Chisholm Institute’s Department of Strategy and Planning with no engineering technology degree program staff present. The survey included questions to enable responses to be linked with specific student demographics without identifying any of the respondents.RESULTSThe study showed the industry project-based learning had worthwhile outcomes but placed considerable time pressures on most respondents. For some, this also impacted on their other subjects. A first year oral presentation program was also shown to have worthwhile outcomes. However no conclusions could be reliably drawn on the third initiative – writing workshops.CONCLUSIONSThe results confirm that the authentic industry project is considered a worthwhile initiative but contributes significantly to student overload. This applies also – to a lesser extent – to the first year oral presentation program. Both also require new approaches to delivery as student numbers increase. Strategies to address these issues are discussed.

'Kids in design': designing creative schools with children

There is a consensus that children should be involved in the planning and design process of their schools, and attempts have been made throughout the world. This paper introduces a 'Kids in Design' project, through which primary school children worked with university architecture students to design a school playground. The aim of the project was to encourage the full potential of children's creativity and generate creative school design outcomes. From October to December 2011, the 'Kids in Design' project was conducted in Roslyn Road Primary School (Geelong, Australia). Through eight weeks of workshops, children in Year 5 & 6 worked with architecture students from Deakin University (Geelong, Australia) to design a school playground. Assessing the design outcomes of this project, assertions are made that creative design outcomes have been achieved. Deakin University is currently working with another primary school to replicate the 'Kids in Design' project in 2012.

Enhancing and assessing group and team learning in architecture and related design contexts

EXECUTIVE SUMMARYTeamwork skills are essential in the design industry where practitioners negotiate often-conflicting design options in multi-disciplinary teams. Indeed, many of the bodies that accredit design courses explicitly list teamwork skills as essential attributes of design graduates e.g., the Australian Institute of Architects (AIA), Royal Institute of British Architects (RIBA), the National Council of Architectural Registration Boards (NCARB) of the United States and the Institution of Engineers, Australia (IEAust). In addition to the need to meet the demands of the accrediting bodies, there are many reasons for the ubiquitous use of teamwork assignments in design schools. For instance, teamwork learning is seen as being representative of work in practice where design is nearly always a collaborative activity. Learning and teaching in teamwork contexts in design education are not without particular challenges. In particular, two broad issues have been identified: first, many students leave academia without having been taught the knowledge and skills of how to design in teams; second, teaching, assessment and assignment design need to be better informed by a clear understanding of what leads to effective teamwork and the learning of teamwork skills. In recognition of the lack of a structured approach to integrating teamwork learning into the curricula of design programs, this project set out to answer three primary research questions: • How do we teach teamwork skills in the context of design? • How do we assess teamwork skills?• How do design students best learn teamwork skills?In addition, four more specific questions were investigated:1. Is there a common range of learning objectives for group-and-team-work in architecture and related design disciplines that will enable the teaching of consistent and measurable outcomes?2. Do group and team formation methods, learning styles and team-role preferences impact students’ academic and course satisfaction outcomes?3. What combinations of group-and-team formation methods, teaching and assessment models significantly improve learning outcomes?4. For design students across different disciplines with different learning styles and cultural origins, are there significant differences in performance, student satisfaction (as measured through questionnaires and unit evaluations), group-and-team working abilities and student participation?To elucidate these questions, a design-based research methodology was followed comprising an iterative series of enquiries: (a) A literature review was completed to investigate: what constitutes effective teamwork, what contributes to effectiveness in teams, what leads to positive design outcomes for teams, and what leads to effective learning in teams. The review encompassed a range of contexts: from work-teams in corporate settings, to professional design teams, to education outside of and within the design disciplines. The review informed a theoretical framework for understanding what factors impact the effectiveness of student design teams. (b) The validity of this multi-factorial Framework of Effectiveness in Student Design Teams was tested via surveys of educators’ teaching practices and attitudes, and of students’ learning experiences. 638 students and 68 teachers completed surveys: two pilot surveys for participants at the four partner institutions, which then informed two national surveys completed by participants from the majority of design schools across Australia. (c) The data collected provided evidence for 22 teamwork factors impacting team effectiveness in student design teams. Pedagogic responses and strategies to these 22 teamwork factors were devised, tested and refined via case studies, focus groups and workshops. (d) In addition, 35 educators from a wide range of design schools and disciplines across Australia attended two National Teaching Symposiums. The first symposium investigated the wider conceptualisation of teamwork within the design disciplines, and the second focused on curriculum level approaches to structuring the teaching of teamwork skills identified in the Framework.The Framework of Effectiveness in Student Design Teams identifies 22 factors impacting effective teamwork, along with teaching responses and strategies that design educators might use to better support student learning. The teamwork factors and teaching strategies are categorised according to three groups of input (Task Characteristics, Individual Level Factors and Team Level Factors), two groups of processes (Teaching Practice & Support Structures and Team Processes), and three categories of output (Task Performance, Teamwork Skills, and Attitudinal Outcomes). Eight of the 22 teamwork factors directly relate to the skills that need to be developed in students, one factor relates to design outputs, and the other thirteen factors inform pedagogies that can be designed for better learning outcomes. In Table 10 of Section 4, we outline which of the 22 teamwork factors pertain to each of five stakeholder groups (curriculum leaders, teachers, students, employers and the professional bodies); thus establishing who will make best use the information and recommendations we make. In the body of this report we summarise the 22 teamwork factors and teaching strategies informed by the Framework of Effectiveness in Student Design Teams, and give succinct recommendations arising from them. This material is covered in depth by the project outputs. For instance, the teaching and assessment strategies will be expanded upon in a projected book on Teaching Teamwork in Design. The strategies are also elucidated by examples of good practice presented in our case studies, and by Manuals on Teamwork for Teachers and Students. Moreover, the project website ( visited by representatives of stakeholder groups in Australia and Canada), is seeding a burgeoning community of practice that promises dissemination, critical evaluation and the subsequent refinement of our materials, tools, strategies and recommendations. The following three primary outputs have been produced by the project in answer to the primary research questions:1. A theoretical Framework of Effectiveness in Student Design Teams;2. Manuals on Teamwork for Teachers and Students (available from the website);3. Case studies of good/innovative practices in teaching and assessing teamwork in design;In addition, five secondary outputs/outcomes have been produced that provide more nuanced responses:4. Detailed recommendations for the professional accrediting bodies and curriculum leaders;5. Online survey data (from over 700 participants), plus Team Effectiveness Scale to determine the factors influencing effective learning and successful outputs for student design teams;6. A community of practice in policy, programs, practice and dialogue;7. A detailed book proposal (with sample chapter), submitted to prospective publishers, on Teaching Teamwork in Design; 8. An annotated bibliography (accessed via the project website) on learning, teaching and assessing teamwork.The project has already had an international impact. As well as papers presented in Canada and New Zealand, the surveys were participated in by six Canadian schools of architecture, whose teaching leaders also provided early feedback on the project aims and objectives during visits made to them by the project leader. In addition, design schools in Vancouver, Canada, and San Diego in the USA have already utilised the Teacher’s Manual, and in February 2014 the project findings were discussed at Tel Aviv University in a forum focusing on the challenges for sustainability in architectural education.

Using video to promote pre-service teachers’ thinking about their transition to teaching

This paper reports on research investigating the use of video representations of first-year teachers’ experiences in undergraduate teacher education workshops that focus on the transition to teaching. The use of the video is a responsive act that draws on the notion of looking back, where graduates in their first year of teaching ‘speak to’ current students. Scenes from video footage of the theatre-based research performance The First Time shaped workshop activities and discussions in the unit. Themes ranged from pedagogical to practical, covering topics such as teacher identity discourses; epiphanic and revelatory moments of transition to becoming a teacher; and preparing for job applications and interviews. Data from the researcher’s journal, Student Evaluation of Teaching and Units (SETU) comments, and semi-structured interviews with undergraduate students upon completion of the workshops are framed within a phenomenographic paradigm. The aim in phenomenography is to describe variations of conception that people have of a particular phenomenon (Sin, 2010), in this case the video as a tool to promote critical thinking about the transition to teaching. The researcher explored her own, and participants’ experiences, and identified a range of conceptual meanings of the phenomenon. These were classified into categories according to their similarities and differences concerning the effectiveness of this specific video in assisting undergraduates in their transition to teaching. Early results reveal some similarities and many variations among participants as to the effectiveness of the video as a tool. Their conceptions of the phenomenon are individual and relational, and as such are quite varied. Emergent varied themes include: ‘I know what it is that I need to learn’; ‘Is this theory or practice?’; and ‘I don’t do drama’. Emergent similarities include: ‘Preparing for the unexpected’.

Constructing knowledge

The most popular model of how students learn is known as the constructivist model of learning. There are variants of this model, but the main features are that learning occurs in the context of pre-existing experiences and ideas, that new concepts are transformed to fit or build on those existing ideas, and that learning occurs in a social or cultural context. Learners are not empty vessels, into which new knowledge can be injected. New concepts, which are consistent with and extend pre-existing experiences and ideas, are easily and effectively assimilated. Learning is difficult, when learners have pre-existing incorrect ideas or alternative conceptions, as they must first unlearn the misconceptions in order to incorporate the new information. In a different context, it is usually much harder and more expensive to retrofit an existing house than to build from scratch. Similarly, it is very hard to overcome bad habits. A previous column in Chemistry in Australia [July 2013, page 35], noted that we simplify ideas when teaching chemistry to younger students, but warned that over-simplication often results in misconceptions that will hinder future learning. Most chemistry educators favour constructivism, because there are similarities with the process of discovery in science. Firstly, the advancement of scientific knowledge builds on past experiences and knowledge: Isaac Newton famously acknowledged, “If I have seen further it is by standing on the shoulders of giants”. Secondly, observations and data of themselves are not meaningful, until that information has been transformed to extend existing ideas: Nobel Laureate Lawrence Bragg wrote, “the important thing in science is not so much to obtain new facts as to discover new ways of thinking about them”. Science as a Human Endeavour (SHE) is one of the strands in the Australian Curriculum. Similarly, one of the learning outcomes in the Draft Chemistry Academic Standards is that graduates will be able to recognise the creative endeavour involved in the acquiring knowledge and to recognise the testable and contestable nature of chemistry. Science is practiced individually and collectively by people. Human beings, who have human virtues and fallibilities, are responsible for scientific advancements. New knowledge is constructed in the minds of learners and scientists. Just as discussions in work teams, workshops, conferences, and the scientific literature, help scientists to extend and improve scientific understanding, the important role of teachers is to guide students to refine, alter and improve their scientific understanding when extending their scientific boundaries.

Does calibration reduce variability in the assessment of accounting learning outcomes?

Reliable, consistent assessment process that produces comparable assessment grades between assessors and institutions is a core activity and an ongoing challenge with which universities have failed to come to terms. In this paper, we report results from an experiment that tests the impact of an intervention designed to reduce grader variability and develop a shared understanding of national threshold learning standards by a cohort of reviewers. The intervention involved consensus moderation of samples of accounting students’ work, with a focus on three research questions. First, what is the quantifiable difference in grader variability on the assessment of learning outcomes in ‘application skills’ and ‘judgement’? Second, does participation in the workshops lead to reduced disparity in the assessment of the students’ learning outcomes in ‘application skills’ and ‘judgement’? Third, does participation in the workshops lead to greater confidence by reviewers in their ability to assess students’ skills in application skills and judgement? Our findings suggest consensus moderation does reduce variability across graders and also builds grader confidence.

Organizational Fit: Key Issues and New Directions

An ambitious survey of the field, by an international group of scholars, that looks toward the future of person-organization fit. Explores how people form their impressions of fit and the impact these have on their behavior, and how companies can maximize fit. Includes multiple perspectives on the topic of how people fit into organizations, discussing issues across the field and incorporating insights from related disciplines. Actively encourages scholars to take part in organizational fit research, drawing on workshops and symposia held specially for this book to explore some of the creative directions that the field is taking into the future. © 2013 John Wiley & Sons, Ltd.