The spiral of learning : 4 R’s of education

The purpose of this paper is to explore the integration of learning, continuous improvement theories and reflective evaluation for enhancing management education. Conceptual development is combined with the outcomes of a pilot focus group as an example of reflective evaluation. The Spiral of Learning concept is uniquely augmented through hermeneutics, action research and the Deming cycle. Four R’s are identified in the Spiral of Learning: Review, Revise, Reconstruct and Reveal. Recommendations for each of the 4 R’s are made to assist continuous improvement of management education. For instance, emerging suites of social software appropriately chosen, timed and applied can assist student learning. Direct human connection in some form is recommended for learners when information is delivered online. The concepts and resultant recommendations inform practice through prioritization of online applications and development of appropriate checks and balances by academics and administrators.

Material damage: 4 projector film performance

Dirk de Bruyn’s expanded cinema performances engage the æsthetics of process at a number of levels. At the core of these performances are several of three- or four-screen, essentially abstract films of the same duration which comment upon and echo each other in a constant interplay of flicker-like positive and negative imagery. The soundtrack of the films works in a related way: the same or similar words and sound fragments are overlayed, or are repeated in an absurd call-and-answer pattern running from one speaker to another. This overall design or formal system is then set into play and relativised in the live event through a number of treatment-techniques. Reels are placed out of order or interspliced with other short films or fragments of found footage or tests, the bulb of one or more projectors can be occasionally turned off while the soundtrack continues, or the projector can be stopped altogether, extending, stretching out or disrupting completely the apparent synchrony between each screen and soundtrack. The light beam of each projector is filtered, distorted, split and multiplied using hand-held colour gels, plastic bottles, prisms and mirrors, or else silhouetted or blocked completely with the artist’s own hands and body. The projectors themselves can be inverted, turned around or physically transported across the space, mixing and overlaying the imagery, animating different areas of the performance environment and transforming the body of the audience itself into a screen medium.