Interactive Learning in Library Inductions at University for the Creative Arts

Large group library inductions in a lecture theatre at the beginning of term are considered to be one of the more challenging scenarios for delivery. This article describes an activity in which students in groups of 30-90 are introduced to the library and its resources, using an activity to engage them and to connect their ideas with the content presented. The work of several educational theorists embodied in the activity is then described. The session was conceived as a collaboration between the Learning and Teaching Librarian and the Learning Development Tutor, who is responsible for supporting students with their reading, writing and critical skills. This work was done at University for the Creative Arts, where the author formerly held post as Learning and teaching Librarian.

Reducing Social Isolation in a Rural Community Through Participation in Creative Arts Projects

This article reports the initial findings from the evaluation of four creative arts projects involving groups of older people living in a rural community. The purpose of the projects was to reduce social isolation among participants through providing direct access to arts and social activities. The view was that these activities would improve life skills and independence, increase levels of activity and improve the health, wellbeing and quality of life of participants. Evaluation of these projects demonstrated increased levels of self-worth and self-esteem among participants, and many of the older people involved agreed that they had made new friends while having the opportunity to try out a new activity.

“Refugee Voices,” New Social Media and Politics of Representation: Young Congolese in the Diaspora and Beyond

This article examines the role of new social media in the articulation and representation of the refugee and diasporic “voice.” The article problematizes the individualist, de-politicized, de-contextualized, and aestheticized representation of refugee/diasporic voices. It argues that new social media enable refugees and diaspora members to exercise agency in managing the creation, production, and dissemination of their voices and to engage in hybrid (on- and offline) activism. These new territories for self-representation challenge our conventional understanding of refugee/diaspora voices. The article is based on research with young Congolese living in the diaspora, and it describes the Geno-cost project created by the Congolese Action Youth Platform (CAYP) and JJ Bola’s spoken-word piece, “Refuge.” The first shows agency in the creation of analytical and activist voices that promote counter-hegemonic narratives of violence in the eastern Democratic Republic of Congo, while the second is an example of aesthetic expressions performed online and offline that reveal agency through authorship and ownership of one’s voice. The examples highlight the role that new social media play in challenging mainstream politics of representation of refugee/diaspora voices.

Tropes and Trench Cakes: The Home Front in the Media and Community History

The recent WW1 'fest' has provided a multitude of different engagements with the history of this conflict by media and community groups. The relationship between these histories and academic history is not unproblematic. It provides space for a greater emphasis on the home front but there are questions to be asked about the politics and the accuracy of such history. It is up to academics to find ways of working with popular histories which ensure that troublesome knowledge of the conflict continues to be explored.

Possibilities and problems of teaching the history of the present time through media and information literacy.

Le système éducatif encourage une histoire positiviste, ordonnée, unilatérale et universelle; par l´incorporation de le découpage chronologique de l´histoire en quatre étapes. Mais, est-ce qu´il serait posible que les élèves puissent étudier leur propre présent? Mon commuication poursuit d´exposer, comme Saab affirmait, le présent est “le point de départ et d´arrivée de l´enseignement de l´histoire détermine les allers et les retours au passé”. La façon d´approcher l´enseignement de l´histoire est confortable. Il n´y a pas de questions, il n´y a pas de discussions. Cette vision de l´histoire interprétée par l´homme blancoccidental-hétérosexuel s´inscrit dans le projet de la modernité du Siècle des Lumières. Par conséquent, cette histoire obvie que nous vivons dans una société postmoderne de la suspicion, de la pensée débile. En ce qui concerne la problématique autour de la pollution audiovisuelle et la façon dont les enseignants et les élèves sont quotidiennement confrontés à ce problème. Par conséquent, il est nécessaire de réfléchir à la question de l´enseignement de l´histoire quadripartite. Actuellement, les médias et les nouvelles technologies sont en train de changer la vie de l´humanité. Il est indispensable que l´élève connaisse son histoire presente et les scénarioshistoriques dans l´avenir. Je pense en la nécessité d´adopter une didactique de l’histoire presente et par conséquent, nous devons utiliser la maîtrise des médias et de l´information. Il faut une formation des enseignants que pose, comme Gadamer a dit: “le passé y le présent se trouvent par une négociation permanente”. Una formation des enseignants qui permette de comprendre et penser l´histoire future / les histoires futures. À mon avis, si les élèves comprennent la complexité de leur monde et leurs multiples visions, les élèves seront plus tolérantes et empathiques.

WATER TRANSPORT THROUGH POROUS MEDIA AND IN FLOW CHANNELS OF PROTON EXCHANGE MEMBRANE FUEL CELL

Proton exchange membrane (PEM) fuel cell has been known as a promising power source for different applications such as automotive, residential and stationary. During the operation of a PEM fuel cell, hydrogen is oxidized in anode and oxygen is reduced in the cathode to produce the intended power. Water and heat are inevitable byproducts of these reactions. The water produced in the cathode should be properly removed from inside the cell. Otherwise, it may block the path of reactants passing through the gas channels and/or gas diffusion layer (GDL). This deteriorates the performance of the cell and eventually can cease the operation of the cell. Water transport in PEM fuel cell has been the subject of this PhD study. Water transport on the surface of the GDL, through the gas flow channels, and through GDL has been studied in details. For water transport on the surface of the GDL, droplet detachment has been measured for different GDL conditions and for anode and cathode gas flow channels. Water transport through gas flow channels has been investigated by measuring the two-phase flow pressure drop along the gas flow channels. As accumulated liquid water within gas flow channels resists the gas flow, the pressure drop increases along the flow channels. The two-phase flow pressure drop can reveal useful information about the amount of liquid water accumulated within gas flow channels. Liquid water transport though GDL has also been investigated by measuring the liquid water breakthrough pressure for the region between the capillary fingering and the stable displacement on the drainage phase diagram. The breakthrough pressure has been measured for different variables such as GDL thickness, PTFE/Nafion content within the GDL, GDL compression, the inclusion of a micro-porous layer (MPL), and different water flow rates through the GDL. Prior to all these studies, GDL microstructural properties have been studied. GDL microstructural properties such as mean pore diameter, pore diameter distribution, and pore roundness distribution have been investigated by analyzing SEM images of GDL samples.

Best-practice model for technology enhanced learning in the creative arts

This paper presents a best-practice model for the redesign of virtual learning environments (VLEs) within creative arts to augment blended learning. In considering a blended learning best-practice model, three factors should be considered: the conscious and active human intervention, good learning design and pedagogical input, and the sensitive handling of the process by trained professionals. This study is based on a comprehensive VLE content analysis conducted across two academic schools within the creative arts at one Post-92 higher education (HE) institution. It was found that four main barriers affect the use of the VLE within creative arts: lack of flexibility in relation to navigation and interface, time in developing resources, competency level of tutors (confidence in developing online resources balanced against other flexible open resources) and factors affecting the engagement of ‘digital residents’. The experimental approach adopted in this study involved a partnership between the learning technology advisor and academic staff, which resulted in a VLE best-practice model that focused directly on improving aesthetics and navigation. The approach adopted in this study allowed a purposive sample of academic staff to engage as participants, stepping back cognitively from their routine practices in relation to their use of the VLE and questioning approaches to how they embed the VLE to support teaching and learning. The model presented in this paper identified a potential solution to overcome the challenges of integrating the VLE within creative arts. The findings of this study demonstrate positive impact on staff and student experience and provide a sustainable model of good practice for the redesign of the VLE within creative disciplines.

Portfolios and pedagogy : an examination of ideology and use

Portfolio use in writing studies contexts is becoming ubiquitous and, as such, portfolios are in danger of being rendered meaningless and thus require that we more fully theorize and historicize portfolios. To this end, I examine portfolios: both the standardized portfolio used for assessment purposes and the personalized portfolio used for entering the job market. I take a critical look at portfolios as a form of technology and acknowledge some of the dangers of blindly using portfolios for gaining employment in the current economic structure of fast capitalism. As educators in the writing studies fields, it is paramount that instructors have a critical awareness of the consequences of portfolio creation on students as designers, lifelong learners, and citizens of a larger society. I argue that a better understanding of the pedagogical implications for portfolio use is imperative before implementing them in the classroom, and that a social-epistemic approach provides a valuable rethinking of portfolio use for assessment purposes. Further, I argue for the notions of meditation and transformation to be added alongside collection, selection, and reflection because they enable portfolio designers and evaluators alike to thoughtfully consider new ways of meaning-making and innovation. Also important and included with meditation and transformation is the understanding that students are ideologically positioned in the educational system. For them to begin recognizing their situatedness is a step toward becoming designers of change. The portfolio can be a site for that change, and a way for them to document their own learning and ways of making meaning over a lifetime.

From darkness to light: The story of conversion in the Reverend George Brown's photographs

This Article does not have an abstract.

Teachers' knowledge, awareness, and pedagogy of global education in secondary schools

In 1979, the Florida State Board of Education approved the teaching of global education in the state of Florida. The purpose of this study was to examine the factors that contributed to teachers' global knowledge, global mindedness, and pedagogy in global education. The Hanvey model of teaching from a global perspective was the theoretical framework for the study. ^ A total of 90 secondary teachers from Miami-Dade County Public Schools were randomly selected and placed in three groups: Globally Oriented Social Studies Program (GOSSE), Non-Globally Oriented Social Studies Program (non-GOSSE), and Teachers Who Teach Other Subjects (TWTOS). Seven teachers, two of whom team-taught a class, were selected for classroom observations and interviews. A mixed methods design that combined quantitative and qualitative data was used. ANOVA and Chi square techniques were used to determine whether the factors that contributed to teachers' global knowledge and global mindedness differ among groups. Classroom observations and interviews were conducted to determine whether the instructional strategies differ among the seven selected teachers. ^ The findings of the study show that teachers who were trained in teaching from a global perspective differed in their global knowledge and used more appropriate instructional strategies than teachers who were not trained in teaching global perspectives. There was no significant difference in the combined global knowledge of the non-GOSSE and TWTOS groups when compared with the GOSSE group. There was no significant difference in the combined global knowledge of the GOSSE and non-GOSSE groups when compared with the TWTOS group. There was no significant difference among the teachers in their global mindedness. Observation and interview data indicate that current events, role-playing, simulations, open-ended discussion, debates, and projects were the predominant instructional strategies used by globally trained teachers. Cable networks, Internet, magazines, and newspapers were found to be the dominant tools for teaching global education. ^ This study concluded that teachers who were trained in globally oriented programs had more global knowledge than teachers who were not. It is recommended that teacher education programs should incorporate a global perspective in the preparation of social studies teachers, with particular attention to developing their global attitudes. ^

Redefinición de las TIC en el museo: del discurso invasivo al inclusivo

Las TIC son inseparables de la museografía in situ e imprescindibles en la museografía en red fija y móvil. En demasiados casos se han instalado prótesis tecnológicas para barnizar de modernidad el espacio cultural, olvidando que la tecnología debe estar al servicio de los contenidos de manera que resulte invisible y perfectamente imbricada con la museografía tradicional. Las interfaces móviles pueden fusionar museo in situ y en red y acompañar a las personas más allá del espacio físico. Esa fusión debe partir de una base de datos narrativa y abierta a obras materiales e inmateriales de otros museos de manera que no se trasladen las limitaciones del museo físico al virtual. En el museo in situ tienen sentido las instalaciones hipermedia inmersivas que faciliten experiencias culturales innovadoras. La interactividad (relaciones virtuales) debe convivir con la interacción (relaciones físicas y personales) y estar al servicio de todas las personas, partiendo de que todas, todos tenemos limitaciones. Trabajar interdisciplinarmente ayuda a comprender mejor el museo para ponerlo al servicio de las personas.