Records of Teaching Observations

Please find here the links to the three ROT forms which are saved as word documents and also listed in full below.

  1. Yasi Tehrani observation of Sheran Forbes (Me doing peer observation)
  2. Sheran Forbes observation of Yasi Tehrani (Peer observation of me)
  3. Lindsay Jordan observation of Yasi Tehrani (Tutor observation) Awaiting form

Yasi Tehrani observation of Sheran Forbes

Session/artefact to be observed/reviewed: A teaser book consisting of front cover and insides, basically a promotional book
Size of student group: 40–50
Observer: Yasi Tehrani
Observee: Sheran Forbes

Part One
What is the context of this session/artefact within the curriculum?

The session takes place within BA Graphic and Media Design first year course teaching on the module Applied Methods and Exploration (AME).

How long have you been working with this group and in what capacity?

I have been working with this group since September 2023

What are the intended or expected learning outcomes?

To demonstrate a consideration for materials and processes through exploration of paper/format/binding/ cover-types/print finishing techniques examples and completion of workshop activities. To also apply responsible processes and methods for the development of their visual language applied to book cover designs demonstrating a practical enquiry of tutor led, and self-led design process decision making.

What are the anticipated outputs (anything students will make/do)?

Through lecture slides, the students will be introduced to paper/format/binding/ cover-types/print finishing techniques including a practical and research led workshop activity making simple book dummies, research undertaken in the library with consideration for book formats, paper types and sizes.

A second activity will explore the cover design of the book through the creation of three different book cover designs using either analogue and or digital materials and their keywords developed from previous workshops to develop a visual language. They will also be given a word and asked to choose one of the covers and change the design of using their interpretation of that word.

Are there potential difficulties or specific areas of concern?

There are still some students who don’t have keys words because they have been absent or are unsure about which types of words would be appropriate as there are students whose first language isn’t English and will need more guidance on word choices and their meanings.

How will students be informed of the observation/review?

A week before the lecture and at the beginning of the (observed session) I will explain that an observer will be coming to observe me and my teaching practice including the reasons why, and to reassure the students that the observation of me during the session will not include filming or photographs or be intrusive in any way and that the observer will not take part in the session.

What would you particularly like feedback on?

My general teaching style, do I leave enough room for questions and queries, the speed at which I deliver the lecture, if I use extraneous language that might not be understood. Whether my instructions are clear. Do I explain terms/phrase in a clear way. How I respond to students needs and or queries. I have I explained instructions well, (do I repeat myself!?) … how students are responding to the delivery of the lecture and the workshop activities given.

How will feedback be exchanged?

Through written feedback and possibly verbal feedback.

Part Two
Observer to note down observations, suggestions and questions:

The activity asks students to create three front/back covers for their publication using three keywords and based on work that they had already completed from the previous week.

General observations:

The groups are well organised, partly due to the way that the classroom has been organised. The instructions for the activity are clear and structured and the students responded well to it.

I liked how you moved around the room and gave students a chance to chat to you individually.

I really liked the atmosphere that you created, the playlist in the back was a nice touch to create an informal vibe which lent itself to the spirit of experimentation and not being overly concerned with the output itself being ‘perfect’ but rather iterative in nature.

You managed the ‘co-teaching’ of the session with your colleague really effectively, you were able to speak to students and focus on their individual work whilst your colleague focused more on time keeping and instructions.

It was nice to see that you offered students a choice of how they completed the activity. I noticed that a lot of students had tablets and laptops which they were using, but you also offered practical alternatives such as glue, pens and other materials which meant that students weren’t disadvantaged if they didn’t have the more technical apparatus.

You have such a lovely rapport with the students and it’s clear that they appreciate your input.

There was a point where students were given a word on a piece of paper and asked to modify their book cover design based on the word, it might be a suggestion to provide some more scaffolding around this (i.e. what if a student doesn’t understand the word?) I think perhaps showing an example at this stage might have been effective, so perhaps an example of a book cover, then showing the word and then showing the new version to students so that they know what is expected of them during that part of the activity.

The presentation of the book covers and the debrief at the end was well-facilitated and I thought the way that you asked students to choose the next person to give feedback on their work was really great! It created a relaxed environment during an activity that could have potentially been stressful for students presenting their work in front of quite a lot of their peers.

The introduction of next week’s work (visual summary) was clear as well as the explanation of how it tied into the assessment.Overall I think you did an amazing job with a big cohort and a massive room – really well done!

Suggestions:

Maybe to help structure the sessions you could use a timer that is shown on the screen? Might help students get a sense of how much longer is left in the activity (although I can also see the argument against this as well as it might create a bit more stress.)

It could have been because I joined just after the activity had been set – but it might be useful for students to know what they would be doing with the cover after they had designed them. It might have helped them to focus their time a bit more and prepare for printing etc. to get the cover ready to display (for instance some students were still printing when the presentation of the covers had started).

The instruction to ‘remember to document the process’ was given towards the end of the activity – could this also have been made more explicit in the activity instructions that were shown on the slides? It seemed that students were more engrossed in completing the activity rather than documenting it as they went. What would the benefit of documenting the process have been? Is this something they could potentially share with each other going forwards, perhaps in a Padlet or something like that so that the workings of the group is made visible?

Part Three

Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:

The suggestion of providing more context to the activity-based book cover design and the given word could definitely include more context. This was a timing issue and something that can be adjusted together with other activities. There is always a balance between making sure something is explained and understood against allowing the students to think for themselves and giving them enough time to complete the work enabling time for feedback and to provide a sense of achievement and direction for the student. I can also include an example of the task although experience of this has taught me that students tend to replicate what they have been shown and not explore and experiment in fear of doing it wrong. I agree more context and perhaps simple verbal examples could be given.

Structuring the timings of activities could be included on the slides themselves along with the instructions of the activity which is normally left on display (on screen), so the students know what to do and with the addition of the timings, they’ll be aware of how long they have. We have tried setting timers but they are intrusive and I agree although my co- lecturer and I discuss timings and call out how long students have is as you have pointed not effective because students aren’t aware of how much time they should be spending on the activity especially if they are engrossed in it. Also not knowing how much time is left limits the student in terms exploration, experimenting and testing; if they know they have an hour it will allow them to work out what they are able to achieve during that time limit. On further reflection it would also benefit me and my co-lecturer, quite often we have interruptions, fire alarms, or an impromptu presentation or announcement can disrupt the flow of the session. Know what time has been lost can be gained through independent learning so students can continue of site with a clearly timed activity.

The instruction ‘remember to document your process’ is something we tell them to do constantly because as well as submitting their outcomes i.e. book designs they will also be submitting a document called The Visual Summary which documents the students design process. In block one we devote session on what a visual summary is, how to create it and why. At the beginning of each lecture, we begin with the importance of documenting and recording their process. Although we say it throughout the day, I think as you suggest, I should consider how many times we say it and when. For instance, I could begin with it at the start of the lecture and before an activity. Reflecting on this further, I realise saying it haphazardly could potentially make it meaningless. Having set times such as before an activity and at the end of the session would be more useful where independent work should also be recorded and documented for their visual summaries.

Telling the students, they’ll be involved in a public display of their work can make some of them run for the hills, causes anxiety sometimes preventing them from exploring ideas. However, as you have suggested, structured timed activities is key, having the timings displayed, knowing how long they have to design and at what point they should be printing will ensure everyone is ready to show their work for feedback. We vary the ways in which we conduct crits, so it could be standing in front of a wall display or in small tabletop groups – we decide on the day depending on student numbers and how well the activity has gone. I will add timings to slides but also emphasise what they are expected to have completed by the end of the session.

The above observations from the observer have been incredibly helpful, not only in allowing me to develop my teaching practice but to enhance the quality of what I’m teaching / delivering to the students. They are also very useful in the sense that I can reflect on my current teaching practice and ‘I’ can make these changes independently that will make a difference and not rely/defer to the wider institution of the university.

Sheran Forbes observation of Yasi Tehrani

Session/artefact to be observed/reviewed: Navigating Moodle: Workshop
Size of student group: 6 total
Observer: Sheran Forbes
Observee: Yasi Tehrani

Part One
Observee to complete in brief and send to observer prior to the observation or review:

What is the context of this session/artefact within the curriculum?

This session was part of a collaborative project called ‘Navigating Moodle’ which took place between January – April 2024. We set out to examine how we may best support students in finding what they need to succeed, looking at how Moodle may present structures and information. As part of this, we developed a workshop that allowed us to capture a range of insights from a small group of student partners through experimentation, open thinking, and collaboration. This was delivered using Microsoft Teams and used a Miro board to structure the activity. I delivered this in collaboration with my colleagues from UAL Online. The workshop was held on 8 February 2023.

How long have you been working with this group and in what capacity?

This was the first time that I had worked with this group of student partners. We put out a call via Arts Temps for volunteers who had had some experience with online learning to take part in the project. This workshop was the first time we had met ‘virtually’ but we had been introduced via email prior to the workshop.

What are the intended or expected learning outcomes?

The expected learning outcomes were as follows:

By the end of the workshop, you will have: ​

  • Discussed solutions for scenarios that affect the student experience​
  • Produced indicative designs showing the VLE layout of a particular scenario for either desktop or mobile
  • Prepared for your independent design activities

What are the anticipated outputs (anything students will make/do)?

As part of the workshop, we presented participants with a range of hypothetical student scenarios and asked them to investigate these in smaller groups and respond to them by identifying how they might design a VLE (Virtual Learning Environment) in response to the scenarios. Once they had done this in smaller groups, we then asked them to (using Miro) create a wireframe of how this might specifically look and to sketch it out for both desktop and mobile.

Are there potential difficulties or specific areas of concern?

This was a very long workshop, running for 4 hours and so my biggest concern was keeping students engaged in the activities whilst also allowing for breaks and not overwhelming them with content.

Another area of concern was using Miro as the main tool through which students were asked to engage with the activities, especially as there was a lot of content on the board which can sometimes affect loading and performance speeds. There were no alternative or backup options offered to students.

How will students be informed of the observation/review?

As this session has taken place already and is a recording students will not need to be informed.

What would you particularly like feedback on?

Everything really! Areas for improvement.

How will feedback be exchanged?

A combination of written notes and a face-to-face meeting (either on Teams or in person) to debrief.

Part Two
Observer to note down observations, suggestions and questions:

At the start of the session, could there be more clarification on who was hosting and co-hosting the session (although if you had all met before, this wouldn’t be necessary). The overview of the content of the session was clearly articulated and the schedule of timings gave the students a clear indication of the scheduled events and what their expectations of them would be. It was helpful to have a breakdown of the schedule which centred on the needs of the student with regards to how much time they would be spending on screen.

Introductions online can always seem stilted, however introducing emoticons to convey how people were feeling was a good way to detract from the initial pressure of saying who you are and what you do. It really lighted the mood with students talking about the emoji’s they had chosen.

The warm-up activity introducing the students to Miro worked really well. It was a thoughtful and fun exercise which got the students involved using Miro helping them to become familiar with the tools of the software whilst keeping them engaged. The warm-up exercise questions were just right – not too personal or intrusive and did not require a detailed response. They sparked lively conversations and were a fun way to get students talking about their responses providing an opportunity to find out a more about each other in a fun and relaxed environment. I thought it was really helpful that the students could all see each other’s responses, but also see each other’s facial responses and gestures, lots of smiling and laughing. It made the process of collaborative working in Miro seem easy and intuitive, you could see everyone felt confident in their ability to contribute. Watching this style of collaborative learning online is something I’d like to introduce to my own online teaching practice.

The second warm-up exercise which entailed drawing worked just as well as the first exercise. A very simple but clever idea to provide the students with ‘digital’ sheets of paper already containing a circle, prompting them to create drawings that incorporate it. People are often put off drawing in front of each other because they feel shy or pressured about their drawing responses if drawing is something they don’t do or believe they can’t. There is also the idea of being given a blank sheet of paper where its easy to become afraid of making a mark. Providing a circle and adding to it avoids that pressure, it allowed students to make their marks but with the emphasis on learning how the drawing tool operates, and how students can apply it to their collaborative projects. Again, students were engaged using the tools whilst talking to each other and responding to what others had drawn. This is something that I could use within my teaching practice online and in-person.

Both exercises were excellent examples of collaborative learning in an online environment, which might initially seem limited due to not being in the same room. However, the thoughtful design and planning of the warm-up activities, integrated into the learning process, resulted in strong student engagement evident through lively discussions and positive facial and body language.

In the breakout rooms, students appeared at ease working and interacting with each other. Despite working separately, their facial expressions indicated a sense of comfort, and having the cameras on contributed to creating a warm and friendly atmosphere. However, there were moments of silence, and I thought it might be beneficial to facilitate the session by encouraging students to discuss some of the suggestions they were making. This could help keep the conversation flowing and avoid long periods of silence. You could use the opportunity to learn more about their roles and discuss any challenges they might face using Moodle in their department. It could spark valuable conversations and insights and encourage some of the more quieter students to take part in the discussions.

Your instructions for the final workshop were clear and well-articulated. It made me reflect on my own teaching practice, particularly the speed at which I speak. You spoke at a comfortable pace, allowing time for questions and comments, and ensuring that students understood what was expected of them. The ‘live’ demonstration worked well; student’s gestures indicated that they understood your explanations. You also showed empathy towards the issues students may face when learning a new software, drawing from your own experiences, and understanding of other user experiences.

You worked well with your co-host, there was one point where a student asked whether there was ‘an option to translate a whole page in Moodle’. I think it’s perfectly fine to confidently admit when you don’t know something or are unsure, and it’s perfectly okay to pass the question to your co-host. This is something that I’m learning to do too.

Summary

Overall, this was an engaging online workshop session. The warm-up exercises and workshop activities were informative, fun and well planned. You had built a strong rapport with the students enabling the students to feel comfortable sharing information and collaborating together in an online environment.

Some points to work on/ think about:

Are there ways you can facilitate the conversations and interactions between you and the students the workshops sessions – for instance commenting on what people are creating / making / writing.

Responding to some of the suggestions, insights and comments that students make and relating back to their roles and backgrounds.

Could you put together a set of questions that could initiate conversations between you and the students during more quiet moments without distracting them from the task they have been set.

More formal introductions from the hosts at the beginning to clarify who will be doing what and when. Perhaps more background information on your role within the department you work in.

Part Three

Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:

This feedback is immensely helpful as it highlights some key areas of teaching and learning delivery that I hadn’t considered before, and I’m grateful for Sheran’s perspective on this as an experienced AL. I’ve written my responses to the feedback below in red, using the things to think about bullet points to structure my response.

Are there ways you can facilitate the conversations and interactions between you and the students the workshops sessions – for instance commenting on what people are creating / making / writing.

This observation is really interesting. I think sometimes when I’m delivering workshops or sessions like this one, I’m so nervous that no-one will speak that when it happens it’s almost as though I’ve stopped listening to what the participant is saying and I’m more focussed on if anyone is talking at all! Being more present in the moment of the workshop will help and acknowledging that silence or the lack of response isn’t inherently a bad thing and something that means that the session has failed. I think incorporating structured discussion prompts and entering these into the chat box as well for students who might find it easier to read them will aid in this facilitation and hopefully encourage interaction.

Responding to some of the suggestions, insights and comments that students make and relating back to their roles and backgrounds.

I think where there is interaction, actively listening to what the participant is saying and drawing connections to their background or inviting them to talk about their lived experience will naturally draw out areas of discussion between the group and teasing this out in a way that is nuanced but respectful to all involved. I sometimes feel uncomfortable when students are vulnerable and open up in sessions like this and then the conversation moves to someone else, it almost feels as though they were so brave to speak and then they aren’t given the due attention they deserve. I think particularly given the context of this session in which we wanted students to be really explicit and honest about their experiences of using Moodle during their time at UAL, and they did this in good faith knowing that we weren’t going to share their responses.

Could you put together a set of questions that could initiate conversations between you and the students during more quiet moments without distracting them from the task they have been set.

Yes, absolutely I love this idea! I think having prepared a series of prompts would have really helped this session run a lot more smoothly. I think getting the balance between spontaneous versus more structured discussion is a fine act. I think perhaps it’s about having those prompts in your ‘back pocket’ as it were, so that you can draw on them as and when needed but not necessarily lead the session with them.

More formal introductions from the hosts at the beginning to clarify who will be doing what and when. Perhaps more background information on your role within the department you work in.

Yes, completely agree. I think we skipped this in this session that you observed as we had already had an introductory session with the students where we introduced ourselves and our roles but to go over this again would have been really helpful, especially in the context of the workshop to serve as a reminder of who would be doing what in the workshop. I think there was a sense of wanting to get to the crux of the workshop, because prior we had been a bit concerned whether the Miro or the exercises would work so I think we perhaps rushed the first bit in anticipation. Spending more time upfront in the introductory phase for future sessions will help to make everyone’s role really clear and help set expectations for the students as well.

#4 Learning to fly – supporting students through constructive alignment

During the final workshop for the TPP unit, Lindsay mentioned ‘Susan’, an example of a student who is autonomous, motivated and engages in ‘deep learning’. As the workshop continued and we took part in the ‘Critiquing the Crit’ role-play activity, I started to wonder what it might be like to put myself in Susan’s shoes. What would her experience be if she was a student at UAL? How would she cope? Would she be able to navigate through a creative arts course? Could she apply her deep learning approach to a ‘sticky’ journey of learning which rarely presents itself as linear?

Susan Orr’s work explores the ‘sticky curriculum’ which reflects the multifaceted and complex challenges creative arts students face as they navigate through their courses. There’s one quote from Orr where she compares the project brief to being fired out of a cannon (a rather graphic image!). 

We might think of the project brief as human cannon at a circus that has been calibrated so that students, when loaded into the same cannon, get pushed out in different directions and different velocities. Crucially, the student is more than a passive body being propelled by a human cannon. Once released the student needs to learn to fly by themselves.

Susan Orr

Let’s imagine Susan (not Susan Orr) being fired out of a cannon. We know that she is excellently prepared and in control of her learning. How would she react to being fired out the cannon? Will she be able to fly? What mechanisms are in place to support her?  

The table below shows the apparent tensions of some elements of creative arts pedagogy and good learning design:

Creative arts pedagogiesOnline learning good practice
Learning outcomes that are too specific hinder creative learning (Davies 2012)Constructively aligned learning and teaching methods (Biggs 1996)
‘Sticky’ curricula as a deliberate pedagogic strategy (Orr and Shreeve, 2018)Structured learning design processes (i.e. UCL’s ABC)
Appendix A: Table showing the apparent tensions of some elements of creative arts pedagogy and good learning design

Constructive alignment as a framework can help to facilitate these tensions through ensuring the curriculum is cohesively designed with aligned learning outcomes, teaching methods, and assessment tasks. It supports students in making meaningful connections between their learning activities and the wider aim of why they are studying.

We should aim for a creative arts education that combines creative pedagogy alongside constructive alignment and best practice in online learning design. This will help to equip Susan and all students with the skills that they need to fly and navigate the uncertainties that are inherent in creative practice. Their flight paths, although not pre-planned, are always within a sphere of ongoing support, guidance and encouragement to explore, experiment, and express oneself freely.

Appendix B: The overlap is what we should be aiming for

The overlap between creative arts pedagogies and online learning good practice is what we should be aiming for. This sweet spot enables students like Susan to not only survive but thrive in the unique landscape of creative arts education. Combining the strengths of creative pedagogy with constructive alignment and best practices in online learning design can create a learning environment that supports all students in their unique flight paths.

(535 words)

References

Biggs, J. (1999) ‘What the Student Does: teaching for enhanced learning’, Higher Education Research & Development, 18(1), pp. 57–75. Available at: https://doi.org/10.1080/0729436990180105.

Orr, S. and Shreeve, A. (2019) Art and design pedagogy in higher education : knowledge, values and ambiguity in the creative curriculum. London: Routledge, Taylor & Francis Group.

Case Study 2

Planning and teaching for effective learning (A1, A2, V3)

Contextual Background

In collaboration with a team of academic staff from LCC, I am designing a series of 30-credit online units as part of a MA in Graphic Communication. This set of units will form part of a larger suite of online courses created by UAL Online.

Evaluation

A concern raised by LCC academic staff around the design of the course is the lack of the ‘studio’ and how we might replicate a studio environment online. They also raised concerns about creating a sense of community and trust online.

I want to ensure that we build in opportunities to develop trust amongst students which will encourage authentic collaboration. I want to incorporate social pedagogies of belonging into the course. (Hill and Bunting, 2024) by creating learning experiences that prioritise collaboration and interpersonal connections.

Moving Forwards

This can be achieved by implementing strategies for community building and trust within the teaching and learning approach.

Community Building

It’s important that students are encouraged to collaborate to improve social presence in the course (Garrison, 2000). They should view the online learning space as a risk-free environment where they can express themselves freely. To achieve this, I will incorporate activities that allow students to bring their own real-world experience into the course. For instance, designing a simple activity that asks students to share their reasons for taking a particular unit will help to create a feeling of shared endeavour.

Acknowledging student contribution ensures that students feel that they matter. I want to build in opportunities in the taught curriculum that make students feel heard and valued (Hill and Bunting, 2024). I can build in regular opportunities for tutors to acknowledge individual student contributions throughout each unit. One way to do this is to ask tutors to provide short video feedback on students’ work in progress, either individually or as a group. This approach facilitates feedback and recognition, ensuring that students’ efforts are appreciated by the tutor.

Trust

Building feelings of psychological safety and trust will help to ‘foster a learning environment that supports participants in the challenging work of authentic engagement with regard to issues of identity, oppression, power, and privilege’. (Arao and Clemens, 2021). This can be established through a few simple strategies to start with, such as using clear and accessible English and avoiding the use of jargon as it can be marginalising. I can use the Glossary Tool in Moodle to create an area where unit and discipline-specific key words are defined for students.

I can integrate trust-building activities such as “Tiny Demons: Drawing Monsters” from OneHE. Activities like this can foster self-expression but also mutual understanding and empathy among students, reinforcing the online learning space as a supportive environment where vulnerabilities can be shared without fear, deepening trust within the community.

By prioritising community building and trust during the course design process, I can help the LCC course team by taking the best parts of the in-person studio environment and replicating these online. This approach ensures that each student feels valued and will also help support the LCC academic staff when they deliver the units online.

(516 words)

References

Arao, B. and Clemens, K. (2013) ‘From Safe Spaces to Brave Spaces: A New Way to Frame Dialogue Around Diversity and Social Justice’, in The Art of Effective Facilitation: Reflections From Social Justice Educators,. Virginia: Stylus, pp. 135–150.

Bunting, L. and Hill, V. (2024) Belonging Through Compassion. Available at: https://belongingthroughcompassion.myblog.arts.ac.uk/teaching/.

Garrison, D.Randy., Anderson, T. and Archer, W. (2000) ‘Critical Inquiry in a Text-Based Environment: Computer Conferencing in Higher Education’, The Internet and Higher Education, 2(2-3), pp. 87–105. Available at: https://auspace.athabascau.ca/bitstream/handle/2149/739/?sequence=1.

#3 Learning outcomes

Workshop 3 – Reflection

By the end of this blog, you will be able to…

The reading for the third workshop in the TPP unit resurfaced some recurring thoughts that I have had around the tensions between creative arts pedagogy and learning design principles. In my team (UAL Online) this is a common area of discussion, and one that we never seem to reach a consensus on.

Learning outcomes are essential for structuring learning activities, particularly in online education. In the online environment, it’s key to articulate what is typically tacit in the residential curriculum, since there is not the luxury of the shared space of the studio or the classroom where expectations can be conveyed more implicitly through physical presence and interaction between tutors and students.

To Bloom, or not to Bloom?

I do think that the verbs proposed by Bloom’s Taxonomy are limiting and don’t particularly lend themselves to creative arts subjects. To this effect, UAL Online has worked to revise the standard verbs to include verbs that reflect more creative actions, such as ‘sketch’, ‘paint’ and ‘critique’ in keeping with Davies’ suggestion to ‘use concepts derived from the discipline rather than appropriate the terms uncritically from Bloom’. Using Bloom as is might result in learning outcomes that are too specific and which therefore hinder creative learning (Davies, 2012​).

Appendix A: UAL Online adapted version of Bloom’s Taxonomy Table of Verbs

This is one step in the right direction but I still feel that Bloom’s is not conducive for the art school context, and it’s use might actually mean we fall into Davies’ ‘technocratic trap’ as we ‘deny the complexity of learning/teaching by rejecting its contingent, emergent and unknowable qualities.’ To this end, I’m drawn to Dee Fink’s Taxonomy of Significant Learning. Whilst Bloom’s Taxonomy is quite hierarchical and emphasises cognitive processes, Fink’s Taxonomy is non-hierarchical and also expands to include affective (caring) and metacognitive aspects. It promotes a more rounded approach to designing learning experiences that aim to have a lasting impact on students’ personal and professional lives, and most importantly for the creative arts context, includes a section dedicated to creative thinking skills verbs which I think are often omitted because they are traditionally deemed immeasurable.

Appendix B: Screenshot from Useful Verbs for Dee Finks Taxonomy of Significant Learning

Adopting this approach accommodates for the difference between ‘convergent learning is goal-directed, focused and rational, while divergent learning is explorative, open-ended and intuitive’. (Lindström, 2012).

Examples of learning outcomes at UAL

I’ve taken a learning outcome from a Graphic Design MA that I’m currently working on as an example and rewritten it using Bloom’s Taxonomy and a formula for writing learning outcomes:

Appendix C: Formula for writing LO statements
The original outcomeThe reworked outcome
Fluency and ability to integrate graphic design principles, techniques and methods in creative practice to produce industry standard outcomes.Apply a range of graphic design principles, techniques and methods in creative practice to produce industry standard outcomes.
Appendix D: Improved outcomes

Whilst the reworked outcome is still quite broad, it’s an improvement on the original statement, and hopefully shows how small tweaks to language can help to clarify what is expected of students.

Aligning learning outcomes with creative verbs can potentially help to adapt them to the creative arts context, and hopefully foster a more nuanced and engaging learning experience.

(544 words)

References

Addison, N. (2014) ‘Doubting Learning Outcomes in Higher Education Contexts: from Performativity towards Emergence and Negotiation’, International Journal of Art & Design Education, 33(3), pp. 313–325. Available at: https://doi.org/10.1111/jade.12063.

Biggs, J.B. and Tang, C.S.-K. (2011) Teaching for Quality Learning at University : What the Student Does. 4th edn. Maidenhead, England ; New York: Mcgraw-Hill, Society For Research Into Higher Education & Open University Press.

Davies, A. (2012) ‘Learning outcomes and assessment criteria in art and design. What’s the recurring problem?’, Networks [Preprint].

Fink, L.D. (2013) Creating significant learning experiences : an integrated approach to designing college courses. San Francisco: Jossey-Bass.

Lindström, L. (2012) ‘Aesthetic Learning About, In, With and Through the Arts: A Curriculum Study’, International Journal of Art & Design Education, 31(2), pp. 166–179. Available at: https://doi.org/10.1111/j.1476-8070.2012.01737.x.

Object-based learning–microteach

Planning

What I would like the microteach to achieve for my peers

I was reading a New York Times article about a UK-based collective called Looty who work on the digital repatriation of cultural artefacts. In 2021, Looty conducted a ‘digital heist’ to create a scan of the Rosetta Stone in the British Museum, with the aim of using AR to re-situate it back in Rashid, Egypt.

Looty repatriating taking the Rosetta stone back to Rashid using AR

Inspired by this, I considered leveraging everyday cognitive artifacts (Norman, 1991) to shape the perception of technology as a tool for liberatory education. I wanted to use the mobile phone as the object, showcasing it as a medium through which we can create meaningful and equitable learning experiences.

How I intend to run the microteach 

I would like my session to be tailored to the group in their role as educators. I will use slides, partly because I don’t have an object per se, but also to help me structure the session. I’d like the group to interact with each other so I will include a few pair-based discussion-based prompts. I want the group to use their phones to create a digital representation of a physical object using Polycam, a 3D scanning app. My timed session plan can be found in the ‘Slides‘ section at the bottom of this blog.

Reflection

I remember being very sweaty, although I’m not sure if that was nerves or the fact that the radiators in T11.02 were blasting!

I should have included some structured instructions on how to use Polycam as well as including some guidance about what objects lend themselves best to 3D scanning. The group was accommodating despite this and it was great to see everyone get stuck in and move around the room scanning various objects. 

Written feedback from the group, on bright pink post it notes
Written feedback from the group

Lindsay’s feedback summed up my session’s aim: using apps to perceive objects differently, focusing not on the objects themselves but on our varied interpretations. The majority of the other feedback focussed around preparing for scenarios where the tech wasn’t working, or wasn’t available. Preparing low-bandwidth versions of activities is something I will do in future practice and is best practice for inclusive design.

What I learned from the other sessions 

During the afternoon, I sewed a plastic fan, used a traditional Ghanaian fan (very welcomed in the sauna-room), re-enacted how a stem stitch would walk/talk, helped to construct a paper theatre and created a cave painting using a chicken bone and horse-hair brush! It was interesting to hear how my colleagues faced challenges doing object-based learning online, for instances Faust mentioned that students weren’t able to recognise the scale of set designs in AutoCAD versus in person.

Our various twig-and-horse-hair-and-chicken-bone-painted cave paintings from Andrew’s session!

What resonated with me the most from the afternoon was how tactile the sessions were. [Edit: I’m reading Addison’s Doubting Learning Outcomes and he says “within art and design, haptic knowledge (that accessible primarily through touch) is of primary importance in some disciplines”. (Addison, 2014)]

It was fascinating to reflect on how ‘embodied’ everyone’s session was. There is perhaps something to be said about thinking how we can recreate such object-based learning experiences online but maybe now isn’t the time to think about it 🙂 

(547 words)

References

Addison, N. (2014) ‘Doubting Learning Outcomes in Higher Education Contexts: from Performativity towards Emergence and Negotiation’, International Journal of Art & Design Education, 33(3), pp. 313–325. Available at: https://doi.org/10.1111/jade.12063.

Norman, D. A. (1991) Cognitive artifacts. In Designing Interaction: Psychology at the Human-Computer Interface (pp. 17-38). Cambridge University Press.

Tattoli, C. (2023) A ‘Digital Heist’ Recaptures the Rosetta Stone. The New York Times. [online] 11 Aug. Available at: https://www.nytimes.com/2023/08/11/arts/looty-rosetta-stone-benin-bronzes.html.

Slides

Case Study 1

Knowing and meeting the needs of diverse learners (V1, V3)

Contextual Background:

As part of UAL Online’s work to support the UAL strategy to bring a high-quality creative education to more students than ever before, we are empowering UAL academic staff to master online distance education fundamentals. I design and create asynchronous, self-paced Moodle courses to support this, although encouraging staff to find the time to engage with or complete the courses is challenging.

Evaluation:

As our students are members of UAL staff who do not have the luxury of time due to teaching and other commitments, I need to ensure that the course content is appropriately ‘chunked’ and presented in ‘a manner that encourages learner activities (…) and optimize(s) intellectual performance’ (Sweller, 1998). Spending more time upfront in the design phase to ensure that the learning outcomes of the course are constructively aligned to the learning and assessment activities helps to create an approach to mitigating cognitive overload in online learning. The effectiveness of this approach seems to work well, with staff feedback back that:

“The length of each section works well, and the clarity over what was to come. It was well paced”

Staff feedback

Moving forwards

Another strategy that I have been introduced to is providing opportunities for staff to set goals and reflect. I’m interested in creating a deep approach to learning that helps staff to reflect on what they are doing (Biggs, 1999). Incorporating moments in the course where staff can reflect on ways in which they can integrate flexible and inclusive approaches into their online teaching practice will be beneficial in terms of encouraging this deeper engagement with the course content.

Providing opportunities for staff to set goals and reflect

I want to create space for staff to set goals, share their work and broadly reflect on their experience. To achieve this, I have used the Journal tool in Moodle and included prompts to help with this.

Screenshot of Moodle Journal showing some reflective prompts
Appendix A: Screenshot of Journal with prompts from the Course Moodle

Whilst student feedback indicated that they ‘really liked the journal and the fact that it is stored in Moodle’, I realised that the reflective prompts were mainly focused on struggles or challenges and were predicated on a ‘deficit model’ of reflection. Reading Joy Amulya’s work inspired me to design in opportunities for positive reflection into the course, to create ‘conditions that allow creativity to flourish’ and so that staff can ‘become more purposeful about how to work in more creative and satisfying ways’. (Amulya, 2011). 

In future practice, I will incorporate elements of Strength-Based Design and Appreciative Inquiry theory to include positive prompts that focus on success as part of the Moodle Journal for future staff development courses. Some examples of this might include prompts to help staff identify moments of breakthrough as a result of taking the course, for instance: ‘Reflect on a recent moment where you felt a breakthrough in your online teaching. What led to this breakthrough, and how can you incorporate this learning into your future teaching practice?’

To conclude, implementing reflective practices with positive reflection prompts will hopefully deepen staff’s engagement with course content, emphasising the importance of understanding and responding to staff needs to maintain their engagement and enhance online teaching inclusivity.

(529 words)

References 

Amulya, J. (2011) What is Reflective Practice? https://communityscience.com/wp-content/uploads/2021/05/What-is-Reflective-Practice.pdf

Biggs, J. (1999) ‘What the Student Does: teaching for enhanced learning’, Higher Education Research & Development, 18(1), pp. 57–75. Available at: https://doi.org/10.1080/0729436990180105.

Sweller, J. (1998). Cognitive architecture and instructional design. Educational Psychology Review, 10(3), 251-296.

Sweller, J. (1988) ‘Cognitive Load during Problem Solving: Effects on Learning’, Cognitive Science, 12(2), pp. 257–285.

#2 ‘Belonging’ and ‘mattering’ in online spaces

Workshop 2 – Reflection

Belonging can be a contentious term when it comes to online learning. What are students belonging to? Who dictates this? What happens if individuals don’t want to ‘belong’? It’s been an area that has come up many times in my work as a learning designer (especially post-pandemic) and a main reason I chose the SPARK article ‘Home sweet home achieving belonging and engagement‘ by Stacey Ross and Lee Leewis.

I saw Stacey and Lee present this paper as a talk during the Presence and Belonging in Digital Education Conference in 2021. Stacey opened the session by playing an afro-beats track whilst people were joining the Teams meeting. This was an insight into Stacey’s theory of treating online spaces as extensions of ‘home’ as opposed to ‘non-places, or spaces where individuals feel lonely and disconnected’ (White, 2021).

What do we mean by belonging?

Love and belonging, positioned as the third level in Maslow’s Hierarchy of Needs, are essential for human potential. Carol Goodenow offers a concise definition within an educational framework:

“Being accepted, valued, included, and encouraged by others (teachers and peers) in the academic classroom and of feeling oneself to be an important part of the life and activity of the class (…) it also involves support and respect for personal autonomy and for the student as an individual”

Carol Goodenow, 1993

Creating a sense of belonging in online spaces?

Stacey created a Miro board for her unit. She designated student-only areas on the board, giving them a sense of autonomy over the space and nurturing feelings of ownership and connection.

We tend to identify notions of ‘home’ as places where we leave our physical possessions knowing that they will be there when we return. In the online environment, or the ‘non-place’, possessions or assets are not permanent. Once we leave a Teams meeting, you can never truly ‘go back.’ To counter this feeling of impermanence, Stacey kept the Miro board open for the entirety of the unit. She let students decide what areas they wanted to explore within the unit, which in turn led to a sense of ‘co-creation…(w)e co-create the board, the space, and each lesson together.’ (Ross and Leewis, 2022).

Stacey and Lee reflected on the relationships within the virtual learning space, including teacher-student, student-student, and student-space connections (adapting Garrison’s Community of Inquiry model). From this, they proposed a new model with three key goals: connection, ownership, and co-creation.

Screenshot from Stacey Leigh-Ross’s Miro board ‘Home Sweet Home’

The issue with belonging

Students who feel a sense of community and belonging are more engaged and likely to complete their studies. Felten and Westen (2021), however, suggest ‘mattering’ as a more nuanced concept for belonging, especially for marginalised individuals who are historically disempowered and who might feel that belonging is beyond their reach.

We should ensure that students feel as though they matter as individuals within the context of the group, thus creating an environment where they feel empowered as owners, connected, and able to co-create. If students feel that they matter, they might start to feel increased feelings of belonging as a result of them being acknowledged for who they are, rather than being expected to force themselves to fit into a specific group. Curious to know what others may think!

(546 words)

References

Felten, P. and Weston, H. (2021) Is ‘mattering’ a more helpful way of thinking about student belonging at university? Edinburgh: Media Hopper Create, The University of Edinburgh. Available at: https://media.ed.ac.uk/media/1_xv45vrlp (Accessed: 20 January 2024)

Goodenow, C. (1993) ‘Classroom Belonging among Early Adolescent Students’, The Journal of Early Adolescence, 13(1), pp. 21–43. Available at: https://doi.org/10.1177/0272431693013001002.

Leewis, L., & Ross, S. L. (2022) Home sweet home: Achieving belonging and engagement in online learning spaces. Spark: UAL Creative Teaching and Learning Journal, 5(1), 71–81.

Thijm, J. (2023) ‘Mattering vs belonging and the impact of academic advisors: online professional part-time students – a case study’, Journal of Learning Development in Higher Education [Preprint], (29). Available at: https://doi.org/10.47408/jldhe.vi29.1091.

Thomas, L., Herbert, J. and Teras, M. (2014) ‘A sense of belonging to enhance participation, success and retention in online programs’, The International Journal of the First Year in Higher Education, 5(2). Available at: https://doi.org/10.5204/intjfyhe.v5i2.233.

White, D. (2021) ‘Pedagogy, Presence and Placemaking: a learning-as-becoming model of education.’, David White, 17 May. Available at: https://daveowhite.com/learning-as-becoming/ (Accessed: 20 January 2024).

Image credit: Stacey Leigh Ross

#1 Echolocation – is there anyone out there?

Workshop 1 – Reflection

An a/r/tographic métissage: Storying the self as pedagogic practice

It’s not the most encouraging start when you read the title of an article and you only understand half of it. Remembering the advice given on Moodle, however, I launched ChatGPT and prompted it to explain the title to me like I was a second-year undergraduate fine art student at UAL.

The result of putting the article title in ChatGPT and asking it to explain it for me in simple terms

The article

The article is a celebration of voices, a narrative blend of auto-ethnographic accounts and diverse stories from four female artists that weave together to create a ‘threadscape’ (Flood 2014) that goes beyond one individual narrative. The article highlights the significance of integrating personal narratives into arts education. It advocates for a pedagogic approach that values diversity in storytelling and identity exploration through various means such as reflection, storytelling, and community building.

Creating in isolation

There were parallels drawn between the historical isolation of women in their creative spaces and the contemporary challenge of creating in isolation and learning not to ‘succumb to isolation’ (Grumet, 1988).

The visibility of creating and documenting creative work is highlighted as essential, drawing attention to the interconnectedness of personal narratives and the need to share these stories to break the chains of isolation. Isolation, in the context of online learning, provokes reflection as it is more nuanced than the simple exchange of ‘expressing our thoughts and feelings to someone else.’ Being seen is also a key part of creating this ‘métissage’ yet we know that in an online learning environment, ‘the facilitator may never actually “see” any of the students’ (Gillet-Swan, 2017).

The challenge in online spaces is twofold: ensuring students feel and are seen. Strategies to overcome this could include ‘echolocating the self’ in a digital environment, aiming to establish presence and community despite physical absence. Sometimes it can feel as though there isn’t anyone else out there, at least in the liminal space of an online course.

Becoming through entanglement

The concept of becoming through entanglement resonated deeply in the context of the first TPP workshop. We were all strangers, but at the end it felt that we had come together to create new collective understandings, for instance on what social justice meant to us.

The postcard activity allowed us to share stories about ourselves, demonstrating the collaborative intertwining of stories. We celebrated the particularity of individuals while weaving a ‘threadscape’ of shared experiences as UAL staff.

Sharing lived experiences, memories, and conflicts of practice, can help to deepen our understanding, learn more about ourselves and open new spaces for teaching and learning. How we might share and ‘entangle’ these experiences remains an area to explore, particularly in the online space where sharing work is not always as straightforward as it might be in-person.

Conclusion

Making work visible is crucial, especially online. Strategies for enhancing visibility include creating informal interaction opportunities, fostering ‘safe spaces,’ and emphasising personalisation. These efforts aim to reduce isolation and enrich the educational experience by building a supportive and engaging online community.

By sharing stories and making work visible, individuals contribute to a ‘threadscape’ enriching pedagogic practices and reducing the inherent isolation that is can be of the creative process.

(545 words)

References

Flood, A. (2014) Common threads: a discursive text narrating ideas of memory and artistic identity. Cambridge Scholars Publishing.

Gillett-Swan, J. (2017) ‘The Challenges of Online Learning: Supporting and Engaging the Isolated Learner’, Journal of Learning Design, 10(1), p. 20. Available at: https://doi.org/10.5204/jld.v9i3.293.

Grumet, M. ( 1988), Bitter Milk: Women and Teaching, Amherst, MA:: University of Massachusetts Press;, http://dx.doi.org/10.5860/choice.27-0431.

Osler, T. et al. (2019) ‘An a/r/tographic métissage: Storying the self as pedagogic practice’, Journal of Writing in Creative Practice, 12(1-2), pp. 109–129. Available at: https://doi.org/10.1386/jwcp.12.1-2.109_1.

Photo by Clément Falize on Unsplash

Hello

Hi everyone! Pleased to meet you virtually (or in person hopefully too). My name is Yasi and I am an Open Learning Designer for UAL Online. (I don’t know what the ‘Open’ stands for either).

I’ve been at UAL for two years, and prior to being here, I have mainly worked in managing and designing various bits of e-learning on various topics, including most recently, a MOOC on Preventing and Responding to Sexual Harassment and Violence for Jesus College, Cambridge.

As part of the UAL Online team, my focus is on creating meaningful learning experiences, working closely with lecturers and tutors to provide insight into effective online learning, especially when it comes to creative arts pedagogies. I’m interested in areas of access and flexibility in online learning and more generally in the tension between embodied practices and how that translates to online learning and assessment more broadly.

[Edited to add: At the time of writing (15 November 2024) I am now just a ‘Learning Designer’ with slightly changed responsibilities, following a restructure of UAL Online in February 2024. While this change has altered some of the methods and environments in which I work, my focus (and priority) to create meaningful learning experiences remains the same. I have also now been at UAL for three years!]