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Teaching students to write about art: Results of a four-year patchwork text project
Abstract
This article presents the findings from a four-year project designed to gather undergraduate Fine Art students' perceptions of replacing an essay with a Patchwork Text Assessment (PTA), a form of assessment in which a series of self-contained, thematically related patches are written at regular intervals over a series of weeks or months and are then stitched together with a final meta-patch exploring the unity and interrelatedness of the individual patches. On completion of the PTA, students were asked a series of questions about their experiences, and analysis of their responses showed that they had found completing the PTA more difficult, more enjoyable and more rewarding than writing an essay. Importantly, there were no suggestions that the PTA had dumbed down assessment practices, nor was there an increase in the workload of the academic staff supporting and assessing the PTA.
This study aimed to reveal the impact of teaching based on virtual museum
education in the development of creative critical writing skills among high school female students in Makkah City. In order to accomplish this aim, the study used a quasi-experimental approach with two groups: control and experimental. The study was applied to a sample of (60) female students from the first year of high school with the curriculum system. The researcher developed a teaching strategy based on virtual museum education that comprised five stages: analysis, design, production, evaluation, and use. The measure of creative critical writing skills consisted of (8) main skills: description, analysis, interpretation, judgment, fluency, flexibility, originality, and organization of writing. The data were analyzed using the Statistical Package for Social Sciences (SPSS) program. The results of the study showed statistically significant differences at a level less than (α 0.05≥) between the mean scores of the control group and the experimental group in
the post-measurement of all skills, in favor of the experimental group, which indicates the effectiveness of teaching based on virtual museum education in developing skills of creative critical writing for response to art. The study recommended the implantation of virtual museum education in teaching art education course in general education stages to develop higher thinking skills and offer training programs for qualifying art education teachers to integrate creative critical writing skills into activities of learning response to art.
The aim of the literary review is to map findings from corpus analysis composed of academic texts. Attention is paid to frequency and functional taxonomy of specific multiword expressions. Selected empirical studies agree in their claims on the importance of style characterisation while using discourse analysis of authentic texts and point to pedagogical implication of this research in teaching EAP.
http://nnmpf.org/en/conferences/
This paper suggests that strong beliefs about the recommendation of academic writing for practitioners in the Coldstream Reports remain in teaching and management positions across the current Higher Education (HE) sector. However, an intensive re-reading of the reports establishes these beliefs are unfounded. This article posits that upholding these institutional assumptions may have an impact on how writing is used as a component of examination and therefore aligned with the need for academic parity across the HE sector, rather than as a tool for understanding and articulating practice. As a result, this article calls for the reinstatement of a unified HE art and design curriculum to be filled with a diversity of pedagogical approaches, including writing practices, that are complementary to and inform the purposes of creative practice.
Why do students undertaking practice-based Art and Design (A&D) degree courses have to write? What kind of writing would support them best in their practice? How do we mark student writing that challenges our current writing criteria? The `Writing Purposefully in Art and Design' (Writing PAD) project seeks to encourage debates around writing in A&D. This article details the first year of the project and lays out the various debates that have developed. The project was initiated to focus specifically on disseminating current good practice for students with visual-spatial learning styles and dyslexia, international students, and mature students. This article presents the spectrum of views that have arisen from our discussions over the year. The issues presented are followed by the implications for change that have emerged from the various Writing PAD activities.
There is a perception in British universities and art colleges that art students are not very good at writing, that they don't want to write, and furthermore, that writing gets in the way of the real business of making art. These perceptions are reinforced in much of the literature that has been produced about, and in support of, undergraduate art education in the last few decades.
This paper will examine the tensions, both historical and contemporary, between academic practices (such as the academic essay, the dissertation) and fine art studio practices. This translative gap both produces, and perpetuates, a set of binaries: visual/textual, art/literature, words/images, Studio/Art History, making/writing. The net result of which is a resistance to writing from many Art students in Higher Education. I will outline subject specific multidisciplinary strategies used with undergraduate and postgraduate students to harness, and develop, this resistance as both transformational and inventive.
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Farmer have asserted their right under the Copyright, Designs and Patents Act
- Craig Staff
Craig Staff and Robert Farmer have asserted their right under the Copyright,
Designs and Patents Act, 1988, to be identified as the authors of this work in
the format that was submitted to Intellect Ltd.