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Main Venue for Wednesday programme: Royal College of Art (RCA), Studio Building, Battersea, 1 Hester Rd, London The Thursday and Friday programme will take place around various locations.
Kieran Brown, University of the West of England, United Kingdom An interactive presentation questioning how technical teaching can meet the ever-expanding demands of student numbers,
personalised learning and the increasing catalogue of production processes, skills and software. Historically the quality of technical teaching has been assessed through the technical quality
of the student output, but if we are to be no longer masters of technique, how do we assess our effectiveness? Where is the balance of pedagogy and craft? The intention of the session is
not to provide an answer but stimulate a conversation among colleagues, employing their broad collective experiences to draw a reservoir of ideas, suggestions and solutions.
Verity Cleary, University of the Arts London, United Kingdom The idea that ‘materialness’ can help relate artistic expression is not new but the idea that a technician is teaching
the student this is. The technician encourages expression of the students work through their material choices. Inspiring and stimulating their creative process through experimentation, exploration
and interrogation of various materials before the final choice is made. The technical staff spend more time with the students, often one-to-one, than the academic staff. Researching this
relationship and the learning that occurs could lead to developments in the students learning experience.
Aymeric Mansoux, Willem de Kooning Academy (WdKA), Netherlands While computer and network technologies have an important place in art and design academies, Mansoux is questioning
whether current educational programmes are equipped to deal with the increasing technical complexity of these objects, as well as their social, political, economic and environmental ramifications.
In this short presentation he will present this contemporary challenge, introduce permacomputing with examples of practices, as well as some historical contextualisation of constraints in
art and design, and explain how permacomputing could be useful to help problematise the usage of computer and network technologies in art and design academies.
Tim Savage, University for the Creative Arts, United Kingdom This presentation explores the contemporary reframing of technicians as educators in HE, examining their frequently misunderstood and underappreciated contribution to student learning.
The historical, technological, and epistemological factors contributing to the emergence of these blended roles are considered, leading to an examination of what can be determined as the
three core technical pedagogies: Environment, Teaching, and Support of Learning.
Predicting the Future: Advancing the Modern University
Matthew Robertson, The Nottingham Trent University, School of Art & Design, United Kingdom Robertson spent the last two years researching new technologies and workflows with
a mission to incorporate Immersive Technologies and Mixed Reality across Art & Design. The pace of change is fast, and the challenges are vast. However, educators and specialists are
the catalyst for change, and they have a unique opportunity to shape the futures of the students. During the presentation, he’ll share his team’s journey; the successes and the obstacles
that they have and still face. “The best way to predict the future is to create it.”
The digital space as a new modality for technical practice
Nina O'Reilly, University of the Arts London, United Kingdom This presentation will explore the approach of the Central Saint Martins’ technical team to online learning, both during
the COVID-19 pandemic and in the time that has followed. It will give the context of the development of the online delivery and share reflections about its creation, efficacy, and legacy
in a post pandemic world. The digital space has emerged as a new modality for technicians to express and evolve their creative and teaching practices.
The development of technical teaching at St. Joost School of Art & Design
Machteld van de Voorde, Rozemarijn Oudejans, St. Joost School of Art & Design, Netherlands In September 2021, St. Joost School of Art & Design started the development of
a new educational program. There is at least one technician involved in every educational team and one technician is part of the overarching team, ensuring the workshops are an integral and
structural part of the new program. It is important to bring ‘making’ back to the heart of art education and for teachers to see the workshops as ‘Rich Learning Environment’. The presenters
will share the findings within this subject.
Empty playgrounds
Florian Wallenwein, Hochschule Hannover – University of Applied Sciences and Arts, Germany For a long time, the plan to rebuild the largest of the workshops – the model workshop
have been planned but it could not be implemented due to the financial situation. As a new approach, there will be a direct cooperation with the “Basic Studies”. A program in which most of
the students have to participate in the first two semesters. They approach different design strategies in an artistic way. In this course, the academic and workshop employees are treated
equally and both teachers and workshop staff teach in their own main areas of experience.
Exploring Didactics for Creative Technology
Machiel Veltkamp, HKU University of the Arts Utrecht, Netherlands An interactive presentation about the structure, questions, challenges and innovation of the Didactics or Creative
Technologies program. DCT is a professionalization track for lecturers and staff at HKU. In 4 to 8 meetings of one day or a half-day, participants investigate both individually and as collective
how they can apply creative technology in their educational practice. The design of the program is iterative and updates every time the track is run depended on experience and the topics
of technologies brought forward by the involved participants. The presentation addresses the DCT program, the design philosophy behind it and questions that help to further develop the vision.
Gertrud Fischbacher, Marius Schebella, Mozarteum University Salzburg, Austria An exciting mix of emerging technologies that include electronics, motors, microcontrollers, etc. Students
should be exposed to and learn certain technological skills, but they should learn and train these under their primarily goals, which are artistic and aesthetic considerations. Scripting
and programming languages appear in some artistic curricula, but very little is offered to musicians or students of art and craft education. The presentation will show three examples outside
the usual area of screen animation (moving circles...) that could be integrated starting with art education in schools.
Sabin Gârea, Royal Academy of Art The Hague, Netherlands "What machine do I use to"... is the daily question getting from students stepping into metal and wood workshop. It is difficult
to understand them, their view on making and fabrication as a process only mediated using a machinery. The workshop will make use of various artistic research approaches like research through
making and creative writing techniques to launch an in-depth discussion over the role of the technical teaching, the approach in technical teaching and the different factettes of material
research.
Transformation of course workshops into a central operating unit
Martin Büdel, Burg Giebichenstein University of Art and Design, Germany Burg Giebichenstein University of Art and Design Halle has several workshops and studios with a wide range
of equipment and expert staff. Usually, the workshops of the BURG are assigned to the respective courses of study, for several years workshop competencies have been and are combined in central
operating units. This network of workshops enables a resource-saving, service-oriented way of working, but the connection to the teaching areas must be maintained. In the presentation, the
transformation process is described, the current structure is presented, various tools are shown and put up for discussion.
Life – long learning as a corner stone to staff development
Anna Rouhu, University of the Arts Helsinki, Finland Life – long learning can be many other things too than just degrees. It can be shorter courses but also continuation of self
– education by reading and learning by doing or peer teaching. Bigger challenge is to encourage our staff to do so. In theatre technics luckily new technologies force also technical staff
to learn new things because usually art students are very keen to use latest inventions. How to get ahead of students and be the ones who suggest new technologies to them?
How the Advanced HE Fellowship framework can help enhance and transform Technical taught provision in HE.
Leighton Moody, Manchester Metropolitan University, United Kingdom The presentation aims to showcase the many benefits of investing in technical staff and how in doing so with recognition
such as the Advanced HE Fellowship programme, they are better able to impart knowledge, enhance and support the educational journey of learners and deliver real-world experiences with solid
educational outcomes for learners. Following accreditation, the Technical Skill Programme was retooled to meet the higher standards of the outlined framework, with a particular focus on employability
and career-building skills.
Stage Management and Technology at JAMU cooperation with professional field
Petra Vodičková, Janácek Academy of Performing Arts, Czech Republic The presentation is about an introduction of the specialization Stage Management and Technology that been taught
since 1991 at Janácek Academy of Performing Arts. In the last 6 years the teaching approach has been changed and a cooperation with theatres, companies, rentals etc. been started. The presentation
is about the cooperations, a new subject for the students: Company Days, study programs that the Theatre Faculty offer and how they cooperate, and all the projects that develop the students
in the field of their studies and how to use the project teaching to develop knowledge and skills.
Babs van den Thillart, Royal Academy of Art The Hague, Netherlands How can you combine workload and creativity in the workshop? What is needed to make the boundaries of time and
the limitlessness of creativity work well together? Can they complement each other? As an instructor, how can you be a guide, inspirer and motivator in times of work pressure, while you experience
stress yourself? During the workshop participants will be working with time and creativity. Mind and body. Movement while experiencing. Through interactive exercises they will inspire and
motivate each other to come to new insights and possibilities so that you can use this on their own workplace.
Growing, Harvesting and Processing Flax to Instigate Material Awareness, Conversations and Change
Collette Paterson, Sally Buxton and Emily Criddle Edinburgh College of Art at the University of Edinburgh, United Kingdom The workshop activity is devised to share joint technical,
research and academic perspectives, whilst working with flax and other natural and plant-based materials with a distinct textile design, development and making focus. The participants can
get familiar with, explore together and discuss the potential of the regenerative plant and fibre, as well as other colour-providing natural materials.
18:30
Drinks & nibbles
10:00 - 13:00
Mobile visits (tours + sessions) & Lecture series (RCA)
MEETING POINT: UCA Farnham Reception Desk, Falkner Rd, Farnham. This visit will take place in Farnham campus where participants will get the opportunity to see the facilities for a range of disciplines
withing Craft, Design and Media. They will get to explore the range of facilities that support traditional craft subjects such as ceramics, glass or jewellery through to our media resources
for film, games and animation.
The visit will also include a practical exploration of how some of the technical staff have developed blended learning and the use of low-level technologies to scaffold student learning
in specialist technical workshops.
Tacit Knowledge through Blended Learning: Teaching Glass Techniques at Home
Laura Quinn and Emma Rawson, University for the Creative Arts, United Kingdom During the COVID-19 pandemic, educators and learners turned towards to online lectures. Quinn and Rawson
started to teach glass making at home with materials from around my house. Through live video classes and edited video tutorials the students learned fundamental glass processes. Since then,
they continued to use the teaching materials produced during this time to enhance technical delivery. There will be discussion to reflect on the benefits and challenges faced using blended
learning, and a workshop to learn some of the Home Glass Hacks: Sugar Blowing and Salt Pate de Verre, followed by the real-life version: glassblowing and examples of the outcomes that can
be achieved through these processes. This workshop will give delegates a taster experience of how it enabled students to build up tacit knowledge before entering specialist workshops.
MEETING POINT: Foyer, UAL London College of Fashion, Lime Grove, 40 Lime Grove, London.
No one is an island, let's stick pangea back together again
Alice Karsten, London College of Fashion Lime Grove, United Kingdom There are 2 islands: education and industry. The workshop is about exploring these islands’ practices. How as a
technician you can feel as though they are miles apart from each other; stranded on one of these islands or floating in between. This will be realised by creating two miniature islands. They
will be placed onto a paper sea, where the participants will be able to add their own annotation and illustrations.
Integrating Augmented reality and 3D visualization in Presentation
João Viegas, Royal Academy of Art The Hague, Netherlands A workshop to learn how to prepare simple yet effective augmented reality experiences that can serve as support materials
for lecturers looking to narrate historical events or have students more immersed in the material being analysed. This workshop instructs attendees on how to compile different 2D and 3D materials
inside Meta’s Spark AR engine, to produce augmented reality experiences that can be viewed through most mobile devices.
Embracing Virtual Production: Researching and developing tech-driven educational tools
Norbert Kottmann, Zurich University of the Arts, Switzerland This presentation is about how the means of Virtual Production are integrated in film education at the Zurich University
of the Arts. On the one hand, this involves shooting in virtual spaces based on rear projection or LED monitors. And, on the other hand, a specific tool for the digital simulation of directing
films has been developed over several years. The simulation tool, with the name 'cineDESK' (www.cinedesk.ch) enables the improvement of skills in visual language and facilitates the pre-visualization
of film scenes during the pre-production phase.
Kieran Brown and Richard Falle, University of the West of England, United Kingdom A workshop built on Brown’s panel presentation. The focus points of the session: Is the traditional
paradigm of the technical master passing down their knowledge to the apprentice student, suitable in today’s HE environment? Does the dynamic nature of the creative industries, consistently
seeking and embracing new mediums and media, whilst simultaneously treasuring legacy processes, create a problem of how to keep staff suitably skilled, especially if they are expected to
be a master of those skills?
The aim is to explore the complexities of delivering the skills necessary for students to engage with personalised, interdisciplinary, practice based creative courses.
MEETING POINT: Kingston University London Town House, Penrhyn Road, Kingston Upon Thames. A facilities tour with visiting the (Stirling prize winning) Town house and the KSA Workshops at Knights
Park.
MEETING POINT: St. Josephs Grove Entrance, Middlesex University, The Burroughs, London. During the visit, participants will be introduced to the Optitrack motion capture system with a workshop
covering the latest virtual production techniques for film and games. Participants will also have chance to join a tour of facilities such as photography, music, tv studios, 3D digital manufacturing
area, ceramics, print and media post production facilities.
MEETING POINT: Reception at Central Saint Martins, Granary Building, 1 Granary Square, London. A tour of technical facilities, specialists’ workshops and studio spaces at Central Saint Martins.
The aim is to give an overall impression of the spaces; and to show how AV technology is used to support teaching and practical aspects of student learning.
13:00 - 15:00
Lunch break
15:00 - 17:00
Mobile visits (tours + sessions) & Lecture series (RCA)
The Living Station Lab: Where artists and scientists collaborate with (micro)biology
Kas Houthuijs, University of Applied Science Rotterdam, Netherlands The new fields of Bioart and Biodesign are the frontline of how the storytellers of this age can impact our
society towards a sustainable future. The presentation presents the experiences in setting up a laboratory as a creative space and in teaching the students. Furthermore, the issues and
opportunities which arrive when such (seemingly) different disciplines come together in an art school will be discussed. How could interdisciplinary ecological art education look like?
The new biotechnologies like genetic modification via CRISPR-cas9 will have a deep impact on society and how we relate to life in general.
Natural Matters: Establishing the Royal College of Art’s First Student-Accessible Biology Research Space
Nikolet Kostur, Royal College of Art, United Kingdom By weaving together STEM with design and creative thinking, we can apply our greatest minds and technologies to developing
effective, nature-oriented solutions. This presentation is about establishing and running the RCA’s first and only biology research resource for graduate art/design student-use. The overarching
question: how can we translate science to non-scientists, in a way that upholds scientific integrity and ethics, while allowing space for creative exploration?
Hanna Niemeyer, Hochschule Hannover – University of Applied Sciences and Arts, Germany A research proposal arose from the idea of creating a comprehensive database for the
precise recording of various materials and their constituents and making them available digitally, in the form of textures, got rejected. But thanks to the personal interest of some professors,
staff and students of different courses of studies and faculties, the material scanner project was nevertheless born. The presentation is about the cooperation of the different disciplines
– without an existing budget as well as several questions that came up on the way.
NABA – Committed to a Circular Economy on Campus and a Responsible Use of Materials
Carmelo Zocco, NABA, Nuova Accademia di Belle Arti, Italy NABA is an academy of art which prioritises hands-on experience to guide students along their learning journey. Consequently,
the school uses a significant amount of materials as part of its curriculum, notably in its design courses and in particular inside the design laboratories. Responsible resource use and
embedding circular principles to minimize resource consumption and avoid waste production and pollution is therefore a key priority for the school. The presentation is about the important
steps taken to improve the environmental performance across the campuses.
Arnaud Loonstra, HKU University of the Arts Utrecht, Netherlands When students want to access new technologies, they often need to be experienced programmers. However, this
is hardly ever the case. We can overcome this hurdle by adding some software to make this more accessible. To prevent creating a jungle of tools, at HKU they started researching how they
could create a general intermediate layer between technologies and use OSC as a transport. This presentation is about the experience in getting students acquainted with new technologies
while dealing with old technologies. Do students need to program, what technologies are there to stay, how to embrace internet technologies and how to remain in peace with the IT department?
Developing Pino - a novel modular system for building and programming interactive media installations
Tuomo Rainio, University of the Arts Helsinki, Finland A tangible programming environment, Pino, that bridges physical interaction and the digital logic of computation. Pino
provides an easy-to-grasp interface of physical building blocks that allow students to build complex systems by simply stacking and connecting Pino modules. The Pino system has been developed
for pedagogical use as part of Art and Technology studies. The project connects seamlessly the technical, academic, and pedagogical expertise, and gives this collaborative R&D process
a tangible form.
MEETING POINT: London South Bank University 103 Borough Road
Transmissions, Diffusions and Reflections: illuminating spaces between photography, VFX and games design
Adam Brown, London South Bank University, United Kingdom Innovative ways of teaching lighting and image creation in between and beyond these disciplinary spaces, using simple
and comprehensible techniques and workflows. With moving courses online, the team have been working with hybrid CGI/photographic methods, revealing how essentially ‘photographic’ these
processes are, and offering new creative possibilities. This presentation explores how it might be simpler than it appears for students and educators to become literate with the convergence
of these technologies in order to be able to create together, and to play a critically informed role in the development of their respective practice bases and discourses.
3D scanning: letting art students transition between the physical and the digital world
Dolores Hilhorst, Royal Academy of Art The Hague, Netherlands A presentation/workshop combination on the topic of 3D scanning. The presentation introduces the topic of 3D scanning
within the context of arts education. During the hands-on workshop, the participants are guided through the steps of 3D scanning using the photogrammetry method. For this method, only
a smartphone-camera is needed to take pictures from various viewpoint around the object. Participants can subsequently reconstruct a digital 3D model from these pictures using a free
app on their phone (the app works with IOS and Android).
MEETING POINT: Reception at Central Saint Martins, Granary Building, 1 Granary Square, London. A tour of technical facilities, specialists’ workshops and studio spaces at Central Saint Martins.
The aim is to give an overall impression of the spaces; and to show how AV technology is used to support teaching and practical aspects of student learning.
MEETING POINT: St. Josephs Grove Entrance, Middlesex University, The Burroughs, London. During the visit, participants will be introduced to the Optitrack motion capture system with a workshop
covering the latest virtual production techniques for film and games. Participants will also have chance to join a tour of facilities such as photography, music, tv studios, 3D digital
manufacturing area, ceramics, print and media post production facilities.
MEETING POINT: Staffordshire University London, Digital Institute, HereEast Campus, Queen Elizabeth Olympic Park, 14 East Bay Lane, London.
Delivering Technical Pedagogy via Hyper-Flexible Approaches to Learning
Ian Thurstan, Chris Leese, Staffordshire University, United Kingdom This presentation is an exploration of how technical specialists based within the Media & Communications
team at Staffordshire University adapted their approach to delivering teaching and learning, and supporting core university business, during the pandemic. It highlights the vital, ongoing
role of video-based support/instruction materials and QR codes towards the creation of an immersive hyper-flexible learning experience and how technical staff are at the heart of the university's
new strategic plan.
MEETING POINT: Reception at Central Saint Martins, Granary Building, 1 Granary Square, London. A tour of technical facilities, specialists’ workshops and studio spaces at Central Saint Martins.
The aim is to give an overall impression of the spaces; and to show how AV technology is used to support teaching and practical aspects of student learning.
