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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.
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.
12:00 - 13:00
Workshop at Royal College of Art: End of the Master session
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.
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.
