COLLABORATION BY DESIGN - Melbourne CSHE...Brisbane Byron Bay Sydney Melbourne Adelaide Perth...

COLLABORATION BY DESIGN

Colin Webber & Luke McMillan

AUSTRALASIA7 CAMPUSES IN

2,612 Australia190 New Zealand

DOMESTIC92%

INTERNATIONAL8%/

Licensed campuses Dubai

353 Australia19 New Zealand

Brisbane

Byron Bay

Sydney

Melbourne

Adelaide

Perth Auckland

Brisbane 774 65

Melbourne 658 54

Sydney 605 48

Perth 343 37

Dubai 308 36

Byron Bay 244 37

Cape Town 244 33

Jakarta 170 22

Auckland 168 25

Johannesburg 120

Adelaide 82 8

CAMPUSPROFILE

SAEFOOTPRINTGLOBAL

10,000

1,100

49

S T U D E N T S

S TAF F

C AM P U S E S

Dual Sector provider registered withTEQSA. ASQA, NZQA

Accredited ProgramsCertificate, Diploma, Associate Degree, Bachelor Degree, Graduate Certificate, Graduate Diploma, Masters

AUSTRALASIA - OPERATING & REGULATORY ENVIRONMENTS

Approved to offer• FEE HELP (Australian HE Government Income Contingent Loan Scheme) • VET Student Loan (Australian Vocational Education Income Contingent Loan Scheme• Tertiary Education Commission funded programs (NZ government subsidies for

domestic students

SAE is a niche provider offering programs in:

YOUR SAE COURSE

WHAT YOU’LL DO AS PART OF YOUR

COURSELEARN by doing via Project Based Learning.

PUBLISH & exhibit your work to real audiences.

BROADEN your understanding in your field to areas you may not have considered before.

WORK in interdisciplinary groups.

ESTABLISH your brand via blogging & building a portfolio.

Have FLEXIBILITY in the roles you would like to explore and the projects you work on.

EVERY SAE BACHELOR, ASSOCIATE DEGREE & HIGHER EDUCATION DIPLOMAS

USE THE SAME FRAMEWORK.

Designed to make SAE a great environment.for people who are serious abut their creative practice.

OUR COURSESARE BUILT ON THREE P’S

PROFICIENCYAPPLYING THE TOOLS OF YOUR TRADE

SAE MAKES THE BEST PRACTITIONERS.

YOUR PROFICIENCY IS THE FIRST PART OF BEING THE BEST YOU CAN BE.

PROCESSHOW TO MAKE THINGS OF QUALITY ON TIME & ON BUDGET

PROCESS SKILLS PLAY A SIGNIFICANT ROLE IN SEPARATING THE AMATEURS FROM THE PROFESSIONALS.

PERSONHOW TO BE A STRONG CREATIVE PRACTITIONER & GET THE MOST FROM TEAMS & COLLEAGUES.

PERSON SKILLS MAKE YOU NOT JUST A PROFESSIONAL, BUT A PROFESSIONAL IN DEMAND.

GRADING IN STAGE 1, TO PASS A MODULE YOU MUST PARTICIPATE IN ALL BEFORE, DURING AND AFTER CLASS ACTIVITIES. We refer to this as a base line pass.

BEFORE CLASS

Individual work completed in Campus Online, acquiring information you need to know.

DURING CLASS

Group workshops applying the information from the before class activities.

Executing creative media projects.

AFTER CLASS

Individually reflect on the feedback you were given before class.

3HOURS

3HOURS

3HOURS

YOU’LL GET MULTIPLE OPPORTUNITIES TO ATTEMPT THE PROJECTS FOR EACH MODULE IN ORDER TO PASS.

EACH TIME YOU DO THE PROJECT, YOU’LL APPLY THE FEEDBACK YOU GOT AND THE QUALITY OF WORK WILL IMPROVE SIGNIFICANTLY.

MODULESTRUCTURE

IF YOU WANT A GRADE BETTER THAN A PASS, YOU CAN APPLY YOUR PROFICIENCY, PERSON AND PROCESS SKILLS TO MORE PROJECTS.

WE REWARD YOU FOR THE POSITIVE IMPACT ON YOUR PEERS. WE CALL THIS HOLISTIC ASSESSMENT AND IT ONLY APPLIES ONCE YOU ACHIEVE BASELINE.

TRANSFERABLE SKILLS (PERSON)

ARE IMPORTANT TO INDUSTRY & MAKES YOU BETTER AT YOUR CRAFT. TRANSFERABLE

SKILLS

PROFESSIONALTime managementStrong work ethicWork well under pressure

INTER-PERSONAL

Communication skillsTeam playerAbility to collaborate

META-COGNITIVE

Ability to accept and learn from criticism

Flexibility and adaptability

INTRA-PERSONAL

Self confidencePositive attitude

CREATIVE

Problem solvingCritical thinking

Cognitive outsourcing

PRACTICE

Self reflectionDeliberate practice

BUT WE GET YOU TO PRACTICE THEM.

WE DON’T ASSESS YOUR TRANSFERABLE SKILLS DIRECTLY

OUR HOLISTIC ASSESSMENT FRAMEWORK RECOGNIZES THAT EFFECTIVE APPLICATION OF THE TRANSFERABLE SKILLS, WILL MANIFEST IN HIGHER QUALITY PROJECTS AND HAVE A BROADER IMPACT ON OTHERS IN YOUR CLASS.

PROJECTS

OUTCOMES OF ASSESSMENT

Enhancement of student capability

Pass

Credit

Distinction

High Distinction

Fail

Ability to achieve more effective

outcomes

TRANSFERABLESKILLS

PROFESSIONAL

INTER-PERSONAL

META-COGNITIVE

INTRA-PERSONAL

CREATIVE

PRACTICE

OUR COURSES ARE TAUGHT INTHREE STAGES

WORK PLACEMENTMAJOR PROJECT PRODUCTION CREATIVE MEDIA START-UPS

MAJOR PROJECT DEVELOPMENT STUDIO UNIT

CULTURA L PERSPECTIVES STUDIO UNIT

MEDIA STUDIES STUDIO UNIT

CONTEMPORARY INDUSTRIAL PRACTICES

DISCIPLINE FOUNDATIONAL

DISCIPLINE FOUNDATIONAL STUDIO UNIT

NEW GENERATION CIU DISCIPLINE FOUNDATIONAL

DISCIPLINE FOUNDATIONAL DISCIPLINE FOUNDATIONAL

STAGE 3

STAGE 2

STAGE 1

COMMON UNITS DISCIPLINE UNITS

EMPL

OYA

BIL

ITY

SKIL

LSC

REA

TIVE

MED

IA

PRO

FESS

ION

AL S

TUD

IES

WHAT YOU’LL LEARN:

• The tools of your trade • The processes of collaboration in the

Creative Industries • The tools of scholarship & life long learning• An overview of the creative industries• Being a para-professional

HOW IT’S TAUGHT:

• Working in paraprofessional roles in a range of projects.

• As your skills develop you’ll work in larger and more collaborative team.

STAGE ONEFOUNDATIONAL SKILLS DEVELOPMENT DELIVERED IN A PARAPROFESSIONAL ROLE SIMULATION


• Apply your skills across other disciplines• Work in accordance to industry standard

processes • Develop greater autonomy and judgement• Understand how what you do fits in the big picture• Learn advanced proficiency, process and person

knowledge in a simulated work environment• Learn the nuances of society and culture to

broaden and improve your creative practice• Define your projects for assessments

HOW IT’S TAUGHT: FACILITATION

• Facilitators guide project group and act as producers who mentor students.

STAGE TWOSIMULATED PROFESSIONAL ENVIRONMENTS


• Executing a project of your own design, which meets professional quality standards

• Undertake professional work placement• Broadening your creative practice by studying

areas outside your discipline

HOW IT’S TAUGHT:

• Supervisors act as quality agents and help sharpen your skills.

STAGE THREEDEPATURE LOUNGE:NOW THAT YOU CAN MAKE STUFF, IT’S TIME TO MAKE YOUR OWN IDEAS GREAT.

AWARDS COMPLETION OF A STAGE MAKES YOU ELIGIBLE TO GRADUATEWITH THAT AWARD.

If you want to continue, you’ll be able to trade your qualification for a higher one upon completion.

WORK PLACEMENTMAJOR PROJECT PRODUCTION

CREATIVE MEDIA

START-UPS




CONTEMPORARYINDUSTRIAL PRACTICES



NEW GENERATION CIU




STAGE 3BACHELOR

STAGE 2ASSOCIATEDEGREE

STAGE 1DIPLOMA

THE COMMONCORETHE SKILLS AND KNOWLEDGE THAT UNDERPIN GREAT CREATIVE MEDIA PRACTICE, NO MATTER WHAT YOUR STUDYING.

You’ll undertake the common core in addition to your discipline specific subject matter.

WORK PLACEMENTMAJOR PROJECT PRODUCTIONCREATIVE MEDIA

START-UPS







NEW GENERATION CIU DISCIPLINE FOUNDATIONAL



EMPL

OYA

BILI

TYSK

ILLS

CR

EATI

VE M

EDIA

PR

OFE

SSIO

NAL

STU

DIE

S

• Working with intellectual property• Project lifecycle• Technical writing• Version control & file management• People management & conflict resolution• Continuous improvement methods• Scholarship & lifelong learning

• Foundational legal considerations for creative practitioners

• The skills for professional online representation

• Application of augmented intelligence to support lifelong learning

• Foundational marketing principles• Business strategies• Market validation• Distribution

THE COMMON CORESTAGE ONE

• Remote practice for creative media

• Ideation techniques

• Contemporary creative media project workflow

• Project management of interdisciplinary projects

• Providing & receiving critical feedback

• Business & marketing skills for creative media

• The scholarship of creative media practice

• Effective leadership roles in creative media

• International Practice (Optional)

THE COMMON CORESTAGE TWO

• Publication of creative media

• Concept development

• Finance for creative media businesses

• Creative media entrepreneurship

• Legal considerations of creative media businesses

• Leading creative media projects & teams

• Working with clients

• Work placement

• Transferable skills assessment

THE COMMON CORESTAGE THREE

REAL WORLD

Complete up to TWO TRIMESTERS at a selected SAE global campus.

EXPERIENCEJUST WENT WORLDWIDE

WORK PLACEMENTMAJOR PROJECT PRODUCTIONCREATIVE MEDIA

START-UPS







NEW GENERATION CIU




COMPULSARY

ELECTIVE

INTERNATIONAL PRACTICE A




NEW GENERATION CIU




OPTIONAL – INTERNATIONAL PRACTICE

OR

OR

OR

OR

INTERNATIONAL PRACTICE B

INTERNATIONAL PRACTICE C

INTERNATIONAL PRACTICE D

THE RESULTS

THE INNER WORKINGS

STAGE I

BASELINE ASSESSMENT

HOLISTIC ASSESSMENT

PROJECTS & ARTEFACTS

HOLISTIC & BASELINE

REFERENCES

REFERENCES• Cook-Sather, A., Bovill, C., & Felten, P. (2014). Engaging students as partners in learning

and teaching. San Francisco, CA: Jossey-Bass.

• Crosling, G., Heagney, M., & Thomas, L. (2009). Improving student retention in higher education: Improving teaching and learning. Australian Universities’ Review, The, 51(2), 9.

• Gibson, I., Barrett, T., MacLabhrainn, I., & Fallon, H. (2005). Designing projects for learning. In Handbook of enquiry and problem-based learning: Irish case studies and international perspectives. (p. 9). Galway Ireland: AISHE and CELT,National University of Ireland.

• Harrington, R., & Loffredo, D., A. (2010). Insight, rumination, and self-reflection as predictors of well-being,. The Journal of Psychology, 145(1), 39–57. https://doi.org/DOI: 10.1080/00223980.2010.528072

• Herrington, J., & Oliver, R. (1995). Critical characteristics of situated learning: Implications for the instructional design of multimedia. ASCILITE 1995 Conference, 253–262. Melbourne, Australia: University of Melbourne.

•

https://www.zotero.org/google-docs/?2VNglb





REFERENCES• Kanuka, H., & Anderson, T. (1999). Using constructivism in technology-mediated learning:

Constructing order out of the chaos in the literature. Radical Pedagogy., 2.

• Novak, G., Gavrin, A., Christian, W., & Patterson, E. (1999). Just-in-time teaching: Blending active learning with web technology (1 edition). Upper Saddle River, NJ: Addison-Wesley.

• Roselli, R. J., & Brophy, S. P. (2006). Experiences with formative assessment in engineering classrooms. Journal of Engineering Education, 95(4), 325–333. https://doi.org/10.1002/j.2168-9830.2006.tb00907.x

• Sadler, D. R. (1983). Evaluation and the improvement of academic learning. The Journal of Higher Education, 54, 60–79.

• Sadler, D. R. (1989). Formative assessment and the design of instructional systems. Instructional Science, 18, 119–144.






REFERENCES• Instructional Science, 18, 119–144.

• Sadler, D. R. (2009). Transforming holistic assessment and grading into a vehicle for complex learning. In G. Joughin (Ed.), Assessment, Learning and Judgement in Higher Education (pp. 1–19). https://doi.org/10.1007/978-1-4020-8905-3_4

• Savin-Baden, M. (1998). Equipping students for employment through problembasedlearning: Realizing curricula change across the boundaries. Managing Learning Innovation. The Challenges of the Changing Curriculum, University of Lincolnshire and Humberside, 1–2.

• Social Research Centre. (2019). Higher education study experience data. Retrieved 25 July 2019, from https://www.qilt.edu.au/

• Tinto, V. (1999). Taking retention seriously: Rethinking the first year of college. NACADA Journal, 19(2), 5–9. https://doi.org/10.12930/0271-9517-19.2.5

• Yorke, M. (2001). Formative assessment and its relevance to retention. Higher Education Research and Development, 20, 115–126.

• Yorke, M. (2004). Retention, persistence and success in on-campus higher education, and their enhancement in open and distance learning. Open Learning: The Journal of Open, Distance and e-Learning, 19, 19–32.

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