AIMSMETHODSFINDINGSCONCLUSIONS

OUTCOMES

different discipline backgrounds

different stages of learning

(Bahktin, 1981)AIMS convivial learning

(Armstrong, 2004)

taking risks & being fearless

(Carabine, 2013)respond to random artefacts

dialogues

collective creative enquiry

build confidence

material-based learning

intelligent speculationopen forums for

active play

(Bateson & Martin, 2013)

DISPLAYFEEDBACKANALYSE

MONITORGroups’ progress (lecturers)

DOCUMENTDocumentary film

(TVP students)

50 responded to the questionnaire

70 completed the project

QualitativeQuantitative

METHODSINVITEGROUPINSPECTRESPOND

122 students registered & turned up on day 1

OUTCOMESExample 1

Students from:

AnimationInteriors

FilmFashion Communication & Styling

Theatre Arts

Yr 2, 3 & MA

OUTCOMESExample 2

Students from:

AnimationPhotography

Fashion Communication Styling

Yr 2 & 3

OUTCOMESExample 3

Students from:

AnimationPhotography

IllustrationInteriors

Yr 2 & 3

FINDINGSINTERDISCIPLINARITY“I have learnt new ways of

thinking and have experienced

the talent of students from

other disciplines.

The whole process for our

group was truly collaborative

from beginning to end - with

people pitching ideas,

challenging concepts and

physically getting involved in

every aspect of our project.”

(student 95)

“You tend to limit yourself to

do what you know when you

work alone…Working with

people from other areas helps

you break the limits” (student

40)

“on this project it was more

about experiment, try new

things, animators doing

illustration and illustrators

trying photography. It was

more about group work, and

less individualism”

(student 10)

“Overall it was a good learning

experience for me because it

put me into a position in

which I wasn’t totally

comfortable” (student 70)

FINDINGSPRACTICALITIES“I have learned many new techniques from the Architecture students mostly as we worked very closely together, such as building techniques, and a few animation tricks.” (student 51)

“it’s influenced me by knowing that i can create larger projects than i ever expected to do.” (Student 129)

“Most of the materials were pretty unusual to everyone on the team which really unified us at the end and helped us to bond better.” (student 91)“It opened me up to

using other resources that I would have been unable to access easily or had no idea existed.” (Student 107)

“Having access to many studios, we were able to solve problems way faster.” (Student 88)

FINDINGSAPPLICATION“a lot of people from my group dropped out which decreased the amount of work we could produce and made the whole project much more intense for the remaining members of the group.” (Student 86)

“I was impressed how most students stuck to their commitments and followed up on allocated tasks.” (Student 57)

Groups spent longer making than discussing the luggage or planning the work.

Self-organisation - rated highGroup organisation - lower

17-19% longer

FINDINGSEXPECTATIONS“It made me feel like I was in a University and not just a Photography Course.” (student 36)

“I felt like I was creating something not for the sake of grades, but for the experience.” (student 36)

FINDINGSADVICE TO STUDENTS“Ensure you know what it is you hope to take from the project in your own development - compromise is necessary artistically but should never diminish your opportunity to explore.” (student 33)

“the whole point is ‘remember to consider who is around you’….Disappearing half way puts your group mates in trouble and deprives them of the chance of sharing ideas and concepts to improve the experience.” (student 69)

“Be brave, but also realistic. It is better to make something simple and amazing than having a great idea, which will later cause many problems.” (student 88)

FINDINGSIMPROVEMENTSMore space(s)

More time

Grade everybody or nobody

Smaller groups

More participants

More staff

Better communication

More rules(!) Full commitment

CONCLUSIONSBeyond limits

Autonomy

Learning from others

Inspiration

Bigger picture Comfort zone

Strategic Motivation

Teachers ←→ Students (Freire, 1996)

Mystery

ACKNOWLEDGEMENTSPaul Haywood (Art & Design)Jacqui Boddington (CAPE) John Parkinson (CAPE)Howard Taylor (Art & Design)Rob Crowe (Art & Design)Peter Williams (Art & Design)Vanessa Pillay (Art & Design)Peter Beverstock & TVP students editing teamLearning Enhancement Team & LSS

Participating lecturers & technical support staff from Art & Design and Media & Performing ArtsBeatriz Herraiz Zornoza (Visiting lecturer from Spain)

Armstrong, P. (2004) Regenerating conviviality in adult learning: towards a research agenda. Proceedings of the SCUTREA 34th Annual Conference, University of Sheffield, 6th-8th July. Available at http://www.leeds.ac.uk/educol/documents/00003580.htm [accessed 14/4/16]

Bahktin, M. M. (1981) The Dialogic Imagination. Austin: University of Texas Press.

Bateson, P. & P. Martin (2013) Play, Playfulness, Creativity and Innovation. Cambridge: Cambridge University Press.

Carabine, J. (2013) Creativity, Art and Learning: A Psycho-Social Explorationof Uncertainty. International Journal of Art and Design Education. 32.1: 33-43.

Freire, P. (1996) Pedagogy of the Oppressed. London: Penguin.

Lave, J. & E. Wenger (1998) Situated Learning: Legitimate Peripheral Participation. Cambridge: Cambridge University Press.

Lind, M. (2007) The Collaborative Turn in J. Billing, M. Lind and L. Nilsson (Eds.)Taking The Matter Into Common Hands: On Contemporary Art and Collaborative Practices. London: Black Dog Publishing, 15-31.

Lindauer, M. S. (1998) Interdisciplinarity, the Psychology of Art, and Creativity: An Introduction. Creativity Research Journal. 11, 1. pp. 1-10.

Mason, R. (2008) Problems of Interdisciplinarity: Evidence Based and/or Artist Led Research? ‐ ‐ International Journal of Art & Design Education. 27, 3. pp. 279-292.

Vygotsky, L. S. (1978) Mind in Society: The Development of Higher Psychological Processes. Cambridge: Harvard University Press.

REFERENCES