Inclusivity in context: The artefact as acritical tool for creative inquiry.

Sally Hall, Inclusive Environments Project Lead Jason Hirons, Senior Lecturer in Contextual

Studies & IllustrationPlymouth College of Art.

Inclusive Practice Network 2019Innovations in Practice

Contextualising the Problem

● Portfolio based recruiter

● High levels ASC/ADHD complex needs/Multiple

disadvantage

● Alternative to mainstream assessment critical to

student progression

● Inclusive practice relates to learning and teaching,

curriculum design, learning materials, opportunity for

staff to understand how learners can co-create

curricula

2

Details from a Critical Portfolio, and Walter Benjamin Comic Books 2018 from BA Illustration, Plymouth College of Art (Photographer: Mel Brown, Programme Leader for BA Illustration)

Contextualising - Level 4

3

Contextualising - Level 5

Dream Quilt from Y2 Student, BA Illustration, Plymouth College of Art (Photograph: Sally Hall) 4

Credit: Amanda Leman, BA (Hons) Painting Drawing and Printmaking, Plymouth College of ArtSupervisor: Dr. Antigoni Pasidi

Contextualising - Level 6

5

Questions for the student thinking about choosing the Artefact option:

● Can you produce a new way of seeing, doing, being and/or understanding through the process and outcome of your artefact?

● Can you defend/justify and position your artefact to a robust standard?

● Can you compare, contrast, distinguish and question something through the making and writing, creating and defending your position/argument?

When assessing the artefact option, consider the following:● Has the student created a new product/concept or

understanding through the artefact? If so, how, and to what level of success?

● Has the student been able to justify/defend their inquiry through the artefact AND writing? If so, how, and the what level of success? How has it been taken forward into their practice?

● Has the student been able to distinguish between this work and already exisiting work? Have they successfully tested out concepts, making explicit any implicit ideas to clearly articulate their intentions and outcomes?

TaxonomiesBloom’s Taxonomy (Revised)

6

7

Workshop

● Opportunity to reconsider the format - student

rewrites the format

Learner engages in theory in ways that would not have

been possible previously

● Boundaries of practice and theory dissolve

● Learner benefits by stretching their creative practice

8

Workshop

● Mission

○ Work in pairs/small groups

○ Consider the work/s in front of you

○ Given the criteria, how would you assess the work

based on the matrix/taxonomies?

○ Consider the parameters of the grading matrix,

what are the issues surrounding assessment of the

work?

○ To what extent does the work meet/does not meet

the criteria for academic rigour in your opinion?

9

ReferencesAnderson, L.W. (Ed.), Krathwohl, D.R. (Ed.), Airasian, P.W., Cruikshank, K.A., Mayer, R.E., Pintrich, P.R., Raths, J., & Wittrock, M.C. (2001). A taxonomy for learning, teaching, and assessing: A revision of Bloom’s Taxonomy of Educational Objectives (Complete edition). New York: Longman

Borzak, L. (ed.) (1981) Field Study. A source book for experiential learning, Beverley Hills: Sage Publications.

Fauchon, Mireille; Gannon, Rachel (2018) An introduction to the manifesto for illustration pedagogy: A lexicon for

contemporary illustration practice in The Journal of Illustration, Volume 5, Number 2

Harrari, Yuval Noah (2018) 21 Lessons for the 21st Century. London, Jonathan Cape

Illeris, Knud (ed.) (2009) Contemporary Theories of Learning. Abingdon, Routledge

Krathwohl, D. R. (2002) A Revision of Bloom’s Taxonomy. in Theory into Practice. V 41. #4. Autumn, 2002. Ohio State University.

Mäkelä, Maarit. (2007). Knowing Through Making: The Role of the Artefact in Practice-led Research. Knowledge,

Technology & Policy. 20. 157-163. 10.1007/s12130-007-9028-2.

Marton, F., & Saljo, R. (1976). On qualitative differences in learning: I. Outcome and process. British Journal of Educational Psychology, 46(1), 4-11.

Pinker, Steven (2014) The Sense of Style. London, Viking

10