Meaning-making and sense-making are generally assumed to be part of students’ personal vocational knowledge development, since they contribute to both students’ socialisation in a vocation and students’ personalisation of concepts, values and beliefs regarding that vocation. However, how students in vocational education acquire meaning and make sense of vocational knowledge is not explained. Furthermore, examples of what these processes entail in the context of vocational education are lacking. A multiple case study was performed to explore students’ meaning-making and sense-making in classroom interactions in Dutch senior secondary vocational education. Our results show that meaning-making is a process in which students interpret vocational knowledge by explicating and clarifying this knowledge. Sense-making is perceived to be a process in which students concretise vocational knowledge by testing and justifying this knowledge. A research model was developed to describe how students make meaning and sense of vocational knowledge in interaction with practitioners.
The paper explores how a post-cognitive approach to human perception can help the design of wearable technologies that augment sense-making. This approach relies on the notion of pure experience to understand how we can make sense of the world without interpreting it, for example through our body, as claimed by phenomenology. In order to understand how to design wearable technologies for pure experience, we first held interviews with experts from different domains, all investigating how to express and recognise pure experience. Subsequently, we had a focus group with professional dancers: given their heightened sense of bodily cognition in their experience, we wanted to verify the extent to which the experts’ practice could be claimed back into the dancers’ experience. In this paper, we will present our preliminary findings.
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The aim of the project is to design, test, refine and deploy a new assessment tool focusing on individual Future Literacy of students. Future Literacy is the ability to produce and process complex visions of the future and make sense thereof. FL is therefore an essential component of any 21st Century Skills set, in the sense that it focuses on the ability of students to prepare themselves for uncertainty and unexpected challenges. At present, the competing concepts of 21st Century Skills have a common denominator in the core idea of fostering personal development of "T-shaped individuals" who have depth in a particular field and breadth in their skill set and thinking. The students' individual ability to "use the future": make sense of emergent reality, deal with complex problems, make decisions based on collective intelligence, plan and prepare for the future, is as important in making educational choices as in taking educated bets concerning their professional, personal and political futures. The project outcome: a new tool for FL assessment will test the feasibility of rigorous measurement, and assessment of FL, to inform better curriculum design and methodological development.
The textile industry contributes over 8% of global greenhouse gas emissions and 20% of the world's wastewater, exceeding emissions from international flights and shipping combined. In the European Union, textile purchases in 2020 resulted in about 270 kg of CO₂ emissions per person, yet only 1% of used clothes are recycled into new garments.To address these challenges, the Textile Hub Groningen (THG) aims to assist small and medium-sized enterprises (SMEs) and stakeholders in forming circular textile value chains, hence reducing waste. Designing circular value chains is complex due to conflicting interests, lack of shared understanding, knowledge gaps regarding circular design principles and emerging technologies, and inadequate tools for collaborative business model development. The potential key stakeholders in the circular textile value chain find it hard to use existing tools and methods for designing these value chains as they are often abstract, not designed to be used in a collaborative setting that fosters collective sense making, immersive learning and experimentation. Consequently, the idea of circular textile value chain remains abstract and hard to realize.Serious games have been used in the past to learn about, simulate and experiment with complex adaptive systems. In this project we aim to answer the following research:How can serious games be leveraged to design circular textile value chains in the region?The expected outcomes of this project are: • Serious game: Facilitates the design of circular textile value chains• Academic Publication: Publish findings to contribute to scholarly discourse.• Future Funding Preparation: Mobilize partners and prepare proposals for follow-up funding to expand the approach to other domains.By leveraging game-based collaborative circular value chain and business model design experiences, this project aims to overcome barriers in designing viable circular value chains in the textile industry.
Society continues to place an exaggerated emphasis on women's skins, judging the value of lives lived within, by the colour and condition of these surfaces. This artistic research will explore how the skin of a painting might unpack this site of judgement, highlight its objectification, and offer women alternative visualizations of their own sense of embodiment. This speculative renovation of traditional concepts of portrayal will explore how painting, as an aesthetic body whose material skin is both its surface and its inner content (its representations) can help us imagine our portrayal in a different way, focusing, not on what we look like to others, but on how we sense, touch, and experience. How might we visualise skin from its ghostly inner side? This feminist enquiry will unfold alongside archival research on The Ten Largest (1906-07), a painting series by Swedish Modernist Hilma af Klint. Initial findings suggest the artist was mapping traditional clothing designs into a spectral, painterly idea of a body in time. Fundamental methods research, and access to newly available Af Klint archives, will expand upon these roots in maps and women’s craft practices and explore them as political acts, linked to Swedish Life Reform, and knowingly sidestepping a non-inclusive art history. Blending archival study with a contemporary practice informed by eco-feminism is an approach to artistic research that re-vivifies an historical paradigm that seems remote today, but which may offer a new understanding of the past that allows us to also re-think our present. This mutuality, and Af Klint’s rhizomatic approach to image-making, will therefore also inform the pedagogical development of a Methods Research programme, as part of this post-doc. This will extend across MA and PhD study, and be further enriched by pedagogy research at Cal-Arts, Los Angeles, and Konstfack, Stockholm.
