Brains and gender, separately and in their interrelatedness, are hot items today in popular journals and academic literature. It is in particular the complexity of the interdependence of physical-, psychological-, and contextual-related developments of feminization in education that we focus on these contributions. We argue that a combination of recent findings of brain research and Marcia's psychological model of identity development in a “provocative pedagogy”—combining youngsters’ (boys and girls) need for exploration, console, and support—is a promising “stepped care” strategy for religious development of youngsters in a multicultural and multireligious context.
Digital game-based learning (DGBL) can be regarded as a promising teaching pedagogy to prepare students for challenges of the 21st century. However, the incorporation of digital games into K-12 curricula remains limited. Research suggests that a comprehensive understanding of barriers and motivational factors that teachers face when implementing DGBL is needed to ensure that teachers can receive the support required. To delineate suggestions for tailored curricula on game-based pedagogy in teacher education programs, we conducted a study to gain insight into in-service teachers’ perception of DGBL in relation to their previous experience in teaching with DGBL. To achieve our goal, we examined the factors that impede and promote the implementation of DGBL among in-service teachers who are presently pursuing master's level education programs, having in mind that this group of teachers is different from pre-service teachers. Data was collected using an online survey with open- and closed-ended questions. The sample consisted of in-service teachers (n=37) who were enrolled in a master’s course in math education. The data analysis conducted was of a qualitative nature. One significant finding derived from this study is that the level of pedagogical experience in utilizing games as a teaching tool appears to be a crucial factor in understanding the inclination of in-service teachers towards game-based pedagogy. Pedagogical factors were mentioned by teachers at all stages of experience with DGBL, and differences were observed between teachers at different stages. For instance, in-service teachers with experience with DGBL (intermediate and advanced stages) were concerned about being able to maintain focus on the math concepts, the need to adapt the game lesson to students, and the ways to evaluate student learning less experienced teachers were essentially concerned about ways to control the classroom during DGBL and whether the pupils would receive adequate practice in this learning mode. Differences were also noted for other factors between teachers at different stages. Advanced stage teachers did have concerns about game appropriateness for the intended learning; teachers with less experience were concerned about the lack of games (technical factors). Dealing with an existing curriculum and high workload were common aspects for teachers with no or some experience but only teachers with some experience mentioned obstacles related to school organization (structural factors). Teachers with few and some experience referred to the lack of knowledge and competence (personal factors) and that pupils would not take the lessons with games seriously (social factors). This research supports DGBL- practice (i) by adding new knowledge on the factors that can support or constrain the integration of DGBL and its implications for the development of curricula on game-based pedagogy; (ii) by providing suggestions to design and implement meaningful curricula on digital game-based pedagogy for teaching education and training programs.
The Kunming-Montreal Global Biodiversity Framework, launched during the United Nations Biodiversity Conference in December 2022, encourages governments, companies and investors to publish data on their nature-related risks, dependencies and impacts. These disclosures are intended to drive businesses to recognise, manage and mitigate their reliance on ecosystem goods and services. However, there is a ‘biodiversity blind spot’ that is evident for most organisations and business schools. Business education rarely addresses the root causes of biodiversity loss, such as the unsustainable exploitation of natural resources. As the dominant positioning of Education for Sustainable Development Goals (ESDG) presents biodiversity in anthropocentric instrumental terms inadequate for addressing ecosystem decline, we posit that a more progressive and transformative ecocentric education through ecopedagogy and ecoliteracy is needed. Both approaches include the development of critical thinking about degrowth, the circular economy and conventional stakeholder theory to include non-human stakeholders. Using comparative case studies from Northumbria University, the University of Hong Kong and Amsterdam University of Applied Sciences, we illustrate how business education can be transformed to address biodiversity loss, providing theoretical guidance and practical recommendations to academic practitioners and future business leaders.
The project Decolonising Education: from Teachers to Leading Learners (DETeLL) aims to develop a multi-site approach for interventions towards inclusion and decolonisation in order to change the hierarchical nature of higher education in the Netherlands. DETeLL identifies the model of the ‘traditional teacher’ as embodying the structural exclusions and discriminations built into the classroom and proposes the figure of a ‘Leading Learner’ as a first step towards a radical change in the educational system. In collaboration with the education departments in the Theatre and Dance Academy at ArtEZ, the post-doc will build up a research and teaching programme that engages with students and teachers in the faculty to create a prototype of an inclusive and diverse educational practice. RELEVANCE: Education should be the critical space in which changes occur in order to shape best possible futures. In DETeLL’s acceptation, decolonisation refers to a complete change in the way of thinking and behaving. It does not refer only to the urgency of dealing with historical colonial legacies embedded in society, but also to the subversion of the deeply oppressive colonial culture that (also unconsciously) regulates public and private living, whether this is related to gender, race, class or sexuality issues. RESULTS: 1) Create a theory and practice-based scientific base-line of decolonisation and art education; 2) Provide a definition of ‘Artist educator as Leading Learner’ following a practice- based methodology of intervention; 3) Design and Pilot a new teaching programme for theatre education at ArtEZ to be then upscaled to all educational departments in a follow-up project); 4) Produce a strong interdisciplinary and international output plan: 3 academic publications, 2 conferences, 4 expert group workshops. NETWORK: ArtEZ; University of Amsterdam (UvA); Ghent University; UCHRI; Hildesheim University; Cape Town University. The partners will serve as steering committee through planned expert group meetings.
The PhD research by Joris Weijdom studies the impact of collective embodied design techniques in collaborative mixed-reality environments (CMRE) in art- and engineering design practice and education. He aims to stimulate invention and innovation from an early stage of the collective design process.Joris combines theory and practice from the performing arts, human-computer interaction, and engineering to develop CMRE configurations, strategies for its creative implementation, and an embodied immersive learning pedagogy for students and professionals.This lecture was given at the Transmedia Arts seminar of the Mahindra Humanities Center of Harvard University. In this lecture, Joris Weijdom discusses critical concepts, such as embodiment, presence, and immersion, that concern mixed-reality design in the performing arts. He introduces examples from his practice and interdisciplinary projects of other artists.About the researchMultiple research areas now support the idea that embodiment is an underpinning of cognition, suggesting new discovery and learning approaches through full-body engagement with the virtual environment. Furthermore, improvisation and immediate reflection on the experience itself, common creative strategies in artist training and practice, are central when inventing something new. In this research, a new embodied design method, entitled Performative prototyping, has been developed to enable interdisciplinary collective design processes in CMRE’s and offers a vocabulary of multiple perspectives to reflect on its outcomes.Studies also find that engineering education values creativity in design processes, but often disregards the potential of full-body improvisation in generating and refining ideas. Conversely, artists lack the technical know-how to utilize mixed-reality technologies in their design process. This know-how from multiple disciplines is thus combined and explored in this research, connecting concepts and discourse from human-computer interaction and media- and performance studies.This research is a collaboration of the University of Twente, Utrecht University, and HKU University of the Arts Utrecht. This research is partly financed by the Dutch Research Council (NWO).Mixed-reality experiences merge real and virtual environments in which physical and digital spaces, objects, and actors co-exist and interact in real-time. Collaborative Mix-Reality Environments, or CMRE's, enable creative design- and learning processes through full-body interaction with spatial manifestations of mediated ideas and concepts, as live-puppeteered or automated real-time computer-generated content. It employs large-scale projection mapping techniques, motion-capture, augmented- and virtual reality technologies, and networked real-time 3D environments in various inter-connected configurations.This keynote was given at the IETM Plenary meeting in Amsterdam for more than 500 theatre and performing arts professionals. It addresses the following questions in a roller coaster ride of thought-provoking ideas and examples from the world of technology, media, and theatre:What do current developments like Mixed Reality, Transmedia, and The Internet of Things mean for telling stories and creating theatrical experiences? How do we design performances on multiple "stages" and relate to our audiences when they become co-creators?Contactjoris.weijdom@hku.nl / LinkedIn profileThis research is part of the professorship Performative Processes
