PowerPoint Presentation Writing PAD A HEFCE Phase 4 Project

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• Writing PAD Symposium
• Central Saint Martins College of Art Design
• University of Arts London
• 23 September 2005
• MAZIAR RAEIN
• Head of Context Senior lecturer
• to the B.A. Graphic Design Department

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• Writing Purposefully in Art Design
• A collaboration between Goldsmiths College,
• Central Saint Martins College of Art Design
• The Royal College of Art
• A Higher Education Funding Council for England
• Fund for the Development of Teaching
• Learning, Phase 4 Project.

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• Studio, Theory and Reflection on Research
  Practice

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• I attended a speed reading course and read
• the whole of War Peace in 15 minutes
• its about Russia!
• Woody Allen

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• Quick review my talk
• Outline some essential arguments
• Raise some questions for debate

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• Education
• As Jane Graves noted in education we have shifted
  from the process of training our students to
  educating them.
• The shift from Apprenticeship to School to
  College
• to University.
• As Donald Schön described as the
  professionalizing of the minor professions

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• Integration
• In order for art design to develop into a
  discipline
• we have been in the process of creating critical
• frameworks that locate design practices and
  enable
• discourse etc, hence the proliferation of theory.
• Its vital that we integrate practice and theory,
  in order
• to construct a cohesive framework for knowledge.

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• Research
• Prof. Martin Barker,
• Department of Theatre, Film and Television
  Studies,
• University of Wales, Aberystwyth
• The activity of research expresses itself in a
• variety of investigative processes, each
  displaying
• characteristics of a mode of inquiry. The range
  of
• these activities and actions can include

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• Exploratory
• a search which uses primary and secondary
  sources
• Archival
• looking at lost histories and researching
  material that has gained new or recent validity
• Narratives
• looking at a sequences of events which validate
  or fortify new insights and ideas
• Textual visual / analytic
• asking designers what the significance is of
  these objects and how we can develop questions
  about them through contrast, comparison etc.
• Argumentative
• asking designers to challenge their or the
  audiences understanding of this subject
• Scholarly
• looking at and examining a field of study,
  reviewing what is already known and mapping the
  territory it covers

Critical asking the designer to examine a
knowledge claim, and to challenge doubt, reason
out a position etc. Conceptual asking the
designer to review terms, concepts and ideas, and
in turn postulate as to what needs clarifying
Methodological the designer is enabled to think
about a set of procedures, and take them apart
Model-building the designer will need to look at
disorganised materials, and attempt to sort them
out Case study the designer looks at a
phenomena, and brings it into focus
Hypothesis-testing the designer ascertains from
what is already known, some deduced logic
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• Donald Schön
• Schön developed a case for the epistemology of
  practice and writing can act as a tool for
  designers to adapt the practice of
• reflection-on-action
• reflection-in-action
• reflection-in-practice
• and
• self-reflexivity

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• Ken Friedman
• Friedman in his paper, Theory Construction
  Common Ground (2003) argues that
• One of the little noted points in many design
  research debates is the fact that reflective
  practice itself rests on explicit knowledge
  rather than on tacit knowledge. While Schöns
  concept of reflective practice is not a method of
  theorising but it does raise many question on
  the kinds of thinking and reflection that
  contribute to effective practice in many fields.

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• Herbert Read Christopher Frayling
• Frayling reflects on Reads
• this is research for art and design, rather
  than either research into or research through
  art.
• Friedman again states
• Reads (1944, 1974) distinctions deal with
  education and with pedagogy, not with research.
  The failure to distinguish between pedagogy and
  research is a significant weak area in the
  argument for the concept of research by design.

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• Cultural Studies
• (which expresses itself through writing and
  reading)
• has always examined from general.
• The Practice Practitioner Product of Design
• (which expresses itself through the acts of
  doing)
• has always articulated through the specific.

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• New Models May Consider
• General (Theory)
• 
  Designers
• Own Voice
• Back to the
• Specific (Practice) Specific

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• Design, Research, Writing Repertoire
• It becomes apparent here, that in order to create
  and
• sustainable curricula which can address the needs
  of
• design, we must introduce students to a
  repertoire of
• writing styles which complement the repertoire of
  
• registers they learn in studio based activities.

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• Questions
• How are we equipping our students to deal with a
  fast changing environment (i.e. life long
  learning)?
• What do we understand by term disability in
  relation to dyslexia, when many of our students
  are experiencing the positive aspects of this
  phenomena.

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• How do we re-consider the nature of teaching when
  learning becomes a process of discovery (or self
  discovery)?
• What is new knowledge for our students?
• Socrates to Meno To put it another way, how
  will you know that what you have found is the
  thing you didnt know?

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• Please make note of the questions that may come
  up during the workshops and hold onto them for
  the final session with Linda Drew today.
• Dyslexia
• English for Academic Purposes
• Curriculum Design
• Critical Analysis
• Process

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