Build a structure with assignment constraints.
Indicate that the process is more important than the result.
Leave room for taking risks.
Invite students to take matters into their own hands and let them determine their own actions and outcomes.
Can you set a goal regardless of the outcome?
What behaviour does the workspace elicit?
What have you learnt from someone else?
When did you lost control over a material?
How do you look back and how do you think ahead?
Which different specialists can contribute to your project?
What do your senses tell you about the space where you are situated?
Can you set a goal regardless of the outcome?
What behaviour does the workspace elicit?
What have you learnt from someone else?
When were you lost control of the material?
How do you look back and how do you think ahead?
Which different specialists can contribute to your project?
What do your senses tell you about the space where you are situated?
Can you set a goal regardless of the outcome?
What behaviour does the workspace elicit?
What have you learnt from someone else?
When did you lost control over the material?
How do you look back and how do you think ahead?
Can you set a goal regardless of the outcome?
Assignment
What learning outcome(s) do you want to achieve? And can the students also determine learning outcomes themselves?
How do you highlight the process and not the product?
Are there opportunities for risk and failure?
Did you leave space to determine their own actions and outcomes?
What behaviour does the workspace elicit?
Workspace
Arrange the materials and tools in such a way that they contribute to the learning process.
Make sure there is sufficient freedom of movement.
Create a workspace in a way that enables collaboration.
Provide a peaceful workspace.
What behaviors does the workspace elicit?
Are there sufficient and different materials and tools in the room?
Is there sufficient physical freedom of movement possible?
Does the workspace allow collaboration between students?
What have you learnt from someone else?
Collaboration
Make sure that students can work together as a group.
Let students share knowledge.
Wenger, E. (1998). Communities of Practice: Learning, meaning, and identity. Cambridge, UK: Cambridge University Press.
Vygotsky, L. (1978). Mind in Society. Cambridge, MA: Harvard University Press.
When did you lost control over a material?
Materials
Select materials that can be used in a variety of ways.
Challenge students to follow the material in addition to their ideas.
They don't always have to have control over the material, resistance is also an important part of it.
If you provide hard-to-edit materials (such as complex software), teach them technical skills first.
What materials can you offer students?
Are the students able to work with these materials?
Or do you have to train them first to be able to work with these materials?
Ingold, Tim. (2013). Making: Anthropology, Archaeology, Art and Architecture. London: Routledge.
Sennett, R. (2008) The Craftsman. New Haven Yale University Press.
Sawyer, R. Keith. (2019). “The Role of Failure in Learning How to Create in Art and Design.” Thinking Skills and Creativity 33.
Nachmanovitch S., (1990). Free play: Improvisation in life and art, New York: Penguin Putman
Papert, S., and Franz G. (1998). Computer as material: Messing about with time. Teachers College Record 89(3): 408–17.
How do you look back and how do you think ahead?
Reflection
Choose a specific moment to ask open questions about the work process.
Give the students time and space to find answers.
Use peer evaluation.
How do you look back and ahead with the students?
Are there specific moments in which you can ask open questions about the work process?
How do you facilitate peer learning?
Schön, D. (1983). The reflective practitioner: How professionals think in action, New York: Basic Books.
Which different specialists can contribute to your project?
Interdisciplinary
Think of natural combinations of disciplines (such as art and/or science and/or technology).
Look for specialists who complement each other.
Are these individuals available? And is it easy to organize?
Include a technical support assistant in the design process.
Which teachers/subjects complement each other in relation to the chosen content?
Are these people available? And is it easy to organize?
Burnard, Pamela and Laura Colucci-Gray, eds. 2020. Why Science and Art Creativities Matter: (Re- )Configuring Steam for Future-Making Education. Leiden: Brill
Huutoniemi, K., Klein, J. T., Bruun, H., & Hukkinen, J. (2010). Analyzing interdisciplinarity: Typology and indicators. Research policy, 39(1), 79-88.
Wickson, F., Carew, A. L., & Russell, A. W. (2006). Transdisciplinary Research: Characteristics, Quandaries and Quality. Futures, 38, 1046-1059.
What do your senses tell you about the space where you are situated?
In the world
Find a place for the students (an extracurricular environment) where a 'problem' is situated.
Let students experience this place in a sensory way (smell, taste, look, feel, listen).
Ask students to collect material on the spot about the site and record observations in different ways (photos or audio recordings etc.)
Antczak K.A and Beaudry M.C. (2019). “Assemblages of Practice. a Conceptual Framework for Exploring Human-Thing Relations in Archaeology.” Archaeological Dialogues 26(2): 87–110.
Barad, K. M. (2007). Meeting the universe halfway: quantum physics and the entanglement of matter and meaning (Ser. E-duke books scholarly collection). Duke University Press.
Iliopoulos, A. (2019), Material Engagement Theory and its philosophical ties to pragmatism. Phenom CognSci 18, 39–63.
Latour, B., (2007). Reassembling the Social: An Introduction to Actor-Network-Theory. Oxford: Oxford University Press.
Fenwick, Tara and Richard Edwards. 2010. Actor-Network Theory in Education. Hoboken: Taylor & Francis.
Can you set a goal regardless of the outcome?
Assignment
Build a structure with assignment constraints.
Indicate that the process is more important than the result.
Leave room for taking risks.
Invite students to take matters into their own hands and let them determine their own actions and outcomes.
What learning outcome(s) do you want to achieve? And can the students also determine learning outcomes themselves?
How do you highlight the process and not the product?
Are there opportunities for risk and failure?
Did you leave space to determine their own actions and outcomes?
What behaviour does the workspace elicit?
Workspace
Arrange the materials and tools in such a way that they contribute to the learning process.
Make sure there is sufficient freedom of movement.
Create a workspace in a way that enables collaboration.
Provide a peaceful workspace.
What behaviors does the workspace elicit?
Are there sufficient and different materials and tools in the room?
Is there sufficient physical freedom of movement possible?
Does the workspace allow collaboration between students?
What have you learnt from someone else?
Collaboration
Select materials that can be used in a variety of ways.
Don’t let students work on a defined idea but let them follow the material.
They don't always have to have control over the material, resistance is also an important part of it.
If you provide hard-to-edit materials (such as complex software), teach them technical skills first.
Wenger, E. (1998). Communities of Practice: Learning, meaning, and identity. Cambridge, UK: Cambridge University Press.
Vygotsky, L. (1978). Mind in Society. Cambridge, MA: Harvard University Press.
When were you lost control of the material?
Materials
Select materials that can be used in a variety of ways.
Challenge students to follow the material in addition to their ideas.
They don't always have to have control over the material, resistance is also an important part of it.
If you provide hard-to-edit materials (such as complex software), teach them technical skills first.
What materials can you offer students?
Are the students able to work with these materials?
Or do you have to train them first to be able to work with these materials?
Ingold, Tim. (2013). Making: Anthropology, Archaeology, Art and Architecture. London: Routledge.
Sennett, R. (2008) The Craftsman. New Haven Yale University Press.
Sawyer, R. Keith. (2019). “The Role of Failure in Learning How to Create in Art and Design.” Thinking Skills and Creativity 33.
Nachmanovitch S., (1990). Free play: Improvisation in life and art, New York: Penguin Putman
Papert, S., and Franz G. (1998). Computer as material: Messing about with time. Teachers College Record 89(3): 408–17.
How do you look back and how do you think ahead?
Reflection
Let the students document their work and making process.
Choose a specific moment to ask open questions about the work process.
Give the students time and space to find answers
Use peer evaluation.
How do you look back and ahead with the students?
Are there specific moments in which you can ask open questions about the work process?
How do you facilitate peer learning?
Schön, D. (1983). The reflective practitioner: How professionals think in action, New York: Basic Books.
Which different specialists can contribute to your project?
Interdisciplinary
Think of natural combinations of disciplines (such as art and/or science and/or technology).
Look for specialists who complement each other.
Are these individuals available? and is it easy to organize?
Include a technical support assistant in the design process.
Which teachers/subjects complement each other in relation to the chosen content?
Are these people available? And is it easy to organize?
Burnard, Pamela and Laura Colucci-Gray, eds. 2020. Why Science and Art Creativities Matter: (Re- )Configuring Steam for Future-Making Education. Leiden: Brill
Huutoniemi, K., Klein, J. T., Bruun, H., & Hukkinen, J. (2010). Analyzing interdisciplinarity: Typology and indicators. Research policy, 39(1), 79-88.
Wickson, F., Carew, A. L., & Russell, A. W. (2006). Transdisciplinary Research: Characteristics, Quandaries and Quality. Futures, 38, 1046-1059.
What do your senses tell you about the space where you are situated?
In the world
Find a place for the students (an extracurricular environment) where the specific research can take place.
Let students experience this place in a sensory way (smell, taste, look, feel, listen).
Ask students to collect material about the site on the spot and record observations in different ways (photos or audio recordings etc.).
Antczak K.A and Beaudry M.C. (2019). “Assemblages of Practice. a Conceptual Framework for Exploring Human-Thing Relations in Archaeology.” Archaeological Dialogues 26(2): 87–110.
Barad, K. M. (2007). Meeting the universe halfway: quantum physics and the entanglement of matter and meaning (Ser. E-duke books scholarly collection). Duke University Press.
Iliopoulos, A. (2019), Material Engagement Theory and its philosophical ties to pragmatism. Phenom CognSci 18, 39–63.
Latour, B., (2007). Reassembling the Social: An Introduction to Actor-Network-Theory. Oxford: Oxford University Press.
Fenwick, Tara and Richard Edwards. 2010. Actor-Network Theory in Education. Hoboken: Taylor & Francis.
Can you set a goal regardless of the outcome?
Assignment
Build a structure with assignment constraints.
Indicate that the process is more important than the result.
Leave room for taking risks.
Invite students to take matters into their own hands and let them determine their own actions and outcomes.
What learning outcome(s) do you want to achieve? And can the students also determine learning outcomes themselves?
How do you highlight the process and not the product?
Are there opportunities for risk and failure?
Did you leave space to determine their own actions and outcomes?
What behaviour does the workspace elicit?
Workspace
Arrange the materials and tools in such a way that they contribute to the learning process.
Make sure there is sufficient freedom of movement.
Create a workspace in a way that enables collaboration.
Provide a peaceful workspace.
What behaviors does the workspace elicit?
Are there sufficient and different materials and tools in the room?
Is there sufficient physical freedom of movement possible?
Does the workspace allow collaboration between students?
What have you learnt from someone else?
Collaboration
Make sure that students can work together as a group.
Come up with rules for cooperation with the students.
Recognize students' ability to solve complex problems.
Let students share knowledge.
Wenger, E. (1998). Communities of Practice: Learning, meaning, and identity. Cambridge, UK: Cambridge University Press.
Vygotsky, L. (1978). Mind in Society. Cambridge, MA: Harvard University Press.
When did you lost control over the material?
Materials
Select materials that can be used in a variety of ways.
Challenge students to follow the material in addition to their ideas.
They don't always have to have control over the material, resistance is also an important part of it.
If you provide hard-to-edit materials (such as complex software), teach them technical skills first.
What materials can you offer students?
Are the students able to work with these materials?
Or do you have to train them first to be able to work with these materials?
Ingold, Tim. (2013). Making: Anthropology, Archaeology, Art and Architecture. London: Routledge.
Sennett, R. (2008) The Craftsman. New Haven Yale University Press.
Sawyer, R. Keith. (2019). “The Role of Failure in Learning How to Create in Art and Design.” Thinking Skills and Creativity 33.
Nachmanovitch S., (1990). Free play: Improvisation in life and art, New York: Penguin Putman
Papert, S., and Franz G. (1998). Computer as material: Messing about with time. Teachers College Record 89(3): 408–17.
How do you look back and how do you think ahead?
Reflection
Let the students document their work and making process.
Choose a specific moment to ask open questions about the work process.
Give the students time and space to find answers
Use peer evaluation.
How do you look back and ahead with the students?
Are there specific moments in which you can ask open questions about the work process?
How do you facilitate peer learning?
Schön, D. (1983). The reflective practitioner: How professionals think in action, New York: Basic Books.