University of Hertfordshire

By the same authors

Critical Studies are Dead, Long Live Critical Studies

Research output: Contribution to conferencePaper

Standard

Critical Studies are Dead, Long Live Critical Studies. / Lindley, Julian; Palmer, Polly.

2018. Paper presented at EPDE18, London, United Kingdom.

Research output: Contribution to conferencePaper

Harvard

Lindley, J & Palmer, P 2018, 'Critical Studies are Dead, Long Live Critical Studies' Paper presented at EPDE18, London, United Kingdom, 5/09/18 - 8/11/19, .

APA

Lindley, J., & Palmer, P. (2018). Critical Studies are Dead, Long Live Critical Studies. Paper presented at EPDE18, London, United Kingdom.

Vancouver

Lindley J, Palmer P. Critical Studies are Dead, Long Live Critical Studies. 2018. Paper presented at EPDE18, London, United Kingdom.

Author

Lindley, Julian ; Palmer, Polly. / Critical Studies are Dead, Long Live Critical Studies. Paper presented at EPDE18, London, United Kingdom.

Bibtex

@conference{19bf7ec51d3b4e8ebe9116565e508b0e,
title = "Critical Studies are Dead, Long Live Critical Studies",
abstract = "The value of a broad awareness of the world through critical studies is well documented and a cornerstone of under-graduate education. Within Product Design this is particularly pertinent as anything which is produced in the real world is automatically analysed and evaluated from current, future and historical perspectives. It is an iterative and continually evolving process. Without an awareness of these contexts designers are in danger of making assumptions and therefore risk the potential of getting it wrong or allowing the user to mis-interpret the intended design value. A developed sense of critical awareness and contextual placement to support design decisions is one aspect of the complex domain that is design. A question arises over the teaching of critical studies; has it been subjected by current pressures to excessive standardisation and conformity? Delivery within a lecture context and assessment in the essay format seem to be the most prevalent form of student response within an under-graduate curriculum. At the University of XXX we have attempted to create a diverse middle ground. The authors apply a variety of approaches from the traditional lecture based learning environment, to embedding within practical studio tasks and out of studio visits and experiences. In the project outlined below, one of several innovative approaches, the introduction of knowledge, evaluation and analysis of artefacts and the synthesis of these supported student projects. Working with YYY Museum the project, displaying the culture of the museum’s collection in a non-museum context, demands the application of critical skills and creative responses. Importantly the deliverables for the project are tangible, supported by a reflective document, which is a creative challenge. Key to this is allowing the students to define their own contexts and the parameters of the project. The project has opened up new perspectives on research, assessment and collaboration in design education and a new paradigm for critical studies in the curriculum.",
keywords = "Student engagement, Critical Studies, Collaboration",
author = "Julian Lindley and Polly Palmer",
year = "2018",
month = "9",
language = "English",
note = "EPDE18 : History & Future ; Conference date: 05-09-2018 Through 08-11-2019",

}

RIS

TY - CONF

T1 - Critical Studies are Dead, Long Live Critical Studies

AU - Lindley, Julian

AU - Palmer, Polly

PY - 2018/9

Y1 - 2018/9

N2 - The value of a broad awareness of the world through critical studies is well documented and a cornerstone of under-graduate education. Within Product Design this is particularly pertinent as anything which is produced in the real world is automatically analysed and evaluated from current, future and historical perspectives. It is an iterative and continually evolving process. Without an awareness of these contexts designers are in danger of making assumptions and therefore risk the potential of getting it wrong or allowing the user to mis-interpret the intended design value. A developed sense of critical awareness and contextual placement to support design decisions is one aspect of the complex domain that is design. A question arises over the teaching of critical studies; has it been subjected by current pressures to excessive standardisation and conformity? Delivery within a lecture context and assessment in the essay format seem to be the most prevalent form of student response within an under-graduate curriculum. At the University of XXX we have attempted to create a diverse middle ground. The authors apply a variety of approaches from the traditional lecture based learning environment, to embedding within practical studio tasks and out of studio visits and experiences. In the project outlined below, one of several innovative approaches, the introduction of knowledge, evaluation and analysis of artefacts and the synthesis of these supported student projects. Working with YYY Museum the project, displaying the culture of the museum’s collection in a non-museum context, demands the application of critical skills and creative responses. Importantly the deliverables for the project are tangible, supported by a reflective document, which is a creative challenge. Key to this is allowing the students to define their own contexts and the parameters of the project. The project has opened up new perspectives on research, assessment and collaboration in design education and a new paradigm for critical studies in the curriculum.

AB - The value of a broad awareness of the world through critical studies is well documented and a cornerstone of under-graduate education. Within Product Design this is particularly pertinent as anything which is produced in the real world is automatically analysed and evaluated from current, future and historical perspectives. It is an iterative and continually evolving process. Without an awareness of these contexts designers are in danger of making assumptions and therefore risk the potential of getting it wrong or allowing the user to mis-interpret the intended design value. A developed sense of critical awareness and contextual placement to support design decisions is one aspect of the complex domain that is design. A question arises over the teaching of critical studies; has it been subjected by current pressures to excessive standardisation and conformity? Delivery within a lecture context and assessment in the essay format seem to be the most prevalent form of student response within an under-graduate curriculum. At the University of XXX we have attempted to create a diverse middle ground. The authors apply a variety of approaches from the traditional lecture based learning environment, to embedding within practical studio tasks and out of studio visits and experiences. In the project outlined below, one of several innovative approaches, the introduction of knowledge, evaluation and analysis of artefacts and the synthesis of these supported student projects. Working with YYY Museum the project, displaying the culture of the museum’s collection in a non-museum context, demands the application of critical skills and creative responses. Importantly the deliverables for the project are tangible, supported by a reflective document, which is a creative challenge. Key to this is allowing the students to define their own contexts and the parameters of the project. The project has opened up new perspectives on research, assessment and collaboration in design education and a new paradigm for critical studies in the curriculum.

KW - Student engagement, Critical Studies, Collaboration

M3 - Paper

ER -