CON â¢ TEXT - Arkitektur- og designhÃ¸gskolen i Oslo - AHO

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D E N K U L T U R E L L E S K U L E S E K K E Nassumption that the world is seen through preconceptions is already present.However, to ensure quality in the research, being open about the bias is a wayto let the reader critically reflect on some of the choices I have made (Larsson2005).Entering into this research, I come with my own preconceptions andtraditions as a trained Classroom teacher with a Hovudfag i Forming —Master degree in Art and Design Education. I received my Classroom teachertraining at the Bergen University College from 1995-98. Preceding this Istudied at the University of Bergen, the mandatory preparatory courses inresearch methods, philosophy and theory of the sciences as well as a year ofsociology. When I entered the teacher training, the education was influencedby the change in the national curriculum and the effect on the knowledgebase and pedagogical approach. I was educated both within the curriculum of1987 (KUD (Kyrkje- og undervisningsdepartementet) 1987) and thecurriculum of 1997 (KUF 1996). In A&C education this can in short be saidto represent a change from a stronger focus on the romantic child-centredview, towards a more knowledge and qualification influenced view of thesubject (Digranes 2006b). At the same time I was able to see the parallelsubject Design and Technology in the UK up close, through a three monthErasmus exchange stay at the Design and Technology teacher training at theUniversity of Greenwich. This again was another tradition entirely, withmore of a focus on the technical aspects, where fine art was placed in asubject and teacher training called Art and Design. I worked as a teacherfrom 4th to 7th grade in compulsory school after finishing my Classroomteacher degree. The experiences within the subject A&C, and my wish todevelop it further induced me to attend the Master of Art and designeducation at the Oslo University College, where I later became a doctoralcandidate, following the Doctoral program at the Oslo School of Architectureand Design. The doctoral education gave me the opportunity, through a fourmonths stay in the US as an Invited Visiting Scholar at Penn State Universityat the Art Education program, to work within the American tradition of ArtEducation.The respect for all these approaches that I have developed through my owntraining, teaching practice but also scholarly education has become my baseboth as an educator, and as a researcher within A&C education. As an A&Ceducator researching the professional practice, this epistemological base willbe a part of what I bring to the study (Molander and Terum 2008). This is inshort a respect for the child-centred view, but only combined with subjectspecific knowledge for qualification, and the making aspect of technicalprowess. The combination of the existential; — the personal growth anddevelopment, and the functional; — the professional and subject specific12
R E S E A R C H I N G D K Sknowledge and work practice (Kvernbekk 2001) exist in constant play withinmy professional practice. I recognise that my view on what constitutes asuccessful collaboration, satisfying results in educational projects, and qualityin A&C education is coloured by my preconceptions as a trained A&Cteacher. I have throughout the work in this study consciously taken my ownposition into consideration, and been as honest as possible in my approach tothe findings.In research concerning professional practice, being trained in the professionthat I study gives me an opportunity to use the professional knowledge andexperience gained in training and work — the insider perspective (Molanderand Terum 2008). Art and design education research is in the process ofdeveloping into a making discipline (Dunin-Woyseth and Nielsen 2003). Thesubject A&C is very much a subject focused on choices of action — themaking of things. The making disciplines have as their common denominatorthe concept making — addressing the shaping of a broad spectrum ofartefacts and the educations related to this. The making disciplines samplefrom several other traditions and disciplines that again hold several points ofdeparture in the disciplinary framework (Dunin-Woyseth and Michl 2001).Research conducted in the making disciplines can be placed within naturalsciences, social sciences and the humanities. The avenues of practice aremany, as the theorising of the practice should reflect. The making disciplineshave a dual entry to research, through theory or through the practice. I findmyself considering my research from a making professional point of view aswell as from a making discipline point of view. To have an inside perspectiveon the making profession can enrich the discipline in more than one capacity(Dunin-Woyseth and Nielsen 2003). The making disciplines do have this tooffer — the capacity to act both as a researcher and reflect as a practitioner(Schön 1995). It is in that case important to be aware of my role as aresearcher, and clarify my background. Doing this can enable me to step backfor an outsider perspective on the ongoing professional practice (Molanderand Terum 2008).Research into ‘matters of concern’, rather than ‘matter of fact’ (Latour 2004),opens for the new approach to questions within research on professionssuggested by Nolin (2008). He advocated a research on professions thatinstead of analysing at a distance to categorise professions or professionalpractice, actively participate in changing the professional practice that has apotential for increased quality for the betterment of society. Research withinthe education of professionals as well as by education professionals can be away to offer tools for change, not only mapping problems of power,monopoly or diversity within the professions, but through being involved in acritique of the practice (Nolin 2008). Research can in this light be seen as a13
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CON â¢ TEXT - Arkitektur- og designhÃ¸gskolen i Oslo - AHO