ARP Bibliography

Chow, M. and Ng, O. (2025). From technology adopters to creators: Leveraging AI-assisted vibe coding to transform clinical teaching and learning. Medical Teacher, pp.1–3.

Cress, L. (2025). ‘Vibe coding’ named word of the year by Collins Dictionary. BBC News. Available at: https://www.bbc.co.uk/news/articles/cpd2y053nleo.

Crowson, M.G. and Celi, L.C.A. (2025). Academic Vibe Coding: Opportunities for Accelerating Research in an Era of Resource Constraint. arXiv preprint arXiv:2508.00952.

Geng, F. Shah, A., Li, H., Mulla, N., Swanson, S., Raj, G.S., Zingaro, D. and Porter, L., (2025). Exploring Student-AI Interactions in Vibe Coding. arXiv preprint arXiv:2507.22614.

Horvat, M. (2025). What is Vibe coding and when should you use it (or not)?. Authorea Preprints.

Kaparthy, A. (2025). There’s a new kind of coding I call “vibe coding”… 2 February. Available at: https://x.com/karpathy/status/1886192184808149383 [Accessed: 1 Dec 2025].

Levin, G. and Brain, T. (2021). Code as creative medium: a handbook for computational art and design. MIT Press.

Maes, S.H. (2025). The gotchas of AI coding and vibe coding. It’s all about support and maintenance. Available at https://www.researchgate.net/profile/Stephane-Maes-2/publication/391568491_The_Gotchas_of_AI_Coding_and_Vibe_Coding_It’s_All_About_Support_And_Maintenance/links/6832a3e76b5a287c3044caeb/The-Gotchas-of-AI-Coding-and-Vibe-Coding-Its-All-About-Support-And-Maintenance.pdf [Accessed: 2 Dec 2025]

Mcnutt, A.M., Outkine, A. and Chugh, R. (2023). A study of editor features in a creative coding classroom. In Proceedings of the 2023 CHI Conference on Human Factors in Computing Systems (pp. 1–15).

Meske, C., Hermanns, T., von der Weiden, E., Loser, K.U. and Berger, T. (2025). Vibe coding as a reconfiguration of intent mediation in software development: Definition, implications, and research agenda. arXiv preprintarXiv:2507.21928.

Purser, R. (2025)AI is Destroying the University and Learning Itself. [online] Currentaffairs.org. Available at: https://www.currentaffairs.org/news/ai-is-destroying-the-university-and-learning-itself. [Accessed 8 Dec 2025]

Ray, P.P. (2025). A Review on Vibe Coding: Fundamentals, State-of-the-art, Challenges and Future Directions. Authorea Preprints.

Sarkar, A. and Drosos, I. (2025). Vibe coding: programming through conversation with artificial intelligence. arXiv preprint arXiv:2506.23253.

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ARP Action Plan

I would keep my up-to-date plan or task list here. This could be in a simple list, or as a link to a Gantt chart or other timeline. 

  • Draft Ethical Action Plan – Done 17 Nov
  • Draft Participant Consent forms – Done 1 Dec
  • Draft Participant Information sheet – Done 1 Dec
  • Draft research questions – Done 1 Dec
  • Run pilot with colleague –
  • Get feedback –
  • Refine activity –
  • Draft in student-participants to run survey –
  • Run surveys
  • Capture outputs
  • Reflect on survey
  • Debrief with observers (?)
  • Collate findings
  • Presentation slides
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ARP Rationale – Why research the implications of vibe coding in Computational Arts?

Vibe Coding was recently named word of the year by Collins Dictionary (Cress, 2025). The term was coined in February 2025 by OpenAI co-founder Andrej Karpathy, to name how AI can let coders “forget that the code even exists” while making a computer program (Karparthy, 2025).

This new approach has implications for students learning to code yet potentially offers increased accessibility and inclusivity for students who do not need to demonstrate technical acumen but may need to build programs for computational art assignments. This study will use interviews with students at different stages to assess the perceived benefits and concerns of having access to vibe coding.

This is important not just locally, but for the wider HE sector grappling with the widespread adoption of AI tools by students. Autogenerated code impacts courses that specifically assess student’s coding skills or coursework that requires coding. Debates are slowly emerging around the quick adoption of this technology (Meske et al, 2025, Maes, 2025, Ray, 2025, Sarkar and Dross, 2025) however little knowledge has been produced regarding the student experience and how it impacts on inclusive practices (Geng et al, 2025).

References

Cress, L. (2025) ‘Vibe coding’ named word of the year by Collins Dictionaryhttps://www.bbc.co.uk/news/articles/cpd2y053nleo.

Geng, F., Shah, A., Li, H., Mulla, N., Swanson, S., Raj, G.S., Zingaro, D. and Porter, L., 2025. Exploring Student-AI Interactions in Vibe Coding. arXiv preprint arXiv:2507.22614.

Kaparthy, A. (2025) There’s a new kind of coding I call “vibe coding”… 2 February. Available at: https://x.com/karpathy/status/1886192184808149383 [Accessed: 1 Dec 2025]

Meske, C., Hermanns, T., von der Weiden, E., Loser, K.U. and Berger, T., 2025. Vibe coding as a reconfiguration of intent mediation in software development: Definition, implications, and research agendaarXiv preprint arXiv:2507.21928.

Maes, S.H., 2025. The gotchas of ai coding and vibe coding. it’s all about support and maintenance [online]

Ray, P.P., 2025. A Review on Vibe Coding: Fundamentals, State-of-the-art, Challenges and Future DirectionsAuthorea Preprints.

Sarkar, A. and Drosos, I., 2025. Vibe coding: programming through conversation with artificial intelligencearXiv preprint arXiv:2506.23253.

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Protected: IP Unit / Reflective Report: Pushing for an Equality Impact Assessment in response to a proposed course closure. 

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Protected: Intervention Plan Outline

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IP Blog Task 3: Race

Bradbury’s Critical Race Theory (CRT) Framework for education policy analysis (2020) is a prescient call to interrogate how policies in higher education reinforce racial inequalities. By asking, “How do white people gain?”, “How does this disadvantage minoritised groups?”, and “How does this maintain white dominance?” (p. 247), we are encouraged to examine who benefits and who is marginalised. Applying this framework, I analysed UAL’s new hiring policies implemented in 2025.

Effective from March 2025, UAL introduced a policy requiring all requests for hiring Visiting Lecturers to go through a newly established Staffing Committee. The committee comprises Karen Stanton (Vice Chancellor), Heather Francis (COO), and Roni Brown (Deputy Vice-Chancellor), with advisors Karen Gooday (Director of People and Culture/ HR) and Alex Peacock (Finance Director) (UAL, 2025a). All are white senior managers. This group now holds sole authority to approve or reject new hires across the university.

Requests are submitted via an online form requiring rationale, dates, budget code, and budget holder—but no information regarding race, gender, or disability. This directly contradicts UAL’s Anti-Racism Action Plan (2021), which pledged to “understand, review, and reform… processes to capture more comprehensive data on Visiting Lecturers” (p. 7).

The committee also oversees requests for salary increases, job evaluations, and changes in contracted hours. Without mechanisms to track or address race and intersectionality, it’s difficult to see how UAL will meet its pledge to audit and act on ethnicity pay gap data (UAL, 2021). Using Bradbury’s framework, we must ask: does this policy maintain white dominance and disadvantage minoritised Visiting Lecturers? Arguably yes—although this short blogpost does not allow a full exploration of how.

This impact extends to students: when they don’t see themselves reflected in those teaching them, it can reinforce feelings of exclusion and limit the diversity of perspectives shaping their education. This affects both representation and the richness of the learning environment.

Garrett’s essay (2024) on how racism shapes academic careers resonated deeply. I identify as mixed race—British and Colombian—with Colombian heritage that includes Indigenous, Afro-Latin, and European ancestry. I moved to the UK at 16 and was often mocked by peers who asked if I lived in huts or trafficked cocaine. Assimilating into a white, Eurocentric identity helped me progress academically through to PhD level. Garrett notes how mixed-race academics often feel compelled to give up parts of themselves to fit in (p. 6). Upon entering university, I felt pressured to emphasise my British identity to be read as a ‘home’ student and avoid international fees. Only later did I realise I had the right to claim both home fee status and dual heritage. This demonstrates how race intersects with fee status. 

Now, post-PhD and after five years at UAL, I still await placement on an Early Career Researcher (ECR) pathway—despite my contributions to research and teaching. UAL’s updated Race Equality Charter Action Plan (2025b, p. 11) acknowledges this systemic issue, noting the risk that BAME postdoctoral staff are overlooked for ECR pathways. This, combined with centralised hiring oversight lacking intersectional safeguards, suggests that well-meaning policy changes may inadvertently entrench inequality without anti-racist accountability.

In my role as a Course Leader with hiring responsibilities and as a line manager to academic staff, I plan to use the CRT framework to critically reflect on UAL’s new policies and to support BAME Visiting Lecturers and contractual staff in securing fair pay and career progression.

References

Bradbury, A., 2020. A critical race theory framework for education policy analysis: The case of bilingual learners and assessment policy in England. Race Ethnicity and Education23(2), pp.241-260.  

Garrett, R. (2024) ‘Racism shapes careers: career trajectories and imagined futures of racialised minority PhDs in UK higher education’. Globalisation, Societies and Education. DOI: https://doi.org/10.1080/14767724.2024.2307886.

Orr, J. (2022) Revealed: The charity turning UK universities woke. The Telegraph [Online]. YouTube. 5 August. Available at: https://www.youtube.com/watch?v=FRM6vOPTjuU (accessed on 19/06/25).

Sadiq, A. (2023) Diversity, equity & inclusion: Learning how to get it right. TEDx [Online]. YouTube. 2 March. Available at: https://www.youtube.com/watch?v=HR4wz1b54hw (accessed on 19/06/25).

UAL (2021) UAL anti-racism action plan summary. Available at: https://www.arts.ac.uk/__data/assets/pdf_file/0032/296537/UAL-Anti-racism-action-plan-summary-2021.pdf (accessed on 19/06/25).

UAL (2025a) Financial controls 2025: Staffing Committee. Available at https://canvas.arts.ac.uk/sites/explore/SitePage/260545/staffing-committee-faqs (accessed on 21/06/25).

UAL (2025b) Race Equality Charter Action Plan. Available at https://canvas.arts.ac.uk/documents/sppreview/9bff08d7-69e0-4b1b-9e29-370b0eb01791 (accessed on 21/06/25).

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Inclusive Practice blog task 2: Faith, Religion and Belief

In the previous blogpost, we looked at how Crenshaw’s theory of intersectionality (2013) provides a framework for understanding how disability intersects with different forms of discrimination. This post reflects on how intersectionality can also help examine how religion or faith identity intersects with other social categories such as race, gender, and class. Again, it is important to state my positionality. I was raised in Colombia, a predominantly Catholic society. My partner and her family are Catholic, so my relationship with faith continues to be shaped through proximity and cultural familiarity.

An example of how religion intersects with other social structures is presented by Jawad (2022), who argues that barriers for Muslim women in sport are not rooted in Islam itself, but in the incompatibility between religious practices and existing sporting infrastructures, particularly in diasporic settings. This exclusion arises when religious needs are not recognised or accommodated in predominantly secular environments.

Appiah (2014) challenges simplistic critiques of religion, such as whether it is “good or bad.” He reframes religion not as mere belief in spirits or gods but as a set of lived moral and social frameworks. Drawing on Campagna (2018), we might understand these as “reality-systems” that deeply shape identity and everyday life. Crenshaw’s theory helps us locate where discrimination emerges when these frameworks intersect with dominant institutional norms.

UAL is arguably a predominantly secular, Western academic environment. In such a setting, students from different faith backgrounds may experience the institution differently—and conversely, the institution may overlook or misread the role of faith in students’ identities.

A recurring theme across the resources is the tension between secular institutional norms and lived faith-based values. Both Appiah and Jawad highlight how misunderstandings often stem from essentialist or reductive views of religion. In the classroom, secularism is often assumed to be neutral, yet it can marginalise students for whom faith is central to their worldview. Appiah calls for more nuanced understandings of religion as embedded in culture and daily life.

In my own teaching practice at UAL, I’m interested in how a plurality of faiths and cultural frameworks can inform more inclusive approaches. This is particularly relevant in the field of Computational Arts. My team draws from Campagna’s Technic and Magic (2018), which critiques the Enlightenment-era shift toward rationalism and abstraction—what Campagna calls the “Technic” worldview. Many digital technologies—VR, CGI, generative systems—are built on this immaterial, rule-based logic. Campagna’s concept of “Magic” offers a counterpoint: a reality-system that embraces symbolism, mystery, and the ineffable—qualities long present in artistic traditions shaped by faith. Campagna’s philosophy is informed by Muslim scholars such as Mulla Sadra, 17th AD Twelver Shia philosopher and mystic. Acknowledging these perspectives may help students situate computational practice within broader cultural and spiritual traditions. By doing so, we can create space for new generations of artists to embrace the symbolic and the ineffable through a plurality of faith-informed approaches to art and education. Already, this approach has encouraged students to create work that thoughtfully engages with their faith. In the graduate show, this was evident in a sculptural piece inspired by Buddhist philosophy, and a multimedia installation shaped by Islamic traditions and aesthetics.

References 

Appiah, K.A., (2014). Kwame Anthony Appiah: Is religion good or bad? (This is a trick question), YouTube, 16 June. Available at https://youtu.be/X2et2KO8gcY?si=Tn3GYdMkfqfXc2GD (Accessed: 19/06/2025). 

Campagna, F., 2018. Technic and magic: The reconstruction of reality. Bloomsbury Publishing.

Crenshaw, K.W., 2013. Mapping the margins: Intersectionality, identity politics, and violence against women of color. In The public nature of private violence (pp. 93-118). Routledge.

Jawad, H. (2022) Islam, Women and Sport: The Case of Visible Muslim Women. Available at: https://blogs.lse.ac.uk/religionglobalsociety/2022/09/islam-women-and-sport-the-case-of-visible-muslim-women/. (Accessed on 19/06/2025.)

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Inclusive Practices Blog task 1: Disability

Crenshaw’s theory of intersectionality (2013) is a framework for understanding how forms of discrimination and oppression—such as racism, sexism, and ableism—intersect and cannot be understood in isolation. Stating my positionality first is important because it shapes how I interpret issues of intersectionality and social justice in my teaching practice as a course leader in Fine Art: Computational Arts.

As someone of mixed Latin American and European heritage who is often perceived as a white European man, my positionality is complex and difficult to speak about. While I benefit from white-passing privilege in life and work, this can silence aspects of my identity and cause discomfort around when and how I speak about marginalisation. I find it awkward to assert my dual heritage around those who may perceive me solely as white. This has shaped my awareness of how identity is often misread or flattened in institutional contexts. I am also sympathetic to international students facing language barriers, having moved country twice—first as a UK-born child enrolling in a Spanish-speaking school in Colombia. I additionally bring the perspective of a recent bowel cancer survivor living with an invisible disability following surgery and having disclosed my needs when joining the PGCert. There are parallels between being white-passing and having an invisible disability; these characteristics could simultaneously privilege and invisibilise a person.

Crenshaw’s theory is helpful in critiquing how institutional data—such as UAL’s dashboards—separates gender, race, and disability, making it difficult to analyse overlapping inequalities. As far as I understand, we cannot explore intersecting categories (e.g. disabled and BAME students), only general trends in each. My own course is new with limited attainment data (11 graduates so far), but more broadly in Fine Art at Camberwell, disabled students achieved 47% firsts compared to 40% overall. This is intriguing but inconclusive without further intersectional breakdown. The BAME awarding gap however, has significantly widened every year over the last three years, demonstrating a worrisome pattern that suggests that intersectional characteristics may unfavourably be impacting on BAME disabled students. The implications for my teaching practice are a need to move beyond broad categories, be attentive to the limitations of UAL’s metrics, and recognise the complexity of students’ intersecting identities. I also need to acknowledge that not all students disclose disabilities at enrolment, leading to incomplete data.

Adepitan’s ParalympicsGB interview (2020) argues that inclusive spaces and support should enable individuals to ‘shine’. He highlights the overlapping issues of disability and race in sport while making a broader case for social justice. Intersectionality has encouraged me to go further as Course Leader in designing inclusive learning environments. At UAL, disability, health, language, and academic support are often communicated separately. It’s important to identify how support needs intersect, and how one issue can exacerbate another. For example, many international students face both cultural barriers and mental health struggles. Rather than framing students as arriving with problems, we should consider how the learning environment creates those barriers—aligned with the social model of disability (UAL, 2020). Christine Sun Kim (2023) similarly reflects on how moving to Berlin enabled her art practice due to in-built state support, free daycare, and affordable studios—conveying a sense of relief after previously living in the US. On that note, our course should strive to create conditions of intersectional support, enabling all students to thrive without structural barriers.

References

Adepitan, A. (2020). ‘Ade Adepitan gives amazing explanation of systemic racism’. Interview with Ade Adepitan. Interviewed by Nick Webborn for ParalympicsGB Legends, YouTube, 16 October. Youtube. Available at: https://www.youtube.com/watch?v=bnRjdol_j0c  (Accessed: 19/06/2025). 

Crenshaw, K.W., 2013. Mapping the margins: Intersectionality, identity politics, and violence against women of color. In The public nature of private violence (pp. 93-118). Routledge.

Sun, C. (2023). Christine Sun Kim in ‘Friends & Strangers’ – Season 11 | Art21, YouTube, 01 November. Available at: https://youtu.be/2NpRaEDlLsI (accessed: 19/06/2025). 

UAL (2020). The Social Model of Disability at UAL, YouTube, 12 March. Available at https://www.youtube.com/watch?v=mNdnjmcrzgw (Accessed: 19/06/2025). 

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Case Study 3: Assessing learning and exchanging feedback

Performing the Crit

Contextual Background 

UAL’s Assessment Criteria Framework formalises how we mark student work against five criteria. In Fine Art however, a prior mode of assessment remains in use informally: the critique, known as the ‘crit’. These are often timetabled at the end of exhibitions and work-in-progress shows and have evolved into a formative Fine Art ritual. A concern, however, is that the crit is essentially an unstructured ‘off-record’ exchange of feedback that students either take to heart or dismiss as irrelevant. 

Evaluation 

I am divided over the value of crits in Fine Art. Becoming more of an interrogation since the seventies (Houghton, 2014, 2016), traces of this ritual persist with many students finding the occasion stressful and fear-inducing (Flynn, 2022). On the other hand, by promoting a safe space, respect, and professional feedback from staff and students, the crit can be invigorating, as well as helping students develop some of the attributes recognised by UAL’s Creative Attributes Framework such as Communication and Resilience (UAL, 2022). 

On BA Fine Art: Computational Arts our current strategy is to minimise the use of crits and participate in cross Fine-Art course crits arranged to take place at shows. A challenge, however, is that often our students are inexperienced in crits compared to students from pathways where the crit is more engrained in the culture of the course. Performing at the crit is habitually considered a Fine Art skill in itself with an expectation that students learn to defend their ideas and knowledge in response to scrutiny from art critics. 

Moving forwards 

In the seventies, CalArts developed the crit into an “expanded crit” where a student had to “hold [their] own in the face of intense and lengthy interrogation … likened to a gladiatorial contest” (Houghton, 2014). It’s important to note that CalArts and NSCAD shared an academic structure that had no grades (ibid). The introduction of grades and written feedback at UAL arguably re-positions crits as student presentations. The crit has concerned scholars, calling us to critique the crit (Cleary Rodrigues, 2025), reimagine the crit (Jan, 2021), and rethink the crit (Flynn, 2022). Studies have shown students experience fear, stress, and defensiveness (Flynn, 2022). Flynn proposes a flipped model where students learn to assess ideas by doing the judging themselves (ibid). This approach may help my team reconsider the crit as an opportunity for students to learn how to critique art.

Furthermore, Flynn identifies that the tutor is often performing the role of an expert critic, making use of “history and theory to reinforce and substantiate their statements [and] suggest references”, with a sheer amount of information, in no particular order, posing a challenge for students (ibid).

To give students more guidance, I will start by explaining what a crit is, and explain that different tutors may enact different forms of crit ranging from silent crits to ones that require the student to first explain their work. To guide students to give feedback to each other I can use the analogy of a gift – sharing the notion that feedback is to be offered as a gift, presented as a gift (‘wrapped’ and delivered with care), and received as a gift with appreciation rather than defensiveness. Recently, a visiting artist commented that our students had provided feedback that he found constructive. This presents an opportunity to invite more artists to participate in flipped crits where the students develop their communication skills.

In summary, moving forward I will:

  • Be attentive to, and share with my team, the context in which crits are performed, and the danger of reenacting outdated modes of interaction. 
  • Inform students of what a crit is, and the history of the crit in Fine Art education. 
  • Promote healthier, more respectful forms of feedback exchange. 
  • Investigate a flipped crit model as proposed by Flynn.
  • Invite artists to participate in reciprocal crits.

References 

UAL (2022) Creative attributes frameworkUAL. Available at: https://www.arts.ac.uk/about-ual/teaching-and-learning-exchange/careers-and-employability/creative-attributes-framework (Accessed: 22 March 2025). 

Silberberger, Jan. ‘Reimagining the Crit’. In Against and for Method: Revisiting Architectural Design as ResearchAgainst and for Method: Revisiting Architectural Design as Research, edited by Jan Silberberger, 224–34. gta Verlag, 2021. https://doi.org/10.54872/gta/4550-12.

Flynn, P., 2022. rethinking the Crit. In Rethinking the Crit (pp. 1-24). Routledge.

Houghton, Nicholas. ‘Fine Art Pedagogy after Modernism: A Case Study of Two Pioneering Art Schools’. Art, Design & Communication in Higher Education 13, no. 1 (1 April 2014): 7–18. https://doi.org/10.1386/adch.13.1.7_1.

Houghton, N., 2016. Six into one: The contradictory art school curriculum and how it came about. International Journal of Art & Design Education35(1), pp.107-120.

Cleary Rodrigues, M. C. (2025). The crit: Making meaning with peers in fine art studio pedagogy. Arts and Humanities in Higher Education, 0(0). https://doi.org/10.1177/14740222241311857

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Case Study 2: Planning and teaching for effective learning

The skill of making art on computers: Computational Art skills at the intersection of academic and technical teaching

Contextual Background 

On BA Fine Art: Computational Arts, I’m planning on improving how academic and technical learning is interwoven into the curriculum. Contemporary Art Schools including UAL are often staffed with separate academic and technician teams devising their own teaching plans for students. As such, a student can be exposed to two different sets of scheduled activities within the curriculum, and technical learning is often not mandatory, so technical literacy can vary widely within a cohort as some students engage with technical workshops and others less so.

Evaluation 

On computational arts we have explored different ways to address this. Our lead technician, James Stringer created a booking system for students to reserve a place on cross-year workshops. These have been timetabled to not clash with academic teaching.

In the previous academic cycle 2023-24, we successfully integrated academic and technical teaching by allocating a member of the academic teaching team to co-deliver the technical workshop on Mondays. First, it encouraged the technician and lecturer to devise a more interwoven lesson plan for the week where technical skills were understood as connected to the themes of the unit and artistic references shared by the lecturer. Second, the approach improved attendance rates and student satisfaction. Due to a reduced staffing budget, we have not been able to implement this approach for the current 2024-25 cycle. 

Moving forwards 

In Fine Art Pedagogy after Modernism, Houghton (2014) explains how seperate technical teaching in Art schools originates from the pioneering pedagogy taught at Nova Scotia College of Art and Design (NSCAD). To ensure art students could still access technical resources regardless of the module “the pedagogy that was created was one where skills were available à la carte, ideas and process dominated …” (ibid, page 7). 

Fine Art courses routinely centre contextual studies and make the teaching of skills optional and open to all students, delivered by technicians. Arguably, this approach is not sufficient to reach the technical literacy increasingly required for creative professions. This resonates with UAL’s Creative Attributes Framework (UAL, 2022) that recommends the development of self-efficacy, resilience, and agility.  

I have tried to reintegrate skills-based teaching into the pedagogy of the course, an approach that resonates with the pedagogical views of the previous Programme Director (Chorpening, 2014) who observed a “shift away from the skills of making” on BA Fine Art courses.

My own teaching has been influenced by my experience in computing departments where acquiring technical skills is often mandatory. In Fine Art, I want to pursue an approach that dissolves the demarcation between ‘lecture’ and ‘workshop’ with hybrid activities that may begin with contextual slides and artistic references, followed by teaching skills needed for the type of practice that the lesson is covering. Our lecturers would be more inclined to integrate skills-based learning into their teaching, leaning on their own practices and expertise. The limitation of this approach, however, is that the technical team still operates an open access model as expected by the college, and as such, can often be out of sync with the academic team.

In summary, moving forward I will:

  • Continue to advance a pedagogy that dissolves the separation between theory and skills-based teaching, encouraging where possible hybrid teaching activities.
  • Work closely with the technical team to ensure that academic and technical teams align their teaching.
  • Where possible, create joint-delivery workshops with both a technician and academic present, to encourage collaboration. 
  • Be attentive to the wider context in which Fine Art education has responded to the need for skills-based teaching, and respond to attributes identified in the CAF report.

References 

Houghton, Nicholas. ‘Fine Art Pedagogy after Modernism: A Case Study of Two Pioneering Art Schools’. Art, Design & Communication in Higher Education 13, no. 1 (1 April 2014): 7–18. https://doi.org/10.1386/adch.13.1.7_1.

UAL (2022) Creative attributes frameworkUAL. Available at: https://www.arts.ac.uk/about-ual/teaching-and-learning-exchange/careers-and-employability/creative-attributes-framework (Accessed: 22 March 2025). 

Chorpening, K., 2014. The problem with making in fine art: A case for the expanded teaching of drawing. Art, Design & Communication in Higher Education13(1), pp.93-107.

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