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Ahmed Lachheb Victoria Abramenka-Lachheb Stephanie Moore Colin Gray 《British journal of educational technology : journal of the Council for Educational Technology》2023,54(6):1653-1670
Maintaining students' privacy in higher education, an integral aspect of learning design and technology integration, is not only a matter of policy and law but also a matter of design ethics. Similar to faculty educators, learning designers in higher education play a vital role in maintaining students' privacy by designing learning experiences that rely on online technology integration. Like other professional designers, they need to care for the humans they design for by not producing designs that infringe on their privacy, thus, not causing harm. Recognizing that widely used instructional design models are silent on the topic and do not address ethical considerations such as privacy, we focus this paper on how design ethics can be leveraged by learning designers in higher education in a practical manner, illustrated through authentic examples. We highlight where the ethical responsibility of learning designers comes into the foreground when maintaining students' privacy and well-being, especially in online settings. We outline an existing ethical decision-making framework and show how learning designers can use it as a call to action to protect the students they design for, strengthening their ethical design capacity.
Practitioner notes
What is already known about this topic- Existing codes of ethical standards from well-known learning design organizations call upon learning designers to protect students' privacy without clear guidance on how to do so.
- Design ethics within learning design is often discussed in abstract ways with principles that are difficult to apply.
- Most, if not all, design models that learning design professionals have learned are either silent on design ethics and/or do not consider ethics as a valid dimension, thus, making design ethics mostly excluded from learning design graduate programs.
- Practical means for engaging in ethical design practice are scarce in the field.
- A call for learning designers in higher education to maintain and protect students' privacy and well-being, strengthening their ethical design capacity.
- A demonstration of how to use a practical ethical decision-making framework as a designerly tool in designing for learning to maintain and protect students' privacy and well-being.
- Authentic examples—in the form of vignettes—of ethical dilemmas/issues that learning designers in higher education could face, focused on students' privacy.
- Methods—using a practical ethical decision-making framework—for learning design professionals in higher education, grounded in the philosophy of designers as the guarantors of designs, to be employed to detect situations where students' privacy and best interests are at risk.
- A demonstration of how learning designers could make stellar design decisions in service to the students they design for and not to the priorities of other design stakeholders.
- Higher education programs/institutions that prepare/employ learning designers ought to treat the topics of the designer's responsibility and design ethics more explicitly and practically as one of the means to maintain and protect students' privacy, in addition to law and policies.
- Learning designers in higher education ought to hold a powerful position in their professional practice to maintain and protect students' privacy and well-being, as an important aspect of their ethical design responsibilities.
- Learning designers in higher education ought to adopt a design thinking mindset in order to protect students' privacy by (1) challenging ideas and assumptions regarding technology integration in general and (2) detecting what is known in User Experience (UX) design as “dark patterns” in online course design.
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创新思维是现代设计人才必须具备的基本素质，也是高校设计教学的重要内容。本文根据广东外向型经济对创新型设计人才的需求，对高职设计教学模式的创新进行了分析与思考，试图提出创新型设计人才培养的新思路。 相似文献
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创新思维是现代设计人才必须具备的基本素质,也是高校设计教学的重要内容。本文根据广东外向型经济对创新型设计人才的需求,对高职设计教学模式的创新进行了分析与思考,试图提出创新型设计人才培养的新思路。 相似文献
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Jeehyun Lee Jiwon Ahn Jieun Kim Jeong‐min Kho 《The International Journal of Art & Design Education》2019,38(2):430-444
The field of fashion design relies on the originality of fashion designers and information on design trends, and design education also focuses on the creative ideas of designers; in this field, design through co‐design is a very limited area. However, with the proliferation of participatory culture, the need to diversify fashion design education methods has also emerged. The purpose of this study is to present an educational framework and an instructional strategy for co‐design based on the changing role of the designer and to obtain educational insight through the implementation of an actual education prototype. To do this, we developed an educational prototype and implemented it with six undergraduate students. Through this study, the participants engaged in the process of design development with the consumer and analysed the instructional insight. As a result, this study redefines the roles and design methods of designers for co‐design and identifies creativity characteristics through the co‐design process. The results of this study can be used as basic data for co‐design education and can contribute to the expansion of fashion design educational methods. 相似文献
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本文主要阐述了关于设计高校如何培养面向未来市场需求的字体设计师。主要分三个方面表明作者的观点,一是在本土中文语境中,要注重文字的书写方式的训练,才能设计出符合人们阅读习惯的字体。二是面对国际环境,要求字体设计师有对多种语系文字的设计能力。最后说明的是随着屏显阅读时代的到来,对文字设计提出了新的要求和挑战课题。我们的教育更应该面对文字设计的前沿问题,发挥引导作用,让学生了解市场了解未来的设计趋势。 相似文献
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Kylie Budge 《The International Journal of Art & Design Education》2012,31(1):44-52
Many images of the ‘artist’ or ‘designer’ pervade the media and popular consciousness. Contemporary images of the artist and creativity that focus solely on the individual offer a very narrow depiction of the varying ways creativity occurs for artists and designers. These images do not capture the variety of creative processes and myriad ways artists and designers work. Young creatives in particular are choosing to work with a social approach to creativity. An example of this approach is the world of blogging, a form of social media where young creatives have a very active voice. This article explores how creative bloggers, that is, artists, designers and makers who blog about their practice, use a social approach to foster creativity with a sense of community, environmental and ethical awareness, a value framework that is in opposition to the market‐driven notion of liberal individualism. Is there a way to include participation in the broader art and design blogging world as part of art and design education? What can we learn from such a social approach to learning in higher education art and design programmes? This article explores these questions and shares findings of an ethnographic approach to an analysis of art and design blogs. In doing so it argues for a socially‐wise approach to creativity in art and design education as a means of promoting values other than those usually connected to the market. 相似文献
8.
倪凤祥 《首都师范大学学报(社会科学版)》2007,(4):21-24
21世纪,中国的经济建设进入了新的发展阶段,中国的设计与设计教育正处在一个特定的转型时期.面对当前的设计教育现状,探讨科学的设计教育机制与教育模式,提出有效的教学改革思路与策略,培养创新型设计人才,以适应现代设计并具中国特色的新型设计教育模式,是当前设计教育界深入探讨研究的重大课题. 相似文献
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折文菁 《和田师范专科学校学报》2008,28(4):57-58
21世纪,设计人才成为紧缺人才之一,如何培养现代社会所需的设计人才已成为当务之急。文章通过对国内外设计教育的比较和分析,来说明我国设计教育所存在的问题,同时也探讨了设计教育应本着培养具有创造力的设计师为任务,进行创新性的改革和发展。 相似文献
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Fatima Cassim 《The International Journal of Art & Design Education》2020,39(3):523-535
This article introduces playful learning as part of the decolonising project at institutes of higher learning in South Africa with specific reference to the discipline of communication design. Not only does the article interrogate the content of design education, specifically design for development, but more specifically the way that design for social innovation is taught. The article begins with a contextualisation of the decolonisation debate both locally and internationally, which is followed by a brief historical overview of formal design education. Design education’s trajectory informs the contemporary conception of design as a form of rhetoric. Design and play are then interfaced theoretically, and pragmatically through a case study to explore how deeper learning was made possible by play in a curriculum‐based project. Ultimately, the article aims to highlight the value of playful learning in design higher education to nurture alternate modes of design thinking that favour localised practice, intersubjective relationships between designers and their stakeholders and the enabling of students’ self‐realisation through real world experience. 相似文献
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林龙 《南昌教育学院学报》2010,25(4):29-30
文章以当前本土艺术设计教育发展时代背景为前提,深入阐述了在艺术设计教学中培养学生的民族文化意识的重要性,旨在强调民族文化对艺术设计的重要影响,并引起设计教学工作者和设计师对民族文化传承的重视。 相似文献
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陈凯 《湖南第一师范学报》2009,9(2):159-160
现代社会经济的高速发展对高校艺术设计教育提出了跟上时代步伐的更高要求,培养的设计人才务必适应社会的发展,发挥其更大的社会价值。然而目前的高校艺术设计教育,专业设计与课程结构都相对滞后,办学条件先天性不足,教材不实,教法单一,教师素养参差不齐,学生学习动机无定,“设计”二字在师生头脑中无根。由此,工作者唯有认清形势、深入探索、不断革新,方能走出一条符合我国国情的现代化艺术设计教育创新之路。 相似文献
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吴希凡 《江苏广播电视大学学报》2004,15(2):76-78
近年来，现代设计教育的发展日益科学化、系统化，理念上突出观念和思维而轻视传统表现技法，设计的手段更加丰富多彩，与商业、科技的结合也更加紧密。如何顺应这一变化，从而适应市场的需求，培养出符合未来时代的设计师，是设计教育面临的课题。把握当今设计的发展趋势，积极探索、努力创新，使学校教育更能适应社会、适应市场，与国际接轨，是设计教育工作努力的方向。 相似文献
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Rosemary Godbold Amanda Lees Stephen Reay 《The International Journal of Art & Design Education》2019,38(1):182-192
Student‐led design projects undertaken within healthcare settings raise considerable ethical challenges, primarily resulting from collaboration with service users. This article emerged out of the experiences of design from a New Zealand university undertaking real world projects in acute health care contexts. A human‐centred approach to design is underpinned by a requirement for students to immerse themselves in the user context to optimise design outcomes. Several issues exist in relation to the management of the ethical complexities arising from these projects. Multiple formal ethical review processes were triggered when students’ projects were defined as research. These processes were perceived as onerous and disproportionate to the scale of the projects, and students were ill equipped to identify ethical issues and engage with formal review processes. This resulted in either abandoned projects or the use of compromised methods. A review of codes of practice and design industry approaches identifies a gap in guidance for both students and qualified designers. Some designers describe their projects as service improvement, and not subject to formal ethical review. This article argues for embedding consideration of ethics in all design projects to enhance the process, to be true to the underpinning philosophy of human centred design and to produce ethically aware graduates. To achieve this, a multi‐pronged pedagogical approach which encompasses both hypothetical, class‐based and real‐world learning experiences is described, with the ultimate goal of normalising the consideration and development of ethical standards for students and best practice across the industry. 相似文献
16.
Kumanga Chanduni Andrahennadi 《The International Journal of Art & Design Education》2019,38(4):887-901
While the interconnected and technological nature of the twenty‐first century can bring about many positive global connections, the importance of prioritising the development of the ‘inner world’ of designers is receiving less attention; similarly, time for contemplation, reflection and stillness is becoming scarcer. This article discusses mindfulness training from the Buddhist perspective, and how it can act as a pathway to personal introspection and as a supportive method for mental illnesses. With a special focus on design education, it discusses a novel framework, Mindfulness‐Based Design Practice (MBDP), and how it can potentially offer opportunities for design students to foster positive mind qualities such as mindfulness, compassion, resilience, and recognising the true nature of phenomena for becoming more ethical designers. Therefore, this article looks to bridge the gap between the significant lack of contemplative mindfulness‐based methods within the higher design education sector and the increasing mental health crisis within that sector. Thus, the primary concern of the MBDP is to advance both the individual and the collective development of the contemporary designer’s mind. Referring to the mind of the designer as the ‘inner designer’, this article forms an unfolding dialogue of the novel framework MBDP in support of mindful learning within twenty‐first‐century design education. 相似文献
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Making Design Education (Even More) Complex: Exploring Complexity for an Amplified Mindset of Design
Mafalda Moreira 《The International Journal of Art & Design Education》2019,38(4):769-784
An Amplified Mindset of Design (AMD) has emerged from recent research on emerging design practices, as designers are once again re‐inventing their identity to include an adaptability to uncertainty and paradox. However, this is not yet visible in what design education offers. As designers intervene in complex contexts and embrace participatory, collaborative and interdisciplinary practices informed by strong ethical and sustainability concerns, design education must adjust and expand its scope to include, for example, collaboration, cross‐cultural and interdisciplinary skills, and a way of being in the world through design. In this article, I argue for the formal introduction and exploration of social complexity in design education to assist the development of an AMD in design students. Boundaries, dependence on context, edge of chaos, emergence and organisation were identified as key qualities of complex systems to introduce to students. Embodiment and visualisation techniques were used as the most appropriate vehicles for such an endeavour. In this article, I discuss the results of a qualitative research informed by action research in which I explore ways of teaching complexity to design students. The inquiry was driven by the following core research question: How can complexity can be taught in design education using visual and embodiment methods to encourage the development of an Amplified Mindset of Design? 相似文献
18.
Yenan Dong Shangshang Zhu Wenjie Li Minxi Lin 《The International Journal of Art & Design Education》2023,42(1):49-68
Design guidelines for traditional cultural artefacts play an important role in Culturally Inspired Design (CID) activities and design education. In this paper, a comparative study was performed to assess the impact of present-day design guidelines for traditional Chinese cultural artefacts on novice designers in a CID process. In all, 42 novice designers enrolled in a cultural product design course participated in this study, under two different design conditions: an unaided condition and a guideline-aided condition. Each condition includes three stages: identification stage, translation stage and implementation stage. In the unaided condition, each participant was asked to finish an investigative report on traditional cultural artefacts without any guidance and then carry out a detailed cultural product design. These results were then compared with those of the participants in the guideline-aided condition, who received a design guideline for traditional cultural artefacts. The results were assessed by expert raters against six design metrics: breadth, depth, quantity, variety, novelty and quality. They revealed that the design guideline for traditional cultural artefacts in a CID process promoted the analysis of cultural features and increased the novelty and quality of design outcomes but resulted in decreased variety. We propose that the design guideline for traditional cultural artefacts may be useful as part of the design process and as a pedagogical tool in cultural creative design, but the best moment at which to introduce the design guideline should be further examined. 相似文献
19.
Work practices in the creative industries have changed significantly since the turn of the twenty-first century. The design profession in particular has been influenced by rapidly emerging digital media practices and processes. While the design sector remains a significant source of employment, in recent years, there has been considerable growth in the number of designers working – or ‘embedded’ – in other sectors of the economy. The extent to which tertiary curricula cater for this shift in work practices and employment types is not well known. In this article, we report on original research on the preferred work destinations of a cohort of design students. This research was supplemented by a set of interviews with a small group of embedded designers in order to gain insights into the characteristics of embedded positions. Our research reveals that an embedded design position, while not well understood by undergraduate students, is a significant career path and one that should receive greater attention in undergraduate design curricula. We conclude that greater emphasis should be placed on assisting embedded designers to maintain creative networks that support them in what is a relatively isolated creative role. 相似文献