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Historically, art and technology are separately boxed by our education system and ideological gap between the two is undeniable. However, such interdisciplinary programs are not completely absent from the academic world. There has been much discussion over last decades about how STEM education needs to expand to STEAM, incorporating art and creative thinking into more right-brained areas of innovation. Aware that art can spark an excitement about learning that goes beyond the artistic to embrace science, math, technology, and engineering, prominent tech and science schools like the Massachusetts Institute of Technology, New York University and Carnegie Mellon have integrated design and arts education into their curricula. As is true in the best learning moments, a connection to art can ignite the drive for more learning across disciplines, more creativity and motivate students to continue seeking new solutions.

Last year, one of the world’s most prestigious art schools, The Royal College of Art in London, announced plans to expand its curriculum in order to transform the accepted paradigm of an art and design university, by injecting key scientific disciplines into the mix of creative courses traditionally on offer. RCA’s new ambitious five-year campaign programme, named GenerationRCA, sends a clear message that today’s designers must be trained to tackle larger interdisciplinary issues. The world is too complex and interconnected for designers to not be proficient in a variety of disciplines, from traditional craft-based skills to the science and technology that are an integral part of our daily lives.

As announced, the RCA will continue along its recent path of introducing exciting and provocative new programmes such as Environmental Architecture, a year-long masters that focuses on the city from a sustainability perspective, and Digital Direction, another year-long program that concentrates on digital storytelling in the creative economy. In the meantime, future programmes will center on nano and soft robotics, computer science and machine learning, materials science and the circular economy.

According to vice chancellor Paul Thompson, the launch of the GenerationRCA is the most significant development in its 182-year history. “Founded in response to the first Industrial Revolution, today the RCA stands as the vanguard of a new era in art and design, which promises breakthroughs in robotics, autonomous vehicles, nanotechnology, and artificial intelligence,” he said. This watershed moment reveals that some art educators finally understand that science and technology need to be part of the curriculum in order for art schools to survive the digital age.

But so far, the science sector has been more open to welcoming art than the reverse. Although there are art and design schools that do digital arts education well, like UCLA’s Design Media Arts curriculum, which uses technology-powered art processes, very rarely a traditional school adopts science and technology as a core focus.

Despite the many possibilities that science and technology present, few art programmes embrace the new paradigm. It is noticed that art teachers are often reluctant to implement computer technology in art education, either because they don’t have the skills to use the technology or because they prefer the traditional approach and techniques. According to the 2019 State of Art Education Survey, 52.2 percent of art teachers want to learn more about teaching digital art effectively, but only 21.9 percent of art teachers feel comfortable actually teaching a digital arts curriculum. Some traditional creatives are not only unsure how to integrate technology into their teaching, but also hesitant to see coding and other technology-led processes as artistic practices.

Prof. Mick Grierson, a research leader at the newly opened Creative Computing Institute at the University of the Arts London, admits, “There are plenty of people who, for decades, have been in the art and design community but haven’t really been able to find a home for their technology-led creations and practice,” he says. “So of course, they naturally migrated to a STEM environment because it’s easier for them to talk about the materials they use and the approaches they take.” “It’s like the art school has handed the baton of creativity over to the computer scientists and programmers, who often make terrible art,” echoes digital artist Alan Warburton.

Back in 1990, Deborah Greh, St. John’s University educator, clarified that using technology as a tool to develop art works should not overshadow art principles, concepts and techniques. Too often artists are enchanted by the novelty of the tool itself, its formal and aesthetic possibilities, so they sacrifice substance in the process, neglecting the fact that art needs something to day. It doesn’t really matter, if a work of art is analog or digital – the qualities that make it meaningful remain the same, and that is something only art schools can teach.

Today, digital art still is not treated as seriously as analog art, and experts admit, universities will need to adopt an even broader shift in thinking to change that.

“The biggest problem that digital art forms have faced is that scarcity equals value, and being readily available means these works essentially are worthless,” says Grierson. This is echoed by digital artist and educator Vicki Fong, who believes that digital art is often perceived as being more about production. “People are using digital skills to speed up the process, so more art is being made at a much quicker rate, which doesn’t necessarily increase the quality,” she says. All this is the negative impact of the traditional creatives and art educators being slow to embrace computerized art and admit that it should belong to the realm of art rather than STEM environment.

Predictably, artists won’t just naturally begin incorporating technology into their work without schools teaching them how. As curator Julia Kaganskiy told Artnet, to succeed in technology-led art teaching schools should integrate both technological thinking and practice. “As software, algorithms, non-conscious cognitive agents and cybernetic thinking increasingly shape the world around us, artists need to have a strong grasp of the practical and philosophical implications of this transformation,” she says. “I’m not saying that every artist needs to learn to code, but they should probably read some media theory and software studies texts, maybe even some posthumanist philosophy.”

The process of integration of science and technology into the art school curriculum still has a long way to go. As technology infiltrates every element of our life, educators need to do more than just prep students with basic graphic software. One thing is clear: the artists and designers who embrace technology as part of their art training will no doubt be more in demand than those who do not.

When people talk about education, they often stress the formal side of learning like delivering knowledge, getting high scores on exams, etc. But animation-based education is here to up the game, with animation you can get fun, practical, and informative learning all at the same time!

While it sounds like it, animation-based learning is not all about visual materials. Rather, resources such as videos, infographics, and GIFs are used in tandem with existing resources when employing this method. This can be applied to many different fields, from scientific visualizations to corporate training schemes; from motion-graphic narratives used in primary courses to university-level demonstrations.

The Advantages Of Animation-Based Learning:

• Making Abstract Concepts Palpable. It doesn’t matter what you study, there are always going to be some concepts in a subject that are topics of the mind and are not actually visible. If you think about it, even something as concrete as math is highly theoretical and intangible for someone who’s never done multiplication and division before. And when you can’t see what you’re dealing with, sometimes it’s difficult to understand and remember the knowledge. In this case animation can be used to visualize complex concepts, for example, the “invisible hands” of supply and demand in economics, or chemical reactions in the brain during everyday
• Alleviating Pressure on Learners’ Imaginations. Animation can also demonstrate visible phenomena too, especially those that are not available in the classroom at that moment. This applies particularly well to scenario-based teaching and training and usually focuses on practical and social skills. Think nurse training, for example. A major part of it is learning about the medicines and internal conditions, but they should also be aware of external symptoms and how to deal with them as well. To better prepare nurses for such situations, animated segments can be provided during their training so that they can see the procedures rather than imagine them in their heads. And when the time comes for them to apply their training, it’s much easier to carry things out.
• Engaging The Learners. When thinking of studying, many of us will probably think about long hours of staring at textbooks, wondering if there’s a faster, more entertaining way to learn. Well, there actually is, in most cases, a learning method that’s more fun, and that’s using visual aid tools like animation. Take TedEd videos—they’re designed to fit our attention spans and they provide useful information in colorful ways. These animations are optimal for learning since they draw the eyes and bring to life the issue at hand. They pique learners’ interests, and if they’re really successful, then the learner will go on to do some more research about the subject themselves!
• Is Affordable and Can Be Watched Anywhere. Contrary to popular belief, quality animation can be produced on a budget. Perhaps you opt for whiteboard or 2D animation rather than the 3D style, but that doesn’t have to mean that the quality will be bad. And what’s good is that once made, you can use that animation again and again, so the investment pays with time. It’s always available to you, and you can make it so even for your learners by putting it online. Learners can access the video through their phone or their computers—they can even download it!

How To Produce Animation-Based Learning. Of course, by no means are you expected to create animations by yourself, although you can if you’re particularly artistic and can maneuver editing software. Oftentimes, educators find animation studios to collaborate with in order to add life to their courses. Once you’ve found your preferred studio, the process goes as follows:

1. Briefing

This is going to be the basis of your partnership. You set out these terms from the very beginning: your objective and your target audience. These help both sides research the best way to present information as you go on.

If you’re working on your own, you’ll be researching your audience at this point and potentially picking out a suitable type of animation. If you’re working with a partner, they might have some industrial insight that can help you better decide, so maintain good and clear communication.

2. Writing A script

Once you’ve found a preferred style, it’s time to settle down and write your script. This depends a lot on the kind of video you’re producing. If, for instance, it’s a highly descriptive video (e.g. demonstrating Earth’s sediments’ formation), then the script will be quite short and straightforward. Consider adding some voice-over to provide extra information and a human touch.

For narrative videos, scripts may be more complex, with characters and dialogue. Always keep your audience in mind when you write the script so that you create the right content (not too easy, not too difficult) for them.

3. Storyboarding

This is where you hand the script over to the animator unless the animator is you. Animators will have specific insights about how the video should progress, how the background should be, and what visual effects can be used. Since this is the skeleton of your video, you should be able to check how well your final result will flow. Again, check also that whatever you have planned matches the abilities and expectations of your target audience.

4. Illustrating the Elements

Now we get into the fun bit of the process, where your imagination starts to come to life. From character design to the settings and background, the still models are first needed before vectors can be added and combined to make a video.

If you’re working with a studio, make sure that they run the designs through you so that their products match the images you have in mind. Be open and constructive when communicating and you should be fine!

If you’re working alone and are wary of this, don’t worry, there are plenty of stock vectors and designs available online for you. Take a look at Vecteezy, for instance.

5. Animating

This final step is when the stars align and things come together. From ideation to storylining to design, it’s finally time to harvest the fruits of your labor! To bring the elements together, remember to stick closely to your approved storyboard and use a good tool to make your video if you’re doing it on your own. If you’re not so invested in mastering Adobe After Effects, programs like PowToon, Vyond, and Moovly can make your life as an animator a little easier!

The beginning of the fall semester is quickly approaching, and prospective architecture students are gearing up for the beginning of their future careers. While the next step may seem daunting, the first year of your architecture education helps set the pace for the remaining four to five years. So it’s important to get started on the right foot.

Architecture studios are notorious for long nights, intensive model-making and desks overflowing with trace paper and parti diagrams. But there is one important aspect of studio life that is too often neglected: the student-professor relationship.

Read on for the four steps to start investing in this unique relationship to set yourself up for success.

1. Be Present and On Time

As a first-year architecture student, you are not only starting the arduous journey to become an architect, you are also making the transition to student life in general. First and foremost, it is important to understand the commitment associated with making that transition successfully. The freedom that comes with being in college is difficult for some to handle. The only thing standing between you and your attendance in class is you. It should go without saying, but studio professors notice the effort that comes with being in class (and being in class on time). It may seem simple, but punctuality is the first step in fostering a positive relationship with your instructors.

2. Take the Initiative

After you make sure you’ve fine-tuned your schedule and attendance, the next step is a conversation. For most, it can be intimidating as a young student to talk with teachers and professors. But if you take the initiative and step out of your comfort zone and do something as simple as introducing yourself, it will go a long way in earning the respect of your professors. In architecture studios, design crits happen nearly daily, so there are opportunities to talk with your studio instructor. But in order to take that relationship a step further, it will require you to take the initiative.

3. Get Involved

Once you’ve laid the proper foundation, this step is perhaps the most important. Many professors throughout their tenure at a university must complete one (or sometimes multiple) research project within their specialized field. Getting involved in their research projects affords you valuable experience, one-on-one mentorship and even the possibility for grant or university funding. Find a professor specializing in a design field you find interesting (computational design, housing, sustainability, acoustics, biomimicry, etc.) and offer your assistance. Completing research can result in awards, publication and other resume-boosting accolades. But most importantly, being involved in this process will undoubtedly improve your student-professor relationship.

4. Network

Lastly, this step proves the old adage, “It’s not what you know, it’s who you know.” Yes, design software and construction knowledge are notable and important in the job search, but even more important is the network you develop within the building industry. Many students miss the fact that the closest connections they have in the professional world are their professors. There are a number of instructors that maintain a practice while teaching, and as part of their investment in your success, they are prepared to share their connections. Internships are a vital part of your education, and if you take the time to help out your professors, they will undoubtedly return the fav

Sir Ken Robinson, an internationally acclaimed expert on creativity and innovation, and the author of several bestsellers on creativity in education, passed away this August at the age of 70 after a battle with cancer. His TED Talk “Do Schools Kill Creativity?” is the most watched in history, with 66 million views by people in over 150 countries. We are sure that his influence on the thinking of educators around the world will have a lasting and profound impact for decades to come. We offer everyone in the field of education to honor Sir Ken by reflecting on his ideas of ‘learning revolution’.

According to Sir Ken Robinson, reforming education is rightly seen as one of the biggest challenges of our times. He argued that the challenge is to transform education from a 19th century industrial model into a 21st century process based on different principles.

“Universities have important roles in bringing about the changes that are now needed in education as a whole. Some universities have long been centers of innovation and radical thinking.  The cultural and economic circumstances we’re now living in require a radical rethink of how universities work as a sector and of what they’re really for.”

End of industrial system of education

Mass systems of education mainly came about in the 19th century in the context of the Industrial Revolution. Designed to meet the social and economic needs of industrialism, these systems are rooted in a relatively narrow conception of subjects, and consequently, narrow view of intelligence.

The industrial character of these educational systems is expressed through two main principles. First, they emphasize conformity and standardization, which s rooted in the need to inculcate certain skills in the people who were destined to take on certain roles in the industrial economies. At the same time, they are linear: they are designed around various ‘gateways’, which students need to get through to progress to the next stage. Within this approach, vocational programs are generally seen as a lesser species than academic degrees, which is why going to college to do an art course or a dance program is commonly seen as less demanding than studying for academic degrees in universities.

Despite the fact that such systems based on the manufacturing principles of linearity, conformity and standardization have long been out of date, they still exist, even in universities. However, human development is not linear and standardized, it is organic and diverse. “People, as opposed to products, have hopes and aspirations, feelings and purposes.” That is why the existing system often fails both students and teachers. “We have created artificial learning environments for the kids,” Robinson wrote. “We have them in classrooms, in desks, day after day and hour after hour, and then we wonder why they fidget and why they get bored. Because (school is) boring.” He believed education in the classroom should shift away from this kind of an environment to a more diverse one, which would accommodate all types of student learning.

Moving away from the standardized to the personalized

“Education is a personal process,” Sir Ken insisted. Addressing the 2010 TED Conference, he delivered a funny and refreshing look at education today, making a reference to fast food.

According to him, there are two main methods of quality assurance in the catering business.  The first is standardizing. If you have a favorite fast food brand, you can go to any outlet anywhere and know exactly what you will find: same burger, fries, cola, décor, and attitudes. Everything is standardized and guaranteed.

Another quality assurance method is the star ratings guides, like Michelin. They set out criteria of excellence and each restaurant is free to meet them in their own way. Institutions can be French, Mexican, Italian, Indian, American, they can open when they choose, and hire anyone they want. Customized to local markets and personalized to the people they serve, such restaurants appear to be much better than cheap impersonal fast food and they surely offer a higher standard of service.

Sir Ken offered educators to address the reform in education system in the following way. “We have built our education system on the model of fast food,” he said – that is, on standardization and conformity.  In his opinion, what needs to be done is not to take a single model to scale but to offer a much higher standard of provision based on the principle of personalized learning and to encourage schools and universities to develop their own approaches to the unique challenges they face in their own communities. Robinson said he believes every school should be different because the world is a community of learners, and diversity is an important base to facilitate learning.

“Standardization tends to emphasize the lowest common denominator. Human aspirations reach much higher and if the conditions are right, they succeed. Understanding those conditions is the real key to transforming education for all our children.”

Agile teacher

Robinson saw the main task in facilitating the learning process. Education should be ‘active, nimble and responsive’, while the teacher in it should be an example of vitality rather than passivity. Many forms of understanding that education has to cultivate include factual information, practical skills, and knowledge about the nature of human experience. These all require different strategies in teaching and learning. For example, to learn a foreign language, it would be better to practice with a native speaker rather than just doing grammar exercises. If you are learning to repair an engine, reading the manual is not enough; it needs to be supplemented with stripping an engine down and putting it back together again.

So, what does it mean to be an agile teacher? “People learn in different ways and at different rates… Good teachers are sensitive to those differences and tack and weave accordingly. They draw from a wide repertoire of activities, techniques, and strategies, and adapt them to the needs of the learners and the material.”

The challenge is in knowing how to use the tools

Robinson considered technology as ‘the design and use of tools’. “A pencil is technology. So is a piece of paper or a book or a laptop.” He believed, that good tools can do two things – just like they extend our physical abilities enabling us to do things that would be physically difficult or impossible, they aim to extend our mind: they enable us to think things that might otherwise be inconceivable. The bow and arrow enabled early hunters to capture prey which they couldn’t have done unassisted, while the telescope helped astronomers rethink our place in the cosmos.

“Technology has always gone hand in hand with human culture and innovation. The challenge is in knowing how to use the tools. Faced with the immense capacities of a desktop computer, some people just use it as a fancy typewriter. Others compose symphonies and elaborate works of visual art. The machine doesn’t have the ideas – at least not yet – the users do.” Notwithstanding the fact that digital tools today offer unprecedented opportunities to enhance education in ways that we could not before, they do not replace the need for teachers to understand how learning works and what their roles as teachers are.

Teaching is a conversation, not a monologue

When asked what one quick change that an instructor or professor could make to the way that they teach could be, Robinson opted for turning teaching and learning into “a dynamic process, rather than a one-way channel of transmission.”

Learning is a social and a cultural process, he believed: we learn with and from each other. It can be immensely valuable to stand in front of the class delivering the knowledge to students, but even more important is to engage their minds and hearts in the ideas and materials delivered.

Passion is essential in education. What and how young people are taught has to engage their energies, imaginations and their different ways of learning. “If you are doing something you love, an hour feels like five minutes. If you are doing something that doesn’t resonate with your spirit, five minutes feels like an hour,” Sir Ken said.

Creativity now is as important in education as literacy

This year, the top in-demand soft skill according to LinkedIn, is creativity. It has been at the top of the list for the last few years in terms of what employers are seeking most, and it is understandable. The world’s most pressing problems are not likely to be solved by applying a fixed set of rules to arrive at a single correct answer. They will rather be solved through creativity and divergent thinking with our imaginations running unfettered and any number of potential solutions generated.

The current system of education teaches us that there is always one correct answer, which instills in children the fear of taking risks. Robinson warned us against that. “We stigmatize mistakes. And we’re now running national educational systems where mistakes are the worst thing you can make – and the result is that we are educating people out of their creative capacities.” However, “if you’re not prepared to be wrong, you are not prepared to think of something original.”

“Creativity is about new ideas. New ideas are challenging,” Sir Ken said. “They can disrupt the status quo; they can involve taking risks; they can make people nervous.’

“Creativity, and its good friend innovation, depend on collaboration,” he went on. Innovation usually results from people working across disciplines or connecting with people in different fields. “We live in highly complicated urban settings and our global systems are deeply intricate, and they all work through collaboration,” Robinson said. Collaboration is at the very heart of the sustainability and nature of human societies and we should have these practices being cultivated in our education systems.

The luminary passed away but his call for creativity caught on, as many educators around the globe start on their long and winding road to the personalized learning environment, with its diversity and collaboration, divergent thinking and agility in the classroom, teaching the people of tomorrow to shape the world they live in.