Elliott Hall's Blog | PgCert 2024

Within my introduction I aimed to merge my creative/research interests within my teaching pedagogy. I was intrigued the moment I first read the following quote about Kolb’s Experiential Learning Cycle (ELC):

 “Learning is the process whereby knowledge is created through the transformation of experience”(Kolb, 1984, p. 38 cited in Mcleod, 2024, n.p.).

This quote resonated with me and my own research interests such as Andrea Gaggioli’s Transformative Experience Design (2015). A theory that posits that certain experiences have the ability to radically transform an individual’s perception of themselves and the world around them, citing that some things can only be learned through experience, such as having a child (The Possibility Studies Network, 2021). So when I considered the application of this fundamental idea within a classroom setting, I was hooked.

Although I was just a little disappointed that there was no justification for creating entire fictional worlds in which learners would be thrown into, learning through predetermined narratives/experiences,but was still interested in how Kolb outlined multiple different learning styles: The visual, auditory & kinesthetic (Fallace, 2023). Within Kolb’s writing he explains that (below is not a direct quote from Kolb):

“Effective learning is seen when a person progresses through a cycle of four stages: of (1) having a concrete experience followed by (2) observation of and reflection on that experience which leads to (3) the formation of abstract concepts (analysis) and generalizations (conclusions) which are then (4) used to test a hypothesis in future situations, resulting in new experiences.”(Mcleod, 2024, n.p.)

Kolb’s cycle makes it “…possible to enter… at any stage and follow it through its logical sequence.”(Mcleod, 2024, n.p.), the relationship between the learning styles and learning cycle (see figure 1) is that the cycle will encompass the learner in at least one of their preferred learning styles but also developing their non-preferred style through the linking structure. It is important to not note that:

“… effective learning only occurs when a learner can execute all four stages of the model. Therefore, no one stage of the cycle is effective as a learning procedure on its own.”(Mcleod, 2024, n.p.)

Kolb’s theory does have some controversy around this idea of the visual, auditory & kinesthetic learning styles and experiential learning cycle. Such as how it can lead to a non authoritative classroom dynamic (Valiente-Riedl, Anderson and Banki, 2022) contradicting Barrow’s (2006) benefits (see case study 3). Nonetheless many educators claim benefits from their implementations (Pourhosein Gilakjani, 2011; Suaib, 2019) such as a way to break-up “…monotonous teaching technique…”(Suaib, 2019, p. 252) and create a more engaging classroom environment.

Considering how to integrate ELC into my teaching raised questions. The broad applicability and positive reception across disciplines suggested its benefit, despite critiques. Its versatility aligns with my prior reflections on reinforcing learning through circular approaches (see figure 2) (seen in case study 2) and so would like to trial running ‘taster’ or introductory sessions that break down the fundamental concepts to compare. Within these sessions I could use the ELC framework to break down important fundamental concepts such as PWM (Hirzel, 2022) and Breadboards (Shawn, 2020) – something notoriously difficult to wrap your head around without experiencing.

An example of how this could be implemented into my session (see figure 3):

Objective: Teach PWM and why we would want to use it.

• Concrete Experience: Provide students with pre-written code based on a diagram; students then observe an LED’s behaviour.
  
• Reflective Observation: Ask the students what is happening, asking questions like “what are the limitations of this” (i.e it is only either on or off)
  
• Abstract Conceptualisation: Introduce the concept of PWM as a technique to simulate an analog output using digital means.
  
• Active Experimentation: Challenge the students to modify the code to use PWM to control the brightness of the LED.

To conclude, I feel that Kolb’s ELC offers valuable insights for teaching complex concepts. Its application could potentially enhance my entire workshop strategy. I’m excited to test these methods and observe student engagement with this approach.

Bibliography

Barrow, M. (2006) ‘Assessment and student transformation: linking character and intellect’, Studies in Higher Education, 31(3), pp. 357–372. doi: 10.1080/03075070600680869.

Fallace, T. (2023) ‘The long origins of the visual, auditory, and kinesthetic learning style typology, 1921–2001.’, History of Psychology, 26(4), pp. 334–354. doi: 10.1037/hop0000240.

Gaggioli, A. (2015) ‘Transformative Experience Design’, pp. 97–122. doi: 10.1515/9783110471137-006.

Hirzel, T. (2022) Basics of PWM (Pulse Width Modulation), Arduino. Available at: https://docs.arduino.cc/learn/microcontrollers/analog-output/ (Accessed: 20 March 2024).

Kolb, D. A. (1999) Experiential learning: experience as the source of learning and development. Englewood Cliffs, NJ: Prentice Hall. Available at: https://learningfromexperience.com/downloads/research-library/experiential-learning-theory.pdf (Accessed: 20 March 2024).

Mcleod, S. (2024) Kolb’s Learning Styles & Experiential Learning Cycle, Simply Psychology. Available at: https://www.simplypsychology.org/learning-kolb.html (Accessed: 20 March 2024).

Pourhosein Gilakjani, A. (2011) ‘Visual, Auditory, Kinaesthetic Learning Styles and Their Impacts on English Language Teaching’, JSE, 2(1). doi: 10.5296/JSE.V2I1.1007.

Shawn (2020) How To Use A Breadboard For Beginners? Wiring, Circuit, Arduino – Latest Open Tech From Seeed, seeedstudio. Available at: https://www.seeedstudio.com/blog/2020/01/06/how-to-use-a-breadboard-wiring-circuit-and-arduino-interfacing/#:~:text=A%20breadboard%20is%20a%20solderless,getting%20started%20with%20using%20one. (Accessed: 20 March 2024).

Suaib, R. W. (2019) ‘The Use Of Visual Auditory Kinesthetic (Vak) Learning Styles To Increase Students’ Vocabulary’, Didaktika, 11(2). doi: 10.30863/DIDAKTIKA.V11I2.169.

The Possibility Studies Network (2021) ‘Andrea Gaggioli: Transformative experience design: Exploring novel spaces in the phygital era’. Youtube, 11 May.

Valiente-Riedl, E., Anderson, L. and Banki, S. (2022) ‘Practicing what we teach: Experiential learning in higher education that cuts both ways’, Review of Education, Pedagogy, and Cultural Studies , 44(3), pp. 231–252. doi: 10.1080/10714413.2021.1985372.

Image Index

Figure 1. Mcleod, S. (2024) Kolb’s Learning Styles. simplypsychology. Available at: https://www.simplypsychology.org/wp-content/uploads/learning-styles-kolb.jpg (Accessed: 20 March 2024).

Figure 2. Hall, E. (2024) Circular Approach.

Figure 3. Hall, E. (2024) Proposed Implementation of Kolbs Learning Cycle into Wearable Tech Workshops. 

Approaching the end of this term, this course has already impacted my teaching practice beyond my initial expectations of learning new theories. Indeed the breath of literature was enlightening, however, the significant impact has come from the examination of my teaching practice through others perspectives – notably influencing my self-development (See Case Study 3). Instead of breaking down Brookfields theories ​​(Brookfield, 1995), I’ll instead share my reflections, takeaways and future intentions. For clarity here is a breakdown of Brookfields Four Lenses, for anyone unfamiliar:

“The goal of the critically reflective teacher, for Brookfield, is to garner an increased awareness of his or her teaching from as many different vantage points as possible. To this end, Brookfield proposes four lenses that can be engaged by teachers in a process of critical reflection: (1) the autobiographical, (2) the students’ eyes, (3) our colleagues’ experiences, and (4) theoretical literature.”(Miller, 2010, p. 1)

1. The Autobiographical

Self-reflection has been the predominant viewpoint of my practice. Recently graduating and rejoining again as a student, I initially believed I had a grasp on these experiences. However, this process has revealed to me that the student experience is nowhere near universal, although we share the same university title, the needs and abilities don’t just vary from college to college but instead from student to student. With this in mind, I have committed myself to making sure I do not lose sight of my positionality (see blog post 1) and how it leads me to hold the values I do, and therefore the leverage it has on my decisions/teaching.

2. The Students Eyes

Gathering student feedback is challenging, as I have found students often hesitate to critique staff. However, the microteaching exercise revealed to me the value of experiencing workshops from a student perspective – revealing to me how my assumptions of knowledge can vary greatly. Going forward I want to make sure that I not only speak to students about the content, but also try to experience it.

3. Our Colleagues’ Experiences

Receiving peer feedback is terrifying as it has the potential to confirm our deepest insecurities – but understand it is crucial for development. Being able to make corrections early certainly outweighs the potential for an entirely different approach further on. Although I am early in my teaching career, I’ve found immense value in my peers’ feedback, which has prompted me to re-examine my approach to workshops to ensure baseline information is accessible to students, and providing resources that allow different types of learners to thrive. It has also highlighted things I am doing well such as simplifying complex concepts with analogies, a practice I plan to expand on – hopefully making it more engaging and digestible. Lastly, being able to experience and provide feedback on my peers’ teaching has led me to discover strategies and methods that I too can develop into my teaching.

4. Theoretical Literature

Reading a broad range of literature early in this course has been eye opening, especially as I am really not used to reading papers outside of my creative practice. Readings such as Barrow’s on self-development through education (Barrow, 2006), Brookfields critical reflection (Brookfield, 1995) and Kolb’s experiential learning theory (Kolb, 1984) has shaped my understanding of how teaching is more than just the transfer of knowledge. These insights have guided my reflection on small restructuring and the introduction of new resources and formats can enhance my teaching.

To conclude

Through Brookfields reflective practice has revealed to me my preconceived perceptions, successes and areas for improvement. This has shifted my understanding of what high-quality teaching is and can be.

Bibliography

Barrow, M. (2006) ‘Assessment and student transformation: linking character and intellect’, Studies in Higher Education, 31(3), pp. 357–372. doi: 10.1080/03075070600680869.

Brookfield, S. (1995) Becoming a critically reflective teacher. San Francisco: Jossey-Bass.

Kolb, D. A. (1999) Experiential learning: experience as the source of learning and development. Englewood Cliffs, NJ: Prentice Hall. Available at: https://learningfromexperience.com/downloads/research-library/experiential-learning-theory.pdf (Accessed: 19 March 2024).

Miller, B. (2010) ‘Brookfield’s Four Lenses: Becoming a Critically Reflective Teacher’, Faculty of Arts Teaching and Learning Committee. The University of Sydney. Available at: https://valenciacollege.edu/faculty/development/courses-resources/documents/brookfield_summary.pdf (Accessed: 19 March 2024).

Even as a student I was aware of the devide between academic and technicians, so I wasn’t surprised when I started the role as a technician to find myself feeling valued differently within the university setting, be that through students or the way the university distinguishes pay and holiday differences – so after reading How do art and design technicians conceive of their role in higher education? (Sams, 2016) I was notably interested in the views that my colleagues took. I particularly appreciated how the paper challenged the traditional academic hierarchy and advocates for a more inclusive recognition within the educational ecosystem.

What struck me initially was how Sams’s talks about the underrepresentation of technicians within academic literature in an Art and Design context (ibid) – this surprised me, specifically within this sector, as art and design tends to be a vocation that requires practical skills and training and is a vital aspect within the student experience; according to technical managers, within student surveys, often students complain about the lack of access to technical services, showing technicians are in high demand.

I suppose the argument could be generated that technicians fall into the same remit as a factory worker or other skill based trade work and therefore lack the academic esteem required. But what about the times this is just simply not the case? In the case of technical colleagues with postgraduate qualifications, doctorates and supporting teaching qualifications? Could it not be argued that these technicians are more valuable, striking the balance between specialist skills and knowledge alongside the subject based specialist knowledge that comes from an intense program of training?

Or is there something more at play here? Is this instead a representation of archaic academia hierarchy where lecturers bestow upon the students the most valuable of knowledge and therefore deserve the place at the top of the food chain? This being said there is no disagreement that the work undertaken by lecturers and course leaders in particular is burdensome, including hitting measurable outcomes, learning objectives, teaching, marking and maintaining course productivity to name a few – and that certainly should not be devalued.

Another aspect of the paper I found particularly interesting was:

“This trend links to those outlined by the findings a report on Highly skilled technicians in higher education (Smith et al, 2004), which indicates that many technicians move away from the traditional skills-based aspects of their role as they advance in their careers.”(Sams, 2016, p. 63)

I found this particularly interesting as there is an interesting divergence in comparison to academics and technicians here, as Sams’s points out technicians progress through management which in turn pushes them behind the scenes and causes a distancing between themselves and the student experience – although I would argue this is counter productive and leads to systemic internal bureaucracy that forgets the student. On the other hand those within the academic pathway go on to run courses, talks, publish books and papers – in a sense broadcasting achievements for the lucky few, but also widening the student contact – if not direct. To me as a technician, this puts me in a difficult position that already directly effects me, as a grade 4 technician I have already reached the top rung of the ladder without entering management, and leads me to the question of why I would want to pursue a management level job that removes the need for a craft based skill, but also removes me from students. It seems to me through conversation with colleagues is that universities already understand this question, and the simple answer is, there are hundreds of graduates ready to step up and claim the technical roles.

This paper has highlighted to me that technicians within art and design education are more than just the technical assistance, but are instead educators, mentors and artists in their own right (Sams, 2016). I sincerely believe there should be a larger voice for technical staff within the university below the management level in regards to the improvements that could be made to student education; and further question how the encouragement and celebration of our own creative practices would keep technicians feeling equally valued, seeing as only a dismal 40% felt this aspect was valued (Sams, 2016).

Bibliography

Sams, C. (2016) ‘How do art and design technicians conceive of their role in higher education?’, Spark: UAL Creative Teaching and Learning Journal. University of the Arts London, 1(2), pp. 62–69.