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TED WHITAKER Graduate Diploma in Tertiary Education (Level 7)


Unit 1 - Dual Practioner pages 2-4 Unit 2 - Reflective Process pages 5 - 12 Unit 3 - Biculturalism pages 13 - 18 Unit 4 - Work Context pages 19 - 22 Unit 5 - Digital Citizenship pages 23 - 26

External Links:

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DUAL PRACTIONER Skills and knowledge required to be an educator in my current teaching workplace consist of a thorough knowledge of creative software, video hardware, general ITS problem solving capabilities and a gentle and effective approach to communicating these principals to students and staff. I am a graduate of the Dunedin School of Art where I competed my BFA majoring in Electronic Art. I am immersed in the field of new (and old) media, this gives me a contemporary approach to learning as my area of research and expertise is in constant change. These changes in electronic media are exciting and give a lot of scope for a learning environment. The speed of growth in the medium of Electronic Arts demand I stay robust as an educator and current with contemporary an Electronic Arts Practice. To be a tertiary educator I had to learn rapidly how to manage myself and distribute time for lesson planning, delivery, time for discussion and support for students in a case-by-case situation. A huge learning experience for me is the process involved in classroom teaching. “It is often observed that the best way to learn is to teach, because the teacher needs to become thoroughly familiar with the material beforehand.�1 To teach at a tertiary level I became immediately aware of the effectiveness of the delivery. The delivery of each lesson was directly relevant as a true test of my own knowledge of the subject and the response of the student. I enjoy this rigorous workflow as I feel it enhances my own practice and forces myself to stay current and excited about new skills and sharing them with students. Teaching with computers, there is often a specific jargon associated with computer interface and functionality. While I try to use accurate terms and names for certain functions I have learnt the effectiveness of metaphors and I am still learning to teach with a very considered vocabulary and articulation of each sentence. 1 Page 2

I enjoy being a proportional staff member as it allows time to continue and pursue a contemporary art practice. My art practice is broad and encompasses a range of project outcomes, both within experimental art communities, surfing communities and commercial creative fields. I embrace all facets of my specialty practice because it creates a broad dialogue with diverse audiences who expect and appreciate different levels of technical and conceptual outcomes. In pursuing my own art and research practice, the process pushes and develops areas of technical and conceptual knowledge, a process that creates new material and perspectives I can offer as an educator. Being constant I embarking on new projects always requires research and collaborations that I believe enhance learning and development as a practitioner. I combine both my role as a tertiary educator and practitioner, one informs the other. I make conscious efforts to develop my technical practice in my own field with motives of sharing these skills with my educational community. A recent project of mine begun by receiving a grant from Creative New Zealand to research and develop Augmented Reality technology with collaborations from world expert Mark Billinghurst. Mark and I hosted a series of workshops that local artists and designers were invited to attend. This knowledge was applied immediately to my own art practice and shared to students and the public in the form of exhibitions and workshops. I also combine both roles by including students in outside school projects either my collaborators or I are involved with. This includes assistance on location in film shoots, event photography jobs and positions within my gallery networks for exhibitions or gallery supporting roles. This means that professional practice as an educator is not bounded by either the limits of the educational organisation or by the qualifications offered. Emphasis is on achieving the best possible synergies between the world of education and the worlds of work and/or research in all the diverse forms of each. Active and inquiry-oriented learning is a key part of the repertoire of these educators.1

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Through this project analysing the Dual Practionerit has made it more apparent to me how valuable it is for students to respond to an educator genuinely passionate and knowledgable of their chosen specialty practice. Students respond and appreciate seeing their teachers perusing and succeeding in a practice running parallel to teaching. It gives the students a positive response to someone walking the talk, and in my case simultaneously demonstrating the technical process.

Augmented Reality sound performance, A curated performance evening at the Dunedin School of Art Gallery, 2013. Image: Michael Morley.

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REFLECTVE PROCESS “Reflective practice is an approach that enables professionals to understand how they use their knowledge in practical situations and how they combine action and learning in a more effective way.”1 In 2013 I taught an intensive Stage One class in Photography and Electronic Arts. This short course was important to provide stage one students with a broad view of Photography and Electronic Arts and create a stimulating experience, both conceptually and technically. I taught this course to three consecutive groups of 10 students over the course of a semester. This course and course structure was new to me and to the School of Art. The new approach gave me an exciting new scope for teaching and delivery. I have taught in similar stage one classes in 2011 and 2012 but as more of a support role and specifically in Electronic Arts. The process of embracing this new course structure, creating the content to teach and the delivery encapsulated a prime situation to reflect on my teaching. I was able to evaluate responses from students in previous years and note pros and cons of the course material. I had an on-going series of discussions with my colleagues who have taught in this area before and staff involved in a managing and supportive role. This process was extremely helpful in gaging student responses to material and time frames. It also was helpful in distinguishing appropriate artistic outcomes. I shared the teaching roles with others in the Photography and Electronic Arts Section who each added their area of expertise to the mix providing for a balanced teaching methodology and a dynamic provoking discussion of students process and outcomes.

1. Massachusetts Institute of Technology, Open Courseware Thursday, March 5, 2009 Page 5

“It can be argued that “real” reflective practice needs another person as mentor or professional supervisor, who can ask appropriate questions to ensure that the reflection goes somewhere, and does not get bogged down in self-justification, self- indulgence or self-pity!”2 Designing a new series of classes and workshops in 2013 for the stage one students developed and morphed as the semester went along. Initially I planned each class with thte Greenways’s 1995 model of reflective practive. This approach was a simple approach to achieving a reflictve practice. As the course progressed I found I adapted more if Schön’s ‘On The Hoof ’ model beacuse it allowed a stronger RIA approach. I respond to Schons process because I found the RIA process effective when teaching with new media and electronic devices, things change and need to adapt to the technology and the students. Practice Reflection Time RIA Reflection in Action means to reflect in the present tense. Schön referred to this process as ‘on the hoof ’. Thursday, March 5, 2009 Practice Reflection Time ROA Reflection on Action means to reflect in the past tense. This means to reflect after the practice has occurred. Thursday, March 5, 2009 My teaching experience of this particular case study was unique due to the regularity of three consequtive groups of students over the course of the semester. It gave me a helpful approach toadapting the course content and how I delivered the content. I could monitor the outcomes that were viewable on the online gallery I created for the specificity of the course content. The work is viewable at: 2. Atherton, 2005, reflective practice, para 3. Page 6 The Purpose Of Reflective Practice, Toby Adams, Teacher at The Leigh Technology Academy on Mar 05, 2009 Page 7

Stage One Electronic Arts students construct a ‘Bullet Time’ photo secquence, 2013

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Production still from a Stage One Electronic Arts and Photogrphy ‘Bullet Time’ workshop referencing technology used in The Matrix, 1999 WWW.WHITEWALLGALLERY.TUMBLR.COM Page 9

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W W W. W H I T E WA L L G A L L E R Y. T U M B L R . C O M

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BICULTURALISM The Treaty of Waitangi is the founding document of New Zealand. It is an agreement entered into by representatives of the Crown and of Māori iwi (tribes) and hapū (sub-tribes)… he Treaty in Māori was deemed to convey the meaning of the English version, but there are important differences. …Different understandings of the Treaty have long been the subject of debate.1 I place high importance for all New Zealanders whether a Pakeha or Maori to have knowledge of this important event in New Zealand history that has shaped contemporary cultures in Aotearoa. Living in Aotearoa demands a responsibility to be aware and respect the historical significance of The Treaty of Waitangi, the meeting of different cultures and repercussions that exist today. Being aware and respectful of different cultural perspectives in tertiary education is of high importance. To communicate and interact effectively in a classroom environment with a range of students is valued and for many reasons in order to create a productive and respectful environment. The Otago Polytechnic embraces The Māori Strategic Framework. There are five key points to this framework. 1. Treaty of Waitangi 2. Kai Tahu/Māori Leadership and Staffing 3. Kai Tahu/Māori Students 4. Inclusive Learning Environments 5. Research and Māori Centered Knowledge Creation (Sourced from: 1., (Ministry for Culture and Heritage), updated 20-Dec-2012 Page 13

The relevance of The Treaty of Waitangi and my teaching practice is prominent and varied. Teaching in the field of art is highly relevant to concepts derived from The Treaty of Waitingi through of the many visual accounts and interactions of Pakeha and Maori cultures, in historical artistic outputs and in contemporary art. In the Photography and Electronic Arts Section we value the unique global position of Aotearoa through critique and reference of New Zealand and international artists using conceptual or technical content to communicate ideas of biculturalism. The Electronic Arts Section has a strong history of communicating ideas relevant to Maori culture with Rachael Rakena having taught in the section and who visits on a regular basis. As an undergraduate I was invited by Rakena to assist with her current art practice. This was a further strengthening of a relationship and dialogue through a specific art form of digital media. My role at the Dunedin School of Art is to teach and support students working with digital mediums. I worked with ex MFA student of the Dunedin School of Art, Rokahurihia Ngarimu-Cameron to create video documentation of a traditional Maori harekiki dyeing method. The Page 14

dialogue I shared with Ngarimu-Cameron, a master weaver and natural flax dyer, gave me a unique perspective into such a complex and now rare process of this dying method. I felt fortunate to be able to offer my skills to support a process handed down by generations. By using contemporary digital tools I was able to archive a unique process, for future reference, as a technical record of the processes and for her whanau, who would appreciate spoken word and colloquial dialogue spoken throughout the process. This was an example of seeing the importance of including whanau in a learning environment respected in the ideology of Tikaka Maori. The Cultural Competencies for Teachers of Maori Learners outlines the following points of professional values and relationships: 1. recognise how differing values and beliefs may impact on learners and their learning. 2. have the knowledge and dispositions to work effectively with colleagues, parents/caregivers, families/whanau and communities. 3. build effective relationships with their learners. 4. promote a learning culture which engages diverse learners effectively. 5. promote a learning culture which engages diverse learners effectively. These points create a concise path to follow in order to continue to develop my knowledge in areas of addressing and integrating a multicultural respect to build on a bicultural foundation in my teaching practice. I will continue to promote Tikaka in the classroom and remain open to experiences out of the classroom with artists that in the past I have learned and benefitted from greatly. In 2012 I was encouraged by the Otago Polytechnic to attend a two-day workshop Introducing Te Tiriti o Waitangi. I found this workshop highly beneficial to explore implications of Te Tiriti o Waitangi in a collaborative process.

Video stills with Rokahurihia Ngarimu-Cameron, February 2013. Page 15

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Reference list. Hayward, J.(2012, 9 November). Biculturalism. Te Ara – The Encyclopedia of New Zealand. Retrieved from Purnell, L. The Purnell Model for Cultural Competence. In Purnell L, Paulanka B, (ed) Transcultural Health Care: a culturally competent approach. 3rd ed. Philadelphia FA Davis: 2008. pp.19 -56. Http:// Http:// Tataiako. Minisitry of Education, 2011 conference%20-%20July%202005%20-%20Durie.pdf

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WORK CONTEXT “Otago Polytechnic is committed to inspiring and developing capable practitioners for Otago, New Zealand and the world”1 The strategy of Otago Polytechnic is made up of three components: vision, mission and strategic goals. The vision of the Otago Polytechnic is what they aspire to be “We are recognised nationally and internationally as New Zealand’s leading polytechnic”2 and innovation, high quality, capable graduates and contributions to organisations and communities. The Mission is “To serve society and our customers by enabling those who desire to learn to connect with the most relevant learning experiences”. The Strategic Goals indicate the process in achieving the vision. The Otago Polytechnic aim to: 1. Achieve educational excellence 2. Be a resilient organisation 3. Collaborate with our communities to make a difference, prioritising Kai Tahu 4. Make a difference to our environment. In my own work at the Dunedin School of Art I draw importance from these priorities set by the overarching institution. I particularly prioritise a high quality of everything we do as it sets a strong standard institution wide. The ‘Destination Programmes’ are integral to this concept, as it simultaneously creates a healthy working culture where students can feel the benefits of a physical network. As a technical staff member I see great value in the working cultures that exist with time spent on-site because the relationships with other students and staff like myself on hand to help, generate a work ethic that inherently outputs high quality of work. It is fulfilling to see staff inspiring students and students creating a high quality of work. This process I see as beneficial because it resonates, 1 plans/ 2 Page 19

and ripples out amongst peers, departments, school and the wider community. I am drawn strongly to the emphasis on community collaboration and involvement outlined in the Otago Polytechnic Strategy Refocus. Artists benefit from communities that expand from institutions, which is also a mutual benefit. The institution creates a hub of people working and generating outcomes in a similar language. Art students regularly show their work in any form of available space from established galleries, popup spaces or site specific architecture that forms a new perspective of the location to ‘make a difference to the environment’, whether physically, socially or politically.

To support and reflect the institutions strategies and priorities I work towards achieving excellence in my own research and bring that high quality and enthusiasm to the classroom. I have hosted new media workshops outside of the delivered course content as a element of my own Augmented reality Technology research. I am also a member of the Aotearoa Digital Arts Network, a network of artists who network specific national digital arts news and events. I include my students to attend symposia, exhibitions and to submit films for festival locally and internationally. I encourage students to participate within communities outside the institution such as volunteer as artist, film or gallery assistants in a number of surrounding sub-cultures, many derived from the Dunedin School of Art. Page 20

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Production Screenshots from the second AR workshop with University of Canterbury’s Mark Billinghurst, Dunedin School of Art, October 2012.

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DIGITAL CITIZENSHIP I teach a Stage One class titled Digital Literacy. This course was initially inspired through teaching photography students skills relevant to rapidly shifting terrain in digital photography. In recent years this course has developed to target all art students to ensure they are equipped with a skill set that will ensure an all round base knowledge of digital media relevant to any art practice. My role in this course is delivering material through seminars and workshops. The material I teach is broken down into a number of modules: 1. OP ISS induction. 2. Basic Camera & Adobe Photoshop 3. Scanning and resolution (digital image) 4. Social media and portfolio presentation 5. Copyright and Creative Commons 6. Remix 7. Open Source Software 8. Alternative presentation methods This course is very interesting to teach as students arriving at Stage One all come from different backgrounds, cultures and age demographics relative to knowledge in digital media. This issue constantly tests the relevance of the course material and the delivery process, which demands I keep the content and course at a state of change and efficiently current. Apart from teaching Digital Literacy I teach advanced software in the majority of Adobe Programmes running workshops predominantly for the Electronic Arts and Photography Section and have recently been taking one off classes school-wide for students in Print and Sculpture who have an art practice that extends into digital media. I am on hand at the Dunedin School of Art to make sure guest speakers are organised and comfortable with the lecture theatre presentation technology, software and hardware.

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I maintain electronic hardware in the Dunedin School of Art store. This entails general keep of cameras, projectors, lighting kits, sound recording and playback and excess computer hardware. With this role I deliver workshops in operating each of these devices, again specifically to Electronic Arts and Photography students or one-off students in other sections that need assistance. I am a member of the Dunedin School of Art’s Social Media team that involves monitoring the FaceBook page, generating video clips for the Vimeo account and generating content for the Instagram account and developing an audience. I am the Educational Technology Champion for the Dunedin School of Art. This involves coordinating Moodle and delivering updates from Otago Polytechnic and redistributing this information to Art staff. I curate a small gallery located in the Robertson Library (on campus) which DSA students exhibit experimental projects publicly. This gallery requires poster design, photographic and video documentation to be published in print and web. I upkeep the web space and share via social media. Discussions I am having currently with the Aotaeroa Digital Arts Network are surrounding most effective communication tools. I see this a very interesting concept when creating an e- mailing community or online discussion group and talking about formalities involved with each. Why would one keep an email list as opposed to a FaceBook group? I see direct relevance to this awkward grey area in formalities to communicate with my students via FaceBook as opposed to email or Moodle. It becomes a formality versus convenience battle. I am experimenting currently with both forms of communications, using all streams for different purposes. My own art practice is media based. I experiment with ideas of ‘new’ and ‘old’ media. It is an exciting art medium to work with as things are constantly changing, developing and shifting. My fascination with ‘old’ media and its relevance is something discussed critically within the Electronic Arts section in context of sustainability and archival. New media requires vigilant research and constant upkeep in relevant devices, software and workflow. A common example of this is the currency of digital cameras and the rate of superseding models. Page 24

I subscribe to a number of online forums that I read regularly to stay updated with these developments, specifically with independent cinema networks. I am using Internet tools for problem solving most issues I encounter with student questions or personal research. There is a website called which OP have recently purchased a licence to their vast and thorough selection of tutorials in creative software. This will be a website I recommend to all staff and students. For my own personal development I see infinity of possibilities of areas to develop my knowledge in video production alone. I also would like to pursue more time with Video Post Production, web coding, illustration and print media and my own area of research in mobile technologies, primarily Augmented Reality. In order to accomplish these developments I would see spending time working for or volunteering with a film company working with a mentor as well as spending time working through online tutorials such as

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Image: AR panorama production still, 2013

Ted Whitaker - Practice Context  

This publication is a compilation of my research of set tasks in the Graduate Diploma in Tertiary Education Practice Context section.

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