Julia Lockheart

Bio: Julia Lockheart is an academic researcher from Goldsmiths, University of London. The author has contributed to research in topics: Dream & Academic writing. The author has an hindex of 5, co-authored 17 publications receiving 126 citations. Previous affiliations of Julia Lockheart include University of Wales, Trinity Saint David & University of Wales.

Doing language together : collaborative writing practice for design teams in higher education

Abstract: This thesis offers and evaluates collaborative writing practices for teams of Design students at M-Level in Higher Education (HE). The research begins by asking why writing is included in current art and design HE, and identifies an assumption about the role of writing across the sector derived from a misreading of the 1960 and 1970 Coldstream Reports. As a result, drawing on recommendations that were made in the Reports for non-studio studies to be complementary to art and design practice in HE, I focus on how teams of design students can complement their design skills with collaborative writing. Some studies for addressing how design students learn from writing in HE already exist, but none have established a practice-centred teaching method for collaborative writing for design teams at M-level. My research captures the effects of my Approaches, Practices and Tools (APTs) across three case study workshops. I compare these with the most common writing model in HE designed for text-based study in the humanities. My APTs use participants' designerly strengths to redesign how they can use writing to complement their practice. This provides learners with a means of identifying and creating their own situated writing structures and practices. I document how my practice-centred APTs position collaborative writing practices as a designerly mode of communication between design practitioners working in teams. I show it to be more complementary to practice and so more effective in comparison to models imported from the humanities. My explorations are carried out through two thesis sections. Section One is an in-depth literature-based rationale that critically informs my investigations. Section Two presents my methodologies and reports three case studies, in which I explore the emergent data collected through a range of qualitative methods, mapping and evaluative techniques. The findings are of importance to those teaching M-Level design courses.

Writing purposefully in art and design: Responding to converging and diverging new academic literacies

Abstract: In disciplines with long histories in higher education, academic literacies, including writing practices, are less contested than in newer academic fields such as art and design The relatively recent incorporation of such fields and schools into the university sector has required these fields to create academic writing practices consistent with existing academic models or to justify their distinctive disciplinary practices Recently, for example, much has been written about the distinctiveness of practice-based, reflective and creative written genres, such as the exegesis and the studio or practice based thesis, as the distinctive voice of art and design However, such models have yet to gain broad acceptance in the higher education sector, where scientific (eg empirical research report) and humanities (eg essayist tradition) practices are far more familiar and of overarching significance Similarly to the sciences and humanities, the field of art and design in fact names a broad grouping of communities of practice, eg graphic design, fine arts, fashion design, with a range of expectations regarding practice and writing Whatever disciplinary consensus is reached regarding legitimate writing practices in art and design, it is important not to obscure these differences and make the same mistake that has hampered clarity in writing instruction for mainstream academic fields, a problem that is at the core of the academic literacies program for change and enlightenment The Writing Purposefully in Art and Design Network (Writing-PAD) aims to support and disseminate the range of genres associated with writing in art and design In the second part of this article, an account of the purposes, practices and scope of the Writing-PAD network demonstrates the characteristics of and consensus on forms of academic writing in art and design Together with our introductory review we hope to promote discussion about the necessary balance of consensus and dissensus that art and design fields require to remain vibrant

Testing the Empathy Theory of Dreaming: The Relationships Between Dream Sharing and Trait and State Empathy

Abstract: In general, dreams are a novel but realistic simulation of waking social life, with a mixture of characters, motivations, scenarios, and positive and negative emotions. We propose that the sharing of dreams has an empathic effect on the dreamer and on significant others who hear and engage with the telling of the dream. Study 1 tests three correlations that are predicted by the theory of dream sharing and empathy: that trait empathy will be correlated with frequency of telling dreams to others, with frequency of listening to others' dreams, and with trait attitude toward dreams (ATD) (for which higher scores indicate positive attitude). 160 participants completed online the Toronto Empathy Questionnaire and the Mannheim Dream Questionnaire. Pearson partial correlations were conducted, with age and sex partialled out. Trait empathy was found to be significantly associated with the frequency of listening to the dreams of others, frequency of telling one's own dreams to others, and attitude toward dreams. Study 2 tests the effects of discussing dreams on state empathy, using an adapted version of the Shen (2010) state empathy scale, for 27 pairs of dream sharers and discussers. Dream discussion followed the stages of the Ullman (1996) dream appreciation technique. State empathy of the dream discusser toward the dream sharer was found to increase significantly as a result of the dream discussion, with a medium effect size, whereas the dream sharer had a small decrease in empathy toward the discusser. A proposed mechanism for these associations and effects is taken from the robust findings in the literature that engagement with literary fiction can induce empathy toward others. We suggest that the dream acts as a piece of fiction that can be explored by the dreamer together with other people, and can thus induce empathy about the life circumstances of the dreamer. We discuss the speculation that the story-like characteristics of adult human dreams may have been selected for in human evolution, including in sexual selection, as part of the selection for emotional intelligence, empathy, and social bonding.

The Act of Creation

Abstract: While the study of psychology has offered little in the way of explaining the creative process, Koestler examines the idea that we are at our most creative when rational thought is suspended--for example, in dreams and trancelike states. All who read The Act of Creation will find it a compelling and illuminating book.

Art Practice as Research: Inquiry in the Visual Arts

Abstract: Art Practice as Research: Inquiry in the Visual Arts Graeme Sullivan (2005). Thousand Oaks, CA: Sage Publications. 265 pages. ISBN 1-4129-0536-2Reviewed by Charles GaroianThe Pennsylvania State UniversityFor over four decades, art education scholars have been advocating for the visual arts within the context of K-12 education by arguing their cognitive and affective significance as a discipline-specific area of inquiry and across school curricula. Beginning with the establishment of the professional field of art education in the mid-1960s to the development of Discipline-Based Art Education, to Visual Culture studies in art education, and most recently, the growing literature on Art-Based Research, the field has reinvented itself in order to clarify its positioning and to gain agency and credibility within the larger context of educational research and practice in the U.S. and internationally. Depending on the political climate surrounding schooling, these efforts at bringing the visual arts to the center of curricular and pedagogical concerns have, for the most part, fallen on deaf ears.While there is little disagreement about the importance of visual arts education among the populace, when push comes to shove within the political economy of schooling, art is the first area of content to be questioned, then reduced, if not eliminated, from the curriculum. As post-Sputnik education and now No Child Left Behind has shown us, the visual arts are the first to suffer when politics enters the picture of what constitutes basic education in the U.S. If the larger role that the visual arts can play in the education of children is going to be taken seriously, then it is arguments like those found in Graeme Sullivan's recent book, Art Practice as Research: Inquiry in the Visual Ans (2005), that can ensure a broader appreciation and understanding of how the visual arts constitute significant research and contribute in significant ways to children's creative and intellectual development.Given its research-on-art-as-research focus, Sullivan's book makes a significant contribution to the literature in the field of art education. His arguments place art-based research in the center of educational practice as they clearly establish the visual arts as a significant form of creative and intellectual inquiry. While creativity has long been touted as the major contribution of the visual arts to new knowledge, it has not been central to a pragmatic understanding of art's intellectual value in knowledge acquisition, as Sullivan clearly demonstrates.While in the past, research methodologies were borrowed from the hard sciences and social sciences to study and argue for the curricular and pedagogical relevance of art making in classrooms, Sullivan has mined existing methodologies and compared them with the ways in which the visual arts are constituted as research. What is unique about his approach is that he does not rely solely on external research methodologies to validate the importance of visual arts practice for creative and intellectual development.Instead, he provides an in-depth perspective on the inherent value of visual arts practice as research and the robust possibilities that it offers when interconnected with wider research systems and methodologies that are constituted by the other disciplines.In Art Practice as Research: Inquiry in the Visual Arts, Sullivan begins with "Part 1: Contexts for Visual Arts Research," in which he establishes the conceptual, historical, and educational foundations of visual arts research, arguing that if it is to have any impact at all, it must be grounded in visual arts strategies, challenge existing paradigms of institutionalized knowledge, and adapted to other systems of research, theory, and practice. In "Part 2: Theorizing Visual Arts Practice," he develops and establishes the visual knowing of the artist-as-theorist, and the idea that complex systems of inquiry in art practice are robust and boundary-breaking in their methodologies, and proposes that their cognitive and transformative processes enable new insights, criticalities, and understandings to occur. …

Finding Flow The Psychology Of Engagement With Everyday Life

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