Hardie, K. (2015) Innovative Pedagogies Series: Wow: The power of objects in object-based learning and teaching. Heslington: Higher Education Academy

• ‘As Bonwell (n.d.) identifies “active learning involves students in doing things and thinking about the things they are doing” (p. 2).’ (Hardie, 2015, p.5)
• ‘As Chatterjee (2010) observes “Objects can be employed in a variety of ways to enhance and disseminate subject-specific knowledge, to facilitate the acquisition of communication, team working, practical, observational and drawing skills, and for inspiration” (p. 180).’ (Hardie, 2015, p.5)

The Power of Wow

• ‘I ask first year students to select an object of their choice and place it in front of all their peers so that the example will elicit an instantaneous, authentic and audible response from the group: a wow (2008).’ (Hardie, 2015, p.5)
• ‘Students are asked not to present or explain their chosen item: “the student’s voice is communicated by objects. Neither students nor teacher talk. Silence is only to be broken by the exclamation of ‘Wow!’ (Hardie, 2015, p.5)
• ‘The activity encourages design analysis and critical reflection: learners are invited to consider the impact that designs can have; the messages that they can communicate, and how objects can be interpreted.’ (Hardie, 2015, p.5)

My own experience working with Central and Eastern European dress in the collection of the British Museum! That wow factor led them to become the core of my MA dissertation.

Archaeologist Dr. Ekpo Eyo: ‘The more I looked at them, the more I studied them, the more I appreciated their beauty over and above the information about their context. They were beautiful! The more I described them and handled them, the more emotionally attached to them I became. … My eyes opened.’ (quoted in Dudley, 2013, p.1)

A Matter of Taste

• ‘I ask students to work in groups of five to six people and analyse a number of objects: A Matter of Taste activity.’ (Hardie, 2015, p.6)
• ‘These sessions consider consumerism, popular culture and semiotics and aim to: “develop students’ knowledge and understanding of, and the ability to use, the language and approaches that are used to define, decode and decipher how we communicate and read and judge the visual across a variety of contexts” (AUB 2012).’ (Hardie, 2015, p.6)
• ‘I request that all students write a detailed consideration of the objects that includes related sketches, photographs and quotations. All groups are asked to complete an object identification form for each item: for example, what is its function, age and target audience? Who designed and manufactured it? Is it ergonomically designed? What does the object communicate and what values do you think it has? (E.g. financial, social, historical or cultural).’ (Hardie, 2015, p.6)
• ‘I invite students to appraise the objects in relation to notions of taste that they have studied earlier in the curriculum; to explore what they feel about the object and if they find the object appealing and in what ways?’ (Hardie, 2015, p.6)
• ‘Learners are encouraged to research the item and its related contexts and associations: to work in teams and, importantly, to discuss, debate and evaluate their ideas, opinions and the facts. As Kolb and Kolb (2005) confirm, discussions are important experiential learning experiences.’ (Hardie, 2015, p.6)
• ‘Students are encouraged to interpret the objects: “interpretation is the process for constructing meaning. Interpretation is part of the process of understanding” (Hooper-Greenhill 1999, p. 50)’ (Hardie, 2015, p.6)
• ‘The range, type and number of objects selected for this activity is critical (Hardie 2015). Too few items and attention may not be sustained; too many and students may feel overwhelmed.’ (Hardie, 2015, p.7)
• ‘A key approach I take is to present learners with objects that they may be unfamiliar with: designs whose function may not be readily evident. Such designs can generate discussions and encourage detective work. Learners are invited to solve the puzzle of their function, age and construction. Through group discussion, observation, analysis, and then research, the object’s identification is deduced – hopefully.’ (Hardie, 2015, p.7)
• ‘As Chris Rose observed “if objects are seen away from their functional setting we are likely to study them more closely” (cited by Reynolds and Speight 2008, p. 188)’ (Hardie, 2015, p.8)
• ‘An awareness of context is important for students in order to understand the purpose and function of an object and also to make connections between prior knowledge and new information presented to them in the gallery. (Reynolds and Speight 2008, p. 189).’ (Hardie, 2015, p.9)
• ‘As Csikszentmihalyi and Hermanson (1999) observe “after the individual’s curiosity is aroused, the exhibit must engage sustained interest in order for learning to take place” (p. 153) thus the element of intrigue generated by an exhibit adds to the object’s appeal and encourages students’ investigation and critical analysis of design.’ (Hardie, 2015, p.9)
• ‘I utilise a range of items from across a variety of contexts, countries and cultures.’ (Hardie, 2015, p.10)
• ‘Knowledge and understanding of design and culture must go beyond a national or Eurocentric focus. Objects can provide valuable vehicles on the route to an understanding and appreciation of social and cultural attitudes and practice.’ (Hardie, 2015, p.10)
• ‘Respect for these objects that hold particular and sensitive meaning for some is emphasised. Where relevant, students will discuss their knowledge and experience of their specific use of the objects.’ (Hardie, 2015, p.11)

The order of enquiry, from empirical, to contextual, interpretative and speculative remind me of both Prown’s and Fleming’s models of object analysis.

For the Love of Graphics exhibition

• ‘Kolb and Kolb (2005) in that making space for students to take control of and responsibility for their learning can greatly enhance their ability to learn from experience (Kolb and Kolb 2005, p. 209).’ (Hardie, 2015, p.14)
• ‘first year students (approximately 80 in number) are set the challenge to create and curate a unique exhibition in their studio. Each student is asked to select a graphic design artefact or collection of items that they love which can be showcased in an exhibition. All are requested to research their item and produce a short piece of text (50-100 words) to identify the item/s: to justify their rationale for the object/s selection and to inform others of its provenance and context. All students are invited to contribute to the exhibition’s content and to its overall design.’ (Hardie, 2015, p.14)
• ‘Curating an exhibition as part of a class can be an exciting opportunity for faculty who want to deviate from the standard routine of papers and exams as modes of learning. (Beckman 2012, p. 323).’ (Hardie, 2015, p.14)
• ‘The activity aims to develop learners’ experience of decision making; reflection; and research; and to develop their skills in teamwork; time management; curatorship; and design. Importantly the activity provides students with the opportunity to explore design objects and how they may be presented to audiences; to explore and experience the management of space and display; and to design the layout and identity of a distinct exhibition’ (Hardie, 2015, p.14)
• ‘Students often draw upon their prior learning and cultural heritage to secure ideas for their chosen object/s.’ (Hardie, 2015, p.14)
• ‘The use of objects enables learners to communicate visually and the exhibits’ text encourages the development of reflective writing without the challenge of a lengthy essay.’ (Hardie, 2015, p.15)

We’ve done a similar one-day activity this year with Y1 Fashion Communication and Promotion students. We asked students (81 in total) to bring one personal object significant to them and, working in two groups, curate two exhibitions. They only had a few hours to curate and execute their exhibition and I feel the time constraint was both a challenge and a blessing! They had to come up with themes quickly, which meant some themes and their use of the space were not quite strong. However, they had to work closely together to achieve the collective goal. Our feedback at the end of the day: ‘Generally, both groups needed to arrange their objects more clearly into themes – consider how we/visitors to your exhibition are meant to move around the space. The objective of this exercise was to arrange and curate a set of disparate objects so that they can be read as one thing. This is something that art directors, stylists and photographers must negotiate all the time.’ 

Innovative pedagogical approach and impact

• ‘My diverse use of a wide range of various commonplace and also unusual objects from MoDiP (and my personal items) can be considered to be distinct and innovative. While traditional museums and university collections may showcase classic designs of revered designers and manufacturers, my use of anonymous and prosaic items balanced with the study of notable iconic designs (Lees-Maffei (2014); Lidwell and Manacsa (2011)), offers original study.’ (Hardie, 2015, p.16)

How this practice is situated theoretically

• ‘Objects can be particularly stimulating in relation to learning processes when handled and studied closely. Objects can act to ground abstract experiences, can enable recall of knowledge, and can arouse curiosity. (Hooper-Greenhill 1999, p. 21).’ (Hardie, 2015, p.19)
• ‘Gibbs (2008) in his discussion of experiential learning considers: “Openness to experience is necessary for learners to have the evidence upon which to reflect. It is therefore crucial to establish an appropriate emotional tone for learners: one which is safe and supportive, and which encourages learners to value their own experience and to trust themselves to draw conclusions from it.” (Gibbs 2008, p.19).’ (Hardie, 2015, p.19)
• ‘As McCabe and O‘Connor (2014) state: “A student-centred approach to learning encourages students to have more responsibility for their learning and is a process that relies heavily on professional confidence to ‘let-go’ of traditional teaching responsibilities.” (McCabe and O‘Connor 2014, p. 350)’ (Hardie, 2015, p.19)
• ‘In their engagement with objects, learners consider examples from a variety of perspectives and draw upon their own prior learning and wider experiences to make and take meaning. In this way their learning relates to constructivist theories of learning (Biggs 2003). As Biggs states “Knowledge then is constructed by the students’ learning activities, their approaches to learning. What people construct from a learning encounter depends on their motives and intentions, on what they know already and how they use prior knowledge. Meaning is therefore personal – what the learner has to do is the important thing.” (Biggs 2003, p. 13).’ (Hardie, 2015, p.19)
• Reading (2008) observes “students learn to understand by observing, engaging and interpreting the world and that they construct their own meanings of the world from these interpretations and interactions.” (Reading 2008, p. 4).’ (Hardie, 2015, pp.19-20)

Ideas and advice on OBL pedagogic practice

1. the use of objects in small group work at the start of a course can offer a valuable ice-breaker activity as learners focus on items while developing their social interactions with their peers;
2. opportunities for learners to engage physically with celebrated design classics can provide important and memorable opportunities for them to study key designs and important aspects of their discipline;
3. surprise students in their learning; surpass learners’ expectations of using objects by creating innovative activities and using unusual items;
4. the use of objects not specifically related to the learners’ discipline can open up their wider understanding, and engagement, with a variety of themes, issues and contexts;
5. use objects to develop lively critical discussion, focused critical analysis, reflective thinking and powerful debates. Encourage students to interrogate objects publicly; aim to develop learners’ deep learning through the use of objects;
6. fun and provocative objects can engender learners’ curiosity and sustained interest in their studies. Objects can be used to explain and illustrate complex theories in an enjoyable and memorable way;
7. engage and stimulate learners’ senses through a variety of objects; maximise the opportunity for learners to touch items;
8. the use of prosaic objects can offer surprising focus as students reframe their engagement with items in the context of the classroom;
9. encourage student ownership of OBL activities; enable and encourage students to be independent learners through their development and testing of their own experiences, reflections, ideas, investigations, judgements etc.;
10. provide opportunities for learners to determine what objects they wish to study and how they wish to do this; let learners create and lead their own OBL activities;
11. invite students to bring in their own object of desire so that they may discuss this with colleagues;
12. invite learners to identify objects of interest in their specialism and to discuss these with their peers so that a wider awareness and understanding of their discipline may be developed and so that different perspectives and experiences may be secured;
13. invite students to sketch and photograph objects; to develop an object log (journal) or blog that captures their responses to design and documents and discusses their research findings;
14. encourage students to take a detective-like approach in their study of objects;
15. use museum and university collections to inspire learning; work with museum colleagues;
16. ensure a mix of objects which are representative of a range of cultures, contexts and issues;
17. consider new and established OBL literature: continue to learn from others;
18. be creative, think differently;
19. Enjoy