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Useful and resourceful - this book is ideal for trainees, NQTs and experienced teachers alike.*100 inspirational ideas on teaching, learning and assessing design and technology*Each one has been successfully tried and tested*Ideas range from understanding the place design and technology has in the modern school to creative teaching strategies.

Putting Assessment for Learning into Practice is about the purpose of teaching and assessment as a means to ensuring deep, maximised, engaged and challenging learning. The simple message is good teaching can overcome bad testing and central to assessment for learning is empowering learners through developing learning autonomy. This means involving learners in their own learning through reflection but also as co-constructors and co-negotiators of their learning. This book is for all teachers and school leaders who are committed to ensuring learners are engaged in successful, meaningful and deep learning. Effective strategies based upon good practice are identified which place teachers and learners as central to the process of owning and adapting their teaching and learning.

Ensuring that children leave school emotionally literate is becoming of increasing concern in the UK, with the introduction of initiatives in both primary and secondary education. This highly practical text provides teachers with strategies and engaging classroom activities which will help teachers to develop their pupils emotional literacy.

Within this paper, a conceptualised triadic schema is hypothesised for locating emotion within a creative, learning and product orientated Design and Technology experience. The research is based upon an extensive literature review that has been synthesised and juxtaposed with the broad aspirational aims of the subject. The schema, based upon abductive reasoning and grounded theory, ultimately conceptualises the overarching theme of emotion within a creative, learning and product orientated Design and Technology experience within the Primary and Secondary stages of England’s education system. The triadic schema offers an additional opportunity in meta-theorising how the broad aspirational aims of the subject, as outlined in the English national curriculum statement of importance for Design and Technology, can be achieved through recognising the powerful overarching concept of emotion within three emerging domains: Person, Process and Product. The central tenet of this paper is the recognition of emotion within a triadic schema for meta-theorising the place of emotion within a creative, learning and product orientated Design and Technology experience.

The paper examines the extent to which a University undergraduate curriculum initiative provided initial teacher trainees with opportunities to challenge orthodox design methodologies through the production of an electronic portfolio within and extended design and technology activity. It was found that the \"electronic portfolio\" served primarily as a developmental tool for promoting creative continuity and sound, reflective, design practice within a structured educational design challenge. The portfolio also provided a focus for the development of \"e\" learning skills as it facilitated the use of new technologies in the compilation of the portfolio. Additionally, the portfolio provided trainees with a means by which they were able to demonstrate their capability to prospective employers. The use of the \"electronic portfolio\" challenges current orthodoxy and methods routinely employed to present and assess trainees' creative work, which have been shown to constrain innovative practice. The paper concludes that the use of the \"electronic\" portfolio was successful in facilitating trainees' engagement with a creative Design and Technology process.

The fostering of creativity within the school curriculum remains an aspiration of education; yet its development remains embryonic whilst it competes to be defined, recognised and developed within a highly constrained performance led school culture. The dual challenge of definition and implementation of creative practice has preoccupied academics, and increasingly government agencies, over the last two decades in what can be regarded as a resurgent wave of interest into the promotion of creativity; often in response to the apparent stifling effects of accountability, performativity and technicisation of education. The central tenet of this PhD by published work, a collection of thirteen publications, is the commitment to engage learners with creative processes during a creative, learning and product orientated experience, through the recognition of, and engagement with the originally conceived person, process and product emotional domains. Central to this is the examination and development of theory and practice related to creativity and creative learning and the identification of opportunities for nurturing creativity within primary, secondary and higher education. The priorities that have shaped the selection of publications for this thesis are twofold: 1) a corpus of materials related to the theme of creativity developments and constraints; 2) a selection of published materials which represent a combination of refereed national and international theoretical perspectives combined with a collection of practical level outcomes representing research informed contributions to practice. The collection of research papers draw upon primary and secondary sources of data through a predominantly qualitative research strategy. This is located within an interpretive paradigm and illustrates the examination of creativity from multiple and emerging perspectives over the period of the publications evidenced by the; synthesis, development, and contextualisation of the literature and theory related to creativity within design and technology pedagogy by drawing in new dimensions including gender, Information Communication Technology (ICT) and emotion. Central to this is development of practice through emphasis placed upon engaging with, rather than bypassing of, the creative process. This is represented through submitted publications: 1, 2, 3, 4, 5, 8, 9, 10, 12 and 13; synthesis of and contribution to the theory of creativity and creative learning, presenting a new working definition of creative learning which emphasises consensual assessment whilst connecting knowledge and imagination through engagement with a creative process. This is represented through submitted publications: 4, 6, 7, 11, 12 and 13; the original conceptualisation of emotion within a creative, learning and product orientated experience through the formulation of a triadic schema which locates emotion in three domains: person, process and product. Through the schema the location of emotion is prioritised as: a means to engage with risk and uncertainty (person), provide an emotional context to learning (process) and a recognition of emotional influence upon both the user and creator (product). This includes reconceiving the perceived conscious rationality in design decision making identifying that our emotions and feelings play a significant role in our creative, learning and product orientated experiences. This is represented through submitted publications: 1, 5, 8, 9, 11, 12 and 13. Early influence from this work has been extremely positive and three examples, in particular, frame the level of influence in relation to policy, practice and impact. Firstly (policy) as a result of the research presented 'emotion' has been added to the recently revised national curriculum statement of importance for design and technology; secondly (practice), the £150 million Creative Partnerships scheme has adopted the definition of creative learning formulated here and finally impact is recognised by an invitation to present the international research keynote address on the location of emotion in the creative, learning and product orientated experience at the D&TA international research conference 2007. These key outcomes are a direct result of the research activity into emotion, creativity and learning.

If you are reading this book from front to back then you have already started the process of thinking about the broad implications of ‘Technology Education’ (TE) and some of the philosophical issues that pose deep questions that you need to consider as a teacher. Equally if you started reading from the back (which is something I tend to do) then you will have considered Assessment, Learning and Design as essential areas for consideration.