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This session takes place in a virtual court. The petitioner represents academics who are being asked to use social media in their teaching while a respondent represents the position of a ‘university’. The claimant has concerns regarding the use of social media and forms Technology Enhanced Learning (TEL) on grounds including privacy, ethics and sustainability. The respondent notes the advantages and contemporary uses of TEL and social media in supporting and developing students within the extended classroom to become active learners and more employable graduates. Participants are invited to raise their own viewpoints and experiences that have emerged regarding the use of social media and TEL in higher education teaching. Various examples and issues are raised as evidence

The Royal College of Art is considered through its teaching of art and design, and its work as a centre for the training of art teachers. The ideas of some of the staff are evaluated with regard to the need for art and design education. The influence of the diplomates of the College on the areas of education, art and design is appraised with a view to assessing the value of the work of the College.\ud \ud The relevance of government bodies to the Royal College of Art is examined in some detail, notably the Board and Ministry of Education, the Board of Trade and the Treasury. The relationship between the Civil Servants and the College\ud \ud Principals, Visitors and College Council are considered. The extent to which the College was prevented from achieving its original aims and objectives is explored. This is appraised together with examples of criticism the College received from government circles and external bodies. How such criticism was adapted for future educational policy at the College is also noted.\ud \ud When the Royal College of Art obtained independence from the Ministry of Education the College established its status as a post-graduate institution and was able to address the requirements of modern design education.\ud \ud The Appendices provide details of the Royal College of Art's chronology of events, statistical information and summarised results of a questionnaire given to ex-students.

This thesis investigates the nature and role of spiritually-influenced approaches to design in Britain in the period 1930-2005. The role of spiritual factors in design is considered as a complement to the predominance of the Modernist rationalist-functionalist discourse prevalent in much twentieth century design history writing and theories of design. Non-rational and spiritual facets of Modernism in this period are also examined.The influence of 'alternative' lifestyles, the New Age movement, ecology, holism, complementary and alternative medical practices, and spirituality on design is presented as a complementary paradigm to the predominance of Modernism. The origins and development of these influences are explored in relation to design and material culture.In order to reveal a body of relevant exemplars, the particular areas selected for detailed examination are the domestic environment, gardens and landscape design, and the influence of Complementary and Alternative Medicine on the design of therapeutic environments.This material, arising from practices of consumption as well as those of designing, challenges some of the established methods of design history and to deal with this, insights from the academic disciplines of Archaeology and Pagan Studies, relating to Shamanic concepts of the object, are explored as useful adjuncts to Postmodernism and other approaches in theorising complementary and alternative design practices.The research demonstrates that during the period under consideration, what was once considered outlandish has now become part of the mainstream and has affected contemporary design practice, material culture and consumption. The pluralism of contemporary design ideologies and methods presents a complement to, and a transformation of the Modernist hegemony in design practice and writing. This study contributes to a more complete historical picture of British design in the twentieth century and indicates that the predominance of a Modernist interpretation of design and its history is both insufficient and inadequate to understand the rich texture and complexity of the design history of this period.