Objectives. To describe the development and implementation of an interprofessional activity using standardized patients. Methods. In the interprofessional standardized patient experience (ISPE), pharmacy students are teamed with medical and nursing students. This team completes an assessment of a standardized patient. During this assessment, each student has time to interview the patient according to his/her own skills and patient care perspective. After the assessment is completed, the team collaborates to develop a patient care plan. Pre-experience and post-experience surveys were conducted. Results. Pharmacy students' appreciation for each profession's role in patient care increased. Conclusions. Despite multiple challenges, an interprofessional activity involving multiple health professionals from multiple institutions can be successfully implemented. Feedback from pharmacy students indicated that this activity increased students' awareness and ability to work as members of the health professional team.

The Artist-Teacher scheme has been established in recent years to encourage, revive and maintain the creative practice of visual arts teachers. Higher education institutions providing postgraduate qualifications have completed their pilot phases of the scheme, and the first postgraduate certificates and degrees have been awarded. This paper describes and illustrates work of students on these courses, and the relationship of their renewed creativity to their experience as professional teachers. The information was drawn from interviews with students, staff and initiators of the scheme, as well as student evaluations. There is a summary of the history of the scheme and a description of its recent manifestation in the pilot postgraduate programmes. The paper also includes a discussion and analysis of features of the Artist-Teacher scheme: the gallery collaborations, the relationship of theory to practice and to pedagogy. Students' responses to the scheme are discussed and, finally, emerging evidence of the positive impact that the Artist-Teacher scheme is having on classroom performance is considered. Although ATS continues to exist in a number of forms, such as summer schools and day/ evening classes and part-time postgraduate certificate/Masters degrees, it is the mainly latter that is the focus of this paper. AbstractJADE 22.2

The Education Departments of Tate Modern and Goldsmiths College collaborated with a group of teachers to find out what they understood by the term ‘contemporary art’ and to discover the conditions that enable contemporary art practices in the classroom. We explored questions with eleven teachers, from both primary and secondary schools, during the Autumn of 2004. Although the cultural/ethnic context of the schools the teachers worked within was diverse, they shared a commitment to working with contemporary art in the classroom and exploring new pedagogies in this field. Their engagement with contemporary art and their revealing and compelling experiences are documented, contextualized and summarized. Samples of the discussions form the substance of this article. This is preceded by an analysis of the success of socially‐orientated contemporary art in the wider global context and its contrast with the omission of these practices in many schools. Conclusions have been tentatively drawn about how the curriculum may be better served by the use of contemporary art, as well as the means by which new learning methods may be facilitated.

The Future Something Project (FSP), a two-year action research project, was devised to nurture the creative and technological talent of small groups of young people at risk by creating a structured network, mentored and driven by creative professionals exploring innovative ways for the two distinct target groups to work together. The project practice is located within the new field of Interaction Design and takes a social and critical approach to Art and Design pedagogy. The external research team found that one valuable way of looking at the FSP enterprise was through the social theory of communities of practice (CoPs) developed in the 1990s by Lave and Wenger (1991; Wenger, 1998). The creation of a learning community as a pedagogical strategy is central to the conception and practice of this project. This paper, therefore, sets out to apply an existing theory to a new art and design context together with more general thoughts on learning communities. It explores the potential of new technologies and different settings to effect learning within structured networks and local and virtual communities of practice. IntroductionThe Future Something Project (FSP), a two-year action research project devised and delivered by Artswork [1], aimed to develop a programme that could nurture the creative and technological talent of small groups of young people at risk. This was approached by creating a structured network, mentored and driven by creative professionals. An overall aim was to explore innovative ways for two distinct target groups to work together to be called mentors and participants. The project practice is located within the new field of Interaction Design and takes a social and critical approach to Art and Design pedagogy (Atkinson & Dash 2005). Emerging technologies, specifically information technology, precipitate reaction and ongoing curriculum development within the field of art and design education. They may require new forms of understandings of teacher and learner identities, learning communities and situations of learning. This paper explores the complex project ecology (Harrington 1990) which brings together the themes of identities and trajectories within learning communities, new pedagogical practices and learning in different settings, through new technology and interaction design. While the details and outcomes of the project are specific there is scope for reflection on the broad themes identified above which are relevant to art and design pedagogy in both formal and informal contexts with diverse populations.

This paper is an investigation of theoretical issues pertaining to art and design graduates as they embark upon their training as teachers. The expressive, 'confessional' nature of selected forum posts in their virtual learning environment are analysed in relation to the students' identity transformation into teachers. This transition is profound in the case of artist teachers, for whom the contrast between their practice as a critical artist and that of a regulated professional can be severe. The usage of these socially-oriented virtual forums, and the students' identity transition is analysed in terms of identity theorists such as Butler, hooks, and Wenger. There are problems of expression that are brought about by the juxtaposition of visually and spatially adept artist-learners constrained within a largely textual environment, yet this impediment appears to be ameliorated by their social-expressive exploitation of the forums.