‘The autobiography of the question’ Miller 1997

2. The role of Professional Judgement in Assessment: A journey from accuracy to zingProfessor Susan Orr

3. ‘The autobiography of the question’ Miller 1997

4. ‘A learning outcome is a ‘clear’ statement of what a student is expected to know or be able to do at the end of a period of learning’ Moon 2001 By the end of this unit students will be able to: integrate an understanding of the interdisciplinary nature of art in the contemporary world. critically analyze and evaluate examples of art

5. Lecturers need to ‘test the intended learning outcomes accurately’ QAA 2009

6. Assessment Beliefs No student should ever get 100 Students should very rarely get 80 or above Giving marks on the cusp such as 49/59/69 shows a lack of conviction and your external examiner won’t like it Marks shouldn’t bunch together. If they do the assignment is not well designed Bad marks sometimes give students a kick up the bum which will make they sit up and try harder If marks don’t count students don’t take the assessment task seriously Nowadays we should be trying to use the full mark range more than we used to You should never have too many firsts or too many fails

7. Why has transparency become the new black?

9. Institutions have transparent […] mechanisms for marking and for moderating marks.QAA 2009

11. ‘The Tyranny of Transparency’ Strathern 2000

12. How are Learning Outcomes (LO) mediated and understood by students and lecturers?What is the pedagogy of assessment - i.e. what actually happens in the studio or seminar room?How can we use assessment to support student learning?Has the use of LOs made assessment more accessible to students?

13. Individuals are active in the reconstruction of the messages and meanings of assessment Sambell and Mc Dowell 1998:391

14. The aim of marking: To identify the right mark or to identify the mark that is fit for purpose?

15. Assessment perspectives

16. Community of PracticeWenger 2000 a shared domain of interest a community that engages in joint activities a practice Reification and participation

17. Words fail me ! Tacit practice

18. Tacit knowledge refers to the expertise that people carry around with them, mostly in their heads. Sadler 2005: 192 You know I think that you can….you…you kind of in…em…you get to know a lot of stuff but you don’t always know that you know it

19. Connoisseurship

21. The course is so open, there’s no…there’s no answer there that needs to be solved, there’s just the development of practice Fine art is …situative learning…which is what I do…em..and, but the phrase values… to describe what I do is hanging around and chatting to people. And that’s about having a…generally having a presence in the department ...you develop a relationship with people over a period of time, em, you know, and a lot of that then is kind of conversationalist dialogic

22. Overview Group marking Subjectivity and objectivity Process product On (not) knowing the student Marking the artwork: marking the student

23. Studio based group marking serves to: Agree marks Induct new lecturers into communities of practice Regulate assessment behaviour Make lecturers more aware of their tacit practice through dialogue Constitute the boundaries of the discipline through negotiation/conflict Constitute views about standards Protect lecturers against accusations of subjectivity

24. Subjectivity You’re not trying to be too subjective, you’re trying to be very objective with the work. The subjectivity, whether you like it or not, has got to come in at some level You’re not allowed to sort, you’re not allowed to sort of, you don’t write about, talk about, subjectivity in terms of marking sets. Well it’s, you daren’t, you don’t, because in terms of appeals and things that’s a very dangerous path to even go near

25. However much people are inclined or required to deny it, there is an extent to which still in art and design education, perhaps particularly in fine art education, a lot of the reality of assessment decisions is located in people’s individual assessor’s versions of what constitutes some kind of aesthetic quality

26. Of all the oppositions that artificially divide social science, the most fundamental, and the most ruinous, is the one that is set up between subjectivism and objectivism Bourdieu 1990:25

27. The subjective thing is being made by highly trained, educated kind of specialists in that subject, so there is a subjective decision being made, but by specialists. So a non-specialist would say “Oh! I like that one” “I don’t like that one”. We would be able to say “Why do you like that one?”; “Why don’t you like that one?” It would be an informed judgement, both because of our own standard practice and our own understanding of the student and so on. [...] But there is still space for the art kind of feelings, that’s got a role to play

28. Assessors’ interpretative frameworks are constituted, in part, by the objective conditions of the field and of the community of practice. These are objective because they are to a large extent independent of the individual assessor […]. At the same time these interpretations are constituted by the particular context of the assessment event. This is highly subjective terrain; that is, it is significantly dependant on the assessor Shay 2005: 669

29. Marking timeAssessing the product: assessing the process It’s hard because you're looking at this final project but you're going ‘Wow look where they came from!’ It is essential that you know something about who that person is and what they are trying to do, what they…what they think they’re doing in order to….to measure the quality of what they’ve done

30. On (not) knowing the student

31. From Accuracy to Zing an element of something that you hadn’t seen before, the first would have, em, which, it sounds really vague doesn’t it?...That thing that you haven’t seen before Learning outcome: By the end of the module students will be able to demonstrate zing

32. Assessment of students’ achievements ought to be seen as an art, rather than a science – interpretive, idiosyncratic, interpersonal, and, thus, essentially relative Broadfoot 1996:237