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Cover of Stories of Hope: Reimagining Education |
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Open Book Publishers logo |
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Illustration of an open book from which delicate red and lilac wildflowers and glittering, ribbon‑like wisps emerge against a pastel sunset sky. |
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Screenshot of a tweet by Professor Jan Slapeta from 29 August 2022 showing an empty tiered lecture theatre of grey chairs and a ceiling‑mounted projector; the tweet laments absent students. |
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Infographic outlining five stages of an institutional mentorship programme—Build it, Teach it, Check it, Sell it and Live it—each paired with a playful icon and bullet‑pointed actions within a grey gradient panel. |
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Digital illustration of a tablet and smartphone drifting in space, their screens filled with stars while vibrant marble‑coloured planets swirl around. |
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Composite image: left panel shows vibrant coral reefs viewed through virtual reality; right panel depicts two women in a classroom, one wearing a VR headset while the other paints using colourful art materials. |
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Close‑up of a classroom art table covered in paints, crayons and swirling doodles; a participant draws with pastels while a white VR headset rests on a blue plastic chair beside bright folders. |
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Collaborative children’s artwork on white paper featuring dozens of green fingerprint trees, tiny flowers, rainbows and leaves, with a large heart on the left enclosing a sketch of Earth. |
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Book cover titled “CanadARThistories: Reimagining the Canadian Art History Survey” in bold red text, placed over a geometric collage of historic Canadian artworks rendered in muted rose tones. |
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Five‑petal Venn diagram of overlapping translucent blue circles illustrating coaching benefits: dissolving power imbalance, creating time and space, suspending judgement, enabling realisation of strengths, and unveiling opportunity. |
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Upward view through translucent green lily‑pad leaves with a lone sprouting seedling below, set against a misty pink and yellow dawn sky. |
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Khaki shipping container labelled “Climate Portal” beside an orange‑brick building; small pavement sign and overhanging branches in view. |
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Woman in woollen hat, patterned face mask and rucksack walking along a night‑time city street past bright shop windows and bus‑lane markings. |
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Back view of the same woman at a bus stop; a screen shows a ‘UN Climate Change Conference 2021’ poster while red traffic lights glow ahead in the dark street. |
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In a dim installation the visitor faces a large blue‑lit screen showing a seated figure; two warm vertical light tubes frame the scene against dark walls. |
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White card artwork combining typed text on hope with radiating gold threads, curved embroidery and splashes of green, purple and yellow paint. |
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Circular textured artwork: raised gold stitching and a turquoise ribbon snake across a multicoloured embroidered surface like an abstract terrain. |
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Several shimmering soap bubbles of varying sizes drift across a turquoise sky washed with rainbow light and gentle clouds. |
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Composite graphic: student on left complains about lack of breaks, lecturer on right ponders responses; explanatory feedback text sits in a rounded panel below. |
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Full‑length photograph of a young woman with curly hair, wearing a dark‑green long‑sleeved polo shirt, black skirt, opaque tights and trainers, standing against a white background with one hand on her hip. A large white speech bubble outlined in navy points from her towards the right and contains the text: “I’ve noticed that there seem to be limited breaks during the class, and I feel restless and tired. I have a strong need for moments of rest and refreshment to fully engage with the material. It’s important to me that I have the chance to recharge during the class to make the most of our time together. I believe that having longer breaks up to 15 minutes would better meet these needs.” |
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Composite illustration on a white background. On the left a male lecturer in a dark business suit writes on a clipboard; above his head is the quote, “The visual presentation of your final piece could perhaps be stronger.” On the right a female student stands with her hand to her forehead, eyes closed in frustration, inside a cloud‑shaped thought bubble that reads, “What does it mean? Still unsure what it is that he wanted.” A caption beneath explains that Dr Igwe’s feedback is vague, merging observation with evaluation, which leaves Clara unsure of his expectations. |
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Composite image featuring the same male lecturer on the left writing on a clipboard. To the right three stacked rounded rectangles are colour‑coded: a blue ‘Observation’ box stating, “Your report includes a written explanation of the design process”; a yellow ‘Evaluation’ box stating, “Adding a diagram would have helped the reader access your work more clearly,”; and a green ‘Criterion’ box reading, “enabling you to fully meet the third criterion, communication.” A footer below says, “By clearly distinguishing observation from evaluation, we provide constructive feedback without personal judgements.” |
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Split graphic. On the left a light‑grey textbox reproduces a long student message that describes difficulty working in an online breakout room, lack of partner response, feelings of disappointment and isolation, and a request for the tutor to monitor group work and allow extra ice‑breaker events. On the right a vertical infographic shows four coloured blocks connected by arrows and labelled from top to bottom: “Observations” (orange), “Feelings” (yellow), “Needs” (green) and “Requests” (blue), illustrating the stages of non‑violent communication and how the message aligns with them. |
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Rounded rectangular white panel with a thin navy outline containing two italicised student quotations in black. The first reads, “a great environment to learn how to collect feedback from peers and communicate [...] to find a suitable resolution. These skills are great to have when moving into the employment sector.” After a large blank space the second quotation reads, “The engagement with our uni became higher each year for me because it became more of a friendly place than just a university.” |
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Long, narrow white banner with rounded corners and a navy outline. Centred inside is an italicised quotation that says, “Thank you for taking an active role in student progress, believing in us, encouraging us to be our best selves, and fostering an inclusive and accessible model of education”. |
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Wildflowers bloom at the foot of a tall glowing portal while a sparkling blue ribbon of light curls around it in a pastel twilight scene. |
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Green concentric‑circle diagram illustrating a learner‑centred framework. A dark‑green central circle labelled “Learner” is intersected by two opposing horizontal arrows labelled “Innovative Practices” (left) and “Academic Guidance” (right). Surrounding rings, in gradually lighter shades of green, are labelled from inside out: “Individual Adaptation”, “Contextual Placement” and “Sociological Imagination”. Between the rings are explanatory phrases such as “Tailoring the experience to each learner’s life”, “Understand the interplay between global trends and local policies/responses”, and on the outer edge, “To foster a meaningful engagement with global trends”. The graphic depicts how innovation and guidance support the learner within broader contexts. |
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A webpage banner for UAL’s ‘Belonging Through Compassion’ project: purple title bar and menu above a yellow ‘About’ panel, beside a photo of a hand pouring tea into dark ceramic beakers on a wooden tray. |
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Matrix of nine staff portraits, each surrounded by coloured digital sticky‑notes summarising their ideas about fostering belonging, arranged in a three‑by‑three grid on a white background. |
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Green page section featuring an embedded orange Spotify player for the podcast episode ‘Belonging in online learning environments’, with explanatory text and the clickable episode link to the right. |
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Orange webpage section introducing Mo‑Ling Chui’s lightning talk on belonging through assessment, with descriptive text on the left and a paused Vimeo video frame of the speaker wearing glasses on the right. |
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Black‑and‑white conceptual diagram of the student lifecycle, showing a circular flow from ‘First Contact and Admissions’ through orientation, study and ‘Outduction’, emphasising integration, belonging and supportive university structures. |
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Simple graphic with a grey ‘Peer influence’ rectangle centred between four corner labels: ‘Knowledge and understanding’, ‘Skills and abilities’, ‘Motivation and self belief’, and ‘Personal capacity’, all on a white rounded rectangle. |
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Close‑up of interlocking white jigsaw pieces labelled with feelings such as ‘Accepted’, ‘Comfort’ and ‘Sharing’; a missing lime‑green piece marked ‘Identity’ sits at the centre of the puzzle. |
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A single brilliant firework explodes in white and gold streaks above a dark hillside, illuminating a peach and blue evening sky. |
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Greyscale drawing of a triangular greenhouse on a grassy hillside, its open door revealing thriving plants and empty pots inside, with a lone pine tree and stylised flowers in the background. |
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Black‑and‑white cartoon of an exhausted office worker with tangled hair seated at a desk; a wall clock, wilting plant and whiteboard reading ‘JUST KEEP SMILING’ highlight a stressful workplace. |
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A handwritten sign reading ‘MEMORY ROOM’ and ‘Please enter carefully!’ is pinned to a wooden door, suggesting a reflective or sensitive space. |
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A clay model of a biological cell displayed on a flat surface, showing various organelles like the nucleus, mitochondria, and endoplasmic reticulum. |
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Cards pegged to strings in a room labelled ‘Memory Room’, with handwritten reflections related to teaching memories and experiences. |
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A black-and-white diagram showing the ‘Six Spheres of Influence’ in education, including Leadership, Curriculum, Pedagogy, Assessment, Culture, and Community, interconnected by arrows forming a circular flow. |
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Monochrome illustration of a planter‑shaped face whose open top contains a miniature woodland scene with trees, bushes and a washing line pegged with notes, symbolising an inner landscape of thoughts. |
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A group of adults standing in a semi-circle inside a modern room, appearing to participate in a workshop or training session. |
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Sticky notes with messages such as ‘Active Learning’ and ‘Explore possibilities to include more senses in teaching’, promoting creative and multisensory educational approaches. |
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A triangular diagram of self-compassion, connecting Self-Kindness, Mindfulness, and Humanity with arrows pointing to a central core labelled Self-compassion. |
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A conceptual diagram titled ‘Teaching vs Education’, connecting themes like cultural capital, student perspectives, and changing identities with circular arrows. |
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A quadrant diagram dividing aspects of higher education into Teaching, Assessment, Student Experience, and Regulations & Operations, with associated bullet points for each area. |
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Mastodon logo |
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Featured book cover |
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Back cover of Stories of Hope: Reimagining Education |
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