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E-Learning in Art Education: Collaborative Meaning Making through Digital Art Production
Abstract
E-learning has seen incredible growth in the first decade of the 21st century. This growth is particularly noticeable in institutions of higher education. Even though distance learning has long been the method by which remote students have obtained course credit through correspondence study, e-learning is popular even among traditional on-campus students. E-learning offers many potential solutions for some disruptive situations in traditional schooling. Art educators must consider e-learning when devising curricula and pedagogy in anticipation of emergencies, such as pandemics or natural disasters, which might force students to learn from a remote location. In this article, the author describes some developing practices of artmaking using the Internet. He briefly touches on some trends in digitally mediated artmaking practices, including digital photographic manipulation, netArt, and collaboration. These artmaking methods are important in art education because they increase the possibilities of idea generation and image making for artists in the field, and provide a source of inspiration for students in art classrooms. (Contains 9 figures.)
... This is one of the few studies that allowed comparisons between methods for achieving the same student outcomes. Quinn (2011) highlights that using interactive computer technology in a collaborative approach allowed for more playfulness, autonomy and a sense of freedom as exhibited in the artworks and students' reflections than in the face-to-face sessions. Further, students suggested that in an online setting the teacher presence was very important; the teacher educator should provide clear instruction on how to use the computer technology and set a number of parameters or minimum constraints to frame the theme, thus enabling them to 'stay on track' with their explorations while having a sense of progression. ...
... According to Quinn's (2011) study, learners had the choice and opportunity to work online or not. ...
... Based on the literature (i.e. Quinn, 2011, Zainuddin, 2010 in Arts Education, the educational material provided to students plays a significant role, i.e. being rich in video and audio demonstrations as well as the type of activities. It seems that the Conversational Framework can help the instructors address the issues and concerns raised regarding educational material, social interaction, communication and collaboration and feedback. ...
This is an edited e-book derived from the Critical ARts for Sustainable Societies (CARE/SS) Erasmus + funded project. It has 3 parts and 14 chapters with different authors. Part I introduces the CARE/SS project and its theoretical background, along with a state-of-the-art review of different models of distance learning (DL) and blended learning (BL) in higher education institutions. Part II presents research on academics’ views, attitudes and experiences in the 5 partner countries (individual reports and summary). Part III identifies relevant research in the arts disciplines and proposes a transformative pedagogical framework for DL or BL, specifically in the arts education disciplines.
All research outputs of the CARE/SS project are open access on the project's website: https://care-ss.frederick.ac.cy/
... Prior to the COVID-19 pandemic, research on online arts learning in HEIs for preservice teachers was limited, with a few noteworthy examples highlighting effective practices within this unique context [29,30]. Some countries have a strong regulatory framework at a policy level that restricts the delivery of online degrees, especially for undergraduate studies [31]. ...
... Cutcher and Cook [33], also in Australia, echoed these concerns in a study on creative arts education, emphasizing the importance of interaction and the need for redefined roles for educators in the online environment. Quinn's [29] study in the USA compared traditional and online approaches for early childhood education undergraduates, indicating that collaborative online art experiences allowed for more autonomy and playfulness. However, this study highlighted the crucial role of teacher presence in providing clear instructions for technology use and setting parameters for thematic exploration. ...
... As explained by several teachers interviewed for the CARE/SS study, performative, multisensorial, and problem-solving strategies have room in online courses whether technology and digital mediums are properly employed. Their efforts were in line with other academics' [29,48] efforts in the USA context prior to the pandemic, who reported on how they moved an art atelier or some art activities in an online format by focusing on peer learning, weekly synchronous meetings and discussions on work-in-progress or finished artworks to offer emotional support and encouragement. ...
Recent education policy debates in Europe focus on adapting European education systems to modern societal needs, emphasizing competency-based education to cultivate personal fulfillment, employability, active citizenship, social cohesion, and lifelong learning. Notably, digital and sustainability competencies are regarded as pivotal for building sustainable societies. Within this context, arts education assumes significance because of its experiential nature, engaging learners not only intellectually but also emotionally and ethically. This article explores how teacher educators can provide quality arts education that embraces sustainable pedagogies through digital technologies. It delves into teacher educators’ perspectives on the challenges and opportunities presented by digital technologies when teaching arts courses online. Conducted as part of the European-funded project ‘Critical Arts Education for Sustainable Societies,’ this study involved interviews with 25 academics from five European countries. Key challenges identified include converting course content for online delivery, ensuring access to high-quality resources, or maintaining students’ active involvement in the online learning process. Conversely, educators adapted arts education by revising teaching methods through digital technologies and developing new materials to promote inclusivity, engagement, participation, and action. Implications offer guidance to arts educators on how to reconfigure their role when delivering arts courses online.
... Within the constructs of quality of studio learning, traditional studio learning opportunities, and online studio learning opportunities, these students were likely to gain more experience with digital skills from A&D programs via a combination of traditional methods and educational technology-enhanced tools. The data from other research studies revealed an enhancement of the overall effectiveness of student learning when using technology-enhanced tools during learning activities (Miller and Smith, 2009;Quinn, 2011;Sclater and Lally, 2018;Saykili, 2019). ...
... According to the data collected, 55.57% of the faculty were in agreement, in contrast to 77.2% of students. Any higher education program experiencing technology advances will want to fully train faculty with new skills for students to learn technology-enhanced tools using appropriate traditional hand tools or hands-on equipment, especially considering online students in their online studios (Quinn, 2011;Saykili, 2019;Sclater and Lally, 2018). ...
... However, it is unknown whether the students truthfully expressed their confidence in the A&D education program for any subject, whether learning in a live studio or online. As technology advances, higher education programs will want to fully train their faulty with new skills to teach students new experiences and techniques in all modern A&D programs during the transition to the digital age of education with technology-enhanced learning (Dilmac, 2020;Quinn, 2011;Sclater and Lally, 2018). ...
Digital skills are essential in today’s digital age, which means that students must gain technology-enhanced skills from higher education for their future careers. Studies in Art & Design (A&D) programs in this university surveyed three faculties’ perspectives and nineteen students’ experiences. During the COVID-19 pandemic, this university changed its teaching and learning strategies by offering courses online during autumn 2020 and spring 2021 during mandatory quarantine. However, the A&D program was not entirely based online. As a result, it is important to take a closer look at the A&D programs offered in order to assess the faculties’ perspectives and students’ experiences during the two online semesters. The study included online surveys from instructors’ perspectives and with regard to students’ experiences about the quality of studio learning, traditional studio learning opportunities, and online studio learning opportunities via either live (on-campus) or online studios. Using relationship-based research design, posttest data surveys were collected to ascertain the differences in the mean scores, standard deviations, and percentages of some forms of agreement between the faculties’ perspectives and students’ experiences of the quality of studio learning, traditional studio learning opportunities, and online studio learning opportunities in these Art & Design (A&D) programs. This quantitative research aimed to develop formative assessments and suggestions while establishing whether it would be possible to hold all A&D courses online in a higher education setting.
... The boundaries can be regarding using technology-enhanced tools without any arms-length guidance from instructors, especially with appropriate traditional hand tools, techniques, and hands-on equipment types. However, things must change without availability from on-hand instructors and online studio education digital procedures if doing hybrid/blended courses [7,8]. Students in online studios need technology-enhanced tools to explore and experiment at their own pace, following their instructors' guidance without being in a live studio. ...
... The result was to answer the research question was whether there is a difference between the faculty and student perspectives regarding the need to increase digital technology-enhanced learning tools for studio learning regarding traditional studio learning in an Art & Design Program. This study's rationale for introducing a greater use of digital technology-enhanced learning tools, online resources, and online learning tools as alternatives for better quality in less time for the traditional methods in Art & Design programs [7]. The question was asking faculty and students if they agreed that there was a greater need to increase the learning for digital skills, and the data in the histogram for both groups presented the counts in yes or no to answer. ...
... Online art educators have adopted various online instruction approaches to promote positive educational experiences and to overcome art teachers' resistance against e-learning (Castro 2014;Díez-Gutiérrez and Gajardo Espinoza 2021;Hubard 2020;Keifer-Boyd et al. 2018;Manifold 2019;Neto et al. 2018;Quinn 2011). Collins and Sullivan (2020) suggested that in practising pedagogical initiatives, today's art educators need to revisit the ever-changing status of knowledge within the digital age and the development of virtual learning communities towards creative and critical inquiry. ...
... Lai and Ball (2004) and Hubard (2020) linked culturally relevant pedagogy to distance education and discussed how students could become cultural subjects while conducting asynchronous course activities. Focusing on virtual studio teaching, Quinn (2011) and May (2011) explored strategies to promote college students' collaborative activities. New challenges in a digital realm provide art educators with the need to re-examine their pedagogical practices, including those associated with instruction, student interaction and assessment (Song et al. 2021). ...
How can art educators transmit their passion and enthusiasm for art teaching and learning to cultivate human potential in the virtual classroom? As a collective case study focusing on our online undergraduate courses, this research examines how two instructors used instructional methods and technologies, and how their students responded to their pedagogical endeavours. Qualitative content analysis was utilized. Virtual art classes can encourage students to look into themselves and become more aware of themselves. Communicating and feeling connected to others are critical for students in online settings. As demonstrated in our course design, connectivity between students and instructors can be facilitated through a multilayered structure, providing for more efficient communication. This study also found blurred boundaries between real and virtual learning environments. When we facilitate fluidity and conceptual flexibility as online art educators, digital technologies may expand our thinking and expression frameworks.
... Past research on online art learning in the context of preservice generalist teachers is thin. There is a handful of examples of such courses that highlight examples of good practices within the particularities of this context (Quinn, 2011;Alter, 2014). Alter (2014) highlights that pre-service generalist teachers do not necessarily have a special interest in art and thus teacher educators cannot rely on students' intrinsic motivation to learn in a DL environment. ...
... This is one of the few studies that allowed comparisons between methods for achieving the same student outcomes. Quinn (2011) highlights that the use of interactive computer technology in a collaborative approach allowed for more playfulness, autonomy and sense of freedom as demonstrated in the artworks and students' reflections than in the face-to-face sessions. Further, students' reflections suggested that in an online setting the teacher presence was very important; the teacher educator should provide clear instruction in how to use the computer technology and set a number of parameters or minimum constrains to frame the theme, thus enabling students to "stay on track" with their explorations and also have a sense of progression. ...
Distance-learning studies have seen an incredible growth in the last 20 years. The majority of these were at postgraduate level. Fewer were undergraduate and even fewer were in initial teacher education training. Within these, there are even fewer examples of art education courses as it was frequently argued that the experiential aspect of these courses could not be translated into a remote learning-teaching environment. Nevertheless, Higher Education is moving rapidly toward an expansion of distance learning. The article discusses characteristics of online learning in the field of art education for elementary school teachers. It focuses on lessons learnt during the Covid-19 Emergency Remote Teaching in the context of preservice elementary generalist teachers and how the pandemic has accelerated the “digitalization” turn. It discusses opportunities for experiential, collaborative and active learning that are transformative enough to overturn stereotypes and promote perceptions of self-efficacy in art learning. Further, it affirms necessary aspects of presence in an online environment – social, cognitive and teacher presence – to achieve successful student outcomes for non-art specialists. Drawing from pedagogy, the implications of the study offer policy recommendations to Higher Educational Institutions on how to support both teacher
educators and pre-service teachers in the context of art learning.
... International Journal of Instruction, July 2024 • Vol.17, No.3 interaction with the (virtual) learning object (Alter, 2014). The literature reveals that the use of VR increases student engagement in classroom activities (Vázquez-Villegas et al., 2023) and that the main formative benefits of the inclusion of digital learning environments in the specific field of arts education are the increase of students' motivation and the ease of designing cooperative didactic situations (Quinn, 2011). From the point of view of art learning, the literature identifies that the most effective digital learning environments in arts education are environments that allow interactive simulations of art objects and, particularly, virtual environments . ...
... The best practices in pedagogical tools for these subjects require hands-on experience in the studios where the learners are mentored by the instructor. Active creation is valuable in fostering creativity, inspiring knowledge, and supporting and motivating student learning (Clarke & Cripps, 2012;Quinn 2011). However, since the COVID-19 safety protocols required that students to adhere to the social distance and wear face coverings, this prohibited studio-based instruction in favor of a home-based online instruction where the learners could have the liberty for example to play a musical instrument or dance without a mask. ...
This chapter examines the role of COVID-19 in promoting education in Nigeria through information and communication technology (ICT) and e-learning means.
The study considered the concepts of education, information and communication technology, e-learning and COVID-19.
The chapter discusses the role of the COVID-19 pandemic in restructuring the education sector in the country through the introduction of ICT and e-learning; it was shown that COVID-19 is playing a major role in reforming the Nigerian education system.
The chapter recommends that the federal government in conjunction with relevant stakeholders should work hand in hand to ensure that necessary policies, facilities and infrastructures needed for effective and continuous learning in this modern age of ICT be put in place.
... Based on the literature in Arts Education (i.e. [15]), the educational material provided to students plays a significant role, i.e. being rich in video and audio demonstrations as well as the type of activities. It seems that the Conversational Framework Model can help the instructors address the issues and concerns raised regarding educational material, social interaction, communication, experiential/practical work, collaboration and feedback. ...
... In order to fulfil the role given to digitalisation, it is necessary to benefit from digitalisation in the field of education as well as in the field of art (Colman, 2005;Quinn, 2011). Technology will not only provide efficiency and effective communication in the field of art, but also in art education, thanks to the innovations it brings, it will make learning understandable and carry creativity to another dimension (Wilks, Cutcher, & Wilks, 2012). ...
The purpose of this research; is to evaluate the competence development process through art technology through the eyes of students studying in the visual arts and drawing department. The study group of the research consists of 40 visual arts and drawing department students studying at various universities in Kazakhstan. Research data were collected by semi-structured interview technique. The descriptive analysis technique was used in the analysis of the interviews with the students who constitute the sample group of the research. As a result of the research; it has been determined that the majority of visual arts and drawing students have moderate technological competencies. The majority of visual arts and painting students stated that they found the education opportunities related to art technology at a moderate level in the education they received at the university. The majority of the students participating in the research stated that technology integration into art education is very necessary. The vast majority of visual arts and drawing students stated that it is possible to gain competence through art technology. Keywords: Art technology, competence development, student opinions;
... The best practices in pedagogical tools for these subjects require hands-on experience in the studios where the learners are mentored by the instructor. Active creation is valuable in fostering creativity, inspiring knowledge, and supporting and motivating student learning (Clarke & Cripps, 2012;Quinn 2011). However, since the COVID-19 safety protocols required that students to adhere to the social distance and wear face coverings, this prohibited studio-based instruction in favor of a home-based online instruction where the learners could have the liberty for example to play a musical instrument or dance without a mask. ...
The COVID-19 Pandemic impacted world society in many ways. The virus rode our interconnected transit systems and exploited a globally connected world where a person can traverse the planet within a day; far shorter a time than the incubation period. The virus challenged our assumptions on communicability of disease and transmission vectors. It challenged our medical systems; in the treatment of the infected, and an evolving understanding of the protocols needed for preserving the health of the vulnerable, and defining who is most vulnerable. COVID-19 challenged our social behaviors, our trust of one another, and the belief we had in our scientific systems to combat such a pandemic. Further, it stalled our educational systems. Unable to hold in-person classes, all levels of education were forced to utilize online platforms. Educators worldwide in disparate disciplines from elementary education through post-graduate study, in every field imaginable were forced to redefine their approaches and learn to adapt the technology we possess to the demands of maintaining progress in education.
This pandemic has been no easy challenge. There is an old Chinese saying, “In the midst of adversity is opportunity.” So it has been in this pandemic. Scientists and medical providers around the globe have fought the virus and in record time produced protocols and vaccinations against it. Governments have shared information and pooled resources. Educators have developed new and impressive methods to not only maintain the education of students, but to ignite potentials and inspire the minds of learners despite having a “new normal.”
This volume is a collection from educators around the planet who adapted to the changed landscape of education during COVID-19. Each of the contributors refused to accept that education would be stalled, that students would flounder, and that the virus’ impact would dim the lamp of learning. Rather each chapter brings a new and powerful adaption, which was implemented during the pandemic. The authors bring lessons, pitfalls, success, and failure to inform the reader of what worked, what did not, and what holds promise for online education long after the COVID-19 Pandemic is resigned to the history books.
The range of topics in the chapters is vast, but groups around four major themes. First, the broad dynamics of the change under COVID-19 and the impact this has had on education. Diane Boothe provides a global overview in the first chapter, contextualizing the fundamental shift, which all the authors engaged. Then in the second chapter Fernando Almeida and Pedro Carneiro address the issue of privacy in the online environment as education redefined its standards. These two chapters help the reader get a sense of some of the issues, which defined this moment in history.
The second theme is one of educational demands that presented granular and specific difficulties in online education during the pandemic. In the third chapter, Ömer Bilen examines ubiquitous learning and the need for learning management systems. This type of examination is paralleled in the fourth chapter wherein Abdullatif Kaban explores specifics in learning management systems. Then Zaenal Mustakim, Siti Fatimah, and Umi Mahmudah in the fifth chapter examine student perceptions and motivations as they were transitioned to e-learning. The sixth chapter sees Amjad Almusaed, Asaad Almssad, and Marisol Rico Cortez tackle the issue of student engagement as the difference of virtual education and live education become apparent. Then in the seventh chapter, Derar Serhan examines student learning perceptions when classes are synchronous versus asynchronous. The eighth chapter by Halil İbrahim Akyüz and Güler Tuluk focuses specifically on preservice mathematics students and looks at their perceptions and motivations. The ninth chapter by Sanaa Shehayeb, Eman Shaaban, and Nina Haifa explores the construction of assessment instruments for better typifying both teacher and student perceptions of online learning. Next, Ibrahim Benek and Behiye Akcay report the effects of the COVID-19 pandemic on metacognitions, emotions and individual characteristics of candidate teachers preparing for national exam in Turkey. Finally, this second theme is rounded out in the eleventh chapter by Yasmeen Saeed Alzhrani, Atheer Mutlaq Alotaibi, Marwa Yousef Al-Huwail, and Abeer Toson Ahmed Nasr who explore the satisfaction of teachers of students with learning disabilities about virtual class during the COVID-19 pandemic in Saudi Arabia.
The third theme in the volume is one of specific issues within national context. Chapter twelve by Nassima Kaid explores the dynamics at play in Algeria in pandemic online education. Basil C.E Oguguo, Christopher A. Ocheni, and Evangelista C. Oguguo in chapter thirteen focus on the structural demands in Nigeria for online education and the long ranging impact. Chapter fourteen then has Poonam Sharma, Sufang Zhang, and Hirsh Diamant examine cross-cultural exchange among three different countries when the pandemic stalled study abroad programs. Finally, David Akombo in chapter fifteen examines musical education in Barbados, addressing both national issues as well as issues specific to music education online.
The fourth theme in the volume is that of subject specific challenges in online education during the pandemic. Steve Jackowicz in chapter sixteen addresses unique demands of clinical education in an online format where physical assessment and skills were reformatted for virtual education. Then in chapter seventeen, Emilio Williams, Julie Boldt, Arthur Kolat, and Renee Wehrle examine the complexities in literary education for complex works, focusing on a reading group for Finnegans Wake. Then in chapter eighteen, Awadhesh Kumar Shirotriya explores the interesting dynamic of physical education in a virtual format and the intrinsic value of physical activities to the student especially in a pandemic. Finally, in chapter nineteen, Maria Papadopoulou, Panagiota Argyri, and Zacharoula Smyrnaiou look at mathematical and historical modelling of epidemics as a unique way to both teach and contextualize the COVID-19 Pandemic to the benefit of those living through its challenges.
Each of the chapters provides a different angle from which to view education during the pandemic. However, their value goes further. They all point to larger educational issues and approaches, which can be implemented in a world, which is increasingly more connected through technology. This volume should serve as a snapshot of the educational community as it addressed COVID-19, as well as a template of techniques and approaches for implementation in varied contexts to come. The editors would like to thank all the contributors for their excellent chapters. It is our hope that the reader finds value in this volume as well as inspiration for future adaption and development of new and progressive online educational methods.
... En el contexto pedagógico de lo digital, desde la aparición de Internet, se han ido generando cuatro modelos formativos principales sobre esta educación que sucede en red: electronic learning (aprendizaje totalmente en línea), blended learning (aprendizaje mixto online-offline), mobile learning (aprendizaje con dispositivos móviles digitales) y ubiquitous learning (aprendizaje ubicuo o en cualquier lugar). No es nuestro objeto hacer un análisis generalista ni descriptivo de cada uno de estos modelos, ya acometidos en innumerables investigaciones (Quinn, 2011;Caldeiro & Schwartzman, 2013), sino hacerlo desde el contexto de la educación artística y lo que cada uno aporta desde una lectura pedagógica crítica. Por tanto, esta investigación analiza fundamentalmente aquella educación artística que se genera conectada a un entorno en red online-offline, atendiendo tanto a los procesos docentes artísticos como a los procesos discentes, sus contextos y las experiencias. ...
Introducción. El objeto de este trabajo es presentar un estado del arte de la Educación Artística en Red y dibujar su ecosistema pedagógico. Método. A partir de las investigaciones más destacadas nacionales e internacionales que tratan la Educación Artística en Red reflexionamos los cuatro modelos educativos en los que se genera formación artística incorporando lo digital: e-learning, b-learning, m-learning y u-learning. Ampliamos la terminología con relación a la figura del docente e identificamos los contextos formativos de experiencias en red. Desde ahí dibujamos el ecosistema pedagógico del modelo. Resultados. Los datos analizados nos permiten identificar que la Educación Artística en Red no implica solo experiencias en digital, ya que supone un modelo que puede estar abierto a la presencialidad y a las experiencias propias del arte que ocurren en persona y entre personas. Discusión/conclusiones. El auge de la Educación Artística en Red indica que las universidades deben acometer una oferta coherente desde el arte para los futuros docentes acorde a la contemporaneidad educativa del siglo XXI y en línea con las Pedagogías Digitales. Empero, se deben comprender los límites y alcances de esta formación desde las complejidades y necesidades propias del arte, para desde ahí diseñar una Educación Artística en Red de calidad.
... he transition to hybrid and online instruction during the 2020 pandemic presented unprecedented challenges to the field of art education (Kraehe, 2020). While art educators have investigated the use of digital technologies for artmaking and instruction (Erickson, 2005;Leonard, 2018;Quinn, 2011), the nationwide hurdle to remote and hybrid teaching suddenly had art educators reaching out to their peers for help. This resulted in newly formed communities of inquiry and support, representing a wide range of technological skills and teaching experience. ...
... • Increase in the capability of distance learning (but considering this is not a final solution) to reach significant familiarity and accessibility in face to face and online virtual distance education (Quinn, 2011;Young & Bruce, 2020); • Preparation for teachers for hybrid learning (de Royston et al., 2020;Hammoud et al., 2020;Hirsch & Allison, 2020;Kaden, 2020;Smith et al., 2020); • The development of a new paradigm of effort for education with dramatic changes in the attitudes towards learning and schooling (33% or more of the national population have not graduated in compulsory secondary education) (Trevors & Duffy, 2020;van der Spoel et al., 2020); • Increasing the feelings of resilience and will of change (Eden, 2020;Talanquer et al., 2020;Torres et al., 2020); • Development of a better pre-service teacher education (Keefe, 2020); • Readaptation of teachers to the new circumstances of teaching between 2020 and 2022 (Konig et al., 2020); • Revision and improvement of distance education considering the importance of face-to-face interaction (Nasr, 2020); • The solution, indicate the professors of the URJC, involves an urgent supportive educational policy action, such as the reinforcement, orientation and support plan in primary and secondary education centres (PROA) (https://sede.educacion.gob.es/publiventa/plan-de-refuerzo-orientacion-y-apoyoproa-2011/educacion-infantil-y-primaria-educacion-secundaria/14880). ...
The coronavirus disease 2019 (COVID-19) pandemic has led to a number of problems of which the implications for the future are not minor. The main consequence of the COVID-19 breakout was that almost 100% of the Spanish population had to be confined from March to June. Despite the progressive normalisation of learning, the effects of the pandemic are expected to last for many years. This paper suggests the implications of those side effects that will require not few efforts to become overcome through a descriptive methodology. These effects are not only educational but may also have, according to several studies hereby addressed, an economic effect on the youth. The paper concludes that remedial measures should include additional teaching staff to increase the number of teaching hours in the academic year 2021–2022. Keywords: Pandemic, COVID-19, education, technology, remedial.
... The best practices in pedagogical tools for these subjects require hands-on experience in the studios where the learners are mentored by the instructor. Active creation is valuable in fostering creativity, inspiring knowledge, and supporting and motivating student learning (Clarke & Cripps, 2012;Quinn 2011). However, since the COVID-19 safety protocols required that students to adhere to the social distance and wear face coverings, this prohibited studio-based instruction in favor of a home-based online instruction where the learners could have the liberty for example to play a musical instrument or dance without a mask. ...
The relevance and significance of digitalization of the professional educational process are caused by the need to adapt the classical education and training system to completing the education in a pandemic COVID-19 crisis.
The unexpected and unorganized closing of our nation‘s university buildings due to the COVID-19 pandemic forced teachers to face the most vibrating and fast modification of perhaps any profession in history.
During digital learning, many students feel that they miss the operative collaboration and group working with partners to construct knowledge, wherein digital learning, both students and teachers have to forget about the human aspects, not because they are behind the screen.
This chapter explores the issue of student engagement under the COVID-19 Pandemic and analyzes the lessons that can be applied to ongoing online education
... The best practices in pedagogical tools for these subjects require hands-on experience in the studios where the learners are mentored by the instructor. Active creation is valuable in fostering creativity, inspiring knowledge, and supporting and motivating student learning (Clarke & Cripps, 2012;Quinn 2011). However, since the COVID-19 safety protocols required that students to adhere to the social distance and wear face coverings, this prohibited studio-based instruction in favor of a home-based online instruction where the learners could have the liberty for example to play a musical instrument or dance without a mask. ...
Online Education during COVID19 Papadopoulou Argyri Smyrnaiou 2021 ISTES
Modeling in mathematics and history as teaching and learning approaches to pandemics. In S. Jackowicz & I. Sahin (Eds.), Online Education during the COVID-19 Pandemic: Issues, Benefits, Challenges, and Strategies (pp. 405-433). ISTES Organization., 2021
Chapter Highlights
Applying an interdisciplinary lens, with a focus on pandemics, can help shape attitudes by means of inculcating the values of responsible global citizenship, and a high sense of personal and social responsibility. In the midst of the current lock-down due to COVID-19, a teaching approach to pandemics is presented, as an interdisciplinary connection between history and mathematics, based on the methodology of modeling in mathematics and the humanities.
The main research questions posed: a) can modeling, as analyzed in the scientific
literature, be used to interpret pandemics, e.g. in the case of the ‗plague of Athens‘ (430 B.C.), as analyzed in the primary sources? b) Can the mathematical tools of statistical analysis be used to understand prevention measures through the centuries?
This chapter presents the assessment of the effectiveness of this approach, conducted by means of closed and open questionnaires, administered in two phases (pre- and postteaching) to a sample of 40 students aged 16-17 years.
The results highlight statistics as a key tool for understanding real-world situations, and record the strengthening of students‘ knowledge in history, the raising of their critical thinking skills, as well as their enhanced ability to tackle real-world problems and understand responsible decision-making processes.
The chapter suggests that such good practices can prepare students for the complexity of globalized knowledge.
https://www.istes.org/books/c439edb6b376b840ce0300ad44b6a9c1.pdf
... In a completely different class, Quinn and Robert describe the development of practices of art-making using the internet [8]. They briefly touch on trends in digitally mediated art-making practices, including digital photographic manipulation and collaboration. ...
A great number of universities worldwide are having their education interrupted, partially or fully, by the spread of the novel coronavirus (COVID-19). Consequently, an increasing number of universities have taken the steps necessary to transform their teaching, including laboratory workshops into an online or blended mode of delivery. Irrespective of the measures taken, universities must continue to maintain their high academic standards and provide a high-quality student experience as required for delivery of learning outcomes associated with each degree programme. This has created a challenge across the higher education landscape, where academics had to switch to remote teaching and different approaches to achieving laboratory delivery. As a result, students have not been receiving face-to-face teaching, and access to laboratory facilities has been limited or nearly impossible. This paper reviews numerous approaches taken by universities to deliver teaching and laboratory practices remotely, in consideration of the COVID-19 pandemic, whilst also considering the potential impacts on the student learning experience. This review is primarily focused on the fields of engineering, science and technology, based on published literature including books, reviewing web-based provision of selected universities, institutional and national policy documents.
... Along with the rapid development of technology, driving changes in the concept of literacy (Quinn, 2018). Literacy which initially only lies in the ability to read and write texts, but now the concept has developed into digital literacy (Eyal, 2015). ...
Digital native students need digital art literacy to deal with the contemporary development of art and technology. This article illustrates how smartphone can be used as a powerful tool for that purpose. When student get bored with textual learning approach to study art, simply using smartphone could make learning practice more fun and meaningful. In this article, students in junior public high school 8 in Pare, East Java, grade 8, are directed to create a simple illustration using Sketchbook application on smartphone. It is quite simple, but the process behind the product was made student really enjoy and could express their artistic taste and expression. Thus, smartphone optimazion can be one way among others to encourage student’s digital art literacy which are more enjoyful and meaningful. Abstrak Siswa yang lahir di era digital membutuhkan literasi seni digital untuk menghadapi perkembangan seni dan teknologi kontemporer. Artikel ini menggambarkan bagaimana telepon pintar dapat diguankan sebagai media yang cukup kuat untuk menunjang tujuan tersebut. Ketika banyak siswa bosan dengan pembelajaran seni yang tekstual saja, cukup dengan menggunakan telepon pintar ternyata dapat membuat pembelajaran lebih menyenangkan dan bermakna. Pada artikel ini, siswa di Sekolah Menengah Pertama Negeri 8 di Pare, Jawa Timur, kelas 8, diarahkan untuk membuat karya seni berupa ilustrasi sederhana menggunakan aplikasi Sketchbook di telepon pintar. Hal ini cukup sederhana sebenarnya, namun proses di balik hasil akhir berupa produk ilustrasi tersebut telah benar-benar membuat siswa menikmati dan dapat mengekspresikan ekspresi dan selera seni masing-masing. Oleh karena itu, optimalisasi telepon pintar dapat menjadi salah satu di antara banyak cara lain untuk mendorong peningkatan literasi seni digital siswa yang lebih menyenangkan dan bermakna.
... online learning is a web-based learning environment in accessing learning materials, and realizing student and student interactions, with learning materials and with instructors at anytime and anywhere [26]; (c). scientists agree that the faceto-face classroom learning community offers real and meaningful interactions between students and teachers, where pure online learning cannot replace it [20], and research shows that the use of interactive computer technology in a collaborative approach to e-learning allows for specific educational purposes [27], hence the research hypothesis can be predicted (H3): ...
... Although these skills are recognized in professional work and STEM disciplines and are associated with the basis of innovation and creativity (Shaffer & Gee, 2007), there is a dearth of scholarship on mobile learning in the area of visual arts education. Instead, available research describes more traditional uses of digital photographic manipulation using Adobe Photoshop or interactive drawing with Java (e.g., Quinn, 2011) as well as posting artwork in an online course (e.g., Keifer-Boyd, 2005). ...
Teachers can use mobile applications to integrate the visual arts back into the classroom, but how? This article generates recommendations for selecting and using well-designed mobile applications in the visual arts beyond a “click and view ” approach. Using quantitative content analysis, the results show the extent to which a sample of 16 mobile applications promoted physiological features (e.g., interactive touch), psychological learning principles (post, share comment/art work), pedagogical voice (e.g., social constructivist teaching), socio-cultural dimensions (artist ’s background), aesthetic understanding (e.g., line, color) and creative self-efficacy (e.g., the belief in the ability to make a new painting). We propose to address this imbalance through the pedagogical model Play, Curricular activities, Reflection, Discussion (PCARD).
... Although these skills are recognized in professional work and STEM disciplines and are associated with the basis of innovation and creativity (Shaffer & Gee, 2007), there is a dearth of scholarship on mobile learning in the area of visual arts education. Instead, available research describes more traditional uses of digital photographic manipulation using Adobe Photoshop or interactive drawing with Java (e.g., Quinn, 2011) as well as posting artwork in an online course (e.g., Keifer-Boyd, 2005). ...
Teachers can use mobile applications to integrate the visual arts back into the classroom, but how? This article generates recommendations for selecting and using well-designed mobile applications in the visual arts beyond a ‘click and view’ approach. Using quantitative content analysis, the results show the extent to which a sample of sixteen mobile applications promoted physiological features (e.g. interactive touch), psychological learning principles (post, share comment/art work), pedagogical voice (e.g. social constructivist teaching), socio-cultural dimensions (artist’s background), aesthetic understanding (e.g. line, color) and creative self-efficacy (e.g. the belief in the ability to make a new painting). We propose to address this imbalance through the pedagogical model of Play, Curricular activities, Reflection, Discussion.
Bu araştırmanın amacı, lisans düzeyinde uzaktan eğitim yoluyla sanat eğitimi sürecine yönelik öğretim elemanı ve öğrenci görüşlerini incelemektir. Nicel araştırma türünün benimsendiği çalışmada tarama modeli kullanılmıştır. Araştırmanın örneklemini, tabakalı amaçsal örnekleme yöntemi ile seçilen altı üniversitenin, eğitim fakülteleri resim-iş eğitimi bölümü öğretim elemanları ve lisans 2., 3. ve 4. sınıf öğrencileri oluşturmaktadır. Araştırmaya veri toplamak amacı ile araştırmacı tarafından hazırlanan iki ayrı anket formu, 33 öğretim elemanı ve 288 öğrenciye uygulanmıştır. Verilerin analizinde SPSS 22 paket programından yararlanılmış olup; betimsel analizler için frekans değeri, çoklu karşılaştırmalar için iki gruba ait verilerde t-Testi, ikiden fazla gruba ait verilerde; varyansların homojen olduğu durumlarda tek yönlü varyans analizi (ANOVA), varyansların homojen olmadığı durumlarda Welch testi kullanılmıştır. Anlamlı farklılık tespit edilen bulgulardaki anlamlılığı sağlayan varyansların belirlenmesi için Tamhane ve Tukey testleri uygulanmıştır. Araştırma sonucunda elde edilen veriler doğrultusunda; öğretim elemanları ve öğrencilerin görüş toplam puan ortalamaları ortalama değer aralığındadır. Yapılan istatistiksel analizlere göre; öğretim elemanları görüş toplam puanları ile cinsiyet, teknoloji kullanım düzeyi, kullanılan programın verimliliği değişkenleriyle öğretim elemanı görüşleri arasında anlamlı farklılıklar bulunmuştur. Şehir, okul, bir günde verilen ders sayısı, kullanılan cihaz, ders platformu, sistemsel sıkıntı ve verilen ders türü değişkenlerine göre anlamlı farklılıklar bulunamamıştır. Öğrenci görüş toplam puanları ile coğrafi bölge, okul, ana sanat, teknoloji kullanım düzeyi, bir günde alınan ders sayısı, kullanılan cihaz, ders platformu, kullanılan programın verimliliği değişkenleriyle öğrenci görüşleri arasında anlamlı farklılıklar bulunmuştur. Cinsiyet, sınıf düzeyi, sistemsel sıkıntı değişkenlerine göre anlamlı farklılıklar bulunamamıştır.
This study explores the real effect and positive influence of the use of two mobile art apps, The Met and Artnet News, on online art practice on the basis of understanding their cognition of contemporary art development and art apps. The target group for this study is art college students affected by Covid-19 for online learning. The main goal is to determine the daily use frequency of college art students who use mobile art apps to learn online, as well as the cognitive status of college art students and the actual effect of using mobile art apps for online learning based on a comparison of the data from the two research groups and the control group. The researchers used a quantitative study design with a simple questionnaire survey distributed to 90 pre-university students to collect their cognitive state of modern art and frequency of use of mobile art apps. They were then divided into groups to compare the actual effect of these students after utilizing the mobile art app for further study with the test data to the group that did not utilize the online learning platform to obtain the final research results. Through specific data, this study not only reveals the understanding and cognition of art college students affected by Covid-19 on the current situation of contemporary art development, but it also encourages students to use mobile art apps to expand their theoretical knowledge reserve and apply it to the practice of contemporary art creation in addition to online classroom learning in colleges and universities.
Although educators are using various ways in evaluating students' learning, traditional paper-pencil final exams are usually held at the end of the school year to conclude the course. During the school suspension due to the COVID-19 outbreak, this traditional approach is no longer applicable to some schools. In this article, alternative final assessments adopted by eight Shanghai international schools were summarized. In my school, students could choose to attend on-campus (proctored) exams or online (non-proctored) exams at home. We studied the exam results of two 8th-grade mathematics classes (n=79). An analysis of the potential difference between the students' results on the two exam arrangements was reported. There was no significant difference found between the two groups, which contradicts the previous researches by Prince, Fulton & Carsombke (2009), Hylton & Dringus (2016) and Daffin & Jones (2018). We concluded that this contradiction could due to the additional exam restrictions, middle school value education and the closer relations between teachers and students in middle school.
Teaching complex studio processes requires methods beyond linear step‐by‐step instruction and methods more consistent with authentic studio practices. Instructors have to be able to deconstruct their own decision‐making processes, processes that have become somewhat automatic through experience, and then use this insight to anticipate how learners with less experience might respond when presented with a similar series of creative dilemmas. The author outlines a project in which pre‐service art teachers in a secondary methods course employ technology‐mediated methods, i.e. graphic organisers, instructional videos and online learning guides, to better understand complex studio processes and how to teach those processes through ubiquitous technologies The qualities of this work became evident during the 2020 coronavirus (COVID‐19) pandemic and consequent school closures, when the pandemic presented teacher preparation programmes with a unique challenge in how to negotiate pre‐service teaching practicums in a semester where students did not have ready access to a secondary art classroom.
The development of technology in the digital native era causes the need for adaptation of education, one of which is cultural arts education. It is intended that the art and culture learning process can collaborate and negotiate with native digital technology to improve practical and theoretical skills in the global canon. Therefore, it is necessary to study the limitations of the art and culture learning process in the digital native era. This study also discusses and analyzes the responses of teachers, students, and parents as an ecosystem for the art and culture learning process within the limitations that occur. This research uses a mixed-methods with an interdisciplinary approach to explore educational perspectives, learning methods, technology, which is combined with the liminality conditions of the art and culture learning process in the digital native era. Collecting data using literature and documentation studies, and questionnaires via google form. The spatial boundaries of the research included 10 elementary schools, 10 junior high schools, and 10 high schools in Surabaya, East Java, which were randomly selected. The results showed that (1) the art and culture learning process by utilizing digital native technology has the potential to become sustainable education; (2) provide creative challenges for teachers in delivery, as well as for students in its use; and (3) liminality that occurs in the art and culture learning process occurs in an effort to balance and negotiate between classical and modern learning, practical models and theories, as well as between the orientation of the end result and the orientation of sustainable process outcomes.
The concept of the third space is a broad area of interest for educational researchers, particularly within art education. This realm is often tied closely to elements of popular culture, and may often enter subversive, transgressive, and inane territories. In the 21st century, teenagers are spending vast amounts of time online, engaging in the same informal types of play, socialization, learning, and art making as occur in real life (IRL). Because of these issues, some have responded by exploring the hybrid "third space" between formal and informal learning spaces, both on- and offline. The third space integrates concepts like playful pedagogy into learning, and it is typically seen as a productive co-mingling of teacher and student interests. However, this study traces the third space to its roots as a discourse of dissent and conflict, and examines the unique tensions that arise in this space and their implications for art education. This qualitative case study examines the researcher's efforts to facilitate a third space for learning in the Digital Arts Workshop (DigArts). This workshop was designed as a third space that intended to facilitate a productive space for tech-savvy teens to meet, work on self-initiated projects, and forge a cooperative community of art makers. This report presents a survey of the digital visual culture of these teenagers, and discusses the various tensions that arise in the third space between teacher and student, formal and informal learning, offline and online.
In this autobiographical arts-based research study, the authors use data from personal experience and education theory to correlate the use of interactive computer hypertext with an expansive and meaningful way of knowing in art education. The authors share their creation of a computer hypertext consisting of text, images, and video in response to Jasper Johns's 1983 painting Racing Thoughts. Because of the linking possibilities available with hypertext, the authors made connections in and between both real and imagined vast experiences. From Grünewald's Isenheim Altarpiece to the British Broadcast Corporation's television series Changing Rooms, the connective possibilities made apparent in the hypertext seemed to alter the authors' thinking. The complexity and ill-structuredness intrinsic to computer hypertext appears to authentically represent “the ambiguity that may be characteristic of a work of art” (Efland 2002, p. 11) and may readily facilitate a form of Spiro and Jehng's (1990) cognitive flexibility theory for art education. The implications of this research extend the integration of computer technology in art education as a means for promoting relevant, meaningful, and connective ways of knowing in and through the study of art.