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Reflexivity in Vlogging the Creative Process: An Action Research Project
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The present work synthesises the self-talk literature and constructs a transdisciplinary self-talk model to guide future research across all academic disciplines that engage with self-talk. A comprehensive research review was conducted, including 559 self-talk articles published between 1978 and 2020. These articles were divided into 6 research categories: (a) inner dialogue, (b) mixed spontaneous and goal-directed organic self-talk, (c) goal-directed self-talk, (d) spontaneous self-talk, (e) educational self-talk interventions, and (f) strategic self-talk interventions. Following this, critical details were extracted from a subsample of 100 articles to create an interdisciplinary synthesis of the self-talk literature. Based on the synthesis, a self-talk model was created that places spontaneous and goal-directed organic self-talk as well as educational and strategic self-talk interventions in relation to variables within their nomological network, including external factors (e.g. task difficulty), descriptive states and traits (e.g. emotions), behaviour and performance, metacognition, and psychological skills (e.g. concentration).
This article develops a novel non-probability sampling design named "voluntary sampling" design. The final survey sample is selected from volunteered and qualified potential respondents in the target population. The intent to conduct a survey is published prior to the implementation of the sampling design. This accords prospective respondents ample time to decide on whether or not to volunteer for selection to participate in the survey. There is also an opportunity for the potential respondents to investigate on the possible responses to give during the survey if selected into the final sample. A pilot sampling is conducted to determine the alacrity of the prospective respondents to participate in the survey. The proposed sampling design divides the target population into volunteers and non-volunteers strata. The implementation of the sampling design achieved a hundred percentage response rate and gathered quality and dependable data in the HIV/AIDS survey.
The authors present an interpretative phenomenological analysis (IPA) case study used to uncover the meaning-making system of professional identity development experienced by a graduate student completing a two-semester school counseling internship. The intern engaged in critical self-reflections as weekly vloggings, which are single-turn video monologs. The rigor of IPA allowed the researchers to explore the intern’s personal reflexivity as a space between what the intern was doing and his process of becoming a professional. The super-ordinate theme that emerged from the analysis in this case study was connecting the dots. . . it’s all about the kids. Findings from this research have implications in higher education and professional studies for creating a transformative learning environment and engaging individuals in the professional identity development process.
This practical, practice-based article sets out to define and describe vlogging based on the author’s experiences while teaching a blended learning course. Vlogging is a short duration video recording that engages the learner in critical self-reflection. It is a scaffolding strategy for moving students from a descriptive diary to situated experiences and into a more nuanced iterative reflexive, meaning-making self-identity. With smartphones, tablets, and computers readily accessible, students can easily use vlogging to capture the immediacy of their reflections that provides a time-lapse view nurturing a reflexive process. Further, instructors can use vlogging as a learning analytics tool to gather student feedback that provides insight into the learning process. Findings from an exploratory descriptive study offer insights into the challenges and benefits of using vlogging with blended learning.
The diarization of the self emerged through historically contingent social and economic relations and the practice of accounting as an integral aspect of industrialization and capitalism. From the journal to new media technologies, the recording of everyday life is about the governance and construction of the self, illuminating the ‘everyday’ as a salient dimension of sense-making in relation to the wider world. Accounting the self today has gained renewed prominence through new media technologies and social media platforms and its increasing incorporation into everyday life, inviting a public interface. The teleology of older forms of accounting the self (i.e. the journal) to new media technologies needs to be seen through a continuum in which sociocultural and economic forces enmesh with the medium of communication as a tool of self-expression to capture the self in its diurnal mode. This article utilizes Raymond Williams’ notion of cultural materialism, in linking the diary as a modern technology of self-expression with vlogs in the post-digital terrain wherein material practices shed light onto our lifeworlds construed through the resources available within material and immaterial infrastructures, offering both agency and abstraction by capital. As such, the manifest cultural form is intimately mediated by cultural technologies.
This research was carried out to determine student views on distance education through art and design courses. The study group of the research consists of 45 undergraduate students studying at different faculties of İzmir Katip Çelebi University in Turkey during the spring semester of the 2019-2020 academic year. The focus of the article is to determine the effect of distance education, which is carried out suddenly, on students' perceptions of art lesson. A semi-structured interview technique was performed in this study which covered qualitative data collection techniques. Findings regarding the positive and negative aspects of distance education were obtained from students in the context of their impact on art classes. The results obtained in the research are as follows: The students who take art lessons via distance education are required distance education, also they do not experience any technical difficulties due to the availability of technology, they lost of motivation, they do not meet their socialization needs, and especially some techniques that require practice in art lessons.
This article proposes a novel non-probability sampling design named "voluntary sampling" design. The final survey sample is selected from volunteered and qualified potential respondents in the target population. The intent to conduct a survey is published prior to the implementation of the sampling design. This accords prospective respondents ample time to decide on whether or not to volunteer for selection to participate in the survey. A pilot sampling is conducted to determine the alacrity of the prospective respondents to participate in the survey. The proposed sampling design divides the target population into volunteers and non-volunteers strata. The implementation of the sampling design achieved a hundred percentage response rate and gathered quality and dependable research data in a brief HIV/AIDS survey.
Available at https://www.amazon.com/Analyzing-Interpreting-Qualitative-Research-Interview/dp/1544395876
The fact that technology plays a much larger role in the digital era than it did for previous generations has made today’s generation having a high level of technological literacy. The increase in this literacy coupled with recent technological advances has led to the expansion of technology in education. From the millennial to Gen-Z, these are the generations that are coming into the classroom today and they share unique characteristics that define their generations. These generations expect to be engaged in their learning and they do not do well being passive learners. Hence, technology has to be embraced in today’s education and teachers have to apply technology as part of the students learning. This paper reviews the generations of learners that teachers are having today and how these generations impacted the transformation of education in the digital era. This paper also presents some of the emerging technologies and discusses the needs of pedagogical transformation to invent new forms of teaching and learning as well as the importance of redesigning and rethinking education in the digital era.
This paper explores the role of drawing as a tool for reflection. It reports on a PhD research project that aims to identify and analyse the value that co-design processes can bring to participants and their communities. The research is associated with ‘Leapfrog’, a three-year project funded by the Arts and Humanities Research Council (AHRC). It aims to transform public engagement through activating participation using co-design practices. The paper reports on the analysis of initial research findings arising from a series of workshops with members of non-profit organisations on the Isle of Mull, in the Highlands and Islands of Scotland, in which co-design practices were used. The paper reflects on the use of drawing used as a tool to capture the author’s reflections and her own personal development as a researcher. In this study the term reflective drawing refers to the use of drawing as a tool to support the research reflection process within an ethnographic approach to the fieldwork. Reflective drawing is used in two different stages of the reflection process: (i) to record data during fieldwork enabling reflection-in-action, complementing field notes and disclosing visual and kinaesthetic learning; and (ii) to recall lived experience during the reflection sessions conducted after the observed activity, which helps to establish a bridge between theory and practice. Reflection is defined as an intuitive process that enables the understanding of oneself within a context of practice. Hence, understanding reflective drawing requires exploration of the reflection process.
In this chapter, we review research on creativity with visual art, and, specifically, how this has been addressed within the psychology of art. We begin with a brief review of the history of psychology of art and the unique challenges associated with studying artistic creativity and expression. We then review current creativity studies that touch on art making and that focus on techniques and methods that provide the foundation for current research. We conclude with a consideration of important questions that hold particular intrigue for future study, such as questions related to artistic development, approaches to assessing art making, and the artistic brain.
The aim of this chapter is to introduce the 4P’s Model of Creativity (Rhodes, 1961) and to review its practical implications in different fields, including education, business, engineering, and others. According to this model, creativity can be viewed from four different perspectives: product, process, person and press of the environment. Thus, the main question tackled here is how creativity can be stimulated by attending to each of these components.
Creativity is a highly complex concept, studied through different perspectives and evaluated by numerous instruments. Despite its conceptual and methodological diversity, the Rhodes' multidimensional theory continues to be one of the main references in the study of creativity. Based on this theory, this study intended to observe the impact of the creative environment on the creative person, process, and product through a sample of 215 college students. Results suggest a significant influence from the creative environment on the creative process and product. Participants from the social sciences and arts performed better on the creative process and product, respectively. No statistically significant interaction effects were found regarding gender and the creative environment. However, age presents a control effect over the relationship between the creative environment and the plastic arts. Practical and educative implications are discussed.
The use of reflective journals has been identified as an effective tool to promote reflection in preservice teachers. This review of literature provides the reader with an understanding of the various ways journals are used and assessed in teacher education programs. The findings of this review outline the use of reflective journals on topics such as constructivism, teacher identity, linking theory to practice, and preservice teachers’ perceptions of journals. The literature suggests that preservice teachers be taught how to reflect more purposefully and be provided meaningful learning and teaching experiences. Reflective journals can also be used to aid preservice teachers in linking theory and practice in the classroom. Future research is needed to ascertain university instructors’ perceptions of the value of reflective journals, the impact of reflective writing on teaching, and how effectively preservice teachers are trained to write reflective journals.
In recent years a number of researchers have attempted to model the cognitive, affective, behavioral, and contextual factors associated with the making of a work of art. However, very few studies have actually focused on understanding and describing what artists actually do during the creation of an artwork. Therefore, in this study grounded theory was used to investigate this phenomenon and to develop a descriptive model of the art-making process. In Study 1, 16 professional visual artists were interviewed over the course of making a work of art, which provided a descriptive database of their working processes from the inception to the completion of the artwork. Grounded theory was used to analyze the data and to develop a dynamic, descriptive model of the art-making process. A second study involving 9 artists was undertaken to determine the validity of this model. The results suggested that the model has adequate content validity and sufficient scope to accommodate the working processes of a range of artists.
This article presents a systematic review of the literature examining the relationship between self-talk and performance. "Second-generation questions" regarding potential mediators and moderators of the self-talk-performance relationship were also examined. A total of 47 studies were analyzed. Results indicated beneficial effects of positive, instructional, and motivational self-talk for performance. Somewhat surprisingly, two evidence-based challenges to popular current viewpoints on self-talk emerged. First, negative self-talk did not impede performance. Second, there was inconsistent evidence for the differential effects of instructional and motivational self-talk based on task characteristics. Results from the mediation-based analysis indicate that cognitive and behavioral factors had the most consistent relationships with self-talk. The findings are discussed in the context of recent theoretical advances, and the article includes recommendations for future research (e.g., the use of designs allowing the testing of meditational hypotheses) and for current applied practice (e.g., avoiding the use of thought-stopping techniques).
Inspiration has received little theoretical or empirical attention within psychology. Inspiration is conceptualized herein as a general construct characterized by evocation, motivation, and transcendence. In Studies 1a and 1b, a trait measure of inspiration was developed and was found to have strong psychometric properties. Studies 2a-2c documented a nomological network consistent with the present conceptualization. Study 3 related inspiration to the holding of U.S. patents. Study 4 linked trait inspiration to daily experiences of inspiration, extended the nomological network to the state level, documented antecedents and consequences, and established incremental validity. This research provides a foundation for further study of inspiration, both as a general construct and in specific content domains (e.g., religion, creativity, interpersonal relations).
Art educators are struggling to keep up with a rapidly changing and ever-expanding field. This chapter explores the many reasons that art educators may show resistance to incorporating interdisciplinary practices and emerging technologies in their curriculum and provides ideas for overcoming it. Using the early days of video blogging (vlogging) as a model, this chapter suggests an inclusive teaching approach that emphasizes four themes: community, do-it-yourself learning, playfulness, and creative resource sharing.KeywordsEmerging technologiesTechnology resistanceArt educationParticipatory cultureDigital mediaVlogging
This article scrutinizes the dichotomy of the uneasy and easy partnerships that exist between digital technology and visual arts education. The claim that by putting computers into schools “we have bought ‘one half of a product’… we’ve bought the infrastructure and the equipment but we haven’t bought the educational piece” (McKenzie, 1999 as cited in Joyce, 2005, p. 52) is considered. Despite the ease with which many art educators have embraced technologies and tools for artistic practice in their classrooms in the past, maximizing the Internet and information communications technology usage in the visual arts classroom has been somewhat problematic. This issue and the largely absent “educational piece” of the product, that is, art made for the Internet and purpose built for Internet-as-gallery, are addressed.
The usage of emerging social and digital applications is growing rapidly among the current generation of students and academics, and researchers started exploring their effectiveness in enhancing students’ creativity. However, examining the most effective criteria for evaluating digital-media-enhanced creativity in art and design still needs further exploration. This pilot study seeks to develop a framework to assess students’ creativity and another framework to assess the effectiveness of multimedia-based teaching approaches in art and design educational contexts. Sixteen design instructors participated in a survey, which aimed to identify their experiences with multimedia-based pedagogy as a potentially effective approach in fostering students’ creativity as well as educators’ innovation in teaching. The paper identifies and ranks the criteria, which they thought are effective in assessing digitally-stimulated creativity in each field of graphic design. The ultimate goal is to provide educators with a set of evaluation criteria to guide the appropriate teaching and assessment of digital creativity. Keywords: Creativity, multimedia, pedagogy, innovation, digital creativity.
Background: Videos have been shown to be beneficial in helping teachers reflect on their teaching practice and in contributing to their professional development, as they allow teachers and their mentors and colleagues to analyse teaching from different perspectives.
Purpose: This study investigated the perceptions and experiences of some student teachers and their supervisors who used a video application during one practicum period. Student teachers recorded each other’s lessons with the video app, and supervisors oversaw student teachers online, via a portal. The study aimed to explore how far the app constituted a useful tool for student teachers’ professional development and for the supervision of student teachers’ practice.
Sample, design and method: The data were collected by gathering the experiences of 12 student teachers and 9 supervisors. Data included focus groups, interviews and video diaries. Analysis was undertaken using principles of content analysis and phenomenographic analysis such as thematising, coding and categorising.
Results: Findings suggested that student teachers in general felt that the video app supported their self-reflection. The influence on their professional development may have been limited by factors including lack of guidance for individual and collaborative reflection. Using the video app as a supervisory tool was regarded as challenging in some ways, particularly because video clips taken out of context were unable to capture the classroom’s atmosphere, environment and culture.
Conclusions: The study highlights that video excerpts in themselves do not provide a sufficient basis for lesson observation. However, the study’s results draw attention to the app’s potential for guiding individual and collaborative video-based reflection. Consideration should be given to the changes that video-elicited reflection encourages with respect to supervision and its effects on the roles of supervisor and student teacher.
This article describes and evaluates an inquiry into the meaning and value of sketchbooks for students and faculty on an MFA programme in Visual Communication at a major Thai university. Methodologically, the inquiry rests upon an extended period of participant observation by the author. This was informed by a phenomenological approach to the apprehension of subjective and intersubjective experience. Conversational data from studio discussions was synthesized with a large body of example sketchbook pages and writings produced by the participants. This material served as the basis for theory production influenced by grounded theory. The outcome of the inquiry is a re-conceptualization of the sketchbook in terms of the various encounters that it affords and the roles that these might play in the development of creative practice.
The visual arts have traditionally been treated as a major domain of creative activity and were the subject of some of the first empirical studies of creativity, such as Patrick’s seminal research (Patrick in Archives of Psychology 178:1–74, 1935; Journal of Psychology 4:35–73, 1937). In this chapter, the artistic creative process will be examined through: (1) interviews of professional artists, (2) observations of art students in real contexts, and (3) exercises proposed to art students to develop their creative process; the creative process will be examined with a particular attention paid to the factors involved in artistic creativity using the multivariate approach to creativity. This approach describes four main categories of factors: cognitive, conative, emotional, and environmental factors (Lubart et al. in Psychologie de la créativité. Armand Colin, Paris, 2015).
Intrinsic and extrinsic types of motivation have been widely studied, and the distinction between them has shed important light on both developmental and educational practices. In this review we revisit the classic definitions of intrinsic and extrinsic motivation in light of contemporary research and theory. Intrinsic motivation remains an important construct, reflecting the natural human propensity to learn and assimilate. However, extrinsic motivation is argued to vary considerably in its relative autonomy and thus can either reflect external control or true self-regulation. The relations of both classes of motives to basic human needs for autonomy, competence and relatedness are discussed.
This paper investigates audience design in monologues. The study uses video blogs, a spoken, asynchronous form of computer-mediated communication, to illustrate how talk reflects the lack of an immediately present audience. It is based on a corpus of English language vlogs collected from the video hosting site YouTube. The study demonstrates how speakers adapt to a mediated speech situation where there is not even minimal feedback and the speaker has to address absent viewers. Clark and Carlson's audience design (1992) and Bell's audience design (1984), introducing the notion of participant roles, are central constructs in the present study. It is argued that when vloggers (re)assign participant roles, the audience is actively involved, as they have to recognize their new status. The phenomena examined in this paper include multimodal, syntactical, and lexical features. The particular context of the medium and the monologic nature of the data will be given special consideration in the analysis of genre specific features. These include terms of address (e.g. YouTubers, YouTube, vlog fans), directives/directed language (e.g. comment, rate, and subscribe, leave me a comment). Other features under discussion include questions (how are you guys doing), voicing the audience, constructed dialogue, whispering, gestures, categorization etc.
This paper offers a number of materials and resources which may be used as teaching aids for introduction-level courses in learning theories, especially those in higher education. The materials were developed during our participation in a postgraduate diploma module on the psychology of learning and learning theories in 2004, as part of the diploma in third-level learning and teaching at the DIT Learning and Teaching Centre.
Reflection is an attitude which makes the difference between 20 years of experience or only 1 year of experience repeated 20 times. Reflection is a state of mind, an ongoing constituent of practice, not a technique or curriculum element. It is a way of learning from one's own experience to inform practice, widen perspectives and challenge assumptions, taken-for-granteds and damaging social and cultural biases and a way of learning from the experience of others.
Reflection is recognised as taking many forms and reflective journals are one tool for promoting the reflective process. This case study reflects on the development of my own unique drawing‐based reflective journal: a reflective space that pulls together my strengths of drawing and writing while extending my ability to reflect and to express those reflections. Three stages in the development of my drawing‐based journal will be discussed with reference to pertinent literature from across several disciplines. What then follows is a critique of this tool to facilitate reflection and the insights gained from this reflection process. Drawing‐based journaling is reported to be a viable tool for reflective inquiry and it is hoped this case study will provide stimulus for others to extend their reflective skills
The application of digital technologies in arts and music education has been developed in recent decades. There has been abundant research on this topic as well as different kinds of teaching materials developed for use. Williams and Webster’s (2006) illustration on the use of music technology in music making as well as computer-aided music instruction is a typical example in this field. Technology in music education seems particularly strong in facilitating the learning process when students are engaged in creative activities, and research in this area can be categorised into three groups (Kung, 2002). The first investigates compositional processes in discrete stages (Bennett, 1976; Kratus, 1989; Levi, 1991; Wilson and Wales, 1995; Kaschub, 1999); the second focuses on the measurement of ‘creative thinking in music’ (Webster, 1987, 1989, 1990; DeLorenzo, 1989; Fung, 1997) and the third studies the qualitative aspects of children’s compositional processes in the context of technology (Bamberger, 1977; Hickey, 1997; Ladanyi, 1997; Emmons, 1998). Although the three categories are not directly related to using technologies as reflective tools, it is found from the project below that digital technologies can help students to realise musical ideas most effectively during the creative process. When a student is engaged in a compositional process, creating and manipulating ideas through interaction with the technological environment, and developing ideas until achieving a final product, he or she is actually going through a reflective process. This chapter begins with a brief explanation of reflective practice and discusses some educators’ views on using technologies to empower learners to compose and to develop self-learning and reflective practice. This is illustrated with a project conducted by the authors with some pre-service music students using music technologies to enhance their composing as well as using the Discussion Board of the elearn Blackboard Platform to reflect on their processes and products. The chapter finally concludes with consolidating the reflective use of digital technologies in helping learners analyse their work, and develop self learning, critical observation and creative thinking.
Incl. bibl., index. It is argued that professional education should be centered on enhancing the professional person's ability for "reflection-in-action," which is learning by doing and developing the ability for continued learned throughout the professional's career. Examples are drawn from an architectural design studio and the arts to demonstrate how reflection-in-action can be fostered in students and therefore in professionals in all areas. The approach involves active coaching by a master teacher, including giving students practice facing real problems, testing solutions, making mistakes, seeking help, and refining approaches. Extensive dialogues between teachers and students illustrate how reflection-in-action works, what encourages it, and behavior or attitudes that can prevent the development of reflectiveness. [ERIC]
I invented YouTube. Well, not YouTube exactly, but something close – something called YIRN; and not by myself exactly, but with a team. In 2003-5 I led a research project designed to link geographically dispersed young people, to allow them to post their own photos, videos and music, and to comment on the same from various points of view – peer to peer, author to public, or impresario to audience. We wanted to find a way to take the individual creative productivity that is associated with the Internet and combine it with the easy accessibility and openness to other people’s imagination that is associated with broadcasting; especially, in the context of young people, listening to the radio. So we called it the Youth Internet Radio Network, or YIRN.
YouTube is one of the most well-known and widely discussed sites of participatory media in the contemporary online environment, and it is the first genuinely mass-popular platform for user-created video. In this timely and comprehensive introduction to how YouTube is being used and why it matters, Burgess and Green discuss the ways that it relates to wider transformations in culture, society and the economy.-----
The book critically examines the public debates surrounding the site, demonstrating how it is central to struggles for authority and control in the new media environment. Drawing on a range of theoretical sources and empirical research, the authors discuss how YouTube is being used by the media industries, by audiences and amateur producers, and by particular communities of interest, and the ways in which these uses challenge existing ideas about cultural ‘production’ and ‘consumption’.-----
Rich with concrete examples and featuring specially commissioned chapters by Henry Jenkins and John Hartley, the book is essential reading for anyone interested in the contemporary and future implications of online media. It will be particularly valuable for students and scholars in media, communication and cultural studies.
Review of a taxonomy for learning, teaching, and assessing: a revision of bloom’s taxonomy of educational objectives complete
- J Conklin
Ways of knowing in the visual arts: the imperative of sense perception and the creative process
- V E Ecoma