214,242 research outputs found
Sensational In(ter)âaction: Designing Creative Learning Environments
Emotion plays an important role in life, both in personal and work life. In fact, it is part of almost everything we do, including artwork, decision-making and interpreting reality in general. Recently developed information technology may create emotionally-arousing sensations in the user, producing motivation and interest, but on the other hand too much emotion can impede use of devices, everyday creativity and learning. In this paper, we discuss how emotion can be used in design in order both to increase engagement and support creative learning. The idea is based on the notion of Perceptually-Seductive Technology (PST, outlined in Waterworth, 2001) and how PST can be applied to support creative learning in classrooms and other settings. Creative learning is characterised as the intersection of creativity (the production of novel and adaptive ideas) and learning (change persisting over time). Sensational in(ter)âaction alludes to the need for frequent switches between presence and absence, action and inaction, and between the real and virtual worlds according to a design space defined by the three-dimensional Focus, Locus and Sensus model (Waterworth and Waterworth, 2001a)
Creative Feedback: a manifesto for social learning
Arguably one of the most important activities of a university is to provide environments where students develop the wide variety of social and intellectual skills necessary for giving and receiving feedback. We are not talking here about the kinds of activity typically associated with the term âfeedbackâ -such as that which occurs through individual course evaluation questionnaires or more universal systems such as the National Student Survey, but the profoundly creative and human act of giving and receiving feedback in order validate, challenge and inspire. So as to emphasise we are talking about this kind of feedback, we coin the term âcreative feedbackâ to distinguish it from the pre-conceived rather dreary compliance-inflected notions of feedback and set out in this paper to characterise its qualities. In order to ground and motivate our definition and use of âcreative feedbackâ we take a historical look at the two concepts of creativity/creative and feedback. Our intention is to use this rich history to motivate both the choice two words, and the reason to bring them together. In doing so we wish to emphasise the characteristics of an educational philosophy underpinned by social interaction. By describing those qualities necessary to characterise creative feedback this paper sets out an educational philosophy for how schools, communities and universities could develop their learning environments. What we present here serves not only as a manifesto for designing learning environments generally but as a driver for designing technologies to support online social learning. Technology not only provides us with new opportunities to support such learning but also to investigate and evidence the way in which we learn and the most effective learning environments
Social Feedback as a Creative Process
Arguably one of the most important activities of a university is to provide environments where students develop the wide variety of social and intellectual skills necessary for giving and receiving feedback. We are not talking here about the kinds of activity typically associated with the term âfeedbackâ â such as that which occurs through individual course evaluation questionnaires or more universal systems such as the National Student Survey, but the profoundly creative and human act of giving and receiving feedback in order to validate, challenge and inspire. So as to emphasise we are talking about this kind of feedback, we coin the term âcreative feedbackâ to distinguish it from the pre-conceived rather dreary compliance-inflected notions of feedback and set out in this paper to characterise its qualities. In order to ground and motivate our definition and use of âcreative feedbackâ we take a historical look at the two concepts of creativity/creative and feedback. Our intention is to use this rich history to motivate both the choice of these two words, and the reason to bring them together. In doing so we wish to emphasise the characteristics of an educational philosophy underpinned by social interaction. By describing those qualities necessary to characterise creative feedback this paper sets out an educational philosophy for how schools, communities and universities could develop their learning environments. What we present here serves not only as a manifesto for designing learning environments generally, but as a driver for designing technologies to support online social learning, as captured in the concept of social Moocs [70]. Technology not only provides us with new opportunities to support such learning but also to investigate and evidence the way in which we learn and the most effective learning environments
Learning Environments for Invention Pedagogy
Invention pedagogy requires learning environments that enable the creative activities of inventing and making in schools. Such environments include physical, virtual, and epistemic-social environments and related pedagogical conditions, which all need to be addressed when designing spaces and places for invention pedagogy. This chapter presents the ongoing co-development process of the Innokas FabLearn Labs, in which a network of technology-oriented and development-oriented teachers co-created a flexible and modifiable concept for designing a multipurposed learning environment. Through the framework of pedagogical infrastructures, the chapter illustrates how the essential underlying pedagogical conditions, i.e., epistemological, scaffolding, social, and material-technological infrastructures, were addressed in the development work to create well-functioning makerspaces in formal education. In addition, future directions for the development of the concept are provided.Peer reviewe
Teaching creatively, teaching for creativity : QUTâs Creative Industries Faculty Showcase Panel
In this panel, we showcase approaches to teaching for creativity in disciplines of the Media, Entertainment and Creative Arts School and the School of Design within the Creative Industries Faculty (CIF) at QUT. The Faculty is enormously diverse, with 4,000 students enrolled across a total of 20 disciplines. Creativity is a unifying concept in CIF, both as a graduate attribute, and as a key pedagogic principle. We take as our point of departure the assertion that it is not sufficient to assume that students of tertiary courses in creative disciplines are ânaturallyâ creative. Rather, teachers in higher education must embrace their roles as facilitators of development and learning for the creative workforce, including working to build creative capacity (Howkins, 2009). In so doing, we move away from Renaissance notions of creativity as an individual genius, a disposition or attribute which cannot be learned, towards a 21st century conceptualisation of creativity as highly collaborative, rhizomatic, and able to be developed through educational experiences (see, for instance, Robinson, 2006; Craft; 2001; McWilliam & Dawson, 2008). It has always been important for practitioners of the arts and design to be creative. Under the national innovation agenda (Bradley et al, 2008) and creative industries policy (e.g., Department for Culture, Media and Sport, 2008; Office for the Arts, 2011), creativity has been identified as a key determinant of economic growth, and thus developing studentsâ creativity has now become core higher education business across all fields. Even within the arts and design, professionals are challenged to be creative in new ways, for new purposes, in different contexts, and using new digital tools and platforms. Teachers in creative disciplines may have much to offer to the rest of the higher education sector, in terms of designing and modelling innovative and best practice pedagogies for the development of student creative capability. Information and Communication Technologies such as mobile learning, game-based learning, collaborative online learning tools and immersive learning environments offer new avenues for creative learning, although analogue approaches may also have much to offer, and should not be discarded out of hand. Each panelist will present a case study of their own approach to teaching for creativity, and will address the following questions with respect to their case: 1. What conceptual view of creativity does the case reflect? 2. What pedagogical approaches are used, and why were these chosen? What are the roles of innovative learning approaches, including ICTs, if any? 3. How is creativity measured or assessed? How do students demonstrate creativity? We seek to identify commonalities and contrasts between and among the pedagogic case studies, and to answer the question: what can we learn about teaching creatively and teaching for creativity from CIF best practice
Solving Real World Problems With Alternate Reality Gaming: Student Experiences in the Global Village Playground Capstone Course Design
The Global Village Playground (GVP) was a capstone learning experience designed to address institutional assessment needs while providing an integrated and authentic learning experience for students aimed at fostering complex problem solving, as well as critical and creative thinking. In the GVP, students work on simulated and real-world problems as a design team tasked with developing an alternate reality game that makes an impact on the United Nations Millennium Development Goals. Researchers employed a qualitative case study approach to evaluate what aspects of this problem-based, hybrid, course design students found most and least beneficial to their learning. Findings suggest strategies for designing technology-based learning environments to support complex problem solving. Specific recommendations pertain to scaffolding team-based problem solving, particularly concept development processes, interdependence among team members, and group self-organization
Interactive Machine Learning for Embodied Interaction Design: A Tool and Methodology
As immersive technologies are increasingly being adopted by artists, dancers and developers in their creative work, there is a demand for tools and methods to design compelling ways of embodied interaction within virtual environments. Interactive Machine Learning allows creators to quickly and easily implement movement interaction in their applications by performing examples of movement to train a machine learning model. A key aspect of this training is providing appropriate movement data features for a machine learning model to accurately characterise the movement then recognise it from incoming data. We explore methodologies that aim to support creatorsâ understanding of movement feature data in relation to machine learning models and ask how these models hold the potential to inform creatorsâ understanding of their own movement. We propose a 5-day hackathon, bringing together artists, dancers and designers, to explore designing movement interaction and create prototypes using new interactive machine learning tool InteractML
Building sustainable learning environments that are âfit for the futureâ with reference to Egypt
Perhaps there is no building type that has a more significant impact on our lives than the
Kindergarten to high School (K-12). We continue to carry the memories of our early learning
environments through the residue of our lives. It is the quality of those learning environments that
play a crucial role in enhancing or hampering our learning experience.
Learning spaces are complex spaces where the collective skills, knowledge, and practices of a
culture are taught, shaped, encouraged, and transmitted. Comfortable/safe and creative learning
spaces can inspire and motivate users, while ugly/unsafe spaces can oppress. Based on these two
attitudes, the aims of this paper are to; firstly, developing Sustainable learning environments (SLE)
in the Middle-East countries with reference to Egypt. Secondly, to reviewing and extending the
planning and design of the internal, external and landscaping features of a proposed eco-class to
collectively pass to the learners for enhancing the quality of learning space and thus education.
After the Egyptian Revolution on the 25th of January, 2011 and the hopes and dreams this brings
with it, for a major transformation in all life sectors, the Egyptian government needs to recognise
the right of children and young people to learn in an environment which is safe, healthy and
achieves the highest quality possible. We must all be committed to improving the quality,
attractiveness and health of the learning and communal spaces in our schools. Environmental
factors have significant effects on pupil and teacher wellbeing. In contrast, poor school and
classroom design can affect concentration, creativity and general well-being; in addition, poor
quality lighting, ventilation, acoustics and furniture all have a negative effect on student
achievement and health.
Nowadays, Egypt endure deterioration of education quality as a result of deficient learning spaces,
high number of pupils in class, insufficient governmental expenditure and funding, and lack of
proper research in education developmental strategies. Therefore, new learning spaces should be
able to increase flexibility in order to support hands-on and outside-class learning activities.
Furthermore, they intend to encourage extra-curricula activities beyond conventional learning times.
Currently, these integral learning-components are crucial for socio-cultural sustainability and
positive initiatives towards minimizing recent educational underachievement. Undoubtedly,
comfortable, safe and creative learning spaces can inspire and motivate users, while ugly/unsafe
spaces can depress. Therefore, well-designed learning spaces are able to support creative,
productive and efficient learning processes on one hand. On the other hand, ecological design
measures became increasingly major keystone for modern sustainable learning-spaces. Thus,
learning-spacesâ design process, form, components, materials, features, and energy-saving
technologies can generate well-educated, environmental-literate, energy-conscious, and innovative
future-generations. (Continued
Virtual reality in theatre education and design practice - new developments and applications
The global use of Information and Communication Technologies (ICTs) has already established new approaches to theatre education and research, shifting traditional methods of knowledge delivery towards a more visually enhanced experience, which is especially important for teaching scenography. In this paper, I examine the role of multimedia within the field of theatre studies, with particular focus on the theory and practice of theatre design and education. I discuss various IT applications that have transformed the way we experience, learn and co-create our cultural heritage. I explore a suite of rapidly developing communication and computer-visualization techniques that enable reciprocal exchange between students, theatre performances and artefacts. Eventually, I analyse novel technology-mediated teaching techniques that attempt to provide a new media platform for visually enhanced information transfer. My findings indicate that the recent developments in the personalization of knowledge delivery, and also in student-centred study and e-learning, necessitate the transformation of the learners from passive consumers of digital products to active and creative participants in the learning experience
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