DIGITAL PEDAGOGY IN LANGUAGE TEACHING

This conceptual article presents a framework for using technology and digital tools in education to enhance and support learning. The framework is based on a review of the literature on digital pedagogy and language teaching and the authors' personal experience with digital pedagogy in language education. Digital pedagogy uses technology and digital educational tools to enhance and support learning. Digital pedagogy can be an excellent tool for teachers in language education to generate engaging and interactive student learning experiences. There are some examples of digital pedagogy in language teaching. Overall, digital pedagogy offers numerous opportunities for language teachers to enhance their teaching and provide engaging learning experiences for their students. The framework consists of critical components, each of which will be discussed in detail, with examples of how they can be implemented in language teaching

Philosophies of digital pedagogy

This special issue draws attention to an emerging field of study, combining the philosophy of technology and information theory, with critical pedagogy and educational philosophy. It builds upon a conference sponsored by the Philosophy of Education Society of Great Britain: Humanising Online Pedagogy hosted by Liverpool Hope University (Liverpool, UK) in May 2014. The conference brought together educational practitioners and philosophers to explore the pedagogical, epistemic, social, and philosophical implications of technological change for educators

Yeats and Digital Pedagogy

As people who love and admire Yeats, we need to reckon with the fact that digital technology is profoundly transforming the ways that readers encounter and thus experience his poetry. I’ll begin on a mostly pessimistic note, arguing that digital media tends to encourage a mode of reading that is oriented toward the acquisition of practical knowledge and, in so doing, works to undercut the type of aesthetic experience that many of us traditionally associate with reading poetry. Next, I’ll briefly mention the lessons that we can learn from Yeats’s own efforts to use a new mass communication technology, radio, to encourage the public to see poetry as a living and communal form of art—which for him meant teaching people to appreciate those aural aesthetic qualities that are most apparent when a poem is chanted, sung, or read aloud. Finally, I’ll return to the relationship between Yeats’s poetry and digital technology in the present, offering a more hopeful take in which I’ll sketch out some of the ways that teachers can use digital tools to foster a mode of reading that, instead of fixating on practical knowledge, opens students up to the types of profound questions that this art form can evoke. Building on Marjorie Perloff’s work, this is a form of aesthetically-engaged reading that begins with the recognition “that a poem …is a made thing—contrived, constructed, chosen—and that its reading is also a construction on the part of the audience.”

Curating Digital Pedagogy in the Humanities

This is the published introduction to the born-digital, open-access, peer-reviewed *Digital Pedagogy in the Humanities*. More a rationale and scholarly study of both Digital Pedagogy and DPiH in general, this introduces articulates the uses, theory, rationale about digital pedagogy as it has been shaped in U.S. institutions since the explosion of Digital Humanities in 2009. As a separate field now, Digital Pedagogy is built on the generosity of its practitioners, but saving the *stuff* of teaching and pedagogy is difficult. The introduction historicizes this now-published project, its open peer review process, and its development in the early years (starting in 2010) in addition to offering multiple pathways into using DPiH for both experienced practitioners and anyone curious about how to use the 500+ pedagogical artifacts among the 59 keywords. By defining digital pedagogy, articulating the 5 key concepts that surfaced with the creation of this project, and discussing potential obstacles about engaging in Digital Pedagogy (including an enumerated step-by-step process for getting started in using Digital Pedagogy strategies), this introduction invites all levels of engagement. In addition, the introduction provides an analysis of the types of content, contributors, and curators as well as early network analysis about the connections among all of the keywords, curators, and the shared pedagogical artifacts. Finally, the authors assess the project\u27s infrastructure, open access, and open peer review publishing process over the 10 years it took to bring this project to fruition, luckily, right at the moment that all higher education institutions were forced to grapple with a sudden move to online learning during March 2020. The concluding sections discuss the shifting role of published and publisher with this born-digital project and considers the use of new forms of infrastructure for a scholarly work that values pedagogy above all else

Binghamton Codes! Program: the development of Python programming courses to increase computational literacy skills in the humanities

This presentation was part of the SUNY Digital Pedagogy in the Humanities Spring 2021 webinar. The focus is on ways digital pedagogy is integrated in humanities courses, and this presentation focuses on the development of undergraduate Python programming courses for humanities majors. Recorded presentation can be viewed at https://youtu.be/HbVqfu7so24

Creative ‘Class’: Leading Innovation with Digital Pedagogy in Cultural and Creative Industry (CCI) Programs

Leaders of cultural and creative programs (CCIs) in Ontario community colleges are key to realizing potential in higher education related to digital pedagogy, creativity, industry partnerships, entrepreneurship and innovation. In this Organizational Improvement Plan (OIP), the role of an academic leadership group is considered from Ontario-centric creative industry and innovation policies and college processes. The problem of practice is the gap of harmonized leadership strategy between higher education classroom practices and regional and provincial overarching educational strategy to increase innovation through digital pedagogy. Colleges have collective capacities in innovating with digital pedagogy in creative industry programs and providing graduates with workplace skills, while supporting humanistic ideals of culture and creativity. There is an opportunity for a Creative Program Leaders Committee to move from a community of practice to become influencers of strategy and research. In the OIP I outline a plan to begin the process to define digital pedagogy in creative programs, collect exemplars, and plan to create a strategy document to lead to knowledge transfer among stakeholders. The OIP is contextualized through themes of complexity, ambiguity, and connectivity in a neo-liberal era. Eddy’s (2010) community college change communication framework and Hernes’ (2008, 2014) ideas of process organizational theory inform these themes. By doing so, the informed strategy creation can help harmonize and advance collective goals for both colleges and provincial institutions

Born digital? Pedagogy and computer-assisted learning

Purpose - The purpose of this article is to examine the impact of the shift to a knowledge society, where information and communication technology (ICT) and the widening spread of internationally distributed information are creating a "skill revolution", as O'Hara suggests, there is a widening culture mismatch between what members of the knowledge society need to succeed and what current systems of higher education are geared to offer and to adequately prepare people and communities to thrive in the global knowledge society. Design/methodology/approach - For universities, as the scope and complexity of the actual business environment grows, the changing landscape of business education needs to come to terms with a developing global environment that has impacted on business, demographics and culture which demands a change in managerial skills to lead sustainable enterprise. Findings - Students need to master higher-order cognitive, affective, and social skills not central to mature industrial societies, but vital in a knowledge based economy that include "thriving on chaos" (making rapid decisions based on incomplete information to resolve novel situations); the ability to collaborate with a diverse team - face-to-face or across distance - to accomplish a task; creating, sharing, and mastering knowledge through filtering a sea of quasi-accurate information. Originality/value - These skills, according to Galerneau and Zibit, are "the skills for the twenty-first century", as they are "the skills that are necessary to succeed in an ever changing global society where communications is ubiquitous and instantaneous, and where software tools allow for a range of creative and collaborative options that yield new patterns and results that we are only beginning to see". © Emerald Group Publishing Limited

"Digital Pedagogy Unplugged"

Curatorial note from Digital Pedagogy in the Humanities: Paul Fyfe provocatively asks, “Can there be a digital pedagogy without computers?” and offers several examples of assignments that treat “the ‘digital’ in the non-electronic senses of that word: something to get your hands on, to deal with in dynamic units, to manipulate creatively.” Rethinking digital pedagogy in this way not only allows students and instructors with varied access to electronic technologies to explore new kinds of assignments but also creates useful linkages between thinking about the materiality of print artifacts and that of digital texts. For example, Fyfe imagines a curatorial assignment where students gather, remix, and analyze physical artifacts rather than images on a screen. Such assignments could be scaffolded with digital assignments that use computational tools to emphasize shared methodological and theoretical principles

Network + Publication + Ecosystem: Curating Digital Pedagogy, Fostering Community

We are excited to share our work on Digital Pedagogy in the Humanities (DPiH), which was published on the Humanities Commons in 2020 by the Modern Language Association after almost a decade of work. DPiH is a large-scale scholarly project that presents the stuff of teaching (syllabi, assignments, and resources) through a curated set of keywords such as “Poetry,” “Disability,” “Queer,” and “Annotation,” among many others. For each keyword, a curator or set of curators has selected and annotated ten pedagogical artifacts; created a curator’s selection statement; and presented a list of related resources. With a lengthy introduction to DPiH that historicizes and contextualizes the project, the edited collection, as a whole, presents a broad array of pedagogical practices that engage technology and offer concrete resources to faculty who would like to expand their existing teaching practices. In this piece, we would like to consider how the project, in its design and implementation, challenges existing ideas about scholarship, pedagogy, and our shared ecosystem of scholarly communication