144 research outputs found

    GROUND<C>: A METAVERSE LEARNING STRATEGY FOR THE CREATIVE FIELDS

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    An alternative download link for the appendix of the thesis is here: http://www.citrinitas.com/PhD/2012Ayiter390522phd_appendix.zipIn this thesis I cover the theoretical framework and the practice based implications of bringing the fundamental principles of a cybernetic art educational strategy, the Groundcourse, which was developed and taught during the 1960’s in England by Roy Ascott, into the virtual, three dimensional builder’s world of the metaverse; to be implemented there as a non-institutional, voluntary, self-directed, adult oriented learning system for avatars – one which is expected to be taught by avatar instructors who will formulate the specifics of their curriculum and their methods based upon the cardinal tenets of the Groundcourse, which have been summarized by Roy Ascott as a flexible structure, “within which everything can find its place, and every individual his way,” which would give dimension and substance to the will to create and to change. In order to be able to set the groundwork for the adaptation of the Groundcourse’s principles to my model I have conducted literature reviews in experiential learning theories, with an emphasis on self-directed learning; as well as cybernetic learning. These I have combined with a survey of play theory and virtual world studies, particularly those focusing upon the avatar and metaverse creativity. From all of these I have woven together a foundation which I have combined with a visual documentation which may serve as case studies for my proposal. The new knowledge embodied through this thesis is a learning system for the creative fields that is designed specifically for the residents of online virtual worlds, and yet has its foundations in an earlier, well established and well regarded model

    Orchestrating ubiquitous learning situations about Cultural Heritage with Casual Learn mobile application

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    Producción CientíficaCultural Heritage learners can highly benefit from ubiquitous learning approaches that connect in-classroom activities with active on-site learning opportunities. However, teachers face the problem that the current landscape of technological support for learning Cultural Heritage mostly consists of mobile applications for informal contexts, completely decoupled from curricular activities. This paper presents the results of an exploratory-sequential mixed-methods study that focuses on the feasibility, for non-technical expert teachers, of repurposing an existing mobile application in formal Cultural Heritage ubiquitous learning situations. Such feasibility is explored from the perspective of the orchestration metaphor. More specifically, we used the “5+3 aspects orchestration framework” to understand the orchestration challenges of four ubiquitous learning situations about Cultural Heritage carried out in two secondary schools. These situations involved five teachers and 139 students who used a mobile application called Casual Learn for several weeks. The results of the study suggest that, after a brief training, teachers can design, enact, and orchestrate ubiquitous learning situations that involve both in-classroom and out-classroom activities. The teachers were able to transfer to the students most of the orchestration load of out-classroom activities. The results also showed that the flow of learning artifacts and information between in- and out-classroom activities is a critical issue that needs to be addressed by developers of ubiquitous learning technological solutions.Junta de Castilla y Leon - Fondo Europeo de Desarrollo Regional (project VA257P18)Agencia Estatal de Investigación - Fondo Europeo de Desarrollo Regional (project TIN2017-85179-C3-2-R

    CEDEFOP Flash Special 4/92.

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    Networks for art work: an analysis of artistic creative engagements with new media standards

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    The principle objective of this study is to examine the culture of networks that are implicated in the production of culture, specifically as it pertains to artists' design and use of digitally networked information and communication technologies (ICTs) for the production of artworks. The analysis in this study seeks to reveal a better understanding of the working practices that underpin artists' creative engagements with new media while recognising the significance of discursive continuities that inform such engagements. Theoretically, a case is presented for combining several theoretical perspectives into a multilayered conceptual framework for examining the circulation of power as it relates both to artistic creativity and to technological innovation. The former is accomplished through a critical assessment of the production of culture theoretical tradition. In calling upon concepts of discursive conduct as a means of developing relations of power, the concept of maverickness is proposed to understand how certain artists do not necessarily bring about change in an art world but instead dedicate themselves to the production of artistic creativity through a contention among various conventions. The latter is problematised drawing upon theories of mediation to develop a model of the conversion and classification of new media standards into art world conventions. A novel methodological approach is developed based on the development of multiple biographical threads of an individual and of a technology within a single case study of an art world network. Empirically, the thesis contributes insights into the diverse end contingent collective work practices involved in the design and use of ICTs by artists for the production of artworks. The findings suggest that individual artists are able to develop designer roles consistent with their situated understandings of creative conduct for modifying aspects of the ICT infrastructure despite shifting technological and social new media standards. However, in order to coordinate such roles within wider collective social structures, artists also initiate forms of mediation, articulation, and classification work that extend beyond the production of artworks and into attempts at programming art world networks within which such artworks were produced and distributed

    An investigation into how Web 2.0 technologies can be used to enhance the educational supervision of teachers

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    The concept of educational supervision has witnessed significant development in recent years and many studies in this field have demonstrated how computers and the internet have been employed in the process. However, the researcher has found no studies that examined the use of Web 2.0 online platforms and tools that promote interaction among users in educational supervision.The main purpose of this study is to examine the possibility of using Web 2.0 technologies in educational supervision in Saudi Arabia and investigate how these technologies can be used to enhance the educational supervision of teachers. In practical terms I planned to introduce Web 2.0 tools into the educational supervision process to support and enhance activities undertaken by supervisors and teachers.A small-scale four-stage development programme was run with groups of teachers and supervisors with the evaluation of that process making use of a mixed method approach to data collection. In the first stage interviews were held with seven supervisors and seven teachers, in order to explore the possibility of application, to build a picture and to enable me to become acquainted with data collection and analysis procedures and techniques. In the second stage, data was collected from 23 supervisors by focus group and questionnaire regarding the current usage of Web 2.0 technology in educational supervision and to examine how such technologies could facilitate supervisors’ work. In stages three and four, data was collected from thirty teachers through a pre-survey, followed by a Web 2.0 training programme and post-survey. The objectives in these stages were to study teachers’ usage of Web 2.0 technology and to evaluate the effect of the training programme in order to recognise and use the affordances of Web 2.0 tools for supervision.Teachers’ knowledge, awareness and confidence in relation to all of the tools were shown to have increased after the training programme, with the majority showing enthusiasm about employing this technology in educational supervision. The participants generally agreed that using Web 2.0 technologies in educational supervision is crucial and facilitated supervisors’ work
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