Updating the art history curriculum: incorporating virtual and augmented reality technologies to improve interactivity and engagement

Master's Project (M.Ed.) University of Alaska Fairbanks, 2017This project investigates how the art history curricula in higher education can borrow from and incorporate emerging technologies currently being used in art museums. Many art museums are using augmented reality and virtual reality technologies to transform their visitors' experiences into experiences that are interactive and engaging. Art museums have historically offered static visitor experiences, which have been mirrored in the study of art. This project explores the current state of the art history classroom in higher education, which is historically a teacher-centered learning environment and the learning effects of that environment. The project then looks at how art museums are creating visitor-centered learning environments; specifically looking at how they are using reality technologies (virtual and augmented) to transition into digitally interactive learning environments that support various learning theories. Lastly, the project examines the learning benefits of such tools to see what could (and should) be implemented into the art history curricula at the higher education level and provides a sample section of a curriculum demonstrating what that implementation could look like. Art and art history are a crucial part of our culture and being able to successfully engage with it and learn from it enables the spread of our culture through digital means and of digital culture

Collaborative design in virtual environments

How can architects and engineers work together in the digital world? The article "Collaborative Design in Virtual Environments" provides an answer. The authors describe how the use of virtual reality (VR) and augmented reality (AR) is becoming increasingly important in the architecture industry and what opportunities this opens up. In particular, the article focuses on collaboration in virtual spaces and collaborative modeling of 3D objects. The authors also present a software tool that enables collaborative 3D modeling in virtual environments. The aim of the "Industry 4.0 in Teaching" project is to promote collaboration and joint learning and to prepare students for the requirements of the digital working world. (Editor)Wie können Architekten und Ingenieure in der digitalen Welt zusammenarbeiten? Eine Antwort darauf liefert der Artikel "Collaborative Design in Virtual Environments". Die Autoren beschreiben, wie die Anwendung von Virtual Reality (VR) und Augmented Reality (AR) in der Architekturbranche immer wichtiger wird und welche Möglichkeiten sich daraus ergeben. Insbesondere die Zusammenarbeit in virtuellen Räumen und die gemeinsame Modellierung von 3D-Objekten stehen im Fokus des Artikels. Die Autoren stellen außerdem ein Software-Tool vor, das die kollaborative 3D-Modellierung in virtuellen Umgebungen ermöglicht. Das Ziel des Projekts "Industry 4.0 in Teaching" ist es, die Zusammenarbeit und das gemeinsame Lernen zu fördern und die Studierenden auf die Anforderungen der digitalen Arbeitswelt vorzubereiten. (Herausgeber

Exploring the potential of physical visualizations

The goal of an external representation of abstract data is to provide insights and convey information about the structure of the underlying data, therefore helping people execute tasks and solve problems more effectively. Apart from the popular and well-studied digital visualization of abstract data there are other scarcely studied perceptual channels to represent data such as taste, sound or haptic. My thesis focuses on the latter and explores in which ways human knowledge and ability to sense and interact with the physical non-digital world can be used to enhance the way in which people analyze and explore abstract data. Emerging technological progress in digital fabrication allow an easy, fast and inexpensive production of physical objects. Machines such as laser cutters and 3D printers enable an accurate fabrication of physical visualizations with different form factors as well as materials. This creates, for the first time, the opportunity to study the potential of physical visualizations in a broad range. The thesis starts with the description of six prototypes of physical visualizations from static examples to digitally augmented variations to interactive artifacts. Based on these explorations, three promising areas of potential for physical visualizations were identified and investigated in more detail: perception & memorability, communication & collaboration, and motivation & self-reflection. The results of two studies in the area of information recall showed that participants who used a physical bar chart retained more information compared to the digital counterpart. Particularly facts about maximum and minimum values were be remembered more efficiently, when they were perceived from a physical visualization. Two explorative studies dealt with the potential of physical visualizations regarding communication and collaboration. The observations revealed the importance on the design and aesthetic of physical visualizations and indicated a great potential for their utilization by audiences with less interest in technology. The results also exposed the current limitations of physical visualizations, especially in contrast to their well-researched digital counterparts. In the area of motivation we present the design and evaluation of the Activity Sculptures project. We conducted a field study, in which we investigated physical visualizations of personal running activity. It was discovered that these sculptures generated curiosity and experimentation regarding the personal running behavior as well as evoked social dynamics such as discussions and competition. Based on the findings of the aforementioned studies this thesis concludes with two theoretical contributions on the design and potential of physical visualizations. On the one hand, it proposes a conceptual framework for material representations of personal data by describing a production and consumption lens. The goal is to encourage artists and designers working in the field of personal informatics to harness the interactive capabilities afforded by digital fabrication and the potential of material representations. On the other hand we give a first classification and performance rating of physical variables including 14 dimensions grouped into four categories. This complements the undertaking of providing researchers and designers with guidance and inspiration to uncover alternative strategies for representing data physically and building effective physical visualizations.Um aus abstrakten Daten konkrete Aussagen, komplexe Zusammenhänge oder überraschende Einsichten gewinnen zu können, müssen diese oftmals in eine, für den Menschen, anschauliche Form gebracht werden. Eine weitverbreitete und gut erforschte Möglichkeiten ist die Darstellung von Daten in visueller Form. Weniger erforschte Varianten sind das Verkörpern von Daten durch Geräusche, Gerüche oder physisch ertastbare Objekte und Formen. Diese Arbeit konzentriert sich auf die letztgenannte Variante und untersucht wie die menschlichen Fähigkeiten mit der physischenWelt zu interagieren dafür genutzt werden können, das Analysieren und Explorieren von Daten zu unterstützen. Der technische Fortschritt in der digitalen Fertigung vereinfacht und beschleunigt die Produktion von physischen Objekten und reduziert dabei deren Kosten. Lasercutter und 3D Drucker ermöglichen beispielsweise eine maßgerechte Fertigung physischer Visualisierungen verschiedenster Ausprägungen hinsichtlich Größe und Material. Dadurch ergibt sich zum ersten Mal die Gelegenheit, das Potenzial von physischen Visualisierungen in größerem Umfang zu erforschen. Der erste Teil der Arbeit skizziert insgesamt sechs Prototypen physischer Visualisierungen, wobei sowohl statische Beispiele beschrieben werden, als auch Exemplare die durch digital Inhalte erweitert werden oder dynamisch auf Interaktionen reagieren können. Basierend auf den Untersuchungen dieser Prototypen wurden drei vielversprechende Bereiche für das Potenzial physischer Visualisierungen ermittelt und genauer untersucht: Wahrnehmung & Einprägsamkeit, Kommunikation & Zusammenarbeit sowie Motivation & Selbstreflexion. Die Ergebnisse zweier Studien zur Wahrnehmung und Einprägsamkeit von Informationen zeigten, dass sich Teilnehmer mit einem physischen Balkendiagramm an deutlich mehr Informationen erinnern konnten, als Teilnehmer, die eine digitale Visualisierung nutzten. Insbesondere Fakten über Maximal- und Minimalwerte konnten besser im Gedächtnis behalten werden, wenn diese mit Hilfe einer physischen Visualisierung wahrgenommen wurden. Zwei explorative Studien untersuchten das Potenzial von physischen Visualisierungen im Bereich der Kommunikation mit Informationen sowie der Zusammenarbeit. Die Ergebnisse legten einerseits offen wie wichtig ein ausgereiftes Design und die Ästhetik von physischen Visualisierungen ist, deuteten anderseits aber auch darauf hin, dass Menschen mit geringem Interesse an neuen Technologien eine interessante Zielgruppe darstellen. Die Studien offenbarten allerdings auch die derzeitigen Grenzen von physischen Visualisierungen, insbesondere im Vergleich zu ihren gut erforschten digitalen Pendants. Im Bereich der Motivation und Selbstreflexion präsentieren wir die Entwicklung und Auswertung des Projekts Activity Sculptures. In einer Feldstudie über drei Wochen erforschten wir physische Visualisierungen, die persönliche Laufdaten repräsentieren. Unsere Beobachtungen und die Aussagen der Teilnehmer ließen darauf schließen, dass die Skulpturen Neugierde weckten und zum Experimentieren mit dem eigenen Laufverhalten einluden. Zudem konnten soziale Dynamiken entdeckt werden, die beispielsweise durch Diskussion aber auch Wettbewerbsgedanken zum Ausdruck kamen. Basierend auf den gewonnen Erkenntnissen durch die erwähnten Studien schließt diese Arbeit mit zwei theoretischen Beiträgen, hinsichtlich des Designs und des Potenzials von physischen Visualisierungen, ab. Zuerst wird ein konzeptionelles Framework vorgestellt, welches die Möglichkeiten und den Nutzen physischer Visualisierungen von persönlichen Daten veranschaulicht. Für Designer und Künstler kann dies zudem als Inspirationsquelle dienen, wie das Potenzial neuer Technologien, wie der digitalen Fabrikation, zur Darstellung persönlicher Daten in physischer Form genutzt werden kann. Des Weiteren wird eine initiale Klassifizierung von physischen Variablen vorgeschlagen mit insgesamt 14 Dimensionen, welche in vier Kategorien gruppiert sind. Damit vervollständigen wir unser Ziel, Forschern und Designern Inspiration und Orientierung zu bieten, um neuartige und effektvolle physische Visualisierungen zu erschaffen

Proceedings of the ANR ​#CreaMaker​ workshop: co-creativity, robotics and maker education.

International audienc

ANR #CreaMaker workshop : Co-creativity, robotics and maker educationProceedings

International audienceWe’re living exciting but also challenging times at the worldwide level. From one side, there are environmental challenges that can compromise our future as humanity and the socio economic tensions generated in a context of mass consumption within a model of fossil and nuclear energy which endangers a sustainable development. From the other side, we have a growing number of citizen-based initiatives aiming to improve the society and the technological infrastructures making possible to cooperate at large scale and not only at a small-group level. Younger becomes empowered for their future. In their initiatives such #FridaysForFuture they are no longer (interactive) media consumers but move forward as creative activists to make older generations change the system in order to save the planet. At the same time, we have observed in the last years the emergence of a wide diversity of third places (makerspace, fablab, living lab…) aiming to empower communities to design and develop their own creative solutions. In this context, maker-based projects have the potential to integrate tinkering, programming and educational robotics to engage the learner in the development of creativity both in individual and collaborative contexts (Kamga, Romero, Komis, & Mirsili, 2016). In this context, the ANR #CreaMaker project aims to analyse the development of creativity in the context of team-based maker activities combining tinkering and digital fabrication (Barma, Romero, & Deslandes, 2017; Fleming, 2015). This first workshop of the ANR #CreaMaker project aims to raise the question on the concept, activities and assessment of creativity in the context of maker education and its different approaches : computational thinking (Class’Code, AIDE), collective innovation (Invent@UCA), game design (Creative Cultures), problem solving (CreaCube), child-robot interactions and sustainable development activities. Researchers from Canada, Brazil, Mexico, Germany, Italy and Spain will reunite with LINE researchers and the MSc SmartEdTech students in order to advance in how we can design, orchestrate and evaluate co-creativity in technology enhanced learning (TEL) contexts, and more specifically, in maker based education

Traces: Here/Not Here

Traces: Here/Not Here endeavors to put a positive spin on our mortality. We are here, and at some point we will no longer be here: by virtue of living, we will die - but what do we do with this time we have? This body of research creation is about life; about our time-limited lifetimes, our experience of it, and about the effects of our actions. It is about the affect of our interconnectivity with each other, human and non-human, animate and inanimate. By way of interactive artworks featuring playful and dynamic sculptures which must be activated by the physical effort of the artist, a collaborator or a visitor/participant, a durational performance is experienced leaving indexical marks, prompting mindful consideration of our inter-connectedness, and injecting optimism that we can use this opportunity to act for what matters most to each one of us. Through a reflexive practice-led methodology, augmented by literature reviews of theorists, critical thinkers, artists, and art historians, the research investigates the themes of time, Posthuman interconnectedness, as well as investigating participatory and ludic art, which activates the body and the special knowledge creation centered there

Transformative Learning in Sculpture Class: Exploring New Identities as Artists, Approaches to Artmaking, and Understanding of Art

Transformative Learning seeks to encourage learners to critically reflect on their assumptions and preconceptions, thereby transforming their existing frameworks and perspectives. This qualitative study investigates what Transformative Learning looks like in a diverse group of adult learners at a graduate school of education who attended sculpture classes intentionally designed to enable such change. When Transformative Learning is part of the teacher’s intention, how, if at all, does learning through artmaking in mixed media sculpture classes transform these adults with regard to their understanding of their identities as artists and learners (“Who am I?”), their approaches to artmaking (“How do I make art?”), and their understanding of art (“What is art?”)? Furthermore, the study seeks to understand what aspects of their class experiences contributed to these transformations. The study examines the studio creations and artmaking processes of five adults from diverse backgrounds and experiences and analyzes what they reported about their artmaking experiences. Data gathered from semi-structured interviews, retrospective surveys, and class artifacts are organized and analyzed based on three stages of the Transformative Learning cycle—Stability, Reflection, and Transformation. The five participants’ three stages are then discussed according to the participants’ perceptions of their identities as artists, their understanding of art, and their approaches to artmaking, based on the research questions. The findings of the study suggest that the participants experienced heightened levels of Transformative Learning in individualized ways. Data indicate that specific class activities—a gallery trip, in-class artmaking sessions with material and time constraints, and an artist statement exercise—contributed to participants’ transformations over the course of the semester. Once the semester ended, some participants took further actions based on their changed perspectives of artist identities, understanding of art, and approaches to artmaking, which indicates that dramatic shifts and multiple perspectives can be achieved in an art class designed to teach for Transformative Learning

Textiles as Material Gestalt: Cloth as a Catalyst in the Co-designing Process

Textiles is the common language within Emotional Fit, a collaborative research project investigating a person-centred, sustainable approach to fashion for an ageing female demographic (55+). Through the co-designing of a collection of research tools, textiles have acted as a material gestalt for exploring our research participants' identities by tracing their embodied knowledge of fashionable dress. The methodology merges Interpretative Phenomenological Analysis, co-design and a simultaneous approach to textile and garment design. Based on an enhanced understanding of our participants textile preferences, particular fabric qualities have catalysed silhouettes, through live draping and geometric pattern cutting to accommodate multiple body shapes and customisation. Printedtextiles have also been digitally crafted in response to the contours of the garment and body and personal narratives of wear. Sensorial and tactile interactions have informed the engineering and scaling of patterns within zero-waste volumes. The article considers the functional and aesthetic role of textiles

Makers at School, Educational Robotics and Innovative Learning Environments

This open access book contains observations, outlines, and analyses of educational robotics methodologies and activities, and developments in the field of educational robotics emerging from the findings presented at FabLearn Italy 2019, the international conference that brought together researchers, teachers, educators and practitioners to discuss the principles of Making and educational robotics in formal, non-formal and informal education. The editors’ analysis of these extended versions of papers presented at FabLearn Italy 2019 highlight the latest findings on learning models based on Making and educational robotics. The authors investigate how innovative educational tools and methodologies can support a novel, more effective and more inclusive learner-centered approach to education. The following key topics are the focus of discussion: Makerspaces and Fab Labs in schools, a maker approach to teaching and learning; laboratory teaching and the maker approach, models, methods and instruments; curricular and non-curricular robotics in formal, non-formal and informal education; social and assistive robotics in education; the effect of innovative spaces and learning environments on the innovation of teaching, good practices and pilot projects