Usage-Based Storyboarding for Web Information Systems

On a high level of abstraction a Web Information System (WIS) can be described by a storyboard, which in an abstract way specifies who will be using the system, in which way and for which goals. While syntax and semantics of storyboarding has been well explored, its pragmatics has not. This paper contributes the first step towards closing this gap by analysing the usage of WISs. Starting from a classification of intentions we first present life cases, which capture observations of user behaviour in reality. We discuss the facets of life cases and present a semi-formal way for their documentation. Life cases can be used in a pragmatic way to specify a story space, which is an important component of a storyboard. In a second step we complement life cases by user models that are specified by various facets of actor profiles that are needed for them. We analyse actor profiles and present a semi-formal way for their documentation. We outline how these profiles can be used to specify actors, which are an important component of a storyboard. Finally, we analyse contexts and the way they impact on life cases, user models and the storyboard

Content warehouses

Nowadays, content management systems are an established technology. Based on the experiences from several application scenarios we discuss the points of contact between content management systems and other disciplines of information systems engineering like data warehouses, data mining, and data integration. We derive a system architecture called "content warehouse" that integrates these technologies and defines a more general and more sophisticated view on content management. As an example, a system for the collection, maintenance, and evaluation of biological content like survey data or multimedia resources is shown as a case study

Intention-Driven Screenography

The visual design development of Web Information Systems is a complex task. At present, the process is mainly based on experiences and seems to be an immovable part of art. Typically, occurs a late consideration of graphical issues that results in inflexibility and cause problems for extension and change management. Database and software systems are mainly based on development phases such as requirement acquisition and elicitation and conceptual modelling. Moreover, users, their preferences and portfolio are taken into consideration. We show in this preprint that these approaches can be generalised to website presentation. We use methods developed for programming in the large, e.g. patterns. We can map patterns to conceptualisations of web page layout, i.e. grids. Patterns shall help us to reuse concepts. This paper introduces the concept of pattern and clarifies their structure and task for the whole development. Because the WIS development process is based on six dimensions, we initially introduce development dimensions and show the seamless integration of the pattern-based approach. We call the art of website layout screenography. Screenography extends web application engineering by scenographic and dramaturgic aspects and intends to support the interaction between system and user. Screenography aims at an individualised, decorated playout in consideration of intention, user profiles and portfolios, provider aims, context, equipment, functionality and the storyline progress. The users orientation of WIS requires the deep integration of user concerns, tasks and expectations into screenography. Therefore, this paper develops concepts of intention- driven screenography

Transforming English as a Second Language Story Readers into Storytellers: Examining Learners\u27 Experiences in a Video Book Trailer Project

Reading is a challenging task for English as a Second Language (ESL) students (Pang, 2008; Nassaji, 2011). Instructors and researchers have explored various ways to promote ESL students\u27 reading development. Since research on story-based pedagogy has shown benefits in the area of language development, stories can be used to promote ESL reading development. Furthermore, research on Digital Booktalk shows that when students engaged in after-reading video production activities they found a new purpose in reading (Gunter & Kenny, 2012). Additionally, digital storytelling (DST) research has revealed that DST can foster learner motivation and autonomy (Hafner & Miller, 2011; Kim, 2014). In this study, ESL instructors engaged adult ESL students in a video book trailer (VBT) production project. ESL students learned story structural elements, drafted story summaries, and used Web 2.0 tools to produce a VBT to retell the stories they read. This phenomenological study investigated ESL students\u27 experiences in the VBT project. Data was gathered from questionnaires, interviews, classroom observations, and student assignments. Student interviews, classroom observations, and open-ended questions in questionnaires were coded. There were two cycles of coding where codes and pattern codes were developed. Data from questionnaires, classroom observation recordings and student assignments triangulated findings from interviews. This study revealed participants\u27 learning benefits, challenges, and their comparisons with their earlier educational experiences. First and foremost, it is suggested that a VBT project could provide integrated and implicit English learning opportunities for reading, vocabulary, writing, pronunciation and speaking. The primary obstacles reported by participants were insufficient time and energy as well as demanding linguistic expectations. When comparing this project with their earlier learning experiences, participants identified that digital production tasks were somewhat familiar. While learning to produce their own VBTs, They developed their digital skills for English learning purposes and mastered video editing skills. Project completers reported that they were excited that they were reading for a brand-new goal and increased their self-efficacy in using English and working on academic projects. Pedagogical implications were provided for future implementation in second language classrooms

Evolving as a Digital Scholar

"What does it take to become a digitally agile scholar? This manual explains how academics can comfortably navigate the digital world of today and tomorrow. It foregrounds three key domains of digital agility: getting involved in research, education and (community) service, mobilising (digital) skills on various levels, and acting in multiple roles, both individually and interlinked with others. After an introduction that outlines the foundations of the three-dimensional framework, the chapters focus on different roles and skills associated with evolving as a digital scholar. There is the author, who writes highly specialised texts for expert peers; the storyteller, who crafts accessible narratives to a broader audience in the form of blogs or podcasts; the creator, who uses graphics, audio, and video to motivate audiences to delve deeper into the material; the integrator, who develops and curates multimedia artefacts, disseminating them through channels such as websites, webinars, and open source repositories; and finally the networker, who actively triggers interaction via social media applications and online learning communities. Additionally, the final chapters offer a blueprint for the future digital scholar as a professional learner and as a “change agent” who is open to and actively pursues innovation. Informed by the authors’ broad and diverse personal experience, Evolving as a Digital Scholar offers insight, inspiration, and practical advice. It equips a broad readership with the skills and the mindset to harness new digital developments and navigate the ever-evolving digital age. It will inspire academic teachers and researchers with different backgrounds and levels of knowledge that wish to enhance their digital academic profile.

Back to the drawing board? : exploring process drawing and pathways to drawing participation in higher education for graphic design students

“I can’t draw”. “Idon’tdraw.” While facilitating my first brainstorming session with undergraduate Visual Communication, Designstudents at Western Sydney University (WSU), I was struck by the absence of any drawing activity in the classroom. Technological innovations have significantly reduced the role of drawing in the design process since the mid-eighties; however, research confirms sketching, or indeed any form of hand-eye coordination provides valuable cognitive and communication functions in the creative process. The ambiguous nature of a freehand sketch allows for creative interpretation, encourages ‘fluency’ and iteration, and provides a ‘thinking trail’ for evaluation. The physical act of drawing can also aid concentration and memory. Many professional designers recognise process drawing as a vital ingredient in their creative thinking processes and those of new graduates. Through a literature review and reflection on my creative practices, this thesis identifies the benefits of process drawing to think, create, communicate and collaboratein the design process. So, if drawing is so useful, why don’t design students use rough sketches and thumbnails in the classroom?Through a practice-led enquiry, I reflect on observations made as both “insider” and “outsider” within my communities of practice. As a professional design practitioner, visual artist, teacher and researcher, I investigate the role and value of process drawing in the twenty-first-century classroom.The attitudes, behaviours and ‘designerly’practices of WSU design students are explored through a multiple-choiceWhy draw?questionnaireconducted over six years.The interviews and group discussions with final-year, high achievingWSU designstudents help clarify the creative thinking practicesof these participants and identify possible barriers to wider drawing participation. The observations,interpretation of theliterature and questionnaire and interview findings underpin the studio exploration into possible pathways to foster drawing participationin the classroom. ASpeed Squigglingactivity was designed to demonstrate the value of drawing and to encouragedivergent thinking, iteration, creative flow, and design thinking skills. APre-and Post-Why draw?questionnaire was collected from second-year WSU Design students before and after theSpeed Squigglingtrial. An analysis of students’ written and visual responses explores the effectiveness of this kind of drawing activity to encourage and foster drawing participation.Back to the drawing board?adds to the critical discourse in drawing research and design education that argues process drawing has an important role to play in the twenty-first century classroom and should continue to be clarified, demonstrated and encouraged in design education

Learner-generated comic (lgc): a production model

Recent advancement of authoring tools has fostered widespread interest towards using comics as a Digital Storytelling medium. This technology integrated learning approach is known as Learner-Generated Comic (LGC) production; where learners' knowledge and ideas on various subjects are synthesized in a form of digital educational comic. Despite the prior evidences for the didactic values of LGC production, most scholars do not emphasise on a quality, theoretically supported, and strategic LGC production methodology that accommodate to interrelated key elements and production methods of LGC. As a result, there is a tendency to view LGC production as challenging and impractical. Essentially, there is a lack of conceptual models and methods that comprehensively tailor the crucial theories, elements, techniques, technological, and systematic processes of LGC production. Within this context, this study attempts to propose LGC production model that serves as systematic approach which includes the fundamental components for learners to produce digital educational comics. Therefore, in order to accomplish the main aim, a number of sub objectives are formed: (1) to determine the core components for LGC production model, (2) to construct a systematic LGC production model based on the identified components, (3) to evaluate the proposed LGC production model, and (4) to assess the LGC products developed by the proposed model users. This study adopts the Design Science Research methodology as the framework of the research process. Activities of LGC production model construction include literature review and comparative study, expert consultation, and user participation. The proposed model is evaluated through user experience testing and expert review. Results from hypothesis testing concludes that the proposed LGC production model is significantly perceived as having quality in serving as a guideline for learners to design and develop digital educational comics. It was also found that the proposed model has been well-accepted by local and international experts. In addition, assessment of LGC products developed from the user experience testing has implicated there are significance differences between LGC products developed by the proposed model users and non-users. In conclusion, adoption of a systematic, scholarly grounded, and authenticated LGC production model can contribute to the planning, implementation, and evaluation of Digital Storytelling session that enhance learning experience through LGC design and development

Evaluating instructor compliance with the utilization of technology in higher education art and design courses

College students of today differ significantly from the students of decades past. To keep up with the students’ shift in age, development level, and various learning styles, instructors must embrace the technological revolution through supporting active learning strategies and technology integration methods. As classrooms grow more individualized for students in all disciplines, art and design students must be able to benefit from this style of instruction. Technology integration creates a learning environment where instructors connect and engage students in the classroom while also preparing them to join the digital workforce. This quantitative study surveyed instructors’ attitudes toward technology and the degree of technology use in higher education art and design classes. The literature in the study examines the history of technology in art and design, the importance of technology integration, types of instructional tools, and the attitudes and obstacles of art and design instructors in higher education institutions. Exploring instructors’ attitudes and theories are fundamental to effective professional growth and development (Avalos, 2011). To establish a foundation for further research, the researcher identified current art and design instructors’ attitudes. The results of the study found that both instructors’ attitudes towards computer use and the instructor’s instructional method positively impact the level of computer use

Why teach a fish to swim? A design-based research study incorporating social media into the professional writing curriculum to shape professional practice and identity

Research has found that professional communicators are not prepared for the challenges that social media presents and face a number of barriers due to a lack of social media knowledge and skills. Correspondingly, higher education has failed to include enough social media and online content to provide learners with the necessary skills for professional practice. Furthermore, the neoliberal objective to shape a flexible workforce has engendered a new form of professionalism that tasks individuals with developing an incorporated branded self. Within the framework of the higher education curriculum, social media can perform two roles for learners: foster workforce competences and provide an authentic community of practice to comodify their brand. The issue for educators is that no comprehensive studies have fully examined the incorporation of a social media component into a professional writing course, identifying the barriers, skills, and processes that facilitate or foster the professionalization of the tools for learners and enable them to use these technologies both appropriately and strategically. This dissertation employed a design-based research methodology to systematically study how to design an effective learning environment for the integration of social media technologies and addressed the following research questions: • What problems might educators face when integrating social media practices into the curriculum? • How can social media technologies facilitate professional identity formation to bridge the transition from the everyday practices of learners to professional practices? The study spanned the time period 2012-2016 and involved the developing, testing, investigating, and refining of a yearlong professional writing course, which included the tools, curriculum, activities, software, and theoretical constructs for the course design (Reeves, 2006, p. 58). The results indicated that students lacked agency on social networks and required guidance when articulating modes of online authenticity. The final iteration of the course design effectively produced a virtual community of practice, as measured through learning analytics, and provided a means to shape professional social media practices and foster professional identity