The evolution of a cooperative work framework for e-Learning

This paper details the evolution of a Framework for e-Learning, to a Cooperative Work Framework for e-Learning, as presented at the IASK conference (Graham 2008a) and annotated accordingly. It begins by discussing the development of the original Framework for e-Learning, and how this study resulted in a further study investigating whether the use of Blended Learning could fulfill or at least accommodate some of the human requirements presently neglected by current e-Learning systems as identified by the original Framework. This second study evaluated an in-house system: Teachmat, and discussed how the use of Blended Learning had become increasingly prevalent as a result of the enhancement and expansion of Teachmat. It looked at the employment of Blended Learning and Teachmat’s relationship to human and pedagogical issues, as well as both the positive and negative implications of this reality. PESTE factors from Sociology were then applied to appraise the adoption of e-Learning, leading to the proposal of PESTE factors for educational software and e-Learning in particular. Finally, the study evolved to reconsider e-Learning in relation to a Cooperative Work Framework, revealing critical weakness in the fundamental nature of e-Learning and its consequent propensity for failure

The Power of Voice: The Indian Arts Research Centers Identity Shift

Over the past three decades and in a significant shift, museum professionals have been collaborating with tribal communities by incorporating their voices into the daily tasks of exhibition design, education, and programs, as well as collections care and storage. This study will examine the Indian Arts Research Center\u27s history and identity by highlighting collaborative projects that have resulted in the inclusion of Native voices and in some cases a joint decision-making process, which I argue has shifted the IARC\u27s institutional identity. In the past, the IARC collection has mostly been managed and created by non-Native people, and Native input was not always consistently included. This shift to collaboration is significant in that it has created partnerships with tribal communities no longer is the relationship between institutions and communities a one-way street. This study will also bring voices of IARC staff, Native artists, and cultural advisers to the forefront

Toward sustainable lifestyles through collaborative consumption platforms: a case study of a community from Montevideo city.

In a world in which market-oriented economies steer human endeavours on a global scale, the urgency for moving towards more sustainable futures has become more than evident. The role design plays as co-producer of everyday life, both in its physical and social construction, demands today designers to lead collective action through visions of sustainable lifestyles (Manzini, 2015; Irwin, 2015). Urban citizens, concerned with the unsustainability of dominant practices have been actively participating in such transitions, bringing changes into the lifestyles of their communities. Described as collaborative organizations, these bottom-up initiatives use social media and act as grassroots organizations (Manzini, 2015). Alternatively, these initiatives also fall under the umbrella notion of the collaborative or sharing economy. However, this notion is not representative of the diversity in those organizations as the phenomenon encompasses diverse endeavours wherein aims, motivations, organizational structures, and consequent societal and environmental impact vary widely from case to case. This research aims to learn, from an empirical viewpoint, how and why citizens interact and engage in these practices, through a case study of a citizen-led initiative from Montevideo, Uruguay. This platform and community propose a solution to the problem of accumulation of disused goods, configuring alternative practices of consuming, using, and disposing of goods. The case is analyzed with literature from collaborative economy studies; relevant concepts from Design for Social Innovation; and several theories brought together by Transition Design, used as a conceptual framework for sustainable lifestyles. The study suggests that on top of various motivations, engagement in community-oriented collaborative platforms can be explained by technological and cultural arrangements that foster a sense of belonging through giving active roles to participants in the community. Therefore, it is argued that these practices represent a step in transitions toward sustainable lifestyles as they engage citizens in self-organization and increase the possibilities of local and endogenous satisfaction of needs, at a global scale (in the sense of ‘cosmopolitan localism’). However, challenges for these platforms are building governance that prevents centralization of power and supporting its technological infrastructure without compromising their non-profit character with financial arrangements. Moreover, an important shortcoming is the reliance on centralized mass production and consumption, as these systems do not propose a distributed alternative to production but only to consumption practices. For that reason, environmental benefits cannot be claimed without further research

The Everywhere Museum of Everything: the curatorship challenge, from cigital urban art to NFTs

This article focuses on the overproduction of aestheticised digital content, a testament to social, cultural or recreational experiences, paradoxically short-lived and forgotten. These public aestheticised digital records of social interactions, intellectual engagement or consumerist indulgence are uploaded onto social networks and represent not only a real and abundant ethnographic portrait of contemporaneity, which could be searchable by geography, demography or subject, but also acquire remarkable potential as raw material for creative and artistic research, remixing, digital archaeology or exhibition. From this point of view, their curation is justified. The Everywhere Museum of Everything is the designation given by the author to the augmented urban spaces, populated by these layers of original and remixed digital audio-visual information, interconnected by hashtags and geo-tags, which can be rendered visible through augmented reality tools, thus transforming any urban space into a digital gallery of their recent social, aesthetic or ethnographic history.info:eu-repo/semantics/publishedVersio