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Online portfolio affordances for Visual Arts educators<br />1. Self-publication<br />Teaching<br />Visual Arts<br />Visual...
What are affordances? More than MacGyverisms.<br />Downloaded from www.fanpop.com<br />
A simple illustration of the aspects of affordances<br />an Object’s tactical affordances<br />may use<br />Property 1<br ...
The computer is configurable = a very different tool<br />THE PEDAGOGICAL CHALLENGE<br />It is important that students are...
2/20/10<br />Travis Noakes<br />5<br />The semiotic complexity of the “speakers” in ICT<br />USER<br />DEVELOPER<br />DEVE...
Three major trends driving technological affordances<br />Cheaper ICT <br />Faster bandwidth<br />Low storage costs<br />
The passive consumer’s mind shifts to the active prosumer’s<br />Web 1.0						Web 2.0		     		What the change means for ed...
Prosumer affordances are relevant @ High School<br /><ul><li> Department of Education’s National Policy
   Support OBE’s democratic objectives.
 Help bridge the digital divide
Addresses the relevance gap, in part.
 Helps bridge the participatory gap.
  Accommodate diverse students’ needs</li></ul>(especially introverts and non-conformists)<br />
Collaboration and communities of practice<br />LOW COLLABORATION<br />Teaching<br />Blogging<br />Sharing videos, images a...
Useful online software for Visual Art and Design<br />LOW COLLABORATION<br />Portfolios<br />Graphic software<br />Photo a...
Creative training
Arts publications
Social bookmarking</li></ul>HIGH COLLABORATION<br />HIGH COLLABORATION<br /><ul><li>Arts-related journalism
Graphics software development</li></li></ul><li>Why trial digital literacy modules in the Visual Arts? <br />The pedagogy ...
Prosumer services’ strategic affordances in visual courses<br />POSITIVE PEDAGOGICAL AFFORDANCES FOR STUDENTS<br />Creativ...
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Affordances Of Online Software For High School Visual Arts

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Online software affordances for visual educators

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  • If you grew up in the 80’s, or are love the Series channel, you should know the TV series whose plot revolved around the concept of affordances. MacGyver used everyday objects to perform extraordinary feats.If McGyver couldn’t work out interesting uses of the objects around him, there wouldn’t be a next episode! http://en.wikipedia.org/wiki/List_of_MacGyver_episodes shows that he survived 7 seasons. He used his scientific knowledge to take advantage of affordances!
  • While McGyver limited himself to a Swiss army knife and duct-tape, the computer and its software is a far more malleable object. Because it is a synthetic mode, it can be configured to do far more.
  • While MacGyver and Magnum’s computers are outdated, they share the same property of being computers that are prepared forparticular tactical and strategic tasks by their software. These provide the technological affordances to support the user’s tactical and strategic aims. In this regard, Visual Arts educators should not treat the computer in the same that that other artist’s materials are.
  • Learners should be encouraged to have a more holistic understanding of the digital environment. They are ill-served if they are not educated about the context of why they are using a particular device, operating system or software to achieve a particular task.
  • Three trends in Information Communication Technology enable it now be included in your Visual Arts and Visual Design curricula.
  • The affordances of web 2.0 now leads prosumers to replace consumers; an active audience has emerged online with more influence than the passive consumer of the past.
  • Digital literacies are an important part of E-education policy and will assist the DOE in supporting democratic ideals, whilst addressing the relevance and participatory gaps.Using digital media in the classroom also leads to better results with non-conformists and introverts.
  • - Is your school focusing on the negatives to the detriment of the positives?
  • There is a role for digital visual literacymodules in high school visual arts and design education:Visual literacy plays an important role in arts education, already. In particular, its focus on formal characteristics supports the understanding a communication’s form can be an important part of its content. This is seldom emphasized in text- and numbers-focused subjects;The studio environment promotes better experimentation with digital media than a normal class setting. There is more scope for collaboration, peer-to-peer education and constructive feedback in a studio.Successful examples of DVL modules may be readily adopted in other subjects, since using the Form, Theme and Context approach to teach DVL in art education provides a framework that’s easily transposed to other disciplines (Sandell, Renee. 2009).These suit OBE’s aims and can assist with bridging the relevance, partcipation and participatory gaps.
  • Imagine what MacGyver could do today with his desktop?
  • - Have your school’s policies adapted to accommodate the rise of generation Content?
  • - Does your school provide a sound contextual framework for media use?
  • With the right curricula and policy in place; Visual Arts and Design teachers can focus on educating about positive affordances!
  • Carbonmade’s limited storage and minimal social media functionality makes it ideal for grade 10 educators and students.
  • Transcript of "Affordances Of Online Software For High School Visual Arts"

    1. 1. Online portfolio affordances for Visual Arts educators<br />1. Self-publication<br />Teaching<br />Visual Arts<br />Visual Design<br />2. Networked content creation<br />Media<br />Other<br />3. Networked innovation<br />Prepared for a CPUT Technology and Education student research exercise by <br />Travis Noakes, who hereby asserts his moral right as this presentation’s author.<br />© Travis Noakes 2010.<br />
    2. 2. What are affordances? More than MacGyverisms.<br />Downloaded from www.fanpop.com<br />
    3. 3. A simple illustration of the aspects of affordances<br />an Object’s tactical affordances<br />may use<br />Property 1<br />First set of action possibilities<br />Subject <br />Property 2<br />Second set of action possibilities<br />Etc…<br />Qualities<br />Strategic objectives<br />free or costly<br />present or absent<br />visible or hidden<br />perceived or missed<br />functioning or not working<br />Technological<br />Pedagogical<br />Social<br />
    4. 4. The computer is configurable = a very different tool<br />THE PEDAGOGICAL CHALLENGE<br />It is important that students are <br />encouraged to think about the varied <br />opportunities that different computer<br />hardware configurations and <br />software afford in art and design.<br />Simple examples<br />Desktop, laptop, netbook, iPad, mobile phone <br />Microsoft, Apple or Ubuntu OS<br />Corel, Adobe or Aviary<br />THE PEDAGOGICAL OPPORTUNITY<br />Address the Arts and Culture curriculum’s traditional neglect of logical thinking; which could be more explicitly included within the Arts and Culture Assessment standards (Barnes and Venter, 2008: 18).<br />
    5. 5. 2/20/10<br />Travis Noakes<br />5<br />The semiotic complexity of the “speakers” in ICT<br />USER<br />DEVELOPER<br />DEVELOPER’S DEPUTY<br />Software application’s <br />semiotic interface<br />perception<br />brand<br />software <br />experience<br />functionality offering<br />interpretation<br />invokes an <br />action<br />feedback<br />coded language<br />learns<br />PLATFORM<br />Desktop, laptop, notebook, netbook or mobile<br />Device<br />Operating System<br />Browser<br />
    6. 6. Three major trends driving technological affordances<br />Cheaper ICT <br />Faster bandwidth<br />Low storage costs<br />
    7. 7. The passive consumer’s mind shifts to the active prosumer’s<br />Web 1.0 Web 2.0 What the change means for education<br />Licensed or purchased &gt; Free = Easily adoptable <br />Expert publishers &gt; Easy-to-publish = All have a voice <br />Isolated &gt; Collaborative = Co-create knowledge<br />Unrated content &gt;Rateable = Rate and share reviews<br />Single source &gt; Mash-ups = Easily contrast information<br />Proprietary code &gt; Open-source = Can be peer-reviewed<br />Copyrighted content &gt; Shared content = Customise publications <br />Directory (taxonomy) &gt;Folksonomy (tagging) = Personal meanings<br />Advertising &gt; Word-of-mouth = Reputation management<br />Push content &gt; Pull content = What interests me<br />Passive consumer &gt; Interactive prosumer = Value can be co-created<br />Based on a table from the book Web 2.0: New Tools, New Schools<br />
    8. 8. Prosumer affordances are relevant @ High School<br /><ul><li> Department of Education’s National Policy
    9. 9. Support OBE’s democratic objectives.
    10. 10. Help bridge the digital divide
    11. 11. Addresses the relevance gap, in part.
    12. 12. Helps bridge the participatory gap.
    13. 13. Accommodate diverse students’ needs</li></ul>(especially introverts and non-conformists)<br />
    14. 14. Collaboration and communities of practice<br />LOW COLLABORATION<br />Teaching<br />Blogging<br />Sharing videos, images and music<br />Rating others’ work<br />Providing reviews<br />Self-publication<br />Visual Arts<br />Visual Design<br />Music<br />Photography<br />Video<br />MEDIUM COLLABORATION<br />Social networking<br />Social bookmarking<br />Product recommendation<br />Networked content creation<br />Writing<br />HIGH COLLABORATION<br />Online gaming<br />Citizen journalism<br />Software development<br />Scientific collaboration<br />Networked innovation<br />Computer Science<br />Physics<br />Chemistry<br />Creators - Critics - Collectors - Joiners - Spectators – Inactives<br />
    15. 15. Useful online software for Visual Art and Design<br />LOW COLLABORATION<br />Portfolios<br />Graphic software<br />Photo and video-editing software<br />MEDIUM COLLABORATION<br /><ul><li>Creative communities
    16. 16. Creative training
    17. 17. Arts publications
    18. 18. Social bookmarking</li></ul>HIGH COLLABORATION<br />HIGH COLLABORATION<br /><ul><li>Arts-related journalism
    19. 19. Graphics software development</li></li></ul><li>Why trial digital literacy modules in the Visual Arts? <br />The pedagogy of Visual Arts and Visual Design’s studio-based education is well-suited to<br />experimentation with digital affordances.<br />
    20. 20. Prosumer services’ strategic affordances in visual courses<br />POSITIVE PEDAGOGICAL AFFORDANCES FOR STUDENTS<br />Creative self-definition: build one’s creative CV<br />Searchable: be visible online<br />Motivation: become part of Arts History<br />Prepare for adulthood: out-of-school opportunities<br />Raise standards: view professional portfolios<br />Digital literacy: start learning about synthetic art<br />Long-term vision: non-corporate, creative-self-identity<br />Life-long learning: continuous self-improvement<br />Learn from mistakes: better early, than late!<br />+ FOR TEACHERS<br /><ul><li>Create a digital archive of evidence
    21. 21. Raise the profile of Visual Culture</li></li></ul><li>Prosumer services’ strategic affordances in visual courses<br />POSITIVE SOCIAL AFFORDANCES FOR STUDENTS<br /><ul><li> Get feedback: peer-to-peer, school-to-school
    22. 22. Interact with other teachers and experts
    23. 23. Learn about self-promotion: low-cost experimentation
    24. 24. Raise the profile of South African art and design online</li></ul>+ FOR TEACHERS<br /><ul><li> Become (more) digitally literate
    25. 25. Publish their knowledge; become a domain expert
    26. 26. Interact with other schools and institutions
    27. 27. Prepare their students for the real-world</li></li></ul><li>The computer medium is different. Different outcomes.<br />AVOID THE INFANTILISM OF CYBER-HYPE!<br />Teaching about environmental affordances supports traditional art.<br />Simulation versus lived-in reality<br />2D screen display versus 3D tactile environment<br />Digital file versus analog output<br />Obsolescent versus durable media<br />Include an affordances checklist in grade 11’s <br /> module focused on strategic affordances<br />
    28. 28. Preparing the youth? Generation C(ontent)<br />2005 Pew Internet & American Life Project survey Teen Content Creators and<br />Consumers revealed that over half of all teens with access to broadband were<br />creating content for it. December 2007’s sequel report Teens and Social Media<br />confirmed that teen content creation is rapidly becoming more prevalent than first<br />indicated.<br />
    29. 29. “C” issues! Privacy, security, copyright, feedback EQ, …<br />Does your curricula inspire students to<br />be digitally literate?<br />Understand and respect copyright (where relevant)<br />Understand the difference between public and private voice (if digital, probably not private)<br />Respect others online with emotionally intelligent ratings and feedback (cyber-bullying policy?)<br />Know how to protect their safety (safeguard contactdetails)<br />Identify spam. Spot scam. Kill viruses.<br />Be effective prosumers.<br />
    30. 30. Positive affordances create value, negative ones create problems.<br />Online software is either a benefit or a hazard. If it’s not a benefit, that’s not this teacher’s problem!<br />
    31. 31. CarbonMade’s example. Please read handout! <br />
    32. 32. But wait…. there’s so much more!<br />
    33. 33. Thanks for your time. Have fun!<br />Downloaded from entertainment.desktopnexus.com<br />
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