This document discusses online portfolio affordances for visual arts educators. It discusses how self-publication, networked content creation, and networked innovation can provide opportunities for students. Specifically, it focuses on how these affordances allow students to define themselves creatively, make their work searchable and visible online, participate in art history, learn digital literacy skills, and gain experience that prepares them for life after school. However, it also cautions that teachers should ensure students understand issues like privacy, copyright, providing appropriate feedback, and protecting their safety online. The document provides examples of software and services that can be used to take advantage of these affordances in a safe and productive way.

1. Online portfolio affordances for Visual Arts educators 1. Self-publication Teaching Visual Arts Visual Design 2. Networked content creation Media Other 3. Networked innovation Prepared for a CPUT Technology and Education student research exercise by Travis Noakes, who hereby asserts his moral right as this presentation’s author. © Travis Noakes 2010.

2. What are affordances? More than MacGyverisms. Downloaded from www.fanpop.com

3. A simple illustration of the aspects of affordances an Object’s tactical affordances may use Property 1 First set of action possibilities Subject Property 2 Second set of action possibilities Etc… Qualities Strategic objectives free or costly present or absent visible or hidden perceived or missed functioning or not working Technological Pedagogical Social

4. The computer is configurable = a very different tool THE PEDAGOGICAL CHALLENGE It is important that students are encouraged to think about the varied opportunities that different computer hardware configurations and software afford in art and design. Simple examples Desktop, laptop, netbook, iPad, mobile phone Microsoft, Apple or Ubuntu OS Corel, Adobe or Aviary THE PEDAGOGICAL OPPORTUNITY 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).

5. 2/20/10 Travis Noakes 5 The semiotic complexity of the “speakers” in ICT USER DEVELOPER DEVELOPER’S DEPUTY Software application’s semiotic interface perception brand software experience functionality offering interpretation invokes an action feedback coded language learns PLATFORM Desktop, laptop, notebook, netbook or mobile Device Operating System Browser

6. Three major trends driving technological affordances Cheaper ICT Faster bandwidth Low storage costs

7. The passive consumer’s mind shifts to the active prosumer’s Web 1.0 Web 2.0 What the change means for education Licensed or purchased > Free = Easily adoptable Expert publishers > Easy-to-publish = All have a voice Isolated > Collaborative = Co-create knowledge Unrated content >Rateable = Rate and share reviews Single source > Mash-ups = Easily contrast information Proprietary code > Open-source = Can be peer-reviewed Copyrighted content > Shared content = Customise publications Directory (taxonomy) >Folksonomy (tagging) = Personal meanings Advertising > Word-of-mouth = Reputation management Push content > Pull content = What interests me Passive consumer > Interactive prosumer = Value can be co-created Based on a table from the book Web 2.0: New Tools, New Schools

9. Support OBE’s democratic objectives.

10. Help bridge the digital divide

11. Addresses the relevance gap, in part.

12. Helps bridge the participatory gap.

13. Accommodate diverse students’ needs(especially introverts and non-conformists)

14. Collaboration and communities of practice LOW COLLABORATION Teaching Blogging Sharing videos, images and music Rating others’ work Providing reviews Self-publication Visual Arts Visual Design Music Photography Video MEDIUM COLLABORATION Social networking Social bookmarking Product recommendation Networked content creation Writing HIGH COLLABORATION Online gaming Citizen journalism Software development Scientific collaboration Networked innovation Computer Science Physics Chemistry Creators - Critics - Collectors - Joiners - Spectators – Inactives

16. Creative training

17. Arts publications

22. Interact with other teachers and experts

23. Learn about self-promotion: low-cost experimentation

25. Publish their knowledge; become a domain expert

26. Interact with other schools and institutions

28. Preparing the youth? Generation C(ontent) 2005 Pew Internet & American Life Project survey Teen Content Creators and Consumers revealed that over half of all teens with access to broadband were creating content for it. December 2007’s sequel report Teens and Social Media confirmed that teen content creation is rapidly becoming more prevalent than first indicated.

29. “C” issues! Privacy, security, copyright, feedback EQ, … Does your curricula inspire students to be digitally literate? Understand and respect copyright (where relevant) Understand the difference between public and private voice (if digital, probably not private) Respect others online with emotionally intelligent ratings and feedback (cyber-bullying policy?) Know how to protect their safety (safeguard contactdetails) Identify spam. Spot scam. Kill viruses. Be effective prosumers.

30. Positive affordances create value, negative ones create problems. Online software is either a benefit or a hazard. If it’s not a benefit, that’s not this teacher’s problem!

31. CarbonMade’s example. Please read handout!

32. But wait…. there’s so much more!

33. Thanks for your time. Have fun! Downloaded from entertainment.desktopnexus.com