The document summarizes a dissertation that examines techno-vernacular creativity (TVC) in underrepresented ethnic communities and its potential to increase interest and motivation in STEAM fields. Key points:
1) The dissertation includes a literature review on TVC, prior research, and theoretical frameworks related to culturally situated learning and design.
2) A professional workshop at Georgia Tech brought together experts to explore how TVC can engage underrepresented groups in STEAM. Workshops were also conducted with middle school students.
3) Results found that the professional workshop helped bridge disciplines and cultural differences. Student workshops found expression and art were most engaging and increased interest in STEAM topics.
4) The dissertation examines
Basic Civil Engineering first year Notes- Chapter 4 Building.pptx
Techno-Vernacular Creativity, Innovation & Learning in Underrepresented Ethnic Communities of Practice
1. Techno-Vernacular Creativity, Innovation
& Learning in Underrepresented Ethnic
Communities of Practice
A Dissertation Presented to the Academic Faculty
By Nettrice R. Gaskins
In Partial Fulfillment of the Requirements for the Degree of
Doctor of Philosophy in Digital Media
Georgia Institute of Technology
2. Panel
Celia Pearce, PhD, Advisor/Chair
Georgia Institute of Technology
Jacqueline Jones Royster, PhD, Committee Member
Georgia Institute of Technology
Janet Murray, PhD, Committee Member
Georgia Institute of Technology
Ron Eglash, PhD, Committee Member
Rensselaer Polytechnic Institute
Alessandra Raengo, PhD, Committee Member
Georgia State University
3. Outline
• Introduction
• Theoretical Framework & Prior Research
• Informal Learning Science Contexts
• TVC in Research & Practice
• Methodology
• Results & Findings
• Discussion & Conclusions
• Future Work
5. Definition
A vernacular is the native language or dialect of a
specific population (see Howell, 1688), as opposed to a
language of wider, mainstream or dominant
communication.
Introduction
6. Definition
Techno-Vernacular Creativity (TVC) refers to cultural
art and technology made by underrepresented ethnic
groups (UEGs) – Indigenous, or African and Latino
Diasporas – for their own entertainment and creative
expression.
Introduction
7. Framework for Analysis
As a result of… UEGs are able to…
Reappropriation
redeploy the material and
symbolic power of technology
Improvisation
reconceive of technology that
transgresses that technology’s
designed function and meaning
Conceptual
Remixing
redesign or produce a new material
artifact after the existing form or
function has been rejected
Nettrice Gaskins Rayvon Fouche
Introduction
8. Introduction
contextualize or place something
in a new or different context
synthesize or see relationships
between seemingly unrelated fields
syncretize or invent something new
by combining elements nobody
else thought to put together
Redeployment
Reconception
Re-creation
9. Reappropriation or the cultural process by which UEGs reclaim artifacts from the
dominant culture and environment.
Introduction
14. Research Question
Does Techno-Vernacular Creativity (TVC) within an
informal learning environment (ILE) increase interest
and intrinsic motivation in ethnic groups who are
underrepresented in STEAM?
Introduction
15. Problem Statement
While the enrollment of underrepresented minorities in
postsecondary schools is increasing and UEGs are
more engaged in cultural art and technology, studies
show that STEM achievement of UEGs continue to
decrease.
Introduction
17. Support for Problem Statement
Chart from NPR, source data from Pew Internet and American Life Project, refers to mobile devices only.
Introduction
18. Significance of the Problem
The purpose of this study was to identify and analyze
artworks by practitioners from underrepresented ethnic
communities that use STEM concepts; to explore how
these works can be harnessed to engage UEGs in
STEAM and affect positive learning outcomes.
Introduction
19. STEAM stands for Science, Technology, Engineering, Art and Mathematics.
Introduction
Concept map by Nettrice Gaskins
20. Plan of Action
For this study, I conducted four workshops to examine the
impact of combined research methods with TVC on STEAM
learning among UEGs, including:
• A professional workshop at Georgia Tech with experts
such as artists from groups underrepresented in STEAM
• Three workshops: two with 4th and 8th grade students at
Drew Charter School and one with 6th-7th grade students
at Lithonia Middle School
Introduction
29. Contextual Model of Learning
Socio-Cultural Context
Personal ContextPhysical Context
Adapted from Falk, J.H. & Storksdieck, M. (2005)
Informal Learning Science Contexts
30. Informal Learning Contexts
Contextualize Syncretize Synthesize
Personal Context Sociocultural
Context
Physical Context
Hanging Out Messing Around Geeking Out
Asset Building Connection
Build Knowledge Apply KnowledgeEngage
Assess
Conceptual
Mapping
Interviews
Reflection
Reflect
Falk & Dierking Mimi Ito, et al. Scott, Sheridan & Clark
Improvisation/
Reconception
Remixing/
Re-creation
Reappropriation/
Redeployment
Peer & Self
Assessment
Gaskins/Fouche
Informal Science Learning Contexts
31. Interest & Motivation Design
ARCS Model of Motivational Design (Keller)
Describes learners’ perceptual arousal and inquiry arousal
Uses examples in which learners are familiar such as culture,
present knowledge and prior experience
Helps learners understand their likelihood for success
Helps learners feel rewarded for their effort
Attention
Relevance
Confidence
Satisfaction
Informal Science Learning Contexts
Adapted from Keller, J. M. (2010)
32. Arts-Based Inquiry
Culturally Situated
Design
Arts-Based Learning Digital Media/
Technology
Write/talk about the
artist’s culture(s) in this
work.
Write/talk about what
you see in this art.
Write/talk about the type
technology you used.
Write/talk about how this
artist’s culture relates to
your culture.
Write/talk about what
comes to your mind
when you look at this
art.
Write/talk about how
this technology can be
used to create things
you like.
Write/talk about how you
felt about learning this
artist’s culture.
Write/talk about how
well you think you can
make this art.
Write/talk about how
you felt about using the
software.
Write/talk about what you
liked and did not like
about the artist’s culture.
Write/talk about how
this art is similar to
other art you like.
Write/talk about what
you liked and did not
like about the software.
Attention
Relevance
Confidence
Satisfaction
Personal Context Physical Context Socio-Cultural Context
Informal Science Learning Contexts
34. TVC in Research & Practice
TVC framed this study toward addressing STEAM, by:
• Analyzing TVC in informal learning settings and combining
methods as a means for engaging UEGs [Scott, Sheridan &
Clark, 2014]
• Increasing UEG interest and intrinsic motivation in STEAM;
• Bringing A and B together to diminish the separation between
TVC and STEAM
• Addressing, not only cultural and social issues, but also
satisfying the pedagogical demands of curricula [Eglash, et
al, 2008]
Research & Practice
35. Remixing Bearden
Research & Practice
Artwork courtesy of Romare Bearden; Black Odyssey Remixes app developed by SITES
36. Mapping or diagramming— representing ideas in graphic form—is an important
TVC characteristic that uses techniques such as remixing.
Research & Practice
37. “Afrofuturism is way of re-contextualizing and
assessing history and imagining the future of
the African Diaspora via science, science
fiction, technology, sound, architecture, the
visual and culinary arts and other more nimble
and interpretive modes of research and
understanding.” – Sanford Biggers
Research & Practice
38. TVC modes such as remixing have been integrated with the ethos of techno-
culture (i.e., afrofuturism) that extends to computing.
Mandala CSDT developed with Libby Rodriguez and Ron Eglash/RPI. Artwork by Xenobia Bailey.
Research & Practice
41. Professional CSABL Workshop
• Two-day workshop at Georgia Tech looked at potential
impacts of culturally situated arts-based learning on UEGs
• Convened 21 experts in Learning Sciences, Culturally
Situated Design, STEM Education, and Art
• Quantitative data collection: Tom McKlin developed
instruments to assess the outcome of the workshop
• Qualitative Data Collection: Seed questions, brainstorming
and concept mapping
• Data analysis: Pre-post surveys, feedback forms, social
network analysis, interviews (external); concept maps
42. PAR for the CSABL Workshop
Phase Action
Action Establish relationships and common agenda with
stakeholders
Reflection On research design and knowledge.
Action Build relationships
Identify roles and responsibilities
Collectively design research processes and instruments
Discuss potential outcomes
Reflection On research questions and design
Action Work together to implement research and collect data
Enable participation of all members
Reflection Begin to work on feeding research back to participants
and plan for feedback on process and findings
Action Collectively identify future research and impacts
Adapted from Kindon, et al. (2007)
43. Preliminary Observations & Workshops
• Drew Charter School students were 89% African
American, 2% Hispanic/Latino with less than 9%
White/Other
• 100 8th graders made vision maps; 100 4th graders made
vision maps and used Bearden Remixes app*
• Data collection: 4th & 8th grade math class observations;
vision maps, digital collages, arts-based inquiry and group
discussion*
• Data analysis: Field notes, vision maps
Methodology
44. Personal Meaning Maps
Anbiya Smith, “Personal Map of Leimert Park,” July 10, 2013. Courtesy KCET KAOS Network Youth Voices.
Layer 1 Layer 2
Methodology
47. Middle School Workshop
• Lithonia Middle School students were 95% African
American, 4% Hispanic/Latino, and 1% White/Other
• 35 students made vision maps and used CSDTs and
interactive (tangible) media
• Students visited Museum of Papermaking for Mapping
Place: Africa Beyond Paper
• Data collection: Vision maps, CSDT work, arts-based
inquiry and group discussion, retrospective pre-post self-
assessment, interviews
• Data analysis: Rubrics, interviews and questionnaires
Methodology
51. Limitations/Delimitations
• This study was limited in terms of its generalizability to the
total population of underrepresented ethnic groups.
• The independent and dependent variables were
measured as subjects’ perceptions, not actual academic
performance.
• The vision mapping tool tested and adapted for the
workshop was based on qualitative studies, so the goal
was not to capture large datasets.
Methodology
53. Qualitative: Professional Workshop
CSABL participants created concept maps to brainstorm ideas for culturally
situated arts-based digital media applications.
Results
56. NG: What is a map?
Student1: A map is anything that is in the area.
Student2: A diagram of a certain place.
NG: Okay. So show something that is in this particular area.
[Several students point to different objects in the room.]
NG: What’s a vision map?
Student3: Something that you visualize in your mind.
Results
61. Quantitative: CSDTs
Table 5: Reappropriation (CSDTs)
Frequency Percent Valid Percent Cumulative
Percent
Valid
average 7 87.5 87.5 87.5
above average 1 12.5 12.5 100.0
Total 8 100.0 100.0
Table 6: Improvisation (CSDTs)
Frequency Percent Valid Percent Cumulative
Percent
Valid
below average 3 37.5 37.5 37.5
average 1 12.5 12.5 50.0
above average 4 50.0 50.0 100.0
Total 8 100.0 100.0
Half received above average scores in improvisation for remixing blocks and
using repetition, rotation, or translation to create their designs.
Results
63. Participants were given this statement: There are examples of how people use
math, technology, or art in this workshop. Nearly 44% chose “5=All of the time”.
Quantitative Results: Self-Assessment
(Relevance)
Results
64. Participants were given this statement: This workshop has things that make me
want to ask more questions. 44% of the respondents chose “5=All of the time” .
Quantitative Results: Self-Assessment
(Confidence)
Results
65. Participants were given this statement: I enjoyed this workshop so much that I
would like to know more about this topic. 75% chose “5=All of the time.”
Quantitative Results: Self-Assessment
(Satisfaction)
Results
66. Qualitative Results: LMS Interviews
Expression, and with it Interest, were the most important aspects of the
workshop for the middle school participants.
Results
67. Qualitative Results: LMS Interviews
Art showed 40% of the coverage in participant comments, with the second
biggest area (math) at 21%. Technology (9%) supported math and expression.
Results
69. Findings: Professional Workshop
• By bridging disciplines participants explored how to make
STEAM more meaningful for UEGs; and how to link
culture to STEAM.
• Participants were able to overcome cultural differences,
share and exchange knowledge across disciplines in a
“quick building of trust.” [McKlin, 2014]
• Participants felt they could help decrease stereotypes that
prevent UEGs from participating in STEM and increase
the motivation of UEGs to participate in STEAM.
• The workshop played an important role in influencing
individuals and encouraging potential collaboration.
Findings
70. Findings: STEAM Workshop
• Exposure to culturally responsive materials are important
for underrepresented ethnic learners’ self-concept and
self-image.
• UEGs needed to see themselves reflected in STEAM as
well as the images of the practitioners, themselves.
• Access to different tools allowed participants to interact
with material forms and effects of technology; and fostered
a more “intense, media-centric form of learner
engagement.” [Ito, et al., 2008]
• Making STEAM more meaningful/cultural led to changes
in motivation and knowledge of how STEM is used in art.
Findings
72. Discussion
• TVC demonstrates the informal engagement of UEGs in
STEAM in ways that are typically not classified as
“information technology,” “science,” or “engineering.”
• Artistic or creative expression is essential to learning
STEAM among UEGs.
• As a method for engaging UEGs in STEAM, TVC has
implications for future culturally situated arts-based
learning interventions and collaborations.
• TVC supports several informal learning contexts that
builds on characteristics of interest among UEGs as
requisite for intrinsic motivation.
Discussion & Conclusions
73. Conclusions
• The definition of technology needs to be expanded to
include multiethnic and multilingual qualities of culturally
diverse groups as they relate to STEAM.
• TVC provides culturally situated and culturally responsive
learning contexts for UEGs to learn and master tools in
innovative ways.
• In order for STEAM to be motivating it has to be based on
a careful match between different options and the needs,
interests, goals, abilities, and cultural backgrounds of the
target group.
Discussion & Conclusions
75. References
Baraka, A. (1971). Technology & Ethos. In Raise, Race, Rays, Raze: Essays Since 1965. New
York: Random House, 157.
Barone, T., Eisner, E. (2012). Arts-Based Research. Thousand Oaks: Sage Publications.
Charmaz, K. (2006). Constructing Grounded Theory: A Practical Guide through Qualitative
Analysis. Thousand Oaks, CA: SAGE Publications Ltd.
De Certeau, M. (1984). The Practice of Everyday Life. Berkeley, CA: University of California
Press.
Du Bois, W. E. B. (1989). The soul of black folks. New York: Bantam. (Originally published in
1903).
Eglash, R. Bennett, A., O’Donnell, C., Jennings, S., Cintorino, M. (2006) Culturally Situated
Design Tools: Ethnocomputing from Field Site to Classroom, in American Anthropologist, Vol.
108, Issue 2, pp. 347–362.
Falk, J. H., & Dierking, L. D. (2000). Learning from museums: Visitor experiences and the
making of meaning. Walnut Creek, CA: AltaMira Press.
Falk, J.H. & Storksdieck, M. (2005). Using the Contextual Model of Learning to understand
visitor learning from a science center exhibition. Science Education, 89, 744-778.
76. References
Fouché, R. (2006). Say It Loud, I'm Black and I'm Proud: African Americans, American Artifactual
Culture, and Black Vernacular Technological Creativity. American Quarterly 58.3 (2006) 639-661
Ito, M., et al. (2009). Hanging Out, Messing Around, and Geeking Out: Kids Living and Learning
with New Media. Cambridge, MA: The MIT Press.
Ito, M., et al. (2008). Living and Learning with New Media: Summary of Findings from the Digital
Youth Project In The John D. and Catherine T. MacArthur Foundation Reports on Digital Media
and Learning. Cambridge: MIT Press.
Keller, J. M. (2010). Motivational design for learning and performance: The ARCS model
approach. New York, NY: Springer.
Kindon, S. Pain, R. & Kesby, M. (2007). Participatory Action Research Approaches and
Methods: Connecting People, Participation and Place, New York, NY: Routledge.
Renninger, K.A. (2007). Interest and Motivation in Informal Science Learning. Washington, DC:
National Research Council.
Vlach, J. M. (1976). “The Shotgun House: an African Architectural Legacy: Part I,” Pioneer
America, vol.8, no.1-2.
Wahlman, M. S. (2001). Signs and Symbols: African Images in African-American Quilts. New
York: The Museum of American Folk Art.
Editor's Notes
Good morning everyone. Today I am here to present and defend my dissertation, Techno-Vernacular Creativity, Innovation & Learning in Underrepresented Ethnic Communities of Practice.
Cultural art is less about definition and more about how people find meaning and make sense of their environments through creativity. In this study I associate cultural art with vernacular that describes a look, style or expression that is associated with or native to a particular time, place, event or group.
This study builds on the work of Rayvon Fouché and other scholars that look at how African Americans produce knowledge sets through music, dance, literature, visual art, and sports. Fouché identifies this production as black vernacular technological creativity. As part of my critical analysis of this domain, I applied a different framework to look at the interrelationships between coexistent cultures and subcultures and how they relate to each other in mutually constructive ways.
TVC describes a capacity to contextualize or place something in a new or different context, synthesize or see relationships between seemingly unrelated fields, and syncretize or invent something new by combining elements nobody else thought to put together.
Self-taught Chicano (Mexican American) engineers developed hydraulic automobile suspension systems, a distinguishing feature of modern lowrider culture.
Underwater Dreams is a film about an immigrant Mexican high school team that learned how to build an underwater robot using Home Depot parts. In 2004, they defeated MIT in a competition. One team member refers to controlling this robot as if he were “hittin’ switches.” This is lowrider vernacular plus STEM which is science, technology, engineering and math.
Sierra Leone teen Kelvin Doe, also known as DJ Focus, taught himself engineering and built his own radio station using discarded materials.
Artists Sanford Biggers and David Ellis re-purposed the traditional Hindu/Buddhist mandala and created a breakdancing floor for audience engagement and performance. This mandala-cypher, as a diagram or vernacular map, is a source of improvisation.
DJ Grandmaster Flash is credited with the invention of the first cross-fader or audio mixer by reclaiming parts from a junkyard.
The creative innovations of underrepresented ethnic artists demonstrate the informal engagement of UEGs in STEM in ways that are typically not classified as “information technology,” “science,” or “engineering.” To better understand TVC, this study explores a broader definition of technology and technological practices.
Interest includes stored knowledge, stored value, and feelings that influence both immediate and long-term engagement, questioning behavior, and activity of individuals or groups of individuals around a specific topic. According to Renninger, interest always leads to motivated behavior. With motivation, participants begin to ask questions and seek answers based on their personal interests as they engage with materials.
While ethnic and racial groups that have historically comprised a minority of the U.S. population are growing in size and influence, they remain underrepresented in STEM.
While gaps still remain, the digital divide is narrowing. UEGs are the most numerous and active users of the mobile web – from a smartphone, tablet computer, or mobile network. UEGs also employ technology for very specific goals, linked often to their histories and social locations. TVC counters studies asserting that UEGs are not interested or engaged in STEM.
The contributions of this study would be of interest to scholars in Arts Based Research, Learning Sciences, and Cultural Studies. Studies on the integration STEAM are recent areas of research in the field of Educational Studies, to which this study would be significant.
In this study, I combined three key areas: a) culturally situated design, which connects cultural art with standards-based STEM principles; b) art-based learning, which stimulates the development of 21st century skills such as creativity through inquiry; and c) educational applications of new technologies that can be used to create new openings for learning.
I began with Rayvon Fouche’s theory for Black Vernacular Technological Creativity that looks at how African Americans engage with technology. Fouche gives the example of Grand Master Flash who played a key role in the technical design of audio mixer. Then, I broadened my scope to include vernacular artifacts and cultural ethos that motivates practitioners from diverse ethnic groups that are underrepresented in STEM.
I also looked at the development of culturally situated design tools, or CSDTs that help users learn math and computing principles as they simulate cultural designs. In 2012, I co-facilitated a workshop in Albuquerque, New Mexico with high school students who learned how to use existing CSDTs to create a physical mural with interactive elements.
Through an art-based method of inquiry called close-looking, I showed participants how to extrapolate cultural information from a variety of artworks using different techniques to amplify specific concepts and techniques. For example, diagramming or mapping enables artists to explore math concepts such as geometry. The mandala is one example of a vernacular or conceptual map. This adds another layer or dimension of learning to TVC.
Artists across many ethnic cultures use diagramming to redeploy and remix cultural artifacts such as quilting and hair braiding motifs to produce patterns. They use techniques such as repetition and rhythm to create these patterns.
This type of work is promising in the domains of mathematics and electronic textiles, which include the development of tools that sample or take a portion from one source and reusing it to create a new project.
Like with the cypher in hip-hop, the process of braiding is a unifying gesture; it brings people together. Likewise, braiding practice carries on a tradition of bonding between experts and apprentices.
According to a report from the National Academies, the narrow focus on traditional learning activities is often at odds with this type of work. For this reason, I explored alternative or informal STEAM learning contexts.
Personal learning is facilitated when students’ expectations are fulfilled by displays of works of art or other items of interest; Sociocultural learning uses socially mediated forms of culturally specific communication between the producers of media and users; Physical learning includes connections and interactions in a museum or recreation space that enhances the motivation and expectations of learners
Other informal pathways to learning include: “hanging out,” or social engagement with digital media; “messing around,” or experimentation; and “geeking out,” which is the highest level of technological engagement. Researchers in culturally responsive education look at cultural artifacts such as diagrams or maps as “assets on which learning can occur.”
To assess learning, I adapted instructional materials based on John Keller’s model for motivational design that includes four steps for promoting and sustaining motivations in the learning process.
During school-based workshops, I applied the ARCS model to ask participants questions or give them prompts to write or talk about different artwork.
Romare Bearden was inspired by traditional African American quilting. Bearden’s technique required that, for each piece of paper he cut out, the materials be allowed to respond to what was already laid down as if the pieces were notes in a musical composition. This process is similar to improvisational quilting and music sampling. The Smithsonian’s “Black Odyssey” app allows users to remix Bearden‘s collages and remix sounds by DJ Spooky.
Like maps cultural artworks are based on broad themes or concepts. Concept maps help researchers focus on meaning. For this study, I used a variety of maps such as quilts that communicate stories and other devices that are used to trigger digital content in mobile applications and on multi-touch surfaces with tangible markers that identify a location or element in a two or three-dimensional space.
The mandala or cosmogram is both a conceptual or vernacular map and a cultural frame through which artists combine the past, present and future. Afrofuturism charts the liberation of the African Diaspora from its history of oppression into a future of cosmic possibilities. Several of the artists whose works I analyzed used Afrofuturism and mandalas to represent their ideas.
I worked with artists and software developers to identify cultural designs in art that were amenable to computer modeling. This involved a two-way learning process and negotiation, or what Audrey Bennett calls a “design loop.” Using existing CSDTs as a foundation, I worked with RPI on the development of the AfroFuturism CSDTs. My contribution included the creation of instructional materials that link these tools and artworks to STEM concepts.
I used Constructivist Grounded Theory to synthesize information and Participatory Action Research, to use the information to address a specific social issue.
Eleven (11) participants were African American (not including me as the project’s director), two (2) were Native American/Indigenous, and eight (8) were White/Caucasian.
The purpose of the workshop was to advance the understanding of the potential impacts of culturally situated design strategies and present arts-based learning and research methods that can extend participation and understanding of STEM. Also, participants explored collaboration opportunities.
The 4th grade students did not have access to computers or laptops but they did have iPads and were able to use the Romare Bearden Remixes app to create digital collages and music. Personal Meaning Maps are derived from Concept Mapping and used to illustrate learning outcomes from the same educational experiences across the different learners.
Derived from concept mapping, Personal Meaning Maps or PMMs analyze responses along with four semi-independent dimensions: Extent is designed to capture participants’ understanding of the tool; Breadth measures changes in the number of conceptual categories an individual uses to describe the task; Depth measures conceptual understanding; Mastery gauges where the participant falls along a continuum between novice and expert relative to a specific concept. I adapted this method to design a vision mapping activity.
I facilitated group discussions, interviews and administered a retrospective pre-post self-assessment (questionnaire) to analyze and assess the relationship between cultural information, contextual learning models and UEG interest and intrinsic motivation.
TVC describes a capacity to contextualize or place something in a new or different context, synthesize or see relationships between seemingly unrelated fields, and syncretize or invent something new by combining elements nobody else thought to put together.
Participants’ vision maps and CSDT designs were coded based on four dimensions: Extent is designed to capture participants’ understanding of the tool; Breadth measures changes in the number of conceptual categories an individual uses to describe the task; Depth measures conceptual understanding; Mastery gauges where the participant falls along a continuum between novice and expert relative to a specific concept.
For this study, concepts were aggregated into analytic categories: Interest, Choice/Control, Expression, and Social Interaction. Excerpts of interviews were coded for expressions of affect towards STEAM and the workshop.
The study was not intended to address formal learning activities, not test score performance, but rather to identify and measure subjective characteristics and perceptions related to changes in interest and motivation among UEGs in STEAM that may have occurred as a result of the workshop.
Each map highlights artworks by artists from underrepresented ethnic communities. Ron Eglash later led the development of the Mandala CSDT that was used by participants during the STEAM Learning workshop. I created a curriculum based on visual elements and algorithmic designs in Xenobia Bailey’s art that are simulated by the CSDT.
The Executive Summary indicated that, after the workshop, participants felt they were able to decrease stereotypes that might prevent underrepresented ethnic groups (UEGs) from participating in STEM and increase the motivation of UEGs to participate in STEM. Based on a Social Network Analysis, the evaluators reported that the workshop played an important role in not only influencing individuals but also in encouraging potential collaboration.
Students created vision maps using a template, collaging different elements, including text. They also used the Bearden Remixes app to create digital collages and remix sounds.
Sixteen individuals completed Vision Maps during the STEAM Learning workshop at LMS. Participants fell along a continuum between novice and expert relative to concepts such as remixing and mapping or diagramming in different forms.
Participants were not able to import their own symbols or motifs. However, they were able to use the existing CSDT demos and make changes to the animations in the CSDTs.
These results are based on a questionnaire conducted to assess interest and motivational during the STEAM workshop at Lithonia Middle School. The questionnaire used the ARCS motivation model.
Relevance means the teacher/facilitator used concrete language and examples in which learners are familiar such as culture, present knowledge and prior experience.
37% chose “4=Most of the time.”
Confidence means learners understand their likelihood for success; with confidence they are more willing to speak up and ask questions.
Nearly 13% chose “4=Most of the time” and 25% chose “3=Half of the time.”
For the LMS interviews, concepts were aggregated into larger analytic categories: Interest, Choice/Control, Expression, and Social Interaction.
All means of expression are essential vehicles through which ideas in any domain are learned. Interest is closely related to attention or learners’ perceptual/inquiry arousal.
Excerpts of the interviews were coded for expressions of affect towards science, mathematics, art, technology, and the workshop, including participants’ feelings about these subjects after the workshop, and any expression of changes in feelings towards the subjects as a result of the workshop.
Findings show that this combination led to an increase in interest and motivation among UEGs.