Moocseum - OpenEd13


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Slides for presentation on MOOCseum learning model. Presented at Open Education Conference in Park City, UT - November 8, 2013

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  • Ed.D is not the stepchild of the Ph.D; rather a scholar-practitioner degree. My scholarship is MOOC, my practical is MOOCseumMOOCseum is a mix of MOOCs and Museums…nifty. Why is this a beneficial relationship? Both are learning environments and deployed in a unique and locked space and time. And both were created yearning for two-way participation yet the dominant paradigm in both fields has not focused on this participation (except for button pushing to equal participation)
  • *Michael Peter Edson, Director of New Media at the Smithsonian, noted a research study done by the organization about how people gauge authority with existing structures. 12-18 year olds associated no space of expertise to the Smithsonian. George noted something similar with what MOOCs can do for universities – re-establish their relevance to community and society
  • WhenKubrik wrote 2001, he lived in a world of supercomputers and imagined the future like a Texan would (no, he was not from Texas)…bigger is better. Museums followed suit. While computing went from institutional to personal to mobile, museums have remained…
  • Museums continue to get bigger as an institution and structure, ignoring the individual and the relationships that started the museum movement 300 years ago.
  • The National Gallery of Art offers Open Access to any image in their collection believed to be in the public domain(1928), despite a provision in copyright law that allows for intellectual protection re: marketability of imageIf this is the direction museums are moving (open access to image; no worry of reproduction or distribution), it’s time for the entire museum, nonformal learning and all, to come along.
  • Defining MOOC is akin to herding cats
  • Gardner Campbell says every word in MOOC acronym is up for debate – we need to close that debate. That debate is already closed in the mainstream.
  • We’ve coveredconnectivism a lot at OpenEd13. IMO Andrew Ng missed a golden opportunity to explore AI/Machine Learning in the context of learning theory. Collaborative knowledge-building is a learning model based in digital social learning theory, where the sum of a learning experience is greater than the individual members when those members are engaged in a cadre or cohort scaffolded to blossom into community. Participatory museum is about two-way communication between patrons and the institution; so far the focus has been in real spaces, with digital work remaining a fascimile of the museum or more “personalized” one-way interaction. OER is both a piece of the MOOCseum as well as a byproduct.
  • Many institutions are both interested in their brand recognition and their educational mission. We cannot ignore the dominant MOOC rhetoric when building new models, hybrids or supplements. Yesterday Khan Academy partnered with The Getty Center, a museum group with a trove of education materials. Like what Rory McGreal said on Wednesday, this has happened in the “name of Open,” but open is now a term for access to view and not to engage, share, build, or distribute…it lacks the four R’s. In approaching nonformal institutions, we must at least be aware of how brand is viewed.
  • This is not a flipped classroom nor is the MOOC a copy of an existing course. The tangible event runs in conjunction with the MOOC, yet a visitor need no knowledge of the MOOC nor does a MOOCster need to ever visit the exhibition. However, the exhibition gets more attention in an educational context than it would in traditional manners. There are more events for patrons, more opportunities for questions and comments, and depending on the museum, potential for constructivist or problem-based learning.
  • Each experience is unique, but when you can blend unique real and the unique digital you get a truly individual, and in many cases personal, learning experience. And personalized learning should be taking concepts and theories and utilizing them in a concrete manner that benefits your community rather than an algorithm that makes learning a digital Choose Your Own Adventure.
  • Taking from poststructuralism…The supplement is that space where we have scaffolded certain elements in an effort to assuage knowledge gaps and provide enough structure without overwhelming the divergent elements, and the students are beyond that and in a space of their own personal practical use…what happens when the learning becomes truly personal and not “personalized” in an algorithm. Stealing meditation discourse to discuss this…the space where you are fully in the present is known as “the gap.” Your mind is not plotting the future or pulling the past, you are firmly in the present moment…you are. The same goes for learning, where you are not focused on assessment or worried you are missing something, but you understand the material to a point you are one with it and it becomes part of how you operate. This is what we all truly desire for learning yet cannot trust to happen due to systems of accreditation, assessment and metrics. In a nonformal learning space, though, this is not only possible – this should be celebrated!
  • Not only opening the image but the primary sources about the image. Also, this plays into the notion of digital humanities…there are a lot of literature and production-based opportunities in DH, but museums are often last to the party when it comes to new movements…this is a chance to engage a new and unique brand of scholarship on an early floor. Also, there is an opportunity to really view the MOOC in nonformal terms…even the earliest MOOCs had institutional branding and thus there was a formality even if it was just institutional memory and fought against by the facilitator…a nonformal MOOC space has potential we have yet to explore.
  • Cost – it depends on how you want to do it. The spoke & wheel model of many MOOCs allows hosting to be free via various blog services, meaning human resources are the only cost (and most museums have edu departments). There’s tons of grant money (at least in the US) for helping museums digitize. You could tie both together in a kickass grant. IP – This is a fear of Learners – You can’t tell a museum “If you build it, they will come.” These are groups whose population continues to age like a Presbyterian congregation. There is a lack of trust on getting people in the door. Hosting – Discussed in cost. Larger institutions want control, and they purport reasons that make a lot of sense to themselves. If you LMS it, you are going to limit the potential benefits of the MOOC just through favoring an Intranet. In a world of measurement and analytics, it might be more important to a Board of Directors to count registered members than weed through an Internet of ideas.User/Creator Society – Many people call the instructors of MOOCs “facilitators.” I resist that, because the next step, as evidenced by several presenters here, is to not call the facilitator an expert. Learning, from Vygotsky, is a journey through zones of proximal development from novice to expert. An expert is a facilitator, but a facilitator is not necessarily an expert. A MOOCseum is in part designed to celebrate expertise, but if the model comes to shun expertise to celebrate the user/creator w/o looking at ZPDs, that’s a dangerous slope.
  • Moocseum - OpenEd13

    2. 2. ABOUT THE PRESENTER Rolin Moe Ed.D Candidate, Learning Technologies Pepperdine University Twitter: RMoeJo Hashtag: #MOOCseum URL: Slides: Background: moocseumpepperdine
    3. 3. THE STRUGGLES FACING MUSEUMS *A loss of authority *Culturally viewed as social mausoleum *Declining patronage *Declining government patronage Detroit Museum of Art *Archaic views of ownership/IP & education *Inertia
    4. 4. 2001: A MUSEUM ODYSSEY
    5. 5. EVERY TIME I LOOK AT A GREAT PIECE OF ART, I SEE SOMETHING DIFFERENT. EACH EXPERIENCE IS UNIQUE. - NUMEROUS Self Portrait (1889) by Vincent Van Gogh Collection of Mr. & Mrs. John Hay Whitney On display at National Gallery of Art (Washington, D.C.) Similar works owned by same collector have sold for $80M US Open Access image use
    6. 6. UNDERSTANDING TERMS *The role of museums is to facilitate the increase and diffusion of knowledge among citizens. - paraphrase of James Smithson *The purpose of education is to help foster citizens to be publicly useful and privately happy. - paraphrase of George Siemens
    7. 7. Experts Agree ? There is a great deal of discussion about the MOOC, little consensus on its variables and origins amongst educators, and a one-sided debate of one variant of the model in mainstream literature.
    8. 8. OUR WORKING DEFINITION Massive – Available to many; potentially limitless Open – The structured learning experience (course & supplemental materials) is free of charge Online – The hub of the course is based on the Internet via the host museum; interaction happens throughout the Web. Course – A time-defined period of study including registration, affiliation and commencement. *In this definition scalability is not synonymous with standardization.
    9. 9. MOOCSEUM THEORETICAL FOUNDATION Connectivism (see Siemens, 2004) Artificial Intelligence/Machine Learning (see Dietterich & Michalski, 1984) Collaborative Knowledge-Building (see Riel & Sparks, 2010) Participatory Museum (see Simon, 2010) Open Education Resources (See Wiley, 2001)
    10. 10. 1. A MOOCSEUM IS A “TRADITIONAL” MOOC metodologia/conectivismo via Chronicle of Higher Education
    12. 12. 3. A MOOCSEUM AUGMENTS TANGIBLE AND DIGITAL Museum of London iPhone App – Augment London!
    13. 13. 4. A MOOCSEUM IS A SUPPLEMENT; IT EXPLORES “THE GAP” Cakes (1963) by Wayne Thiebaud. Oil-on-canvas Cupcakes (2010) by Megan Fizell. Icing-on-Flour/Sugar
    14. 14. HOW DOES THE MUSEUM BENEFIT THE MOOC? *OER *Digital Humanities *MOOC as Nonformal Learning Space
    15. 15. MUSEUM/INSTITUTION CONCERNS *Cost to Museum *Protection of Intellectual Property *Soliciting Learners for MOOCseum *Hosting – Internet or Intranet? *The Place of the Expert in a User/Creator Society
    16. 16. A FINAL CONSIDERATION People say that in a great painting you see something different every time you view it. Why are the places that host these great paintings doing the same pedagogical things every time they display the works?