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This document proposes using digital media and culturally situated learning to support STEAM education. It suggests building on successful methods in three key areas: allowing students to creatively improvise with cultural materials to develop identity and find personal meaning; incorporating ideas and symbols into art and game-based learning activities; and transforming technology in a way that creates new traditions and practices. The goal is to use cultural heritage arts to help conceptualize science, technology, engineering, and math learning.
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2012 nov overview_df.pptx
This document discusses digital futures in higher education and aligning institutional strategies with pedagogical innovation. It outlines opportunities like diverse learning spaces, abundant online resources, and knowledge being accessible through networks. It also examines challenges such as providing seamless learning across devices, developing digital literacies, personalizing education, and establishing digital scholarship as the standard.
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2012 nov overview_df.pptx
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Addasu perthnasoedd: dod â threftadaeth ddiwylliannol a phobl at ei gilydd me...
This short presentation is concerned with some of the important changes that impact upon cultural heritage in the contemporary world, and is based on the work being undertaken by RICHES – Renewal, Innovation, and Change: Heritage and European Society – a research project funded by the European Commission’s Seventh Framework Programme. The project’s main objective is to reduce the distance between people and culture, recalibrating the relationship between heritage professionals and heritage users in order to maximise cultural creativity and ensure that all of Europe can benefit from the social and economic potential of cultural heritage.
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The document discusses new educational paradigms including constructivism, connectivism, and lifelong learning. It outlines key modern competencies like communication, digital skills, learning to learn, and cultural awareness. Constructivism and social constructionism are discussed as theoretical bases for learning as an active process. The document also mentions using technology and methods like mind mapping, cooperative learning, and research projects. Guidelines are provided for creating effective mind maps with branches radiating from a central topic in multiple colors and styles.
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Addasu perthnasoedd: dod â threftadaeth ddiwylliannol a phobl at ei gilydd me...
This short presentation is concerned with some of the important changes that impact upon cultural heritage in the contemporary world, and is based on the work being undertaken by RICHES – Renewal, Innovation, and Change: Heritage and European Society – a research project funded by the European Commission’s Seventh Framework Programme. The project’s main objective is to reduce the distance between people and culture, recalibrating the relationship between heritage professionals and heritage users in order to maximise cultural creativity and ensure that all of Europe can benefit from the social and economic potential of cultural heritage.
Cultural Heritage is made, held, collected, curated, exhibited, or simply exists in many arenas. In this context, it is possible to speak of the ‘decentring’ of culture and cultural heritage away from institutional structures towards the individual. Undeniably, the nature of the change brought about by the pace and scope of developments in digital technology is unprecedented. With the advent of digitisation and the migration from the analogue to the digital, what demands have arisen in relation to how we understand, collect and make available Europe’s cultural heritage? In what ways is the individual forcing a rethinking of the institution and how can the latter renew and remake themselves? What hierarchies of knowledge, expertise and authority in cultural heritage are being disrupted, transformed or undermined by the digital? Beyond this, the talk will consider how citizens can play a co-creative role in cultural heritage, the significance of identity and ‘belonging’, and the importance of cultural heritage as a force in economic development. Researchers as well as policy makers, funding bodies and managers of cultural heritage institutions and sector professionals are all challenged by these questions as they engage with the transmission and exploitation of cultural heritage. The talk will present evidence and recommendations emerging from the research undertaken and is located within the broad context of debates and discussion about the value, preservation, promotion and future of Europe’s cultural heritage.
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This short presentation is concerned with some of the important changes that impact upon cultural heritage in the contemporary world, and is based on the work being undertaken by RICHES – Renewal, Innovation, and Change: Heritage and European Society – a research project funded by the European Commission’s Seventh Framework Programme. The project’s main objective is to reduce the distance between people and culture, recalibrating the relationship between heritage professionals and heritage users in order to maximise cultural creativity and ensure that all of Europe can benefit from the social and economic potential of cultural heritage.
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Cultural interface as an approach to new media art education
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The document discusses new educational paradigms including constructivism, connectivism, and lifelong learning. It outlines key modern competencies like communication, digital skills, learning to learn, and cultural awareness. Constructivism and social constructionism are discussed as theoretical bases for learning as an active process. The document also mentions using technology and methods like mind mapping, cooperative learning, and research projects. Guidelines are provided for creating effective mind maps with branches radiating from a central topic in multiple colors and styles.
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Addasu perthnasoedd: dod â threftadaeth ddiwylliannol a phobl at ei gilydd me...
Addasu perthnasoedd: dod â threftadaeth ddiwylliannol a phobl at ei gilydd me...
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More from Nettrice Gaskins, Ph.D.
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This document provides an overview of biomimicry and 3D printing for a workshop. It defines biomimicry as modeling design and production on biological entities and processes. It describes the key steps to 3D printing as modeling an object, fixing any errors, slicing it into layers, and printing. It also explains that 3D printers use materials like plastic instead of ink to create solid, three-dimensional objects. The workshop will include a live demo and discussion of biomimicry examples as well as the components of 3D printers.
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Techno-Vernacular Creativity, Innovation & Learning in Underrepresented Ethni...
Techno-Vernacular Creativity, Innovation & Learning in Underrepresented Ethni...Nettrice Gaskins, Ph.D.
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 examinesVision Mapping Workshop
This document provides information about a vision mapping workshop. It defines a vision map as a collage of images and affirmations representing one's dreams and happiness. The document discusses how quilts can convey messages through geometric patterns and how artists use math concepts like rotation in their quilt designs. Examples of historical quilts that tell stories or add symbols are presented, as are artworks that create new languages or remix an artist's previous work. Lukasa boards, which are used to tell personal stories, are also mentioned. The workshop instructions ask participants to make a paper quilt by cutting and arranging shapes, then finish their vision map by adding cutouts and writing about their design.
Black Futurism: Race as Technology
Black Futurism explores how race can be viewed as a technology or tool rather than something fixed or defined by history. The presentation discusses works by artists like Ellen Gallagher and Kara Walker that depict human identity and race as mutable. It also references the idea of "black repetition" where collage, sampling and remixing in works from the African diaspora show signs of cyclical change. By removing race from its historical roots, the presentation suggests it can then be engaged as a productive and creative tool.
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This document discusses vision maps, which are collages that represent one's dreams and goals. Vision maps can take the form of quilts, as done by artist Harriet Powers, who used quilts to tell stories and depict historical events. Quilts often use shapes and rotation of shapes in their designs. The document instructs on how to make a paper vision map quilt by cutting out shapes, arranging them on a grid, and adding images from magazines. It discusses the artist Sanford Biggers' use of collage and remixing in his quilts, as well as Romare Bearden's remixing of Homer's Odyssey in his collage works. The document prompts questions about personal storytelling through quilts and
More from Nettrice Gaskins, Ph.D. (20)
Vernacular Science & Technology: It's Role in Education
Vernacular Science & Technology: It's Role in Education
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- 1. Culturally Situated Design for STEAM Learning Nettrice R. Gaskins, Digital Media Ph.D. Candidate School of Literature, Media & Communication, Georgia Tech
- 3. Research Agenda • The use of digital media to support cultural heritage arts for conceptual science, technology, engineering and mathematics (STEM) learning has been less well considered. I present a new approach that builds on successful and proven methods in three key areas:
- 4. Culturally Situated Learning Identity Self Construction: Indigenous cultures creatively improvise with cultural materials, to find personal meaning.
- 5. Art & Game-Based Learning Adaptation: Indigenous cultures have always been creating new forms, incorporating ideas and symbols into their art.
- 6. Digital Media Transformation: Indigenous cultures transform technology in dialogue with new places, creating new traditions & practices.
- 7. Theory of Change Developed with Tom McKlin of The Findings Group, LLC.
Editor's Notes
- I'm here today to share with you my current research that merges successful and proven methods that have been shown to enhance conceptual (STEM) learning among underrepresented minorities (URMs) by employing constructionist approaches to digital media, to help bridge the gap among these learners.
- Historically, the digital divide described the inequality between groups, broadly construed, in terms of access to, use of, or knowledge of information and communication technologies. The digital divide also describes various social and cultural factors that shape access to technological resources. Researchers Nelson and Tu (2001) explore a broader definition of technology and technological practices, to include not only those technologies thought to create “revolutions” (computer hardware, software) but also cars, mobile phones, and other everyday technologies that are pervasive among URMs.
- Computer-based, mobile, and virtual 3D games and simulations to support cultural heritage purposes, such as historical teaching and learning, or for enhancing museum visits is being more widely recognized in research. However, the use of digital media to support cultural heritage arts for conceptual science, technology, engineering and mathematics (STEM) learning has been less well considered. I present a new approach that builds on successful and proven methods in three key areas:
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- Using qualitative approaches and production methods such as personal meaning mapping, art and culturally situateddesign this researchallows people to create, interact and play with digital media such as games and murals using cultural artifacts and STEM concepts. These methods were explored as part of ISEA2012.Informal (STEAM) learning interventions will take place in conjunction with Africa Atlanta 2014, a robust cross-cultural interdisciplinary collaboration of multiple stakeholders across the City of Atlanta.
- The data collection process involves open-ended interviews and surveys, before, during and after deeply immersive learning intervention. Participants are given a theme, or prompt (an artifact or artwork), then based on personal meaning mapping they can create assets to design a project based on STEM concepts (ex. Adinkra ideograms with polar and Cartesian geometry). In a game, participants can define goals and rules for their game and use concepts of conditionals, operators, and the practices of testing and debugging.
- Tom McKlin of The Findings Group, LLC offered this model as a guide for what to look for during the study –i.e. for investigating how the impact of merging the three key approaches can increase interest and motivation among URMs with low participation in STEM, in informal learning environments. This model includes making post-study recommendations for future research that may include a longitudinal study of project participants.