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Creating Digital Change
The document discusses the integration of digital technology into creative and cultural learning, highlighting trends, challenges, and potential new tools to enhance this process. It emphasizes the importance of creativity for well-being, the pressures facing educational institutions, and the convergence of digital and cultural sectors. Various case studies and technologies are presented to inspire participants to leverage digital tools for transformative learning experiences.
Creating Digital Change
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- 2. OUR AIMS OFTHE DAY • Explore the creative process, and how digital tech enhances it • Introduce potential of digital tech for creating change in cultural and creative learning • Explore some new tech tools and initiatives • Work in groups to design possible interventions that change and enhance cultural & creative learning • Making the change: How networking helps
- 3. STRUCTURE OF THEDAY: TRENDS, CHALLENGES + TOOLS • What are the trends out there in the world? What’s pushing us along? • What are the challenges? What are barriers to free-flowing implementation of good creative learning with access to the right tools? • What ideas and tools can we use to lever change? • And what can you do with all this?
- 4. WHAT IS THISCOURSE DRAWING ON? Flow’s 10 years of research, evaluation and delivery creative, cultural and digital learning Our personal experience, managing museum and gallery education and digital projects Specifically, some recent projects for Artswork and two other Bridge Organisations on future of creative learning and innovative digital practice
- 5. ICEBREAKER: WHAT GOOD DOESCREATIVITY DO FOR YOU? • Introduce yourself to your neighbour • What is it about arts, culture, or perhaps creative technology that inspires you so much that you want to spread it? • What impact would you personally like to have?
- 6. TRENDS WHAT IS PUSHINGUS ALONG?
- 7. TREND #1: CREATIVITY Creativeindustries: • Output in 2014 - £84.1billion • Make 5.8% of jobs within the UK (most in London/SE/East Anglia) • £19.8 billion of annual UK services exports Growing awareness of ‘flow’ and importance of creativity for wellbeing.
- 8. The psychologist Mihaly Csikszentmihalyi(Chick Sent Me High) describes Flow as: ‘the feeling of complete and energized focus in an activity, with a high level of enjoyment and fulfillment.’ Flow happens when challenge and skill are balanced. THEORY OF FLOW Stimulation Control Relaxation BoredomApathy Worry Anxiety Flow Challengeorempowerment Guided skill or support
- 9. The psychologist Mihaly Csikszentmihalyi(Chick Sent Me High) describes Flow as: ‘the feeling of complete and energized focus in an activity, with a high level of enjoyment and fulfillment.’ Flow happens when challenge and skill are balanced. THEORY OF FLOW Stimulation Control Relaxation BoredomApathy Worry Anxiety Flow Challengeorempowerment Skill or support
- 10. The psychologist Mihaly Csikszentmihalyi(Chick Sent Me High) describes Flow as: ‘the feeling of complete and energized focus in an activity, with a high level of enjoyment and fulfillment.’ Flow happens when challenge and skill are balanced. THEORY OF FLOW Stimulation Control Relaxation BoredomApathy Worry Anxiety Flow Challenge Guided skill or support
- 11. THE CREATIVE PROCESS ChrisMilk: The Treachery of Sanctuary http://milk.co/treachery
- 12. Denotative (defined meanings) LEARNING BESTWHEN BALANCED + DYNAMIC BETWEEN THESE MODES Connotative (multiple meaning, metaphors) Divergent and open-ended Convergent and judging Inward and reflecting Outward and observing Poietic and generative Technical and imitative Critical (or Methodical) Creative (or Imaginative) Making Perceiving Thinking Communicating
- 13. TREND #2: PRESSURES ONSCHOOLS Pressures on schools to deliver 21st Century skills – from employers and needs of CYP Education reforms squeezing out vocational & creative options and resources Funding crisis on the way
- 14. PRESSURES FROM ALLSIDES
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- 16. CURRENT DRIVING FACTORS Keyreports: • “Designing the Digital Economy: Embedding Growth through Design, Innovation and Technology”, All Party Design and Innovation Group • “Next Gen”, Nesta • “The UK STEAM Education Landscape”, The Royal Academy of Engineering • Emphasis on STEM or STEAM • New Computing Curriculum • The challenge of educating for a fast changing future
- 17. e.g. Bacc tothe Future, and Creative Journeys film https://vimeo.com/157617937 CAMPAIGNS TO COUNTER SQUEEZE
- 18. RECOGNITION OF DIGITAL LITERACIES DougBelshaw: 1. Cultural 2. Cognitive 3. Constructive 4. Communicative 5. Confident 6. Creative 7. Critical 8. Civic The Future of Employment: How susceptible are jobs to computerisation? By Frey & Osborne ranks 702 jobs in order of susceptibility.
- 19. THE DIGITAL BECOMESPHYSICAL Constructionism (Papert, 1991) “Learning by constructing knowledge through the art of making something shareable”
- 20. TREND #3: BLURRED BOUNDARIES Between creative/cultural+ digital sectors • Growing push in local economic development for digital and knowledge economy. • Public culture sector needs to be part of that push. • Games is big growth area.
- 21. MATTHEW HANCOCK ISMINISTER FOR BOTH DIGITAL AND CULTURE “It’s at this nexus, where world- beating content meets cutting edge technology, that our future economy will thrive and with it the well-being of our nation.” October 2016 speech at ‘What Next’
- 22. BUT…SOME DIFFERENT AGENDAS Economicgrowth via skills and innovation Future talent and investment in ‘smart’ Motivation, progress & attainment of CYP Participation in culture & creativity WHAT IF THEY COME TOGETHER?
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- 25. EXTENDING DIGITAL PRACTICE TownerArt Gallery & Tech Resort, Eastbourne
- 26. EXTENDING DIGITAL PRACTICE TownerArt Gallery & Tech Resort, Eastbourne
- 27. ‘STRONGER TOGETHER’ DIGITAL STRAND Learning pathway for youngpeople through cultural content online. START HERE
- 28. TREND #4: POST-DIGITAL AND ‘THEEXPERIENCE ECONOMY’ • Digital becoming embedded into our lives • And into objects (Internet of Things) • Idea that digital sinks into the background as it integrates • What matters is connection and experience • ... and good practice in designing experiences
- 29. TECHNOLOGIES OF EXPERIENCE ONTHE UP • VR headsets • Makerspaces • Telepresence and live broadcast • Quantified self mobile apps and wearables • Augmented Reality • Crowdsourced and Creative Commons licenses
- 30. WHAT’S HAPPENING NOW? Thebiggest brand in the world for young people at the moment is all about making and collaboration Digital tools and platforms are a space for self expression Making and hacking is about sharing knowledge Expectation from young audience to be able to participate, shape and create media Easier than ever to connect the physical and the digital
- 31. THE HUMAN SENSOR UsesRaspberry Pi and LED to reespond to pollution data as dancers move round city, costume changes colour. Artist Kasia Molga in collaboration with air pollution experts at Kings - Produced by Invisible Dust Wearables making air pollution visible
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- 33. DIGITAL EMPATHY Illinois HolocaustMuseum: hologram responds to questions from audience
- 34. SCHOOLS AS MAKERSPACES? BBC Micro:bit and Rasberry Pi Low cost computing and hacking
- 35. E-TEXTILES & TECHBY STEALTH What type of learning can be disruptive to both sides of the competencies it requires? Hard skills vs Soft Skills?
- 36. POWER OF ARDUINO TheO-Watch invented by 8 year old Omkar Govil-Nair
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- 38. TECH WILL SAVEUS KITS www.techwillsaveus.com/shop/
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- 40. CHALLENGE WHAT BARRIERS AREHOLDING US BACK?
- 41. WHAT ARE THECHALLENGES YOU EXPERIENCE? Discuss the challenges that each trend might present to you: • The need for creativity • Pressures on schools • Blurred boundaries between cultural + digital sectors • Post-digital and ‘the experience economy’ Create a ‘mess map’ in your group. Are any of the challenges interlinked? Which concerns you most? (mark these with a star)
- 43. TOOLS WHAT IDEAS ANDTOOLS CAN WE USE TO LEVER CHANGE?
- 44. WHISTLESTOP TOUR OF SOMETOOLS • How some tools have been used to tackle challenges • Caution: Avoiding ‘shiny new thing’ syndrome… don’t use digital tools just because you can • Avoid making digital a chore for young people
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- 46. NEAR FIELD COMMUNICATIONS Useof iBeacons Bristol Museums & SFMoMA
- 47. AUGMENTED REALITY www.blippar.com Migration Museum,Leicester 100 Stories of Migration, Photographs by Kajal Nisha Patel
- 48. “DEMONZ” BY INITIFOR PRAGUE HANDBALL TOURNAMENT
- 49. POKEMON GO CRAZE EncouragingPokemon Go players into a cultural space. You can buy ‘lures’ that can turn your venue into a ‘gym’.
- 50. LESSONS FROM POKEMON-GO Possibilitiesto build applications that: • provide in-depth explanation of phenomena encountered by learners • encourage learning through problem-solving • Encourage learning by doing • Help learning more socially • Guide players with tutors as avatars • Nudge to form better habits (e.g. acts of kindness) • Encourage improvement through practice • challenge people to be prepared for extreme situations through simulations • improve assessment of learning on the go
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- 54. THE EXTRA-ORDINARY POWER OFMINECRAFT!
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- 56. MUSEUM IN ABOX: 3D PRINTED OBJECTS, SCANNING AND 3D PRINTING
- 57. MUSEUM IN ABOX: 3D PRINTED OBJECTS, SCANNING AND 3D PRINTING
- 58. MUSEUM IN ABOX: 3D PRINTED OBJECTS, SCANNING AND 3D PRINTING
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- 63. SCALING UP, REACHINGOUT 500 million children in the World’s Largest Lesson https://www.tes.com/worldslargestlesson/
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- 65. LUNCHTIME: MIXING ITUP I can put into the mix… I want to get out of the mix… Think back to the impact you said you would like to have in the ice breaker, and the challenges and solutions you identified in your groups. What can you offer and what help might you need?
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- 67. WORKING TOGETHER In groups,choose a context or problem to tackle. It could be one you all share, or collaborate to help one of your group. • Define the challenge - what is the change you are trying to make? Who is it for? • Identify opportunities – can challenges lead to unexpected results? What skills, knowledge and tools do you have in your reach? • Where are the gaps? – What else might you need?
- 68. • Empowerment: Learnersand teachers enabled to lead their own learning pathways. • Access: The cultural experience made accessible and exciting to remote audiences. • Conversation: More communication between everyone. More dialogic and enquiry-based learning. More networking. • Shareable content: Freeing content so that it can be contextualised, reused and made relevant. Letting others play with it. WHAT IS GOOD PRACTICE?
- 69. GOOD PRACTICE LEDBY GOOD ENGAGEMENT, NOT TECH • Playing for intrinsic outcomes • Learning through immersive, inclusive and deep participation • Learning transferrable skills • Learning about culture • Practising creativity (‘craft’)
- 70. WORKING TOGETHER • Usethese insights to design a project that excites you, that tackles the problem, or enhances creative learning. • Optional: If you can, present your idea by making a digital ‘thing’ (a mini-video, a sketch, a collage, a series of photos or a pinboard) • 100s of pins of inspiration here https://uk.pinterest.com/bridgetmck/digital-cultural-learning/
- 71. RESOURCES • Background toDigital Cultural Learning report http://tinyurl.com/q9zfak7 • Infographic on digital cultural learning https://www.pinterest.com/pin/258534834836288133/ • Stronger Together digital research http://tinyurl.com/qcyxbda • About iBeacon & museums http://preloaded.com/museums-20-how- ibeacons-will-revolutionise-museum-and-cultural-spaces/ • Keep up: http://www.chrisunitt.co.uk/2015/10/the-cultural-digital- newsletter/ and http://weareculture24.org.uk/digitalchange/ • 100s of pins of inspiration here https://uk.pinterest.com/bridgetmck/digital-cultural-learning/ • Future Views http://futureviewsblog.wordpress.com
- 72. RESOURCES • http://www.vam.ac.uk/content/articles/r/running-a-digital- educational-event-in-a-museum-or-gallery/ Guideto running digital events in your organisation • http://digitallearningnetwork.net/ UK based network • http://museumscomputergroup.org.uk/ UK based network • http://www.museumsandtheweb.com/ International Network • http://scratch.mit.edu/ (Free and simple programming for kids) • http://learn.media.mit.edu/lcl/ (Learning Creative Learning Online Course) • http://prostheticknowledge.tumblr.com/ (Blog on new digital art and interactivity) • http://www.creativeapplications.net/ (Network and editorial on digital design)
- 73. SO…WHAT WILL YOUTAKE AWAY? • Broad view of what digital is • Be collaborative • Learner at the centre • WHAT DIGITAL CHANGE COULD YOU MAKE? • HOW CAN WE CONNECT?
Editor's Notes
- #5 We could add a slide about Future Views?
- #6 Explain why we’re called flow
- #8 https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/534305/Focus_on_Employment_revised_040716.pdf – DCMS report, interesting tables showing what they think are ‘creative occupations’ and ranking these in order of ‘creative intensity’ with art making at the top, and museums at the bottom. THESE ARE STILL THE LATEST FIGURES AF
- #12 Using Chris Milk’s Treachery of Sanctuary interactive digital installation to explain the 3 stages and the value of creativity. Stage 1: Creative ideas are formed, and you lose sense of self – you become absorbed Stage 2: Critical thinking kicks in and gnaws at you Stage 3: The mix of imagination and critical thinking leads to creating something bigger than you, that allows you to take flight. Will play short extract from the film clip on this link. Or at lunch
- #13 The opposite of creativity is when we see an absence of interest, agency, joy and therefore an absence of learning. But it’s not a distinct mode of learning. It’s in all of these domains. A curriculum, or learning programme, should aim to develop all of these in balance, and also enable children to gravitate by choice to any of them. School emphasises the methodical. Like walking with one leg or only breathing in. Cultural learning programmes seek to redress balance by adding creativity but really best when flow between both modes.
- #14 A quick look at some of the challenges for schools and industry. This is where trends, challenges and tech clusters and connects. Teacher recruitment crisis, and especially in shortage areas. The intro of Computing as new subject, more scientific. Is the curriculum as a whole adequate? Is there enough funding?
- #15 The potential for schools to be transformative is being diminished by the closed and mechanical learning philosophy behind educational reforms. Childn aware that their parents know that market is tougher, pressure to succeed and follow subjects which are seen as more econimcally viable. But creativity and digital are actually essential to the economy.
- #16 This is from an infographic we produced for Artswork…pick up for now on the column about schools, how this agenda came from Gove/Govt, after pressure from the digital industries.
- #19 What is the context of literacy? The differentiation of literate and literate is range of greys. It is a contested term encompassing creative and critical skills that allow creation, understanding and sharing meaning through digital media. There is no one umbrella term or definition but Belshaw’s model allows us to understand and recognise some of the key competencies involved. Cultural – literacy is redefined as result of tech. change Cognitive – Not ability to use tech tools but rather cognitive ones Constructive – use and awareness of tools to enable constructive social action Communicative – unique “rhetorics” of interactive comms Confidence – the value put on those who can use tools to solve probs and manage their own learning Creative – The creative adaption of tech and risk taking Critical – literacy req the critical refelction of digital mdeia Civic – Understanding the opp of civic particpation thru ICT Question – Identify the unique traits we can encourage in learners – 3 (Empathy/Creativity/Dexterity) http://dmlcentral.net/wp-content/uploads/files/doug-belshaw-edd-thesis-final.pdf TEDTalk https://www.youtube.com/watch?v=A8yQPoTcZ78
- #23 Cultural orgs are being asked to solve problems across society, for example, to help deliver educational services, or to help grow the economy. Extending digital practice project aimed to take collaborative approach, to think about different agendas. How can working together help address challenges, ride trends, make the best of technology?
- #24 Change and learning (at the centre) can be optimised when schools, museums and digital are able to interact and feed each other. Ecological thinking – A New Direction thinking about cultural ecosystems. Stocks and flows… Schools are places where people are stocked, or gather together, and new capacities flow out Digital industry organisations are places where data and technologies gather and new innovations and tools flow out Museums are places where objects gather and stories, values and meanings flow out If these are combined together to mutual benefit – Together – centre – Learning is inspired by culture and enhanced by digital – resulting in enriched learning, more innovation, stewardship of culture - and boosting the economy
- #25 Future Views is a forward-looking research project, with a series of discussions and tools to help imagine the next generation of cultural learning up to 2036. How to make the best of trends, ride challenges and make the best of emerging technologies. Throughout October we we conducted a national conversation with online discussions and speculative design workshops for groups of young people and experts. Producing a toolkit for LCEPs everywhere to use to plan for the future.
- #26 This course is partly drawn out of a project we evaluated 2 years ago, Extending Digital Practice, led by Artworks – the bridge org for South East. This explored through three demonstrator projects how - museums and galleries could make partnerships with digital agencies, digital creatives could use cultural organisations to inspire and enrich learning, how schools could implement the new Computing curriculum and boost digital skills through creative and cultural tasks. One was Connective Culture, Donna Comerford, Towner Gallery working with Tech Resort in Eastbourne,
- #27 TES Collaboration – largest single profession network with 6m teachers. How n you reach teachers as well as learners with your collection and work? Can you partner with other collections, cultural organisations or businesses in your area to create resources? Can act as advocacy for your organization, extend reach and awareness and make the most of content you may already have existing?
- #28 Theme of collaboration between digital and cultural sector also in the Stronger Together project. We looking at how digital can support better collaboration between schools and museums and Mapped good practice. Learner must be at centre: Learning pathways can be enhanced by digital tools and museums Services can be designed to support pathways from unaware of topics/culture right through to full participation. Connecting through peers and interests. Intrinsic motivation, not just requirement to study.
- #29 The Experience Economy
- #34 he Illinois Holocaust Museum and Education Center has begun testing a display featuring Pinchas Gutter, a Holocaust survivor born in Lodz, Poland. Visitors ask Mr. Gutter questions and ‘natural language’ technology software retrieves an appropriate response, as if he were in the room. PHOTO: RON GOULD sometimes cries, grows angry, laughs, sings and expresses joy. Even in two dimensions, the life-size video appears realistic enough that visitors say hello to Mr. Gutter and apologize if they cough while he is talking, said Amanda Friedeman, the museum’s survivor community liaison. Projections that look like holograms and don’t need 3D glasses are on their way collaboration between the University of Southern California’s Shoah Foundation and the USC Institute for Creative Technologies
- #35 Important because distributed to every year 7 in UK, last term (summer 2016). Easier to use than Raspberry Pi. A pocket-sized codeable computer with motion detection, a built-in compass and Bluetooth technology. It connects to other devices, sensors, kits and objects, and is a companion to Arduino, Galileo, Kano, littleBits and Raspberry Pi, acting as a spring board to more complex learning.
- #36 Combining craft and traditional skills with technology and low cost computing can break down barriers to those who feel excluded from technical subjects and dipping their toes in the water. Craft w tech w creativity w dexterity w collaboration
- #37 Empowering people, tech overcoming limitations of status, money, capacities O Watch is an open source Arduino based smart watch kit designed for kids to create their own watch and learn the basics of coding, 3D design, and band making. 3D Printing: O Watch cases can be customized and 3D printed at home, a makerspace near you or via online 3D printing services. Sample 3D design files are freely available to download and customize. Coding: Arduino is a very popular open source hardware platform for all ages to get started with coding. O Watch is based on the Arduino Zero platform and is programmed using the standard Arduino IDE. Band Crafting: The watch bands can be made at home using several band making crafts like paracord bands and rainbow loom bands.
- #38 Instructions http://makeymakey.com/howto.php
- #39 How might you use these in your context?
- #42 Section 2 after break Talk in pairs/threes about challenges to implement creative, integrated and contemporary learning opportunities Share to whole group
- #43 Reminder of big context – challenge Why do we need to think so much smarter than before? “Children, today we’re going to learn code! It’s important for a prosperous future! Teacher after that could we learn how to survive in a civilisation threatened by ecosystem collapse, bla bla, armed conflict, etc etc.” We need more control, more access to more knowledge faster.
- #45 Some innovative or interesting projects. They might give you ideas on how to: To overcome resource pressures to promote and protect arts and heritage to embed creative & cultural learning to excite people and develop skills needed for the future …which in turn meets needs of education, digital & creative sectors
- #46 Remember how much YP are driven by need to connect and play with their identity, and how Snapchat, Instagram etc fulfil those needs. Why do we always need to force audiences to have new behaviors? What existing one can we leverage?
- #47 If challenge is engaging people with content of a museum/collection or site. Eg iBeacons as a way of pushing information to your visitors as they move around the museum (QR codes are now dated) See Hidden Museum video SFMoMA – Bluetooth Audio tours with sharing ability so you can go around with friends. Location aware and softly leads you through – tours from various personalities including sports broadcasters, RadioLab podcasters, scientists, psychologists, critics, musicians artists. Personalized to visitors interests. “a cross between This American Life and the movie Her.” “Neighborhood for Art” tour. It takes you out of SFMOMA and into the surrounding area, revealing the museum in the context of the wider world. How else can you present your collections? What curatorial norms do you work to and how can you collaborate whith those who may not know what you do? Where else can content you create sit and how can you find wider audiences for it?
- #48 Migration museum, stories of 1000 migrants into the uk. Overlayed there stories over portraits
- #49 Interactive installation project from INITI can turn spaces into a computer game using motion and projection mapping. Game is called - ‘Demonz’, where the aim is to physically throw balls at the animated devils lurking in the area: Basically this system allows to make multitouch area on every flat surfaces. Technically it’s combination of motion-tracking and projection-mapping. Main benefits are that there are no limits in a scale of game-stage (it could be 1km long if you want) and no limit how many people can be involved in one moment. Atest installation for handball tournament PHC 2016 in Prague. The Demonz is a large-area virtual reality game projected in to reality. The goal is similarly as in the classic czech ball game from childhood “dodgeball“ but instead of hitting live opponents you will try to hit virtual targets in the shape of animated figures or other moving objects. Due to combination of art and programming work was created a unique game pushing you to move and cooperate with the others.
- #53 Artist in Residence program – creatives as user testers and devs
- #54 If the challenge is encouraging creative response to culture What existing tools are there out there for you to be creative with? Why make something new when others will provide you with the foundations?
- #55 If challenge is engaging young people in particular and wanting to be where they are.
- #56 Comment on Terraria
- #57 Using partnerships to pool resources and try experiments. Bequest given to BM and new display this year. Have created an iPad game for kids – about Baron Rothschild. BM doing lots of work with Google etc. Work with design company Good Form & Spectacle. George Oates – designed Flickr, created alternative websites as ways in to BM collections – then they got her to do this on official basis. This is about ways of working with digital creatives. Lots of collections are in Sketchfab so you can 3D print them. You can go on a virtual tour in Streetview round the museum
- #58 Work with none profits to help digitise your collection. Also a way to get the public involved. You are then creating digital records but also assets then can be used by anyone from games designers to teachers. You could print objects in your collection to share with outreach work.
- #59 Work with none profits to help digitise your collection. Also a way to get the public involved. You are then creating digital records but also assets then can be used by anyone from games designers to teachers. You could print objects in your collection to share with outreach work.
- #60 Driven by museum wanting to make content available for reuse e.g. Rijksmuseum Studio Used by lots of art and design students, potential for use with schools. Annual cash prizes for best designs uploaded using museum content. Driven by a holistic digital strategy looking at commercial, learning, reputation and funding streams.
- #62 If the challenge is accrediting learning that is being squeezed out of school or formal part of school, and you need to make it compelling to young people
- #63 Programme for 16 – 19 yo that takes digital learning and making into the galleries of the museum. Competencies, advocacy for arts and women in tech and exposure for yp to young pros with advice on study and employment.
- #64 Is it about a whole different way of relating to audiences? Many web projects that I’ve evaluated have been a little disappointing in that websites have been created then slowly sunk, and not reached as widely as hoped. There are real risks to the ideal of mega-reach. But the potential is enormous if you get it right. For example, 500 million children took part in the Worlds Largest Lesson all at once – on the UNs sustainable development goals Mention how Turner Contemporary is making a link with schools in Kenya etc
- #66 Thinking about collaboration – between culture, education, digital specialisms Mixing it up at lunchtime Post-its I can put into the mix I want to take out of the mix [Skills, knowledge, tools I can offer Things I want to learn, or ask from others…]
- #68 Challenge – one of yours, common – we will edit/create slide from morning re challenges
- #69 Leading into next exercise: Taking a broad view of what digital is. It helps you get funding (crowdsourcing), make handling objects (3D printing), consult with people (online surveys), create your own marketing materials easily, use creative tools to record visits & respond, find ways to increase empathy for others…
- #70 Being led by good learning and engagement principles, more than newly available technology. Playing for intrinsic outcomes e.g. building artworks in Minecraft Learning general transferrable skills e.g. open-ended digital skills workshops inspired by museums Learning about culture e.g. making ‘selfies’ to understand portraiture Practising culture e.g. using instructional videos to learn craft techniques Learning through inclusive & deep participation e.g. being part of youth curation group, using digital tools
- #72 ALEX TO EXPAND WITH HIS PRE_EXISTING LIST
- #73 ALEX TO EXPAND WITH HIS PRE_EXISTING LIST