This document discusses the challenges of implementing elearning in art and design education. It notes that the field has traditionally resisted elearning due to its emphasis on studio-based learning. However, it argues that elearning should not aim to replace face-to-face instruction but rather enhance it. It provides examples of how elearning has been combined with physical studio spaces and critiques to improve feedback and foster online communities. The document advocates acknowledging elearning's potential through a threshold concept that form follows function, in order to spur instructional innovation.

2. D R . N I C O S S O U L E L E S
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3. E L E A R N I N G I N A R T A N D D E S I G N
the elephant in the room
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4. Challenge of elearning
in art and design
Hardly discussed
Sector traditionally resistant
Elephant in the room
I N T R O D U C T I O N
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5. Anecdotal evidence =
elearning can contribute
little or nothing to
studio-based disciplines
U N S U I T A B L E F O R
I N S T R U C T I O N A L P R A C T I C E S
I N A R T A N D D E S I G N
I N T R O D U C T I O N
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7. After Dearing Report (1997) >> proliferation of policies,
strategies, initiatives on aspects of implementing ICTs in HE
elearning = supported by national
international policies
call for elearning in HE curricula
Competencies + skills >> graduate success
in knowledge economy
I N T R O D U C T I O N
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8. Overarching arguments:
Structure of work
in advanced economies
Moving away from traditional
manufacturing modes
of production, towards
provision of services,
production, management and
circulation
of knowledge through ICTs
‘Knowledge Economy’ (KE) and
‘Information Society’ (IS)
W H Y E L E A R N I N G I N H E
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9. Regular re-skilling and life-long learning >>
at least five times in a working lifetime
equivalent of three months of full-time learning
W H Y E L E A R N I N G I N H E
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10. Skills and competencies
reflect and correspond
to milieu of global IS
21st Century Literacies -
include Information Literacy
ICTs >> significant contributor
for acquisition of required
competencies, facilitator of further
professional development
and lifelong learning
W H Y E L E A R N I N G I N H E
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11. Government intention to embed elearning in HE curricula
in systemic manner and through nationally integrated
strategies
distance education
networked learning
lifelong learning
student-centred learning and
work-based learning
Facilitated through ICTs
W H Y E L E A R N I N G I N H E
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12. Additional benefits (JISC):
Cost savings - resource efficiency e-assessments and
automated grading of large cohorts of students
Recruitment and retention especially international students
Support for widening participation and inclusion
of students unable to attend HE -
professionals, non-traditional learners
W H Y E L E A R N I N G I N H E
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13. Overlapping disciplines
with vague boundaries
Low paradigmatic development
- little agreement on theory,
methods and techniques
High paradigmatic development
disciplines - biology, chemistry,
physics and the sciences
T H E A R T A N D D E S I G N C O N T E X T
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14. Open-ended nature of most art and design outcomes
Instructional approaches - setting of a conceptual problem,
followed by series of critiques (crits)
Lengthy study period - presentation of completed projects
to group of peers - presence of teacher
Expert Informal feedback - formative assessment
A powerful vehicle for induction, enculturation
of students into dominant mores and beliefs
of the discipline
T H E A R T A N D D E S I G N C O N T E X T
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15. Focus of instruction is project-based learning (PBL)
Replicate contextualised design problems in real life
settings
A visible dimension - outcomes manifest
as artefacts - open to debate and examination
Learning primarily social
Process and development - support ongoing exploration
and refinement of outputs
Assessment focuses on process as well as finished artefact
T H E A R T A N D D E S I G N C O N T E X T
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16. Art and design education -
not immune from pressures -
confronted with complexities
of electronic Prometheus
Visual information extensively
modified - impact upon what
is perceived or experienced
Need to encompass in art and
design curricula new forms
of visual literacy -
competencies that cater for
digitally generated visual
E L E A R N I N G I N A R T A N D D E S I G N - C U R R E N T S I T U A T I O N
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17. Incongruence between digital
native students and what is offered in curricula
When art and design students make transition to professional
practice, they bring knowledge and competencies acquired
from formal education
Changeable and varied working environments
a significant amount of informal learning (IL) takes place in
situ
Estimates suggest IL comprises between 70-80%
of learning that takes place in the workplace
>> the iceberg of IL
E L E A R N I N G I N A R T A N D D E S I G N - C U R R E N T S I T U A T I O N
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18. A recent study >> what
sources
of information graphic design
students use to support their
IL
The dominant preference is
for online sources facilitated
by variety of electronic
devices that provide for ease
of access
E L E A R N I N G I N A R T A N D D E S I G N - C U R R E N T S I T U A T I O N
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19. A number of studies identify faculty resistance
to the use of elearning and ICTs in art and design:
Drew, 2002
Gruba, 2001
Grove-White & Johal, 2004
Extensive European-wide mapping exercise to establish
the use of elearning in different academic disciplines
four per cent (4%) of art and design disciplines
made frequent use of elearning
Gaebel, Kupriyanova, Morais & Colucci, 2014
E L E A R N I N G I N A R T A N D D E S I G N - C U R R E N T S I T U A T I O N
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20. No studies provide extensive insights
into nature of obstacles
Indicative of obstacles:
...The physical interaction with artefacts is essential to the
studies [art and design] as is the real-life interaction between
learners and subject. This cannot be replaced...
...The main challenge is that the studio environment of
learners working together in the same space with the
lecturers cannot be simulated on the VLE. Practical subjects
can only be taught physically, hands on, not simulated
online...
E L E A R N I N G I N A R T A N D D E S I G N - C U R R E N T S I T U A T I O N
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21. E L E A R N I N G I N A R T A N D D E S I G N - C U R R E N T S I T U A T I O N
How elearning is
conceptualised is central
to ongoing discussion and
development of practice
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22. T H R E S H O L D C O N C E P T - M O V I N G F O R W A R D - A C K N O W L E D G E E L E P H A N T
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23. THRESHOLD CONCEPTS =
Within each discipline there is essential and
significant body of troublesome knowledge
Difficult and unintuitive for learners to comprehend
Once understood has potential to transform perceptions
Irreversible and hard to unlearn
Integrative and exposes inter-relationships
between concepts and ideas
T H R E S H O L D C O N C E P T - M O V I N G F O R W A R D - A C K N O W L E D G E E L E P H A N T
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24. The change >>
Focus away from replacing or replicating art and design
instructional strategies and face-to-face teaching
the social and physical interaction of the studio
Instead, elearning >>
Comprehended as essential and complimentary component
of variety of instructional strategies that it can enhance
Requires departure from the incorrectly perceived
role, conceptual move towards a new direction
Can trigger a transformative awareness of what
is possible instead of what is not doable
T H R E S H O L D C O N C E P T - M O V I N G F O R W A R D - A C K N O W L E D G E E L E P H A N T
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25. The dictum:
form follows function
Links the relationship between the form
of an object and its intended purpose
Function precedes form, exists
independently from it and predates it
An object has to perform a specific
function, its design must support that
function to the fullest extent possible
T H R E S H O L D C O N C E P T - M O V I N G F O R W A R D - A C K N O W L E D G E E L E P H A N T
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26. Example 1 of what is doable:
Barber (2011) investigated how the traditional crit with
associated problems (student performance anxiety), can be
complemented with blended learning approaches
Combined physical studio and online facilities such as
collaborative documents, mind-mapping tools and e-portfolios
The motivation >> to promote a participative community
of inquiry and to acculturate design students
to critical analysis and discourse
T H R E S H O L D C O N C E P T - M O V I N G F O R W A R D - A C K N O W L E D G E E L E P H A N T
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27. Example 2 of what is doable:
Pirie, Cordiner and Triggs (2011) motivation to address
student dissatisfaction with assessment and feedback
Students did not understand learning
outcomes and assessment criteria
Online digital space developed to support
and enhance studio pedagogy and not replace it
Identified benefits >> students developing
meaningful feedback in relation to their work
T H R E S H O L D C O N C E P T - M O V I N G F O R W A R D - A C K N O W L E D G E E L E P H A N T
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28. The above elearning examples not exhaustive but
demonstrate potential >>
What is doable when threshold concept
is embraced and comprehended
First the elephant in the room needs to be acknowledged
Awareness of skills and competencies facilitated with
elearning and accompanied by appropriate pedagogies
Underpinned through the dictum of form follows function,
instructional innovations with elearning are conceivable,
doable and worth exploring
C O N C L U S I O N
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29. If the elephant
in the room continues
to be ignored,
then increasingly it will
resemble an ostrich
C O N C L U D I N G R E M A R K
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30. A P O I N T E R F O R D I S C U S S I O N
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How elearning
is conceptualised
is central to ongoing
discussion and
development
of art and design practice