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
1. A Educação Física mudou ao longo do tempo, adaptando-se às necessidades sociais de cada período. Nos anos 30, focava no "Corpo Higiênico e Eugênico"; nos anos 60, no "Corpo Produtivo"; nos anos 80, tornou-se anacrônica.
2. Nos anos 80, passou a buscar o "Homem com consciência de seu tempo", abandonando a ênfase na aptidão física. Isso abriu caminho para uma Educação Física com novos papéis sociais.
3
Cultura de marca: A tradução da estratégia para o dia-a-diaÓrbita Talks
O documento discute a importância da cultura de marca e do engajamento dos funcionários para traduzir a estratégia de marca para o dia-a-dia. Apresenta que a cultura deve ser alinhada aos valores da marca e que os funcionários precisam entender e viver a promessa da marca em suas ações. Também discute que as necessidades dos funcionários devem ser levadas em conta para engajá-los e tornar a marca real.
This document outlines the steps in a STEAM project-based learning plan, including fundamentals, prototyping, and exhibition. It suggests focusing students' attention on making a STEAM project, showing the importance of STEAM skills for artists, helping increase confidence in STEAM skills through workshop requirements, and rewarding students for learning new STEAM skills.
The document outlines a program called Kopčianské združenie that provides work opportunities for teenagers aged 15-17 from low-income and socially disadvantaged families in Kopčany. The program places groups of 3-6 teenagers together in unpaid jobs at a local café, where they receive on-the-job training and work experience. The goal is to help the young people develop job skills and experience while getting them out of their current social environment.
The Electrofunk Mixtape: Illuminus Edition is a collaboration between the STEAM Lab at Boston Arts Academy, sculptor Brian Browne, and music producer Hank Shocklee to create an interactive 3D art installation. Electronics, music, and video projections will be layered on Brian Browne's 3D sculptures, which will hang or be worn by performers. Visitors will experience and participate in a responsive art installation combining music, movement, light, and projections.
1. A Educação Física mudou ao longo do tempo, adaptando-se às necessidades sociais de cada período. Nos anos 30, focava no "Corpo Higiênico e Eugênico"; nos anos 60, no "Corpo Produtivo"; nos anos 80, tornou-se anacrônica.
2. Nos anos 80, passou a buscar o "Homem com consciência de seu tempo", abandonando a ênfase na aptidão física. Isso abriu caminho para uma Educação Física com novos papéis sociais.
3
Cultura de marca: A tradução da estratégia para o dia-a-diaÓrbita Talks
O documento discute a importância da cultura de marca e do engajamento dos funcionários para traduzir a estratégia de marca para o dia-a-dia. Apresenta que a cultura deve ser alinhada aos valores da marca e que os funcionários precisam entender e viver a promessa da marca em suas ações. Também discute que as necessidades dos funcionários devem ser levadas em conta para engajá-los e tornar a marca real.
This document outlines the steps in a STEAM project-based learning plan, including fundamentals, prototyping, and exhibition. It suggests focusing students' attention on making a STEAM project, showing the importance of STEAM skills for artists, helping increase confidence in STEAM skills through workshop requirements, and rewarding students for learning new STEAM skills.
The document outlines a program called Kopčianské združenie that provides work opportunities for teenagers aged 15-17 from low-income and socially disadvantaged families in Kopčany. The program places groups of 3-6 teenagers together in unpaid jobs at a local café, where they receive on-the-job training and work experience. The goal is to help the young people develop job skills and experience while getting them out of their current social environment.
The Electrofunk Mixtape: Illuminus Edition is a collaboration between the STEAM Lab at Boston Arts Academy, sculptor Brian Browne, and music producer Hank Shocklee to create an interactive 3D art installation. Electronics, music, and video projections will be layered on Brian Browne's 3D sculptures, which will hang or be worn by performers. Visitors will experience and participate in a responsive art installation combining music, movement, light, and projections.
Self-determination and STEAM allow communities to define the world through their own interests and cultures and place their history at the center. Afrofuturism gives artists agency to repurpose existing works to create new worlds and navigate social realities. The STEAM lab focuses on fundamentals like circuits and soldering, as well as design, prototyping, and exhibition to present projects like board games and robotic puppets created from new ideas.
This document discusses techno-vernacular creativity in underrepresented communities and how it can inform STEAM research and education. It provides examples of artists from ethnic communities who incorporate technology in creative ways, such as Sun Ra's appropriation of electronic instruments and Grandmaster Flash's role in mixer design. The document argues that examining such cultural productions can inspire underrepresented students to explore STEM fields. It highlights various arts-based learning tools and STEAM projects that tap into the energy of techno-vernacular creativity.
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.
This document discusses using augmented reality and digital media to engage diverse museum audiences. It presents several projects using technologies like augmented reality browsers, motion capture, HTML5 canvas, and cultural design tools to develop representations and artifacts that can be overlaid on the physical world. Museums are encouraged to use open platforms and situate projects in mixed reality environments to cultivate participation from various social and economic groups. Contact information is provided for several relevant technologies and initiatives.
This document discusses techno-vernacular creativity (TVC), which refers to cultural art and technology created by underrepresented groups for creative expression. It provides examples of artists like Sanford Biggers who incorporate circles/mandalas from different cultures in their work. The document also describes how mapping, diagramming, and remixing are important aspects of TVC, and how culturally-situated design arts can engage informal science learning through exploration of concepts like rotation and translation.
The document discusses metaphysics of presence and how being exists within frameworks or states, with definitions of presence and absence relying on these states. It also discusses urban metaphysics as a deconstruction of Western ideas through street art and technology. Additionally, it mentions black futurism or Afrofuturism as a discourse centered on absence and presence, involving constructions or deconstructions of self, as seen in works engaging valuations of images and presentations.
This document describes an augmented reality art game called "Playing ARt" that allows players to collaboratively create art using an iPad and augmented reality markers. The game is inspired by the exquisite corpse drawing game and uses an HTML5 canvas to display virtual objects overlaid on real-world markers. Players will pass around the iPad to take turns adding images or drawings to a composite artwork that can then be saved. The game aims to explore new modes of collaborative art production using augmented reality and procedural techniques. It is still in development to refine the user experience and allow more complex interactions.
1) Moving images create the illusion of motion by displaying a series of still images in rapid succession, with a minimum of 10-13 frames needed per second for the illusion.
2) Early animation devices like the zoetrope and flip book used the principle of "persistence of vision" to create the illusion of motion from individual still images.
3) The Lumière brothers, Edison, and other pioneers in the late 1880s developed early devices that could produce moving images, helping to establish cinema.
Social Innovation Relay | 1. miesto | The Muffin MenLenka Križanová
Víťaz národného kola Social Innovation Relay 2013 - Projekt na podporu redukcie potravinového odpadu v školských jedálňach | The Muffin Men, Košice
Edukačné aktivity pre deti zamerané na eliminovanie plytvania jedla v domácnostiach prostredníctvom informovania o množstve potravinového odpadu v školských jedálňach.
This document discusses how Native American crafting and math can be combined with mobile technologies. It provides links to several projects including a blog about crafting with mobile devices, a virtual bead loom that allows culturally situated design, a video about coded stories, a page on encoded textiles, and websites with information on Native American designs, colors and beadwork patterns.
From the West and Central African cosmogram to virtual 3D space and sound-generated graphics, the work of Dr. Nettrice R. Gaskins crosses the boundaries between science fact and science fiction.
This document discusses how Sun Ra's appropriation of technology critiqued dominant views of socio-technical change by showing how excluded groups engage with technology on their own terms. It provides examples of contemporary artists from ethnic communities whose STEAM artworks could inform future research and practice. The appropriation of technologies like electronic instruments and game platforms counters the digital divide narrative and could inspire young people to explore STEM.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
Dr. Nettrice R. Gaskins presented on using public art to teach STEAM concepts such as basic circuits and soldering. The presentation covered fundamentals of circuits, prototyping ideas through testing, and exhibiting the work. Examples of public art involving science, technology, and mathematics were provided, along with links to brainstorm new ideas and contact Dr. Gaskins for more information.
Nettrice Gaskins, Ph.D., STEAM Director, Boston Arts Academy, will join Brides of Anansi artists Saya Woolfalk and Xenobia Bailey in conversation to look at how contemporary women artists look at nature and natural systems for inspiration.
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.
This document outlines different types of online and real-world games and activities that can be done individually or in a group. These include classic puzzles, mini-games, treasure hunts, and urban quests for individual play as well as collaborative puzzles, research puzzles, flash mobs, and group problem-solving for group activities. The games and activities span both online and real world settings.
This document summarizes the research projects and methods of the Research in Feminist Engineering (RIFE) group. The group investigates four main projects using both quantitative and qualitative methods: 1) the career pathways of women faculty in STEM using oral histories and participatory research, 2) the impact of policies on work-life balance using policy texts and interviews, 3) understanding institutional climate through robust survey instruments, and 4) assessing sustainability knowledge in engineering students through interviews and expert workshops. The group aims to broaden conversations about engineering using feminist lenses even when not obvious and argues for social change through applied research.
Towards a shared understanding of emerging technologies: experiences in a col...Daniela Gachago
This document summarizes a research project conducted by a team of researchers from several South African universities exploring understandings of emerging technologies in higher education. The research team conducted a survey of staff at 18 South African universities to understand their definitions of emerging technologies. Through analysis of survey responses and discussion, the team found that understandings largely echoed an existing framework but with some additional nuances. The research highlighted how emerging technologies are context dependent and empower users. The team concluded the research provided insights into conceptualizations of emerging technologies in the South African higher education context.
Self-determination and STEAM allow communities to define the world through their own interests and cultures and place their history at the center. Afrofuturism gives artists agency to repurpose existing works to create new worlds and navigate social realities. The STEAM lab focuses on fundamentals like circuits and soldering, as well as design, prototyping, and exhibition to present projects like board games and robotic puppets created from new ideas.
This document discusses techno-vernacular creativity in underrepresented communities and how it can inform STEAM research and education. It provides examples of artists from ethnic communities who incorporate technology in creative ways, such as Sun Ra's appropriation of electronic instruments and Grandmaster Flash's role in mixer design. The document argues that examining such cultural productions can inspire underrepresented students to explore STEM fields. It highlights various arts-based learning tools and STEAM projects that tap into the energy of techno-vernacular creativity.
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.
This document discusses using augmented reality and digital media to engage diverse museum audiences. It presents several projects using technologies like augmented reality browsers, motion capture, HTML5 canvas, and cultural design tools to develop representations and artifacts that can be overlaid on the physical world. Museums are encouraged to use open platforms and situate projects in mixed reality environments to cultivate participation from various social and economic groups. Contact information is provided for several relevant technologies and initiatives.
This document discusses techno-vernacular creativity (TVC), which refers to cultural art and technology created by underrepresented groups for creative expression. It provides examples of artists like Sanford Biggers who incorporate circles/mandalas from different cultures in their work. The document also describes how mapping, diagramming, and remixing are important aspects of TVC, and how culturally-situated design arts can engage informal science learning through exploration of concepts like rotation and translation.
The document discusses metaphysics of presence and how being exists within frameworks or states, with definitions of presence and absence relying on these states. It also discusses urban metaphysics as a deconstruction of Western ideas through street art and technology. Additionally, it mentions black futurism or Afrofuturism as a discourse centered on absence and presence, involving constructions or deconstructions of self, as seen in works engaging valuations of images and presentations.
This document describes an augmented reality art game called "Playing ARt" that allows players to collaboratively create art using an iPad and augmented reality markers. The game is inspired by the exquisite corpse drawing game and uses an HTML5 canvas to display virtual objects overlaid on real-world markers. Players will pass around the iPad to take turns adding images or drawings to a composite artwork that can then be saved. The game aims to explore new modes of collaborative art production using augmented reality and procedural techniques. It is still in development to refine the user experience and allow more complex interactions.
1) Moving images create the illusion of motion by displaying a series of still images in rapid succession, with a minimum of 10-13 frames needed per second for the illusion.
2) Early animation devices like the zoetrope and flip book used the principle of "persistence of vision" to create the illusion of motion from individual still images.
3) The Lumière brothers, Edison, and other pioneers in the late 1880s developed early devices that could produce moving images, helping to establish cinema.
Social Innovation Relay | 1. miesto | The Muffin MenLenka Križanová
Víťaz národného kola Social Innovation Relay 2013 - Projekt na podporu redukcie potravinového odpadu v školských jedálňach | The Muffin Men, Košice
Edukačné aktivity pre deti zamerané na eliminovanie plytvania jedla v domácnostiach prostredníctvom informovania o množstve potravinového odpadu v školských jedálňach.
This document discusses how Native American crafting and math can be combined with mobile technologies. It provides links to several projects including a blog about crafting with mobile devices, a virtual bead loom that allows culturally situated design, a video about coded stories, a page on encoded textiles, and websites with information on Native American designs, colors and beadwork patterns.
From the West and Central African cosmogram to virtual 3D space and sound-generated graphics, the work of Dr. Nettrice R. Gaskins crosses the boundaries between science fact and science fiction.
This document discusses how Sun Ra's appropriation of technology critiqued dominant views of socio-technical change by showing how excluded groups engage with technology on their own terms. It provides examples of contemporary artists from ethnic communities whose STEAM artworks could inform future research and practice. The appropriation of technologies like electronic instruments and game platforms counters the digital divide narrative and could inspire young people to explore STEM.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
Dr. Nettrice R. Gaskins presented on using public art to teach STEAM concepts such as basic circuits and soldering. The presentation covered fundamentals of circuits, prototyping ideas through testing, and exhibiting the work. Examples of public art involving science, technology, and mathematics were provided, along with links to brainstorm new ideas and contact Dr. Gaskins for more information.
Nettrice Gaskins, Ph.D., STEAM Director, Boston Arts Academy, will join Brides of Anansi artists Saya Woolfalk and Xenobia Bailey in conversation to look at how contemporary women artists look at nature and natural systems for inspiration.
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.
This document outlines different types of online and real-world games and activities that can be done individually or in a group. These include classic puzzles, mini-games, treasure hunts, and urban quests for individual play as well as collaborative puzzles, research puzzles, flash mobs, and group problem-solving for group activities. The games and activities span both online and real world settings.
This document summarizes the research projects and methods of the Research in Feminist Engineering (RIFE) group. The group investigates four main projects using both quantitative and qualitative methods: 1) the career pathways of women faculty in STEM using oral histories and participatory research, 2) the impact of policies on work-life balance using policy texts and interviews, 3) understanding institutional climate through robust survey instruments, and 4) assessing sustainability knowledge in engineering students through interviews and expert workshops. The group aims to broaden conversations about engineering using feminist lenses even when not obvious and argues for social change through applied research.
Towards a shared understanding of emerging technologies: experiences in a col...Daniela Gachago
This document summarizes a research project conducted by a team of researchers from several South African universities exploring understandings of emerging technologies in higher education. The research team conducted a survey of staff at 18 South African universities to understand their definitions of emerging technologies. Through analysis of survey responses and discussion, the team found that understandings largely echoed an existing framework but with some additional nuances. The research highlighted how emerging technologies are context dependent and empower users. The team concluded the research provided insights into conceptualizations of emerging technologies in the South African higher education context.
The document summarizes a research project involving students from Stellenbosch University and the University of the Western Cape (UWC) that aimed to explore students' professional and social identities. It describes a course called "Community, Self and Identity" that brought students from psychology, social work, and occupational therapy together using workshops, online activities, and group projects. Student feedback was overwhelmingly positive and the research team published numerous papers on the project's aims, processes, and outcomes. The project provided an innovative approach for students to engage with issues of diversity and difference across disciplinary and institutional boundaries.
Education and Technology Partnerships as Intercultural Communities: An Ethnog...CITE
CITERS2014 - Learning without Limits?
http://citers2014.cite.hku.hk/program-overview/keynote-green/
13 June 2014 (Friday)
09:10 – 10:00
Keynote 1: Education and Technology Partnerships as Intercultural Communities: An Ethnographic Perspective
Speaker: Professor Judith GREEN (Department of Education, University of California, Santa Barbara)
Chair: Dr. Susan BRIDGES (Associate Professor, Faculty of Education, HKU)
Social and Cognitive Presence in Virtual Learning Environments Terry Anderson
Reviews and speculates on further development of the Community of Inquiry model (communitiesofinquiry.com) developed in Alberta by Randy Garrison, Terry Anderson, Walter Archer and Liam Rourke. This project developed theory and tools to measure teaching, cognitive and social presence in online environments
K gary motteram _euro_call_teacher_ed_sig_seminarnickyjohnson
This document discusses Gary Motteram's social and professional identity as it relates to research in technology-enhanced language learning. It provides examples of research conducted by Motteram including a project using IT skills to help students develop language skills. It also discusses theories relevant to the field like sociocultural theory and activity theory. Motteram's work uses qualitative methods like ethnography and narrative research to study teacher practices with technology in authentic contexts.
EDUR 6100, Dr. Colín EDUR 6100 Instructi.docxjack60216
EDUR
6100,
Dr.
Colín
EDUR 6100
Instructions and Rubric for
The (Final)
Anthropological Analysis of Cultural Diversity (Project)
The purpose of the final project is to invite you to deepen your understanding of
the anthropological analysis of cultural diversity. It invites you to take an
anthropological stance, to consider cultural contexts and practices, and the
various meanings assigned to these, from a perspective other than your own. One
important aspect of the anthropological understanding of cultural diversity is for
researchers to consider cultural contexts, practices, and meaning from the emic or
insider’s perspective. Furthermore, this assignment invites you to reflect upon
what you learned that might help you understand the cultural dynamics of
schools and schooling.
Recognizing that course members are in different academic programs, work sites,
and have different career aspirations, and in an effort to have this culminating project be the most meaningful for each, students
are required to design their own final project in consultation with the professor. Students are required to go out in the field, and do
some basic ethnography (utilize anthropological methods) in an education setting (broadly defined), but how they approach that
experience, what they focus on, and what they produce to turn in is generally open. The product will be linked/submitted both in
LiveText and on the course website.
Final Project Proposal
The proposal for the final project due date is on the course syllabus. It should be submitted as a private journal entry on
the course website. The proposal can be brief (150-200 words) but should relay the selected research site, focus, context,
methods and timeline of data collection, and product to be delivered. Also, students will discuss their project proposal
and their progress with the professor in a web appointment.
SOME FINAL PROJECT “Product” POSSIBILITIES:
• Short Ethnographic Documentary Film
• Radio Story/Podcast (c.f. StoryCorps, NPR, etc.)
• Small scale replication of a previous study
• Community Mapping Project & reflection
• Cultural Plunge & reflection
• Funds of Knowledge Project toward K-12
Curriculum Design
• School Observation
• Visual Ethnography (e.g. PhotoVoice)
• Institutional History
• Auto-Ethnography
• Investigative reporting
• . . .another approved project
Each project must demonstrate an understanding of and be grounded in the methods, and theories of cultural anthropology. It may
be inspired by the texts reviewed in class. In the final product students may consider relaying the following components (depending
on the project you design, these may or may not apply. I provide them here for your consideration):
n Detail the Research Focus & Context: [for example:] What was my research focus? What community and/or setting did
I select for my project? What background information do my audiences need to know? Why ...
Instruction in Nature of Science as a Multicultural Approachxeniameyer
1) The document discusses gaps in science achievement and participation among underrepresented racial/ethnic groups and proposes instructional approaches to better engage these students.
2) These approaches include inquiry-based instruction, instructional congruency using students' everyday experiences and languages, and explicit instruction in the nature of science (NOS).
3) By combining these approaches, the authors argue science can be framed as a cultural way of knowing to boost underrepresented students' agency and participation in science learning.
What shapes what? Technologies and their relationship to learningMartin Oliver
Although there is a considerable body of work that explores educational uses of technology, and highly developed accounts of what learning is, surprisingly little research in education has asked what technology is, or what its relationship to learning consists of. When these matters are considered at all, they tend to be framed in technologically deterministic ways, with technology either 'causing' or at the least 'offering' and 'constraining' learning. In this talk, I will provide an overview of this way of framing technology and identify problems that follow from it. I will outline alternative positions that could be adopted, including Communities of Practice, the Social Construction of Technology and Actor-Network Theory, and discuss their points of connection to this debate. Using examples drawn from a JISC-funded project on digital literacies, I will draw out the implications of these positions for research.
This document describes a collaboration between the University of Glasgow and Islamic University of Gaza to develop students' language and technical skills through an online exchange program called EAST. Students from both universities worked in mixed groups on engineering-related projects from Gaza. They communicated online to research topics, ask questions, and provide feedback to each other. University of Glasgow students then wrote essays and presentations on the projects. Evaluations found the program improved students' language, study, and transferable skills while allowing knowledge exchange between the two groups. Challenges included technology and connectivity issues. Moving forward, the organizers aim to develop more balanced outcomes, leadership mentoring, and expand the program to other disciplines.
The Discovery Learning Space: Developing the Science Classroom of the FutureSEENET-MTP
The document discusses current trends in science education and ways to improve student interest in science. It argues that science education needs to shift from a deductive approach focused on memorization to an inquiry-based approach that emphasizes thinking scientifically. Recommendations include introducing problem-oriented and interdisciplinary fields of study, increasing collaboration between formal and informal education, and utilizing new technologies to enhance hands-on learning experiences.
Development of Syntax for Learning Chemistry Based On EtnoSTEM to Build Scien...AJHSSR Journal
ABSTRACT: Local culture in learning canimprovestudents' scientificliteracy and criticalthinkingskills. The
purpose of thisresearchis to develop a local culture-basedchemistrylearningsyntaxthatcan train students'
scientificliteracy and criticalthinkingskills. This researchwasconductedusingresearch and developmentmethods.
The development model in thisstudyincludes five procedures, namelypreliminaryresearch, productdevelopment,
expert validation, testing, and implementation. The final productis an ethno-STEM-basedlearningsyntax,
namely, HENIE.The results of the development of the HENIE syntax show that (1) the validation of the syntax
product is in the Good and Very Good categories. The validator also gave a positive response to this research,
(2) the percentage of lesson plan assessment of 90.90% was in the Good category, (3) the percentage of learning
implementation assessment of 95.80% was in the very good category, (4) student literacy ability assessment is
in the good category, and (5) the percentage of students' critical thinking skills reaching 85.83% is in the Good
category.
Keywords –syntax, ethno-STEM, science literacy skills, critical thinking skills
This document discusses interdisciplinarity and challenges of interdisciplinary research. It provides examples of language barriers between disciplines in collaborative projects. It also addresses prerequisites for interdisciplinary collaboration like understanding each other's languages and setting specific goals. Challenges discussed include disciplinary mindsets, evaluating interdisciplinary work, and mismatches between new practices and traditional metrics. The document advocates for approaches like identifying shared mediating artifacts and facilitated dialogue to promote interdisciplinary discussions.
This document summarizes a research article that examines the cultural nature of research and argues for considering research as a situated cultural practice. It highlights two key points made in the article. First, it discusses the theoretical and methodological limitations of traditional research that focuses on cultural minority groups. Second, it outlines an idea of research as situated cultural practice, which widens the focus from certain groups to also consider the researcher's own cultural background and assumptions within their field. The document provides background on this perspective and discusses its implications for improving research to better address growing cultural diversity.
Reflective Deliberation about Integrative Evidencedcambrid
Eportfolios can be used to document and promote student learning. They allow students to collect evidence of their work, reflect on their learning and skills, and see how they have progressed. Effective eportfolios are grounded in authentic student work and evidence, with reflections that synthesize learning. Research shows eportfolios can improve skills like reflection, engagement, and retention when integrated into the curriculum and supported by the institution. Implementing eportfolios requires aligning them with learning goals, designing supportive activities, helping students understand the processes, and giving students ownership over the outcomes. Eportfolios are disruptive but can foster integrative and lifelong learning when implemented successfully.
S1 SCIENCE EDUCATION AND GUIDANCE IN SCHOOLS: THE WAY FORWARD 10.00 di fabioprogettoacariss
This document discusses guidance and career counseling for the promotion of scientific talents. It notes that numerous educational initiatives have been implemented to encourage students' interest in STEM fields, but that attention must also be paid to gifted students. Effective science enrichment programs incorporate inquiry-based learning, scaffolding, and cognitive apprenticeship. They have been shown to increase science knowledge and achievement for general students as well as female and gifted students. However, factors like gender stereotypes, lack of role models, and family influences have contributed to a science gender gap. Guidance interventions should provide career information, counseling, and opportunities for dialogue to help students construct their careers, with a focus on reducing stereotypes.
Tina Phillips (Cornell Lab of Ornithology) - the DEVISE projectCitizenCyberlab
Tina Phillips (Cornell Lab of Ornithology) presenting the DEVISE project, and learning in citizen science research at the Citizen Cyberlab Summit, 17-18 September 2015, University of Geneva (UNIGE).
This document discusses the use of task-based learning (TBL) and information and communication technologies (ICT) in visuals. It provides examples of short films, photos, and websites that can be used for visual literacy and language learning. It also discusses some challenges in using TBL, such as lack of time and learner motivation, and provides strategies for integrating videos and developing visual literacy skills in the classroom. The document is authored by Professor Aurelia García and contains resources for using visuals to enhance language teaching.
The document discusses developing a deep approach to learning for teacher education students. It emphasizes building knowledge of the world through socio-cultural and physical realities. Students should develop skills like flexibility, social skills, communication, and managing student activities. A deep approach involves vigorously interacting with content, relating ideas to prior knowledge and everyday experiences, and examining logic. Visual images can help communicate concepts. Teacher students need motivation, cognitive competence, and ICT/media skills to build knowledge and develop skills needed for their profession.
Similar to Techno-Vernacular Creativity, Innovation & Learning in Underrepresented Ethnic Communities of Practice (20)
The document discusses Joseph Campbell's concept of the "hero's journey" and how it relates to students from non-dominant groups entering STEM fields. It describes the hero's journey as having three stages - (1) the hero receives a call to adventure into an unknown world, (2) the hero crosses the first threshold and undergoes a series of tests with obstacles, and (3) the hero returns to share the knowledge gained. For students from non-dominant groups, entering a STEM classroom or makerspace can feel like the unknown world of the hero's journey, but providing mentors and tools can help reassure students as they embark on their academic adventure.
This document discusses vernacular science knowledge and technology, including biomimicry, computational thinking, and culturally situated learning and design. It explores how STEAM education can be used to teach these concepts through design fiction and by merging fictional worlds with creative design. Students would learn about biomimicry by designing new products inspired by nature, computational thinking by formulating problems that computers can solve through algorithms, and culturally situated design by using indigenous artifacts and practices with STEM principles. The document lists various tools, concepts, and practices that could be used in STEAM learning, such as 3D modeling, coding, fabrication, worldbuilding, and design fiction.
Afrofuturism explores liberation through a combination of technology and nature. Octavia Butler's work suggests that technology alone does not ensure survival, but combining it with nature preserves life. True freedom requires a symbiotic relationship between technology, nature, and community. The document discusses using Afrofuturism to introduce children to ideas of the future and having them create projects combining technology and nature to share with the public.
This document discusses using algorithms and Afrofuturism themes in relation to the musical "The Wiz". It explores how algorithms could be used to enhance the audience experience before and during the show through interactive displays and animations linked to elements of the story, such as lighting up Dorothy's silver slippers when mentioned or animating signs. The document also references a Lewis Mumford quote about the intermediate role of magic between fantasy and knowledge in driving technological advancement.
This document discusses culturally responsive education in makerspaces. It explains that STEAM (Science, Technology, Engineering, Art, and Mathematics) teaching integrates multiple disciplines. Components of equity in makerspaces are access, diversity, and inclusion. The document then discusses underrepresented groups in STEM and strategies for making makerspaces more culturally responsive, such as re-appropriation, remixing, and improvisation. Specific examples are provided like using lowrider culture in robotics or MIDI controllers in music. The goal is to design culturally situated learning experiences and curriculum.
STEAM (Science, Technology, Engineering, Art and Mathematics) involves teaching and learning using multiple disciplines. A STEAM Lab allows students to explore concepts across subjects in a creative space centered around art. The document outlines various STEAM concepts and techniques students may explore such as creating idea maps, learning to solder, creative coding, and exhibition of student work. It also provides an example of how to structure project-based STEAM learning using objectives focused on gaining student attention, relevance, confidence, and satisfaction.
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.
This document discusses the connections between West African cosmology and Afrofuturist art. It explores how Afrofuturist artists reimagine history and the future of the African diaspora through science, science fiction, and technology with their own worldviews. The Kalunga line under the Atlantic Ocean, representing the threshold between the living and dead, is referenced. Crossroads have complex patterns in West African cultures and are simplified in Afrofuturist art. Works aim to position viewers in a sense of completeness or utopia, referenced as Funkentelechy in P-funk music.
This document discusses the history and concepts of Afrofuturism across multiple artistic disciplines such as music, literature, visual art, and film. It provides early examples of Afrofuturism in literature from the early 20th century depicting advanced African societies and black scientists. It also discusses how jazz musician Sun Ra incorporated music, myth, and performance to present a unified vision of space that influenced later generations. The document explores how Afrofuturist artists create new conceptions of race, gender, and culture through technology to envision possible futures for the African diaspora.
This document outlines a workshop exploring how culturally situated arts and design can engage underrepresented ethnic students in STEM. The workshop agenda includes presentations on culturally situated design strategies in science, technology, engineering and math. It also covers arts-based research methods like personal meaning maps, portraiture and concept maps. Participants will brainstorm arts-based learning activities and projects. The goal is to develop recommendations for new culturally situated arts-based research directions that can engage more students in STEM through informal science education.
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
This document discusses how culturally situated arts-based learning can enhance STEM education. It involves integrating cultural art and design with STEM principles to create simulations of artifacts. This allows students to tap into their intrinsic learning styles through creative expression. Digital media also plays a role, including use of mobile devices. The document poses questions about how culture and the arts enhance STEM understanding and how this approach can bridge formal and informal learning.
This document discusses the cyclical nature of black culture through concepts like improvisation, identity, and reappropriation. It argues that black popular culture has continually reinvented itself by borrowing from the past and incorporating new techniques and audiences through improvisation. This allows black culture to survive by constantly changing and adapting. Examples are given of how these concepts have manifested in various art forms like music, visual art, crafts, and digital media. The goal is to illustrate how black culture shapeshifts identities and looks to the future through avenues like Afrofuturism.
An interdisciplinary approach to learning where academic concepts are coupled with artistic works and cultural practices as students apply science, technology, engineering, and mathematics in contexts that make connections between school, community, personal interests, and the global marketplace.
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.
A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
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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
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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
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Du Bois, W. E. B. (1989). The soul of black folks. New York: Bantam. (Originally published in
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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.