Heidi Eyestone, Carleton College presentation at VRA 28 Atlanta conference session "Transition to Learning Spaces: Redefining Our Space for the Digital World."
EdD Participants: this is an 11-slide presentation with a brief overview of the Cohort-8 EDDE801 course based on the course site information (disclaimer by RZP June 2015)
Workshop at 2016 NTU Learning and Teaching Seminar - Students as Partners in ...Simon Bates
Workshop at 2016 NTU Learning and Teaching Seminar - Students as Partners in Learning and Teaching. In this interactive workshop session, we will look in more detail at case studies of how students as learning partners may be built into course and learning design.
EdD Participants: this is an 11-slide presentation with a brief overview of the Cohort-8 EDDE801 course based on the course site information (disclaimer by RZP June 2015)
Workshop at 2016 NTU Learning and Teaching Seminar - Students as Partners in ...Simon Bates
Workshop at 2016 NTU Learning and Teaching Seminar - Students as Partners in Learning and Teaching. In this interactive workshop session, we will look in more detail at case studies of how students as learning partners may be built into course and learning design.
Presented at meeting for Supporting university students in chemistry during hybrid teaching, July 2020
video: https://www.youtube.com/watch?v=TzHdOEwVF5Y
Helen Singer (Information Manager, University of Hertfordshire)
Engineering engagement with EVS (5 minutes)
This five minute talk describes a scenario of being given an hour in a lecture theatre with several hundred new Engineering and Technology students. Helen will explain how she decided to use the Electronic Voting System to engage the students, and give a brief evaluation of how this went.
ENSURING QUALITY AND DETERMINING EFFECTIVENESS, ELI Focus SessionTanya Joosten
As many institutions have invested in faculty development programming and understand that it is pivotal to the success of innovation in course designs and academic programming, there is a need to ensure that the products resulting from these efforts are meeting institutional standards of quality for student learning and other outcomes. We have seen an array of mediated forms of learning (hybrid, blended, flipped, online, self-paced, competency-based, MOOCs, and more) being diffused across campuses and systems, and many of us have been asked to provide evidence of the effectiveness of our faculty development programming to ensure the quality of classes and programs. Administrators are looking for an ROI in faculty development as we are seeing decreases in funding, enrollments, and budgets. This presentation will share an approach to ensuring quality and evaluating the effectiveness of faculty development, including the sharing of resources.
Outcomes: Learn about a life cycle of ensuring quality in faculty development * Identify steps in a backward-design approach to evaluating the effectiveness of faculty development * Share potential resources to use in future efforts
Tuesday, Apr 1st, 2014, 12:15 PM - 12:40 PM, Eastern Time
Presentation at the HEA-funded workshop 'Activity or action? Theory and evidence to support the use of active learning pedagogies in Business Management'.
Based on a consideration of the constructivist underpinnings of Active Learning (AL) pedagogies and evidence from tutors who have incorporated group projects, business simulations and Problem-Based-Learning (PBL) into their courses, this workshop will support the notion that Active Learning pedagogies provide a radical and effective departure from traditional approaches.
This presentation is part of a related blog post that provides an overview of the event: http://bit.ly/1iCpOd3
For further details of the HEA's work on active and experiential learning in the Social Sciences, please see: http://bit.ly/17NwgKX
Elisa Lanzi, Smith College presentation at VRA 28 Atlanta conference session "Transition to Learning Spaces: Redefining Our Space for the Digital World."
This presentation discusses some key issues relevant to e-learning. Attention is given to issues such as new literacies, forms of e-learning, web 2.0, mobile learning, developing world.
Presented at meeting for Supporting university students in chemistry during hybrid teaching, July 2020
video: https://www.youtube.com/watch?v=TzHdOEwVF5Y
Helen Singer (Information Manager, University of Hertfordshire)
Engineering engagement with EVS (5 minutes)
This five minute talk describes a scenario of being given an hour in a lecture theatre with several hundred new Engineering and Technology students. Helen will explain how she decided to use the Electronic Voting System to engage the students, and give a brief evaluation of how this went.
ENSURING QUALITY AND DETERMINING EFFECTIVENESS, ELI Focus SessionTanya Joosten
As many institutions have invested in faculty development programming and understand that it is pivotal to the success of innovation in course designs and academic programming, there is a need to ensure that the products resulting from these efforts are meeting institutional standards of quality for student learning and other outcomes. We have seen an array of mediated forms of learning (hybrid, blended, flipped, online, self-paced, competency-based, MOOCs, and more) being diffused across campuses and systems, and many of us have been asked to provide evidence of the effectiveness of our faculty development programming to ensure the quality of classes and programs. Administrators are looking for an ROI in faculty development as we are seeing decreases in funding, enrollments, and budgets. This presentation will share an approach to ensuring quality and evaluating the effectiveness of faculty development, including the sharing of resources.
Outcomes: Learn about a life cycle of ensuring quality in faculty development * Identify steps in a backward-design approach to evaluating the effectiveness of faculty development * Share potential resources to use in future efforts
Tuesday, Apr 1st, 2014, 12:15 PM - 12:40 PM, Eastern Time
Presentation at the HEA-funded workshop 'Activity or action? Theory and evidence to support the use of active learning pedagogies in Business Management'.
Based on a consideration of the constructivist underpinnings of Active Learning (AL) pedagogies and evidence from tutors who have incorporated group projects, business simulations and Problem-Based-Learning (PBL) into their courses, this workshop will support the notion that Active Learning pedagogies provide a radical and effective departure from traditional approaches.
This presentation is part of a related blog post that provides an overview of the event: http://bit.ly/1iCpOd3
For further details of the HEA's work on active and experiential learning in the Social Sciences, please see: http://bit.ly/17NwgKX
Elisa Lanzi, Smith College presentation at VRA 28 Atlanta conference session "Transition to Learning Spaces: Redefining Our Space for the Digital World."
This presentation discusses some key issues relevant to e-learning. Attention is given to issues such as new literacies, forms of e-learning, web 2.0, mobile learning, developing world.
This is the introductory lecture for the module Interactive Space Design at Newcastle University's School of Architecture, Planning and Landscape. Part of the MArch and MSc in Digital Architecture.
Research skills and writing in a learning communityMarcia Rapchak
Both research and writing skills are essential for success in college and beyond, but first-semester freshmen do not always recognize the importance of these skills. By integrating a research skills course and a writing course within a learning community, students were able to apply these skills in their projects that integrated the learning community themes. The instructors worked together to scaffold assignments and assess similar learning outcomes. Ultimately, students in the learning community were more engaged in the process of research and had greater capacity to research for their writing assignments than if the two courses were separated. This presentation will share strategies and ideas for pairing information literacy and composition within a learning community.
Open SUNY NDLW: Using open source virtual-reality environments for community...Erin Maney
Immersive, 3-D environments have offered opportunities for distance participants to share in any number of activities. With the advent of open source environments that are low-cost and that come either pre-configured or easily configured, this instructor has used these environments in class activities including: presentations, discussions, poster sessions, team meetings within a class, and shared activities (such as visiting other islands or testing 3-D building). Using action research the effectiveness of these environments on community building has been studied and published; students have overcome the isolation of discussion-board-driven online environments and been able to form more effective academic and personal relationships within courses.
Beef up your backchat: using audience response systems to assess student lear...Elizabeth Yates
Presentation at WILU 2014 at Western University. Describes use of web-based audience response systems for formative assessment during information literacy sessions.
Enriching the Academic Experience: the Library and Experiential Learning at Middle Tennessee State University
William Black, Christy Groves and Amy York, Middle Tennessee State University
Middle Tennessee State University adopted its experiential learning program as part of the 2006 academic accreditation process. Experiential learning (EXL) merges classroom teaching with the work environment to enhance the overall educational experience. Through EXL, students, faculty and external organizations collaborate to strengthen learning.
The James E. Walker Library has taken a proactive program approach to EXL @ MTSU, through the creation of partnerships with instructional faculty and student groups. Through these partnerships, members of the library faculty have been engaged in a number of entrepreneurial activities to enhance student education and involve the library more directly in the university’s mission to develop educated men and women.
We propose to talk about some of the library’s entrepreneurial partnerships that enhance learning through experience. These programs include initiatives such as the Student Art Partnership which offers the Library as a learning site for art installations that raise student awareness, the Printing Press Project which brings the library’s locally crafted 18th century reproduction printing press into university and county K-12 classrooms, and the Assessment Project which utilizes skills of Management & Marketing and Anthropology students to evaluate library effectiveness across campus.
We will discuss a representative sample of EXL partnerships at MTSU, describe the activities and outcomes, and assess how, by thinking entrepreneurially, the programs have strengthened the library’s relationship with students and brought the library more fully into the educational process.
William Black is a Professor & the Administrative Services Librarian
Christy Groves is an Assistant Professor & the Coordinator of User Services
Amy York is an Assistant Professor & the Distance Education Librarian
Presentation of a Higher Education Academy (HEA) funded teacher education project by Phil Taylor and Dario Faniglione at an HEA teacher education dissemination event in July 2014. For further details of this event and links to related materials see http://bit.ly/1mqhzHS.
Teaching for Critical Thinking at McGill by Alenoush Saroyan (McGill)EduSkills OECD
This presentation was given by Alenoush Saroyan of McGill at the project meeting “Fostering and assessing students' creativity and critical thinking in higher education” on 20 June 2016 in Paris, France.
These are my slides from the presentation I made at the FIMS Student Conference in 2012. I discussed Learning Objects for Information Literacy Instruction, what a learning object is, suggested some products that can be used, provided an overview on my review of the literature, discussed design principles using the ADDIE model, suggested some best practices and reviewed some sharing repositories.
VRA 2023 Collections Management in Fashion and Media session. Presenter: Wen Nie Ng
The goal of the paper is to enhance the metadata standard of fashion collections by expanding the controlled vocabulary and metadata elements for Costume Core, a metadata schema designed specifically for fashion artifacts. Various techniques are employed to achieve this goal, including identifying new descriptors using word embedding similarity measurements and adding new descriptive terms for precise artifact descriptions to use when re-cataloging a university fashion collection in Costume Core. The paper also provides a sneak peek of the Model Output Confirmative Helper Application, which simplifies the vocabulary review process. Additionally, a survey was conducted to collect insights into how other fashion professionals use metadata when describing dress artifacts. The survey results reveal 1) commonly used metadata standards in the historic fashion domain; 2) sample metadata respondents use; and 3) partial potential metadata that can be appended to Costume Core, which is relevant to Virginia Tech's Oris Glisson Historic Costume and Textile Collection. The expanded Costume Core resulting from the project offers a more comprehensive way of describing fashion collection holdings/artifacts. It has the potential to be adopted by the fashion collections to produce metadata that is findable, accessible, interoperable, and reusable.
VRA 2023 Adventures in Critical Cataloging session. Presenters: Sara Schumacher and Millicent Fullmer
This paper will cover the results of a research study looking at visual resources professionals' perceptions of the visual canon at their institutions and their actions confronting biases in their visual collections. This research is innovative because the "visual canon" as a concept is often evoked but rarely defined, and there has not been research into perceptions and practices that span different types of cultural heritage institutions. The researchers seek to focus on the role of the visual resources professional as a potential change-maker in confronting bias and transforming the “visual canon.” In our presentation, we will discuss the analysis of our survey and interviews around three key research questions: What barriers do visual resources professionals perceive in remedying the biases in the visual canon? What authorities, past and present, do they identify in shaping the visual canon? How do they approach teaching users to identify and critically confront these issues? We will highlight trends as well as unique concerns and solutions from our research participants and engage our audience with how these issues impact their own collections, policies, and instruction.
VRA 2023 Beyond the Classroom: Developing Image Databases for Research session. Presenter: John J. Taormina
The Medieval Kingdom of Sicily Image Database project collects historic images of the medieval monuments of South Italy, from the so-called Kingdom of Sicily dating from c. 950 to c. 1430, during the Norman, Hohenstaufen, Angevin, and early Aragonese periods. The project was begun in 2011, as part of a 3-year Collaborative Research Grant from the National Endowment for the Humanities, under project investigators Caroline Bruzelius, Duke University, and William Tronzo, University of California, San Diego.
The site features over 8,000 historical images in a range of media, including drawings, paintings, engravings, photographs, and plans and elevations culled from museums, archives, and libraries in Europe and America, often from the Grand Tour, as well as from available publications. The value of the database lies in making accessible to scholars the visual documentation of changes to historical sites because the medieval monuments of South Italy have been damaged, changed, and restored on many occasions, with tombs and liturgical furnishings often destroyed, dismantled, or removed. In fact, many of the 600 monuments no longer exist, often bombed during World War II or destroyed in earthquakes, or obscured by modern buildings and urban sprawl.
VRA 2023 Archives Tools and Techniques session. Presenters: Maureen Burns and Lavinia Ciuffa
The Ernest Nash collection documents ancient Roman architecture in pre- and post-World War II Italy. What made Nash's work significant, beyond capturing the present state of the ancient Roman monuments at a volatile historical moment, was the primacy of the topographical photography and the systematic order he brought to this subject. The American Academy's Photographic Archive contributed Nash's images to an open access, interactive website called the "Urban Legacy of Ancient Rome." It reveals the city in stunning detail and uses geo-referencing to provide the viewer with a better understanding of the overall contextual and spatial logic. These Nash images and metadata are also IIIF compatible. As the Academy continues to digitize and describe the full collection of about 30,000 images, thanks to the generous support of the Kress Foundation, a new partnership has developed with Archivision and vrcHost. Current high quality digital photographs of the same ancient Roman monuments are being added to compare with the historical images documenting architectural changes--whether conserved, restored, altered, reconstructed, re-sited or destroyed. This presentation will provide a progress report about what it takes to move new digital photography into IIIF and the various tools available for close examination and presentation. Finding ways to provide ready access and juxtapose historic and contemporary photography online, builds upon the legacy of Nash's quality curation and scholarship to create 21st century, accessible, online educational resources of great interest and utility to scholars, students, and a wide audience of ancient Roman enthusiasts.
VRA 2023 Exploring 3D Technologies in the Classroom session. Presenter: Amy McKenna
Amy McKenna (Williams College) discusses her project that uses Photoshop and cardboard 3D glasses to recreate the 19th-century spectacle of a historic glass stereo collection.
VRA 2023 Keynote. Presenter: Melissa Gohlke
A historical record that focuses on white, heteronormative society and events obscures many facets of San Antonio history. Peel back the veneer of normalcy and one can find rich, diverse, and unexpected strands of the city’s past. From female impersonators of the early 1900s to queer life in derelict spaces during the 1960s and finally, gay and lesbian bar culture of the1970s and beyond, the hidden threads of San Antonio’s history reveal themselves. In this presentation, LGBTQ Historian Melissa Gohlke explores these hidden histories and stitches together an alternative interpretation of the city’s historical narrative by examining a wealth of primary sources found in archives and personal collections.
About the speaker:
Melissa Gohlke is an urban historian who specializes in San Antonio LGBTQ+ history. For over a decade, Gohlke has been researching queer history in San Antonio and South Texas and sharing her passion for this history through extensive outreach activities such as presentations, media interactions, exhibits, and written work. Gohlke is the Assistant Archivist for UTSA Libraries Special Collections.
About the VRA:
The Visual Resources Association is a multidisciplinary organization dedicated to furthering research and education in the field of image management within the educational, cultural heritage, and commercial environments.
VRA 2023 Beyond the Classroom: Developing Image Databases for Research session. Presenter: Mark Pompelia
Material Order is an academic consortium of material sample collections (including wood, metal, glass, ceramic, polymers, plastics, textiles, bio-materials, etc.—any material that might be used in or considered for art, architecture, and design disciplines) founded by the Graduate School of Design at Harvard University and Fleet Library at Rhode Island School of Design and now comprising several more institutions in the US. It provides a community-based approach to management and access to material collections utilizing and developing standards and best practices. Material Order created the Materials Profile that serves as a shared cataloging tool on the LYRASIS CollectionSpace platform and can be further developed as the different needs of consortium members are identified. Open Web searching across all collections occurs via a front-end discovery portal built with Wordpress at materialorder.org.
The Material Order project was born from the acknowledgment that resource sharing and collaborative catalogs are the most promising approach to exploration and implementation. It was always the intent, now actualized, for partner institutions with different mission and scope to compel the project to consider and accommodate criteria such as material health ecologies, fabrication possibilities, and overlap into adjacent fields such as engineering and archeology. Thus, Material Order represents not just items on a shelf but a knowledge-base of compositions, uses, forms, and properties. No longer in its infancy, Material Order provides a shared and adaptable framework for managing collections across the consortium and optimal facilitation of materials-based research and exploration for art, architecture, and design applications.
VRA 2023 New Frontiers in Visual Resources session. Presenters: Meghan Rubenstein and Kate Leonard
The Art Department at Colorado College is piloting a Personal Archiving program in select undergraduate studio courses that combines visual and digital literacy instruction with personal reflection and professional development. Meghan Rubenstein, Curator of Visual Resources, and Kate Leonard, Professor of Art, will discuss the drive behind this initiative to develop student competencies within a liberal arts setting. We will share our ongoing iterative process as well as select student activities and learning outcomes that may be adopted to various institutions.
VRA 2022 Teaching Visual Literacy session. Presenter: Molly Schoen
Our everyday lives are more saturated in images and videos than any other time in human history. This fact alone underscores the need to implement visual literacy skills in all stages of education, from pre-K to post-grad. Learning how to read images with critical, analytical eyes is crucial to understanding the world around us as we see it represented in the news, social media, advertisements, etc. New technologies have exasperated this already urgent need for visual literacy education. Synthetic media, deepfakes, APIs, bot farms, and other forms of artificial intelligence have many innovative uses, but bad actors also use them to fan the flames of disinformation. We have seen the grave consequences from this age of disinformation, from undermining elections to attempts to delegitimize science and doctors, undoubtedly raising the death toll from the COVID-19 pandemic. What do we need to know about these new forms of altered images made by artificial intelligence? How do we discern between real, human-made content versus fakes made by computers, which are becoming more and more difficult to discern? This paper aims to raise awareness of how new forms of visual media can manipulate and deceive the viewer. Audience participants will learn how to empower themselves and their peers into being more savvy consumers of visual materials by understanding the basics of AI and recognizing the characteristics of faked media.
VRA 2022 Individual Papers Session. Presenter: Malia Van Heukelem
This case study of a large artist archive at a medium sized academic research library will connect the success of the artist serving as his own archivist and the collection's broad research appeal locally, nationally and internationally. Like many artists, there is so much more than his own work represented. There is correspondence, fine art prints, ephemera of other artists and writers hidden in the collection. The foundation of organization is in place; now the focus is on creating online access points through finding aids and image collections. The presentation will explore the use of ArchivesSpace, Omeka, and other software to increase access. It will also demonstrate how a solo archivist can leverage interns, student assistants, and volunteers for collections management projects that benefit both the institutional priorities and desired learning outcomes. This talk will delve into the challenges of 20th century visual resource collections such as copyright and engagement with donors. Featuring a local artist has brought other art and architecture collections to the library, without clear boundaries which has led to questions of sustainability, who and what is collected. There is definitely a need to balance the historical record and yet, there are already more archival collections accessioned than can be responsibly managed by one person. The primary collection does include works by women and artists of color, yet much descriptive work remains to forefront the diversity contained within. As an archivist and librarian at a public university, there are many competing demands for collections management, support of researchers, and instruction plus the added interest for exhibition loans and the desire for other artists and architects to be represented. This artist archive is both interesting and complex.
VRA 2022 Critical Cataloging Conversations in Teaching, Research, and Practice session. Presenters: Megan Macken, Louise Siddons
Prior to the fall of 2020, the historic record of art exhibitions held at Oklahoma State University (OSU) was available only in incomplete, unprocessed archival materials. Students in Louise Siddons’ fall 2020 History of American Art course conducted research in the digitized student newspaper archive to begin documenting OSU art exhibitions since 1960. The resulting database was shared with the public with the intention of building on the project in future courses. Throughout the project both students and faculty engaged in critical cataloging.
Using the exhibition dataset they had created, students completed two analytical assignments: a traditional art history essay in which they considered one exhibition closely, and a critical reflection prompting them to consider their new understanding of the university’s history based on the aggregation of exhibitions. As gaps and surprises in representation appeared, students developed a more nuanced picture of institutional culture in the latter half of the 20th century.
After the course concluded, art history and library faculty standardized the student-generated data in preparation for sharing on other platforms such as Wikidata. Some artists who have exhibited at OSU also have interviews in the OSU oral history collections, and intersections between these projects and the questions raised by surfacing this metadata were explored. In the process issues emerged around artists’ preferred ways of identifying themselves as well as the difficulties of achieving a balance between increased representation of artists on the margins and respect for the privacy of living artists.
VRA 2022 session. Organizer/Moderator: Allan T. Kohl. Speakers: Virginia (Macie) Hall, Christina Updike, Marcia Focht, Rebecca Moss, Steven Kowalik, Jenni Rodda
During the past year, the “Great Resignation” (aka. The “Big Quit”) has roiled the world of employment nationwide in the wake of the COVID-19 pandemic, which had already caused job losses among our membership. While many institutions and individuals now hope for a “return to normal,” others anticipate that the past two years mark a watershed necessitating further transformational changes in the years ahead. These larger employment trends have come on top of quantum shifts in the visual resources field itself, as traditional tasks give way to new responsibilities, and siloed image collections are replaced by interdisciplinary projects.
For several years, our annual conferences have featured the perspectives of newer professionals in “Stories from the Start.” Looking at the opposite ends of their career arcs, this session brings together the perspectives and experiences of two pre-pandemic retirees, two of our members who made their decisions to retire during the past year, and two currently active professionals whose retirements are pending in the near future. When and why did they make their decisions to retire? What was/is the actual process? Concerns? What comes next after we leave our offices for the last time?
VRA 2022 Digital Art History session. Presenters: Melissa Becher and Samuel Sadow
In 2019, the art history program at American University gave its masters students a new option for the capstone project that is the culmination of the degree: create a digital project on an art historical topic using Omeka S or Wordpress. Initially, only a single student chose to complete a digital capstone over a traditional thesis, but within two years there was near parity between the two options, meaning seven digital capstones for the 2021 cohort. To support these projects, a close partnership quickly developed between the University’s library, the visual resources center, and the archives. This session covers how three campus units coordinate that support for these innovative digital humanities projects, including administration of the platforms, instruction, technical support, preservation, and access to the final projects. The session will also showcase examples of student work to demonstrate the variety and creativity of projects that can be accomplished using these platforms, as well as their contributions to the field of art history. The outcome of this initiative is clear: the best of digital humanities, weaving design and technology with rigorous art historical research, and finished projects that have already resulted in successful job applications in the field.
VRA 2022 Material Objects and Special Collections session. Presenters: Allan T. Kohl and Jackie Spafford
Materials-based collections represent a challenging new mode of information management in terms of subject specialization, physical description and accommodation, and institutional mission. Building upon the successful introductory meeting of this Group in Los Angeles at the 2019 Conference, the goal of this SIG is to provide a forum for open discussion of Material and Object Collections and their relationship to various library/visual resources tasks. The Material and Object Collections SIG provides an opportunity for individuals working with a variety of materials and objects collections – including those that support art and art history courses, those that support architecture and design courses, and those in cultural heritage organizations – to share ideas, issues, and potential solutions in regard to tasks similar to common library/visual resources activities (including cataloging, documentation, staffing, outreach), as well as more specialized concerns relating to the management of physical objects (security, storage and retrieval, the design of user spaces, etc.).
By continuing to offer an opportunity for participants to share brief introductions and profiles of their collections, we hope to encourage networking and exchange information about sources for specialized items; to display sample items and share surplus samples with other collections; and to provide examples of successful solutions to typical problems. Our long-range goal is to maintain an ongoing support group that can be of particular benefit to those professionals who are in the beginning stages of building or organizing physical collections.
VRA 2022 Digital Art History session. Moderator: Otto Luna
Exploration of visualization tools in the Digital Humanities/Digital Art History realm. Presenter: Catherine Adams
Assessing the use of Qualitative Data Analysis Software (QDAS) by Art Historians and Archaeologists. Presenter: Kayla Olson
Supporting Art History Students’ Digital Projects at American University. Presenters: Samuel Sadow and Melissa Becher
VRA 2022 Digital Art History session. Presenter: Kayla Olson
This paper discusses a study (completed in the spring of 2021) which explores how common the use of Qualitative Data Analysis software (QDAS) is among two kinds of object-based researchers: art historians and archaeologists. Surveys were disseminated in a snowball fashion and contained open and closed questions. The questions sought to give participants a platform to describe if, why, and how they use programs like Atlas.ti, NVivo, Dedoose, and MAXQDA throughout their research process. While not QDAS, the image management application Tropy was also included. The author hopes that the anonymized responses will prompt discussion among professionals in academic librarianship and visual resources management about the possible impact of these digital tools on researchers in these disciplines. The question remains on whether researchers in art and material culture disciplines would benefit more from QDAS if participants were aware of: 1) Their existence and 2) Their ability to help organize artifact data and to assist in performing image-based analysis.
VRA 2022 Critical Cataloging Conversations in Teaching, Research, and Practice session. Presenter: Ann M. Graf, Assistant Professor of Library and Information Science, Simmons University
In the field of information science, we strive to provide access to information through the most efficient means possible. This is often done through the use of controlled vocabularies for description of subjects, and, in the case of art objects, for the identification of styles, processes, materials, and types. My research has examined the sufficiency of controlled vocabularies such as the Art and Architecture Thesaurus (AAT) for description of graffiti art processes and products. This research is evolving as the AAT is responding to warrant for a broader set of terms to represent outsider art communities such as the graffiti art community. The methods used to study terminological warrant by examining the language of the graffiti art community are helpful to give voice to artists who work outside the traditional art institution, allowing the way that they talk about their work and how they describe it to become part of the common discourse. It is hoped that this research will inspire others who design and supplement controlled vocabularies for use in the arts to give priority in descriptive practice to those who have been historically underrepresented or made invisible by default use of terminology that does not speak to their experiences.
VRA 2022 Session. Presenter: Douglas Peterson
In 2021, the National Archives of Estonia engaged Digital Transitions’ Service division, Pixel Acuity, to build an Artificial Intelligence (AI) tool to analyze part of its historic record. The objective was to use this tool to enhance their collection with descriptive metadata that identified persons of interest in a collection of over 8,000 photographic glass plate negatives, a task that would ordinarily take years of human labor. In this presentation, we discuss our approach to accurately detecting and identifying human subjects in transmissive media, our initial findings using commercially available AI models, and the subsequent refinements made to our workflow to generate the most accurate metadata. In addition to working with commercially available AI models, we developed strategies for validation of AI-generated results without additional human supervision, and explored the benefits of building bespoke, heritage-specific AI models. By combining all of these tools, we developed a highly customized solution that greatly expedited accurate metadata generation with minimal human oversight, operated efficiently on large collections, and supported discovery of novel content within the archive.
VRA 2022 Community Building Session. Presenter: Dacia Metes
Queens Memory is an ongoing community archiving program that engages with our local communities in our two-fold mission to (1) push local history collections out to the public through programming and online resources, and (2) pull new materials into our collections from the diverse communities of Queens, NYC. The COVID-19 pandemic forced us to close our buildings, cease all in-person work and programming and shift our work to the virtual world. Our team quickly modified our processing workflow and asset tracking with the high volume of crowd-sourced donations coming through new online submission forms, set up in a rapid response to capture the stories coming from the pandemic’s first epicenter in the U.S. In my proposed conference session, I will discuss how we planned and managed the shift to fully online collection development. I will talk about our virtual outreach efforts to engage with the community and get them to contribute their materials, and how we developed the online tools and processes that allowed us to collect photographs, oral history interviews and other audio/visual materials, while also capturing the necessary metadata and consent forms. New internal communications channels, roles for volunteers, and triage processing for publication resulted from these efforts and are now essential parts of the team’s practices.
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Honest Reviews of Tim Han LMA Course Program.pptxtimhan337
Personal development courses are widely available today, with each one promising life-changing outcomes. Tim Han’s Life Mastery Achievers (LMA) Course has drawn a lot of interest. In addition to offering my frank assessment of Success Insider’s LMA Course, this piece examines the course’s effects via a variety of Tim Han LMA course reviews and Success Insider comments.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
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17. Aligning Learning Space Design and Student Work: Research Implications for Design Processes and Elements Andrea Lisa Nixon Educause Quarterly Vol. 32, No. 1, 2009
I will be speaking on Carleton College's approach to studying learning spaces and how those findings changed our thoughts about learning space design and perhaps more importantly, our ideas about supporting them. I will also share a plan for a new arts complex called the Arts Union and in particular, a new facility called the Idea Lab. The Idea Lab is a brand new space designed to bring together staff who support visual and technology needs in a collaborative space.
In the fall of 2007 Carleton College received a Mellon grant to study the way visual assignments could be better supported across the campus. The report from this study entitled "Curricular Uses of Visual Materials: A Mixed Method Institutional study" was written by three of my colleagues Andrea Nixon, Heather Tompkins and Paula Lackie who I want to thank for letting me share information from their report.
The question at the foundation of the study was: "Are the sources of support that the College provides well suited to the work demanded of students and faculty as they make curricular use of visual materials?" Keeping in mind the change in assignments from papers, class presentations, text analyses, (very text heavy assignments), to today's assignments that involve images, multimedia and the visual display of data, this was a very worthy question. Though most of us support units that routinely use images in their assignments, I think most of us also feel the rising need of departments all across our campuses seeking to use visual materials. There are two aspects of the study I will be talking about today. Case studies of student assignments and surveys of students that came after the completion of the case studies.
The case studies were done in a unique ethnographic way, pioneered by Nancy Fried Foster at the University of Rochester, using interviews of students, following their path to different support centers on campus, tracking where and when they studied. The case studies at Carleton followed four different student assignments that were expected to incorporate a visual element in completing those assignments. Students involved in the case studies were given cameras to take pictures of where they worked and location logs to chart the time they spent in each place. Students were interviewed by trained student researchers about their assignments prior to beginning them and after completion. These oral interviews were transcribed, coded and analyzed. Then members of staff and students were asked to analyze the data in a co-viewing/co-listening process designed to glean key ideas from these interviews. Also flip charts were put in key service points and two questions were asked: Why do you study here and What is missing? From this data, a GIS map of how the students used the campus was created.
These are the assignments chosen to participate in the study: creating a film, a group presentation, a film analysis project and creating a map for a science course. Just to give some context to the first assignment, the short film, the professor wanted her 25 students to learn: creativity in narrative, placement of the camera, depth of composition, and editing She wanted them to learn these tools: FinalCut Pro, operating a camera, and the associated equipment For support she used: one full-time staff member who provided initial training, then provided support in a department lab during his hours The Campus Spaces used: the departmental computing lab , with filming occurring on campus, The challenges for students: learning new software, managing files, using the facility and equipment when available, and creating sufficiently overt assignments demonstrating a comprehension of the conceptual elements of filmmaking Pretty demanding for 100 level students.!
When looking at the data from this case study and the others, what jumps out immediately is that even on difficult assignments, students work very late. The time of day students preferred to work was from 5pm to midnight.
They also preferred working in dorms or the library, even on challenging assignments. Buildings in blue and orange are residence halls and two floors of the campus library. These findings are probably not amazing news to most of us, but if you think back to the descriptions of the film short assignment, you'll see that there were some atypical challenges put to your average undergraduate. The creation of a video has many steps, the professor required 100-level students to use Final Cut pro, a higher-end editing tool and if a student chose to work on that late at night the night before it's due, you can understand the bind this would put the student in. I took part in the co-viewing/co-listening analysis of this assignment myself, in which I read interview transcripts of students and the professor. It was amazing to hear the wide variety of ways by which students cobbled their assignments together, hearing their frustration on the lack of support in evening hours and then hearing the prof's analysis of how these assignments could be better if less time could be spent on learning technical skills.
Other recommendations from the case studies included that for these types of assignments, support should be for all students, not only those who are struggling. Communication about the support available needed to improve. Course-specific help needed to be coordinated to support the assignments, especially those requiring high-end tools. Identifying where that support existed on campus (sometimes in multiple places) needed to be accomplished. Times support centers were open with support needed to change and needed to reflect the multi-faceted ways students work. And finally, spaces need to be designed to create work environments conducive to accomplishing these types of assignments. With professors it was clear they needed to plan more intensely with staff, sometimes teams of staff, to support these assignments.
I’m going to go on now to survey information gathered from students, 790 students were sent the poll, 39% responded. The questions of the survey were again about where and when students work, what characteristics they seek out in study spaces, and if working on familiar assignments or more difficult or unfamiliar assignments, made a difference in where and when they worked.
The survey asked students to differentiate between familiar and challenging assignments and here we see that even when they had difficult assignments, the previous pattern prevails in where they work, with their dorm or living space and the library being the big winners.
When students were asked about who they sought out for support, their classmates and professors were the clear standouts with staff, prefects and fellow students in their major being less represented. Just to note there's some evidence that students underreported using staff. The data collected from the staff survey indicated a healthy amount of support given to students.
Another clear finding from the survey was revealed in the difference in support sought by class year. Students at Carleton declare their majors at the end of sophomore year. If you look at the red line, you can see that as students were acculturated to their major, they seek more and more support from professors.
It's also interesting to notice in this graph the use of prefects, student workers, and staff by freshman and even sophomores, at higher levels than upper classmen.
Here again is data from the survey showing times of day when students work on both familiar and challenging assignments. It mirrors the case study results. Students do the most work between 4pm and midnight. So students, like students of all time, work on even the challenging and technical assignments in late evening hours. Also perhaps the lack of using staff is revealed here too, we're probably not working during the 4pm to midnight period!
When looking at when students use support by class year, we can see that there is a peak in the afternoon with upper classmen showing up their younger counterparts for seeking support. So it would seem to be valid to try to get the attention of underclassmen to follow this example. You can also see the high spike from freshman and the general overall spike in the later evening hours.
Students also show strong indicators they know when to approach faculty, from noon to 4pm, and in the later hours (following the ascending red line), they go increasingly to their fellow students, majors, prefects and student workers.
In a further analysis done in another document published in Educause Quarterly entitled, Aligning Learning Space Design and Student Work: Research Implications for Design Processes and Elements, Andrea Nixon notes:
Effective learning space design should be rooted in an understanding of the ways in which students engage a campus. (Study your users) Research suggests that there are significant differences in the ways students report seeking curricular support based on their class year. This finding has important implications for learning space design. Students seek different characteristics of learning spaces depending on the type of assignment they are working on. Campus learning space design must align with the curriculum and student work. In addition she also notes that frequently the way student spaces are designed and how funds are allocated, align with the organizational boundaries of the institution. The top three places to study at Carleton (dorms, the library, and student center) were places reported up through the dean of students, the chief academic officer and the vice president of finance - half the members of Carleton's presidential cabinet. Therefore, the ways students engage the college span the budget and finance of specific locations.
Understanding the work demanded of students plays, is key to providing support. I promise this is the last graph! At Carleton students named the top five characteristics for places to study for all kinds of assignments were those that were conveniently located, had low distraction level, were open late hours, were quiet, and had comfortable furniture. While this is a good baseline from which to start, a single design template will not fit for everything. Variation in study space design should take into account the types of assignments students encounter in their courses. One simple difference in space characteristics can be noted.
If students were working on writing assignments, they wanted solitude, comfortable furniture and wireless access. Whereas students working with problem sets, image creation, lab assignments, exams and presentations wanted a space where support was nearby. When new dormitory study spaces were designed at Carleton, these findings were applied. Some have the quiet comfortable wireless. Some have data projectors, whiteboards and large tables encouraging group work.
Thinking more about how class year plays a large way in which students engage support, there is another pattern to note — the role departmental learning spaces played. Departmental learning spaces are hubs where majors congregate during and after class hours, often with high-end tools present. Here's the description of a departmental work space by a participating junior, in this case, a study lounge: Student: It’s pretty casual. If you have lunch there, you may have lunch with a professor if they come in. It’s just really, really casual. You can interact with, like, senior majors and younger students, and just kind of like get to know the department. This student went on to contrast this department lounge with a campus-wide space: Student: When I was a freshman I worked more in the Library and the CMC [Center for Mathematics and Computing]. The CMC is very campus-friendly, campus-wide, it’s friendly to everyone on campus. But when you get to like the lounges [specific academic buildings associated with the sciences], [it] gets more specific to major.
In addition to recognizing Departmental-Based support for majors, a support map shown here was created primarily for underclassmen, the group that used staff and campus wide support centers most. We hand this out to incoming freshman during new student week. The symbols on the map are posted at locations that provide support and we even have buttons that we wear. We’re trying to create a brand identity and acceptance about seeking support on campus. (And yes, we ripped off Trivial Pursuit, which I doubt our students even know about) Other ways this study has been translated to Carleton is that many support locations are open later hours and have staff, like reference librarians and academic technologists, work some evening hours. Student work is also programmed later into the evening and student staff are being trained more intensely based on what assignments are scheduled in courses.
For staff like me there were other significant changes. One was the development of a coordinated support model. The coordinated support model was an effort to inventory all types of support across campus and get us sharing ideas, seeing where we overlap or gap, and collaborate on plans for support. Another development was the production meeting, an idea we took from animation and film studios. At production meetings, profs who are developing new assignments bring their ideas to a staff member, then teams of staff are selected to provide ideas, schedule time in the term for supporting steps in completing assignments and track the assignment through the whole term. At a recent panel discussion at Carleton about the first round of these production meetings, staff reported that working in teams when everybody knows what they're doing and when they're doing it, was hugely successful and students were able to complete very demanding assignments on time and with success. One prof confessed he would never have had the same outcome had he ventured to do this alone. Working with the team, he and his students were kept to a schedule, parsing out steps in the process with multiple deadlines and appointments with staff throughout the term. As with most institutions, staffing levels are staying pretty much flat, so questions about scaling this model towards the entire campus still need answering.
Andrea Nixon, chief author of the study, makes this statement about the important role of staff in all of this. She states: Creative collaborations between faculty and staff members in the development of assignments are the points at which the curriculum meets the support structure of the College. This is where we as staff members play a vital role and with the intensity of assignments only increasing, we will be needed to support this change.
I also want to share briefly about the Idea Lab in the new Arts Union complex. In 2006, Carleton purchased a middle school two blocks from the main campus, planning to transform it into a new home for many of the arts. This project has gone through two phases, pre-economic downturn and post-economic downturn. In the first phase, my unit, Art and Art History, were moving but in the second phase it was ruled out as too costly. The units that are moving are the Art Gallery, Theater and Dance, and Cinema and Media studies.
The Idea Lab is also a part of this complex. This facility will house our media support unit called PEPS which supports audio/visual projects all across campus and at times other support staff will be able to use the spaces, host meetings and workshops, using the technology available. This space has around 4,000 square feet and it will be broken up into the Idea Lab Collaborative space which is a flexible lab space with multiple computer stations, multiple large monitors on the walls, whiteboards, audio/video. Other spaces include a PEPS workspace with audio/video editing stations and high-end printing There are also offices, storage, an 24-hour lab, a video/photo studio and a super deluxe club house for mixing and editing. What everyone is very excited about is to have a sort of one-stop shop for so much activity. Though it is two blocks from the main campus, this unit can only be seen as a huge draw for students, staff and faculty alike. In this we hope to provide another option in the suite of learning spaces on campus. I have been personally involved in various steps throughout this process involving the grants, the coordinated support model, the case studies, the creation of the support map, and the planning of the Idea Lab. In the first version of the Idea Lab, I was beginning to plan a new Visual Resources Collection space with even a room for the slides. My slide libe is being kept intact in the cramped environs of the Art building but there will be changes to my space sooner or later. I was happy the study recognized department study hubs. I intend to foster that role for the Visual Resources Collection as many majors seek to use our scanners, copy photography stand and expertise. We received an additional Mellon grant for developing visually intense assignments on campus in 2009. These Viz grants will be starting up this summer and it my good fortune to be named in several so I'll get to experience the production meeting and coordinated support model first hand. My advice to you is to stay vigilant about changes in the nature of assignments at your institution. Go to your professors, ask them what they’re planning. Track your constituents’ use and their desired use of your facility. Cross train your student staff to fill the needs of intense assignments and have them staff the later hours when students want to work. Collaborate with other staff and highly trained student workers to form your own production meetings. Foster your departmental support hubs. Replace some office furniture with comfy chairs and a large flat panel video screen or whiteboard. Ask those who use your buildings what their favorite places are and why.
My advice to you is to stay vigilant about changes in the nature of assignments at your institution. Go to your professors, ask them what they’re planning. Track your constituents’ use and their desired use of your facility. Cross train your student staff to fill the needs of intense assignments and have them staff the later hours when students want to work.
Collaborate with other staff and highly trained student workers to form your own production meetings. Foster your departmental support hubs. Replace some office furniture with comfy chairs and a large flat panel video screen or whiteboard. Ask those who use your buildings what their favorite places are and why.
I encourage you to read the study by my colleagues and do your own analysis of your learning spaces.