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Upgrading the “ e ” in e Learning from Electronic to Engaged SUSAN E. METROS Professor, Design Technology Deputy Chief Information Officer Executive Director for eLearning The Ohio State University Interface Agenda eLearning Engagement Academy/Knowledge

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SUSAN E. METROS

Professor, Design Technology

Deputy Chief Information Officer

Executive Director for eLearning

The Ohio State University


Agenda l.jpg

Interface

Agenda

eLearning

Engagement

Academy/Knowledge


Engagement continuum l.jpg

To be engaged is to be enticed into interacting

The more attentive the user is to the task, the more complete the engagement

The goal is to “crank up” the engagement continuum

  • Passive Interest

  • Dynamic Interaction

  • Flow

Engagement Continuum


Examining engagement l.jpg
Examining Engagement

  • Engagement examined from cognitive, semiotic, psychological, artistic and pedagogical perspectives

    • Theatre (Laurel,1993)

    • Live Performance (Bilson,1995)

    • Interface Engagement (Metros,1999)


Computers as theatre l.jpg

Interface as a stage for performing tasks in which both humans and computers have a role

Computers as Theatre

HamletClarence Brown Theatre and Knoxville Symphony Orchestra


Live performance l.jpg

Audience reaction to and participation in live performance humans and computers have a role

Theatre and Performance

Parades and Demonstrations

Music

Organized Religion

School

Live Performance

Marti Gras ParadeKrewe of Endymion, NOLAlive Photo/Alex Oliver,http://www.nola.com/mardigras/


Interface engagement l.jpg
Interface Engagement humans and computers have a role

  • Examined traditional theories and practices of performing arts, communication, art and design

  • Recast them into six engagement processes

    • Suspending Disbelief

    • Making Believe

    • Creating Ambiguity

    • Stimulating Senses

    • Altering Perception

    • Evoking Passion


Suspending disbelief samuel taylor coleridge l.jpg

Temporarily suspends knowledge that something is pretend humans and computers have a role

Frees viewer to use imagination without fearing reprisal

Suspending Disbelief (Samuel Taylor Coleridge)

Postal2Multiplayer PC Game

Running with Scissors, 2003

http://www.gopostal.com


Suspending disbelief samuel taylor coleridge9 l.jpg

Temporarily suspends knowledge that something is pretend humans and computers have a role

Frees viewer to use imagination without fearing reprisal

Very different response if situation is real

Suspending Disbelief (Samuel Taylor Coleridge)

Van Nuys Shooting

Court TVOctober 31, 2003

www.courttv.com/news/2003/1105/courthouseshooting_ap.html


2 making believe l.jpg

“Every child is an artist. The problem is how to remain an artist after he [or she] grows up.”

Picasso

2. Making Believe

The Palace

Palacetools.com, 2003 http://thepalace.com


3 creating ambiguity l.jpg

Gestalt perceptual principles of design artist after he [or she] grows up.”

Humans drawn to solve or “make right” ambiguous situations

3. Creating Ambiguity

  • American Honda Motor Company©1998 American Honda Motor Co., Inc.

  • http://www.honda.com/


4 stimulating senses l.jpg

Visual artist after he [or she] grows up.”

Verbal

Gestural

Auditory

Olfactory

Tactile

Intuitive

Atmospheric

Kinesthetic

4. Stimulating Senses

NICE: Narrative Immersive Collaborative Environment

University of Illinois at Chicago

http://www.evl.uic.edu/tile/NICE/NICE/intro.html


4 stimulating senses13 l.jpg

Visual artist after he [or she] grows up.”

Verbal

Gestural

Auditory

Olfactory

Tactile

Intuitive

Atmospheric

Kinesthetic

4. Stimulating Senses

Winston Stone, Two and a half years old


5 altering perception l.jpg

Computer or PDA artist after he [or she] grows up.”

Window constrained to the dimensions of the static display, predefined scrollable area

5. Altering Perception


5 altering perception15 l.jpg

Television or Film artist after he [or she] grows up.”

Window mapped onto an expanse of infinite space rich with texture, activity, and multi-sensory clues

5. Altering Perception


5 altering perception16 l.jpg
5. Altering Perception artist after he [or she] grows up.”

Visual Thesaurus Plumb Design

http://www.visualthesaurus.com/online/index.html


6 evoking passion l.jpg

An expression of intense feelings artist after he [or she] grows up.”

6. Evoking Passion

[RE]collections + collections(Metros, 2000)

http://itc.utk.edu/WWII


Engaged learning l.jpg

Engaged Learning artist after he [or she] grows up.”

Continuum

Transfer

Translate

Transcend

Engagement

Continuum

Passive Interest

Dynamic Interaction

Flow

Engaged Learning


Engaged learning19 l.jpg
Engaged Learning artist after he [or she] grows up.”

Transfer

Transform

Transcend

Main Entry: trans-

Function: prefix

Etymology: Latin trans-, tra- across, beyond, through, so as to change, from trans across, beyond -- more at THROUGH

1 : on or to the other side of : across : beyond


Nsse indicators of effective educational practice l.jpg
NSSE Indicators of Effective Educational Practice artist after he [or she] grows up.”

  • Level of academic challenge

  • Active and collaborative learning

  • Student-faculty interaction

  • Enriching educational experiences

  • Supportive campus environment


Distance learning l.jpg
Distance Learning artist after he [or she] grows up.”


The evolution of an engaged academy l.jpg

Old Model artist after he [or she] grows up.”

New Model

The Evolution of anEngaged Academy

Curriculum

Text-based

Stand-alone experience

Discipline-based

Individual development

Instructor-led

One size fits all

Boundary constrained

Slow to change

Knowledge hoarded

Learning solution

Multimodal

Bridged and lifelong learning

Disciplined-blended

Problem-solving teams

Learner-centered

Individual focus

Unbounded

Quick to respond

Knowledge shared


Engaged learning23 l.jpg
Engaged Learning artist after he [or she] grows up.”

Transfer

Transform

Transcend

Transact

Transmit

Main Entry: trans-

Function: prefix

Etymology: Latin trans-, tra- across, beyond, through, so as to change, from trans across, beyond -- more at THROUGH

1 : on or to the other side of : across : beyond


The academy transferring l.jpg

Knowledge artist after he [or she] grows up.”

Discipline A

Discipline B

The Academy Transferring

Knowledge

Knowledge

Knowledge

Discipline C

Discipline C


The academy transforming l.jpg

Knowledge artist after he [or she] grows up.”

Discipline A

Discipline B

The Academy Transforming

Knowledge

Knowledge

Discipline C

Discipline C


The academy transcending l.jpg

Knowledge artist after he [or she] grows up.”

The Academy Transcending

Knowledge

Knowledge

Discipline B

Discipline C

Discipline C

Discipline A


The academy transacting l.jpg

Knowledge artist after he [or she] grows up.”

Discipline A

The Academy Transacting

Knowledge

Knowledge

The Academy

Discipline B

Discipline C


The academy transmitting l.jpg

Knowledge artist after he [or she] grows up.”

Knowledge

Knowledge

Knowledge

Knowledge

Knowledge

Knowledge

Knowledge

Knowledge

The Academy Transmitting

Industry

Academy

K-12

Discipline A

Discipline C

Discipline C

Discipline A

Discipline B

Discipline B

Discipline B

Discipline A

Discipline C


Engaged academy continuum l.jpg
Engaged Academy Continuum artist after he [or she] grows up.”


Summary l.jpg

Interface artist after he [or she] grows up.”

Suspending Disbelief

Making Believe

Creating Ambiguity

Stimulating Senses

Altering Perception

Evoking Passion

Summary

eLearning

  • Transfer

  • Transform

  • Transcend

Engagement

  • Passive Interest

  • Dynamic Interaction

  • Flow

Academy/Knowledge

  • Transact

  • Transmit


Summary31 l.jpg
Summary artist after he [or she] grows up.”

The central purpose of technology is to connect–

–to make contact. To wake up, shocked by the voltage of increased interaction between the properties of humanity in my heart and those in yours–

–to be whole.

(Barlow, 1995)


To make contact l.jpg
To Make Contact artist after he [or she] grows up.”

SUSAN E. METROS

Professor, Design Technology

Deputy Chief Information Officer

Executive Director for eLearning

The Ohio State University

Technology Enhanced Learning & Research

Columbus, Ohio USA

metros.1@osu.edu


Bibliography l.jpg
Bibliography artist after he [or she] grows up.”

  • J. Perry Barlow, (1995), “It’s a Poor Workman who Blames his Tools,” Wired. Scenario Special 3, No. 11, 120-142.

  • A. J. Bilson, (1995),“Get into the Groove: Designing for Participation,” Interactions 2, No. 2, 17-22.

  • M. Csikszentmihalyi, (1990),. Flow: The Psychology of Optimal Experience, New York: Harper and Row.

  • M. Csikszentmihalyi, (1998), Finding Flow: The Psychology of Engagement with Everyday Life, New York: Basic Books.

  • B. Laurel, (1993), Computers as Theatre, Reading, MA: Addison-Wesley Publishing Company, Inc., pp. 113 and 115.

  • S. Metros, (1999), “Making Connections: A Model for Online Interaction,” Leonardo: Journal of the International Society for the Arts Sciences and Technology, Vol. 32, No. 4, pp. 281-291, MIT Press: Cambridge, MA.

  • National Survey of Student Engagement (2002), Indiana University, p. 6. www.iub.edu/~nsse/html/report-2002.shtml

  • M. K. Smith, (2001), “Peter Senge and the Learning Organization,” The Encyclopedia of Informal Education, www.infed.org/thinkers/senge.htm

  • E. Tufte, (1994), Envisioning Information, Cheshire, CT:Graphics Press.