Trials of the rhizomatic learner

How should educators respond to the whole phenomenon of ‘digital learning’? This question has been in vogue for the past twenty years or more and there is a need for a regular renewal of this question as societies change. This article will draw on some post-structuralist writing, particularly Deleuze and Guattari, to try to understand better the divide between the optimistic account and the pessimistic account of the effect of ICT on teaching and learning. It argues in particular 1) that ICT in its current form signals a paradigm shift in education—but this thesis is difficult either to prove or disprove; 2) that Deleuze and Guattari’s rhizome provides us with a theoretical tool for understanding the pedagogical nature of this shift; 3) that this change is wider than literacy itself and announces posthuman elements in the socio-cultural environment of learning.

'Lines of flight': digital musical instruments, inclusive music bands, meaningful engagement in music-making and learning

In this study I examine the development of three inclusive music bands in Cork city. Derived from Jellison’s research on inclusive music education, inclusive music bands involve students with disabilities coming together with typically developing peers to make and learn music that is meaningful (Jellison, 2012). As part of this study, I established three inclusive music bands to address the lack of inclusive music making and learning experiences in Cork city. Each of these bands evolved and adapted in order to be socio-culturally relevant within formal and informal settings: Circles (community education band), Till 4 (secondary school band) and Mish Mash (third level and community band). I integrated Digital Musical Instruments into the three bands, in order to ensure access to music making and learning for band members with profound physical disabilities. Digital Musical Instruments are electronic music devices that facilitate active music making with minimal movement. This is the first study in Ireland to examine the experiences of inclusive music making and learning using Digital Musical Instruments. I propose that the integration of Digital Musical Instruments into inclusive music bands has the potential to further the equality and social justice agenda in music education in Ireland. In this study, I employed qualitative research methodology, incorporating participatory action research methodology and case study design. In this thesis I reveal the experiences of being involved in an inclusive music band in Cork city. I particularly focus on examining whether the use of this technology enhances meaningful music making and learning experiences for members with disabilities within inclusive environments. To both inform and understand the person centered and adaptable nature of these inclusive bands, I draw theoretical insights from Sen’s Capabilities Approach and Deleuze and Guatarri’s Rhizome Theory. Supported by descriptive narrative from research participants and an indepth examination of literature, I discover the optimum conditions and associated challenges of inclusive music practice in Cork city.

Digital signal processing and artificial intelligence for the automated classification of food allergy

As a by-product of the ‘information revolution’ which is currently unfolding, lifetimes of man (and indeed computer) hours are being allocated for the automated and intelligent interpretation of data. This is particularly true in medical and clinical settings, where research into machine-assisted diagnosis of physiological conditions gains momentum daily. Of the conditions which have been addressed, however, automated classification of allergy has not been investigated, even though the numbers of allergic persons are rising, and undiagnosed allergies are most likely to elicit fatal consequences. On the basis of the observations of allergists who conduct oral food challenges (OFCs), activity-based analyses of allergy tests were performed. Algorithms were investigated and validated by a pilot study which verified that accelerometer-based inquiry of human movements is particularly well-suited for objective appraisal of activity. However, when these analyses were applied to OFCs, accelerometer-based investigations were found to provide very poor separation between allergic and non-allergic persons, and it was concluded that the avenues explored in this thesis are inadequate for the classification of allergy. Heart rate variability (HRV) analysis is known to provide very significant diagnostic information for many conditions. Owing to this, electrocardiograms (ECGs) were recorded during OFCs for the purpose of assessing the effect that allergy induces on HRV features. It was found that with appropriate analysis, excellent separation between allergic and nonallergic subjects can be obtained. These results were, however, obtained with manual QRS annotations, and these are not a viable methodology for real-time diagnostic applications. Even so, this was the first work which has categorically correlated changes in HRV features to the onset of allergic events, and manual annotations yield undeniable affirmation of this. Fostered by the successful results which were obtained with manual classifications, automatic QRS detection algorithms were investigated to facilitate the fully automated classification of allergy. The results which were obtained by this process are very promising. Most importantly, the work that is presented in this thesis did not obtain any false positive classifications. This is a most desirable result for OFC classification, as it allows complete confidence to be attributed to classifications of allergy. Furthermore, these results could be particularly advantageous in clinical settings, as machine-based classification can detect the onset of allergy which can allow for early termination of OFCs. Consequently, machine-based monitoring of OFCs has in this work been shown to possess the capacity to significantly and safely advance the current state of clinical art of allergy diagnosis

Practice-based film education for children: teaching and learning for creativity, citizenship and participation

Practice-oriented film education aimed at children has been hailed for various reasons: at a personal level, as a means of providing tools for self-expression, for developing creativity and communication skills. And at a social level, it is argued that children must now become competent producers, in addition to critical consumers, of audiovisual content so they can take part in the global public sphere that is arguably emerging. This chapter discusses how the challenges posed by introducing children to filmmaking (i.e. digital video) are being met at three civil associations in Mexico: La Matatena AC, which seeks to enrich the children’s lives by means of the aesthetic experience filmmaking can bring them. Comunicaciòn Comunitaria, concerned with the impact filmmaking can have on the community, preserving cultural memory and enabling participation. And Juguemos a Grabar, with a focus on urban regeneration through the cultural industries.

Personal learning artefacts: persistence, ownership and privacy

Traditional classrooms have been often regarded as closed spaces within which experimentation, discussion and exploration of ideas occur. Professors have been used to being able to express ideas frankly, and occasionally rashly while discussions are ephemeral and conventional student work is submitted, graded and often shredded. However, digital tools have transformed the nature of privacy. As we move towards the creation of life-long archives of our personal learning, we collect material created in various 'classrooms'. Some of these are public, and open, but others were created within 'circles of trust' with expectations of privacy and anonymity by learners. Taking the Creative Commons license as a starting point, this paper looks at what rights and expectations of privacy exist in learning environments? What methods might we use to define a 'privacy license' for learning? How should the privacy rights of learners be balanced with the need to encourage open learning and with the creation of eportfolios as evidence of learning? How might we define different learning spaces and the privacy rights associated with them? Which class activities are 'private' and closed to the class, which are open and what lies between? A limited set of set of metrics or zones is proposed, along the axes of private-public, anonymous-attributable and non-commercial-commercial to define learning spaces and the digital footprints created within them. The application of these not only to the artefacts which reflect learning, but to the learning spaces, and indeed to digital media more broadly are explored. The possibility that these might inform not only teaching practice but also grading rubrics in disciplines where public engagement is required will also be explored, along with the need for consideration by educational institutions of the data rights of students.

National, inter-institutional, graduate modules – blended learning approaches for PhD education in Ireland

This paper is a case study that describes the design and delivery of national PhD lectures with 40 PhD candidates in Digital Arts and Humanities in Ireland simultaneously to four remote locations, in Trinity College Dublin, in University College Cork, in NUI Maynooth and NUI Galway. Blended learning approaches were utilized to augment traditional teaching practices combining: face-to-face engagement, video-conferencing to multiple sites, social media lecture delivery support – a live blog and micro blogging, shared, open student web presence online. Techniques for creating an effective, active learning environment were discerned via a range of learning options offered to students through student surveys after semester one. Students rejected the traditional lecture format, even through the novel delivery method via video link to a number of national academic institutions was employed. Students also rejected the use of a moderated forum as a means of creating engagement across the various institutions involved. Students preferred a mix of approaches for this online national engagement. The paper discusses successful methods used to promote interactive teaching and learning. These included Peer to peer learning, Workshop style delivery, Social media. The lecture became a national, synchronous workshop. The paper describes how allowing students to have a voice in the virtual classroom they become animated and engaged in an open culture of shared experience and scholarship, create networks beyond their institutions, and across disciplinary boundaries. We offer an analysis of our experiences to assist other educators in their course design, with a particular emphasis on social media engagement.