Designing and Developing Digital and Blended Learning Solutions

Chapter 6 concerns ‘Designing and developing digital and blended learning solutions’, however, despite its title, it is not aimed at developing L&D professionals to be technologists (in so much as how Chapter 3 is not aimed at developing L&D professionals to be accounting and financial experts). Chapter 6 is about developing L&D professionals to be technology savvy. In doing so, I adopt a culinary analogy in presenting this chapter, where the most important factors in creating a dish (e.g. blended learning), are the ingredients and the flavour each of it brings. The chapter first explores the typical technologies and technology products that are available for learning and development i.e. the ingredients. I then introduce the data Format, Interactivity/ Immersion, Timing, Content (creation and curation), Connectivity and Administration (FITCCA) framework, that helps L&D professionals to look beyond the labels of technologies in identifying what the technology offers, its functions and features, which is analogous to the ‘flavours’ of the ingredients. The next section discusses some multimedia principles that are important for L&D professionals to consider in designing and developing digital learning solutions. Finally, whilst there are innumerable permutations of blended learning, this section focuses on the typical emphasis in blended learning and how technology may support such blends.

Tutkimusaineistot biteiksi ja kiertoon – Digitaalisen kuratoinnin soveltaminen tutkimuksessa

Pro gradu -tutkielma käsittelee digitaalisen kuratoinnin soveltamista tutkimuksessa ja erityisesti historiantutkimuksessa. Digitaalinen kuratointi voidaan ymmärtää digitaalisten aineistojen ylläpidoksi, säilyttämiseksi ja niiden arvon lisäämiseksi uudelleenkäytön kautta. Tutkimuksessa tarkastellaan alan historiaa, nykyisyyttä ja tulevaisuutta Suomessa ja kansainvälisesti. Keskiössä ovat digitaalisen kuratoinnin elinkaarimallin toiminta ja alan ammattilaisten näkemykset tulevaisuuden haasteista. Tutkielma palvelee historiantutkijoiden lisäksi laajemmin ihmistieteitä digitaalisissa tutkimusympäristöissä. Digitaalisten aineistojen lisääntyessä niiden käyttöön liittyy useita ongelmia. Tutkielmassa analysoidaan Digital Curation Centren (DCC) kehittämää digitaalisen kuratoinnin elinkaarimallia, joka jakautuu seitsemään toimintavaiheeseen. Näiden vaiheiden kautta on tarkoitus varmistaa, että digitaaliset aineistot ovat löydettävissä, luettavissa ja käytettävissä tutkimusta varten nyt ja tulevaisuudessa. Keskeisinä lähteinä on käytetty DCC:n verkkoarkistoa ja tutkija Ross Harveyn julkaisemaa teosta Digital Curation – a how-to-do-it manual (2010). Empiiristä osuutta työssä edustaa digitaalisen kuratoinnin tutkijoiden ja ammattilaisten haastattelut, jotka tehtiin alkuvuodesta 2016. Tutkielman teoreettisessa osuudessa on hyödynnetty hermeneuttista analyysia ja empiirisessä puolessa sovellettu osin tulevaisuuden tutkimuksessa käytettävää delfoi-menetelmää. Keskeinen tutkimustulos on, että digitaalinen kuratointi soveltuu tutkimukseen ja aineistojen käyttöön yleisenä ohjeistuksena. Historiantutkimuksen näkökulmasta elinkarimalli seuraa monissa kohdin tutkimuksen kulkua ja on näin sovellettavissa tieteenalaan helposti. Haastatteluosuudesta nousee esille, että digitaalisten aineistojen kuratointi on vielä monissa maissa alkutekijöissään. Haasteita tulevaisuudessa ovat resurssien kaventuminen ja teknisen osaamisen heikko taso. Digitaalinen kuratointi nähdään myös avainroolissa datatieteen yleistyessä yhteiskunnassa ja tieteellisen tutkimuksen parissa. Näin digitaalisen kuratoinnin tutkimusta voi laajentaa tulevaisuudessa eri analyysimenetelmien hyödyntämiseen eri tieteenalojen näkökulmista.

Art-Map: concept of moving curatorial project and its practical realization in Aveiro

In this dissertation, I present the results of a project which aim was to find out and try an effective model of independent curatorial project executable in small and medium cities in Portugal. The concept of Moving Curatorial Project ARTMAP is a result of theoretical research and reflection about municipal exhibition spaces and possibility of presentation of the contemporary art in these spaces. To test if this curatorial project is realizable and if there are conditions to continue it, a first trial was implemented in Aveiro. A curated international exhibition, entitled “A Poética do Visual" occupied two municipal and two private gallery spaces and brought together 111 artists from 25 different countries. The art event was carried out in collaboration with the Municipality of Aveiro and the University of Aveiro, and involved several private cultural spaces in the city. This first experience showed that there are all conditions for the presentation of contemporary art in small and medium size locations in Portugal, and for this project to be replicated in other regions of the country.

Multilocus genetic analyses provide insight into speciation and hybridization in aquatic grasses, genus Ruppia

Aquatic plants of the genus Ruppia inhabit some of the most threatened habitats in the world, such as coastal lagoons and inland saline to brackish waters where their meadows play several key roles. The evolutionary history of this genus has been affected by the processes of hybridization, polyploidization, and vicariance, which have resulted in uncertainty regarding the number of species. In the present study, we apply microsatellite markers for the identification, genetic characterization, and detection of hybridization events among populations of putative Ruppia species found in the southern Iberian Peninsula, with the exception of a clearly distinct species, the diploid Ruppia maritima. Microsatellite markers group the populations into genetically distinct entities that are not coincident with geographical location and contain unique diagnostic alleles. These results support the interpretation of these entities as distinct species: designated here as (1) Ruppia drepanensis, (2) Ruppia cf. maritima, and (3) Ruppia cirrhosa. A fourth distinct genetic entity was identified as a putative hybrid between R. cf. maritima and R. cirrhosa because it contained a mixture of microsatellite alleles that are otherwise unique to these putative species. Hence, our analyses were able to discriminate among different genetic entities of Ruppia and, by adding multilocus nuclear markers, we confirm hybridization as an important process of speciation within the genus. In addition, careful taxonomic curation of the samples enabled us to determine the genotypic and genetic diversity and differentiation among populations of each putative Ruppia species. This will be important for identifying diversity hotspots and evaluating patterns of population genetic connectivity. © 2015 The Linnean Society of London, Biological Journal of the Linnean Society, 2015, 00, 000–000.

Lire à l’ère du numérique « Le nénuphar et l’araignée » de Claire Legendre

Cet article se veut exploratoire en deux temps : une piste de réflexion sur l’impact du numérique sur les sciences humaines, et une lecture de l’essai « Le nénuphar et l’araignée » de Claire Legendre, publié le 4 février 2015 chez Les Allusifs. Notre hypothèse est qu’il est nécessaire de jeter les bases d’une théorie et d’une pensée du numérique, comme de poursuivre et de favoriser l’implémentation de nouveaux outils de recherche conçus par et pour les humanités, en lien direct avec les questions d’édition, de diffusion, d’encodage, de fouille, de curation, ou encore de visualisation et de représentation des données textuelles, sonores et visuelles. Cet article propose ainsi une première piste d’exploration de l’usage de ces nouvelles possibilités pour la littérature québécoise.

Lire à l’ère du numérique « Le nénuphar et l’araignée » de Claire Legendre

Cet article se veut exploratoire en deux temps : une piste de réflexion sur l’impact du numérique sur les sciences humaines, et une lecture de l’essai « Le nénuphar et l’araignée » de Claire Legendre, publié le 4 février 2015 chez Les Allusifs. Notre hypothèse est qu’il est nécessaire de jeter les bases d’une théorie et d’une pensée du numérique, comme de poursuivre et de favoriser l’implémentation de nouveaux outils de recherche conçus par et pour les humanités, en lien direct avec les questions d’édition, de diffusion, d’encodage, de fouille, de curation, ou encore de visualisation et de représentation des données textuelles, sonores et visuelles. Cet article propose ainsi une première piste d’exploration de l’usage de ces nouvelles possibilités pour la littérature québécoise.

Constructs in Knowledge Organization Systems: Rhythm in Time, Intention, and Form

In the context of the International Society for Knowledge Organization, we often consider knowledge organization systems to comprise catalogues, thesauri, and bibliothecal classification schemes – schemes for library arrangement. In recent years we have added ontologies and folksonomies to our sphere of study. In all of these cases it seems we are concerned with improving access to information. We want a good system.And much of the literature from the late 19th into the late 20th century took that as their goal – to analyze the world of knowledge and the structures of representing it as its objects of study; again, with the ethos for creating a good system. In most cases this meant we had to be correct in our assertions about the universe of knowledge and the relationships that obtain between its constituent parts. As a result much of the literature of knowledge organization is prescriptive – instructing designers and professionals how to build or use the schemes correctly – that is to maximize redundant success in accessing information.In 2005, there was a turn in some of the knowledge organization literature. It has been called the descriptive turn. This is in relation to the otherwise prescriptive efforts of researchers in KO. And it is the descriptive turn that makes me think of context, languages, and cultures in knowledge organization–the theme of this year’s conference.Work in the descriptive turn questions the basic assumptions about what we want to do when we create, implement, maintain, and evaluate knowledge organization systems. Following on these assumptions researchers have examined a wider range of systems and question the motivations behind system design. Online websites that allow users to curate their own collections are one such addition, for example Pinterest (cf., Feinberg, 2011). However, researchers have also looked back at other lineages of organizing to compare forms and functions. For example, encyclopedias, catalogues raisonnés, archival description, and winter counts designed and used by Native Americans.In this case of online curated collections, Melanie Feinberg has started to examine the craft of curation, as she calls it. In this line of research purpose, voice, and rhetorical stance surface as design considerations. For example, in the case of the Pinterest, users are able and encouraged to create boards. The process of putting together these boards is an act of curation in contemporary terminology. It is describing this craft that comes from the descriptive turn in KO.In the second case, when researchers in the descriptive turn look back at older and varied examples of knowledge organization systems, we are looking for a full inventory of intent and inspiration for future design. Encyclopedias, catalogues raisonnés, archival description, and works of knowledge organization in other cultures provide a rich world for the descriptive turn. And researchers have availed themselves of this.

De la Teoría Institucional del Arte a la Curaduría Creativa: revisión de una aproximación institucional a la definición de lo "artístico"

Es una revisión e interpretación profunda de la Teoría Institucional de Arte cuya reflexión se extiende hasta la Curaduría Creativa, un fenómeno del arte contemporáneo, del que podría predicarse un estatus de obra de arte. El objetivo principal pretende defender las condiciones bajo las cuales la curaduría puede considerarse una obra de arte.

Connecting works of art within the semantic web of symbolic meanings

My doctoral research is about the modelling of symbolism in the cultural heritage domain, and on connecting artworks based on their symbolism through knowledge extraction and representation techniques. In particular, I participated in the design of two ontologies: one models the relationships between a symbol, its symbolic meaning, and the cultural context in which the symbol symbolizes the symbolic meaning; the second models artistic interpretations of a cultural heritage object from an iconographic and iconological (thus also symbolic) perspective. I also converted several sources of unstructured data, a dictionary of symbols and an encyclopaedia of symbolism, and semi-structured data, DBpedia and WordNet, to create HyperReal, the first knowledge graph dedicated to conventional cultural symbolism. By making use of HyperReal's content, I showed how linked open data about cultural symbolism could be utilized to initiate a series of quantitative studies that analyse (i) similarities between cultural contexts based on their symbologies, (ii) broad symbolic associations, (iii) specific case studies of symbolism such as the relationship between symbols, their colours, and their symbolic meanings. Moreover, I developed a system that can infer symbolic, cultural context-dependent interpretations from artworks according to what they depict, envisioning potential use cases for museum curation. I have then re-engineered the iconographic and iconological statements of Wikidata, a widely used general-domain knowledge base, creating ICONdata: an iconographic and iconological knowledge graph. ICONdata was then enriched with automatic symbolic interpretations. Subsequently, I demonstrated the significance of enhancing artwork information through alignment with linked open data related to symbolism, resulting in the discovery of novel connections between artworks. Finally, I contributed to the creation of a software application. This application leverages established connections, allowing users to investigate the symbolic expression of a concept across different cultural contexts through the generation of a three-dimensional exhibition of artefacts symbolising the chosen concept.