Dealing with affective needs in e-learning: Contrasting two cases in two cultures.

This chapter presents and contrasts descriptions of two cases of online affective support provided to support students engaged in higher level learning tasks. The cases are set in different cultures, centre upon different intended learning outcomes, and follow different tutorial styles. One (Eastern) tutor acted as a “shepherd leader” in response to needs arising in the Confucian Heritage Culture as the teacher promoted critical thinking, according to the Western model. The other (Western) tutor provided Rogerian facilitation of reflective learning journals, kept by students seeking to develop personal and professional capabilities. In both styles, affective support features strongly. The cultural and pedagogical comparisons between the cases have proved useful to the writers. These distinctions together with the similarities between the two online styles emerge in the comparisons. Keywords: affective needs, asynchronous discussion, Confucian Heritage Culture, constructivism, critical thinking, facilitation, reflection, reflective learning journals, Rogerian, shepherd leadership, social-constructivist, student-centred, support.

Capturing Collaborative Designs to Assist the Pedagogical Process

Ratcliffe, M. Thomas, L. Ellis, W. Thomasson, B. Capturing Collaborative Designs to Assist the Pedagogical Process.ACM SIGCSE Bulletin Volume 35 , Issue 3 (September 2003)

Learning styles and performance in the introductory programming sequence

Thomas, L., Ratcliffe, M., Woodbury, J., and Jarman, E. 2002. Learning styles and performance in the introductory programming sequence. SIGCSE Bull. 34, 1 (Mar. 2002), 33-37.

IMPROVISATION AND THE CONCERT SAXOPHONIST: A SURVEY OF COMPOSITIONAL AND PERFORMANCE TECHNIQUES

Much of the contemporary concert (i.e. “classical”) saxophone literature has connections to compositional styles found in other genres like jazz, rock, or pop. Although improvisation exists as a dominant compositional device in jazz, improvisation as a performance technique is not confined to a single genre. This study looks at twelve concert saxophone pieces that are grouped into three primary categories of compositional techniques: 1) those containing unmeasured phrases, 2) those containing limited relation to improvisation but a close relationship to jazz styles, and 3) those containing jazz improvisation. In concert saxophone music, specific crossover pieces use the compositional technique of jazz improvisation. Four examples of such jazz works were composed by Dexter Morrill, Phil Woods, Bill Dobbins, and Ramon Ricker, all of which provide a foundation for this study. In addition, pieces containing varying degrees of unmeasured phrases are highlighted. As this dissertation project is based in performance, the twelve pieces were divided into three recitals that summarize a pedagogical sequence. Any concert saxophonist interested in developing jazz improvisational skills can use the pieces in this study as a method to progress toward the performance of pieces that merge jazz improvisation with the concert format. The three compositional techniques examined here will provide the performer with the necessary material to develop this individualized approach to improvisation. Specific compositional and performance techniques vary depending on the stylistic content: this study examines improvisation in the context of concert saxophone repertoire.

Learning styles, personalisation and adaptable e-learning

Common Learning Management Systems (for example Moodle [1] and Blackboard [2]) are limited in the amount of personalisation that they can offer the learner. They are used widely and do offer a number of tools for instructors to enable them to create and manage courses, however, they do not allow for the learner to have a unique personalised learning experience. The e-Learning platform iLearn offers personalisation for the learner in a number of ways and one way is to offer the specific learning material to the learner based on the learner's learning style. Learning styles and how we learn is a vast research area. Brusilovsky and Millan [3] state that learning styles are typically defined as the way people prefer to learn. Examples of commonly used learning styles are Kolb Learning Styles Theory [4], Felder and Silverman Index of Learning Styles [5], VARK [6] and Honey and Mumford Index of Learning Styles [7] and many research projects (SMILE [8], INSPIRE [9], iWeaver [10] amonst others) attempt to incorporate these learning styles into adaptive e-Learning systems. This paper describes how learning styles are currently being used within the area of adaptive e-Learning. The paper then gives an overview of the iLearn project and also how iLearn is using the VARK learning style to enhance the platform's personalisation and adaptability for the learner. This research also describes the system's design and how the learning style is incorporated into the system design and semantic framework within the learner's profile.

Creative Activism: a pedagogical and research tool

Environmental activism has a long history in protest, addressing issues of degradation and segregation that threaten existing ecologies, social and built fabrics. Environmental activism is traditionally understood as a reaction, chiefly by groups of people, against a perceived external threat. In the 60’s and 70’s, an activist stance began to emerge in the work of some artists and architects, who used creative methods such as performances, happenings, temporary spatial interventions etc to convey their political/aesthetic messages. Some of this work engaged directly with communities but predominantly it was the production of one individual working ‘outside’ society. However such actions demonstrated not only the power of the visual in conveying a political message but also the potential of conceptual creative approaches to reveal alternative values and hidden potentials. This marked a shift from activism as protestation towards an activism of reconceptualisation. Recently, activist groups have developed a more politically informed process. Whilst their ‘tools’ may resemble work from the 60’s and 70’s , their methodologies are non-traditional, ’rhizomatic’, pedagogical and fluid; working alongside, rather than against, the established power and funding structures. Such creative processes build new, often unexpected, stakeholder networks; offer neutral spaces in which contentious issues can be faced; and create better understanding of values and identities. They can also lead to permanent improvements and development in the physical fabric. This paper will discuss a pedagogical example of activism in architectural education. The event (www.fourdaysontheoutside.com) is in its fifth year of existence and as such has revealed a value and impulse beyond its learning and teaching value. The paper will discuss how the event contributes to the university’s outreach programme and how its structure acts as a seedbed for potential research projects and partnerships. UK Universities talk extensively about applied research but have few actual strategies by which to generate it. Fourdaysontheoutside offers some potential ways forward.