Evaluating Learning Designs through the Formal Representation of Pedagogical Patterns

2011 ◽  
pp. 86-105 ◽  
Author(s):  
Diana Laurillard ◽  
Dejan Ljubojevic
Keyword(s):  
Learning Theories ◽  
Learning Design ◽  
Design Practice ◽  
Formal Representation ◽  
The Way

To test the approach, in this chapter, we present the way in which several learning theories can be mapped onto the Conversational Framework, and use this to provide the means by which instances of learning design practice can be pedagogically evaluated in a systematic and computationally interpretable way. The chapter concludes with the early findings from the thinking-prototype tests of evaluative capability of the framework.

Graphic design practice of an image for the Chinese character for "鼓 Drum"

2019 ◽  
Author(s):  
POHSUN WANG
Keyword(s):  
Design Thinking ◽  
Chinese Character ◽  
Science And Technology ◽  
Point Of View ◽  
Learning Design ◽  
Design Practice ◽  
Cultural Issues ◽  
Artistic Value ◽  
The Status ◽  
The Times

Basic shape is one of the most important components of the learning design process. Using Western design thinking to understand shape, color and composition layout and attempting to reinterpret the application of traditional calligraphy from a design point of view—whether it is the expression of form or the meaning of content—are both important aspects of design thinking. The writing patterns of traditional calligraphy and the design creation of modern experiments may have different biases. If the artistic value of "the brush and ink of the time" is compared to the science and technology of innovation as the main appeal, the expressiveness of the traditional writing mode is obviously difficult to achieve. Using science and technology as an option for design creation is a difficult way to proceed; however, technology, ideas and thinking can still be in sync with the cultural issues of an entire era. This is also the test of the times to which contemporary creations are subjected. There are infinite possibilities for development, and it is worthwhile to explore these possibilities together with artistic aspirants. On the other hand, if we follow the well-beaten path of the status quo, the creativity of traditional calligraphic art will wither, it will deviate from the larger environment of the era in which it operates, and it will inevitably be neglected and pushed out by other art categories. The design and creation process uses the traditional calligraphy characters and drums as the theme, assisted by digital tools in the creation, and finally transforms the traditional calligraphy visual form into an expression of the art of science and technology.

scholarly journals Making design research relevant for design practice: What is in the way?

2022 ◽  
Vol 78 ◽  
pp. 101063
Author(s):  
Marieke Zielhuis ◽  
Froukje Sleeswijk Visser ◽  
Daan Andriessen ◽  
Pieter Jan Stappers
Keyword(s):  
Design Research ◽  
Design Practice ◽  
The Way

Fundamentals of Learning Theories

2011 ◽  
pp. 347-352 ◽  
Author(s):  
Victor X. Wang
Keyword(s):  
Critical Thinking ◽  
Transformative Learning ◽  
Learning Theory ◽  
Growth And Development ◽  
Learning Theories ◽  
Self Reflection ◽  
Effective Learning ◽  
Self Actualization ◽  
How People Learn ◽  
The Way

Humans have different interpretations of learning theories and different beliefs about how people learn. All these beliefs may come from personal experience, self-reflection, observation of others, and through the experience of trying to teach or persuade someone else to your way of thinking. In a nutshell, everyone keeps learning every waking minute, using different learning theories. In democratic cultures, people may prefer critical thinking as an effective learning theory whereas in authoritarian cultures, people may like rote learning or memorization as an effective learning theory. It is extremely difficult to determine which learning theories are better than others because people are engaged in informal or formal learning to change the way they see themselves, change the way they see other people, and change the way they see situations (Cramer & Wasiak, 2006). All these learning theories are valuable in guiding one’s action in a particular culture, subculture, or even a particular setting. Although scholars have different interpretations of learning theories, the goal of any learning theory is the same. For example, Merriam (2004) explains a learning theory as leading to learners’ growth and development. Mezirow explains the theory of transformative learning as helping learners achieve perspective transformation. Maslow considers the goal of learning to be self-actualization: “the full use of talents, capacities, potentialities, etc.” (p. 150). Some learning theories such as the theory of andragogy encourage learners to be self-directed in learning whereas other theories emphasize the roles of teachers as information transmitters instead of learning facilitators, thus placing learners at the feet of master professors.

scholarly journals Turning differently toward learning design, and finding the real gift of slow

2020 ◽  
Vol 8 (1) ◽  
pp. 121-126
Author(s):  
Nicola Parkin
Keyword(s):  
Time Scales ◽  
Current Situation ◽  
Learning Design ◽  
The Real ◽  
To Come ◽  
The Moment ◽  
The Many ◽  
Future Work ◽  
Do So ◽  
The Way

This paper turns toward learning design, not as a role, method, skill or even style of thinking, but as something that we are already existentially ‘in’, a lived-and-living part of teaching which is natural and arises from the places of our here-and-now situations. This way of understanding the work of learning design contradicts the prevailing position of learning design as instrumental future-work in which our faces are ever turned towards a time that is always yet-to-come. Our work is not, in the temporal sense, of itself, but always on the way to being something other than itself.  As we strive to transcend our current situation towards a greater measure of fulfilment, we are reaching always away from ourselves. Instead, we might take a stance of ‘slow’: Slow makes a space for us to encounter ourselves in practice and invites us to stay-with rather than race ahead. It begins with the quietly radical act of seeing goodness in slowness, in trusting time. Slow means finding the natural pace of our work, and takes the long-scale view that accepts into itself the many tempos and time scales in the work of learning design – including at times, the need for fast work. This paper invites you to pause and sit, to expand the moment you are already in, and to ponder philosophically, rambling across the page with notions of untangling, opening, loosening, listening, seeing, belonging pondering, sitting with and trusting. Taking time to do so is self-affirming. But perhaps the deepest gift that slow offers is choice: it opens a space for considered thought and action, and calls into question the habits and expectations of speed that we have grown so accustomed to.

Graphic design practice of an image for the Chinese character for "鼓 Drum"

2019 ◽  
Author(s):  
POHSUN WANG
Keyword(s):  
Design Thinking ◽  
Chinese Character ◽  
Science And Technology ◽  
Point Of View ◽  
Learning Design ◽  
Design Practice ◽  
Cultural Issues ◽  
Artistic Value ◽  
The Status ◽  
The Times

Basic shape is one of the most important components of the learning design process. Using Western design thinking to understand shape, color and composition layout and attempting to reinterpret the application of traditional calligraphy from a design point of view—whether it is the expression of form or the meaning of content—are both important aspects of design thinking. The writing patterns of traditional calligraphy and the design creation of modern experiments may have different biases. If the artistic value of "the brush and ink of the time" is compared to the science and technology of innovation as the main appeal, the expressiveness of the traditional writing mode is obviously difficult to achieve. Using science and technology as an option for design creation is a difficult way to proceed; however, technology, ideas and thinking can still be in sync with the cultural issues of an entire era. This is also the test of the times to which contemporary creations are subjected. There are infinite possibilities for development, and it is worthwhile to explore these possibilities together with artistic aspirants. On the other hand, if we follow the well-beaten path of the status quo, the creativity of traditional calligraphic art will wither, it will deviate from the larger environment of the era in which it operates, and it will inevitably be neglected and pushed out by other art categories. The design and creation process uses the traditional calligraphy characters and drums as the theme, assisted by digital tools in the creation, and finally transforms the traditional calligraphy visual form into an expression of the art of science and technology.

Representation of Coordination Mechanisms in IMS LD

2011 ◽  
pp. 330-351 ◽  
Author(s):  
Yongwu Miao ◽  
Daniel Burgos ◽  
David Griffiths ◽  
Rob Koper
Keyword(s):  
Collaborative Learning ◽  
Group Interaction ◽  
Analytical Framework ◽  
Coordination Mechanisms ◽  
Learning Design ◽  
Formal Representation ◽  
Coordination Theory ◽  
High Level ◽  
Almost All ◽  
Scaffold Group

Group interaction has to be meticulously designed to foster effective and efficient collaborative learning. The IMS Learning Design specification (IMS LD) can be used to create a formal representation of group interaction, and the model can then be used to scaffold group interaction by means of coordination support at runtime. In this chapter, we investigate the expressiveness of IMS LD in representing coordination mechanisms by using coordination theory as an analytical framework. We have found that IMS LD can represent almost all the basic coordination mechanisms. We have also identified some hurdles to be overcome in representing certain coordination mechanisms. According to coordination theory, common coordination mechanisms can be reused in different settings. We briefly explore the feasibility of representing coordination mechanisms at a high-level of abstraction, which will be easier for instruction designers and teachers to understand and use.

Learning Theory, technology and Practice

2011 ◽  
pp. 154-185
Author(s):  
Stephan Petrina
Keyword(s):  
Learning Theory ◽  
Teaching Practices ◽  
Informal Education ◽  
Learning Theories ◽  
Formal Schooling ◽  
Knowledge And Skills ◽  
Technology Studies ◽  
Theoretical Issues ◽  
The Way

Why do we use technologies in technology studies? Couldn’t we teach technology in a classroom without the complex lab and workshop infrastructures that characterizes technology studies? We could argue that this is by tradition; this is the way it always was. We could argue that we are involved in training students for occupations that use the technologies we use. We could argue that technology is naturally practical and demands that we offer practical activities. Tradition, vocation, or imitation. Not one of these three will get us very far. We could argue that students learn best when they are active; enactive experiences are best. With this argument, we verge on theoretical issues that underpin technology studies. However, neither experiencebased learning nor enactivism account for technologies in any adequate way. We need to retheorize learning theory to make it work for technology studies. Learning theories deal with specific notions of feelings, knowledge, and skills by addressing the problem of how we learn. Whether we are aware or not, our teaching practices are necessarily shaped by any number of learning theories. We are conditioned or socialized to express particular learning theories through years of participation in schooling and informal education. Sayings such as “we teach who we are” or “we teach how we were taught” suggest the power of our socialization into education. We are all products of our formal schooling and informal education.

Rethinking Retail Design in the Experience Economy

2020 ◽  
pp. 174-190
Author(s):  
Beatriz Itzel Cruz Megchun
Keyword(s):  
Personal Experience ◽  
Service Providers ◽  
Design Practice ◽  
Experience Economy ◽  
Functional Interactions ◽  
The Way

This chapter seeks to explore and discuss the way commercial companies and non-commercial companies have transformed the design and the delivering of products and services offered. This work aims to contribute to the discussion of the character of interiors by exploring empirical cases. These cases exhibit experiences comprised of emotional as well as functional interactions between customers and service providers. Their key attribute is to deliver a personal experience that stirs feelings, sensations, and emotions that are memorable and inclusive. The result of this research intends to enable professionals to have a series of instruments that are multidisciplinary in nature so that they can use them in their design practice.

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