Friday, October 18, 2013

Learning for Fun




In “Learning for Fun: The Unique Contribution of Educational Leisure Experiences,” Jan Packer explores the idea of “learning for fun” as the “phenomenon in which visitors engage in a learning experience because they value and enjoy the process of learning itself" (Packer 2006). She argues that in the “free choice learning” experiences found in a variety of educational leisure sites (museum, aquarium and national park) it is a person’s ability to chose that “makes the difference between learning as a chore and learning as a pleasure” (Packer 2006). Using the theories of economic experience (Pine & Gillmore), “flow” and “aesthetic encounter” (Csikszentmihalyi and colleagues), curiosity-driven museum visitor (Rounds) and various theories related to “intrinsic motivation,” Packer identifies characteristics of free choice learning in these settings that transforms learning into “an experience” in which the visitor has the ability lose all sense of time and engage emotional, physically, and cognitively.

Packer offers the following five propositions gleaned from the research listed above and her own research. Learning for fun offers “an experience in which education is entertainment, discovery is exciting, and learning is an adventure” (Packer 2006). Most visitors within her study perceived learning to be a pleasant experience and although they may not have visited the site with the intent purpose of learning something new, they almost always engaged in some sort of educationally motivated activity. Four conditions were identified by visitors as beneficial for learning for fun: sense of discovery, appeal to multiple senses, effortlessness, and availability of choice.  Lastly, learning for fun can be a transformative experience. When visiting a museum, zoo, park, or aquarium, visitors are aware of the opportunity to learn and find meaning; however, the amount of effort that is required to gain the knowledge presented can be intimidating, unappealing, or even exhaustive. The fact that most visitors believe that for them the most learning takes place in an environment in which the learning seems effortless reinforces the idea that we want to be entertained and in this entertainment, we are educated. The entertainment I am referring to is not a passive entertainment. It is active, one in which we are engaged physically, connected emotionally and cognitively. Our senses are piqued. Our beliefs are reinforced or challenged. Our boundaries pushed. 

Tilda playing with a Color Texture Sorting Rainbow Playmat that she and I made.
The most prominent example in my life of learning for fun is my children. My oldest daughter turns everything into a game. Singing her abc’s is called the “echo game.” She sings and I repeat (she is always in the lead). Walking down the street is “red light, green light” as we discuss traffic signs and laws. There are many others I could cite, but the point is she loves to take the information she is “learning” and transform it into something else, a game, a song, a rhyme, or a story. For her learning is fun because it isn’t forced upon her. It occurs naturally within a familiar setting (by familiar I do not mean always the same, but there is always an element of familiar, a person, a theme, something she already knows about, etc).

Museums, parks, zoos, any of these educational sites seek to meet the visitor where they are and provide an experience that fills a void, captures an interest, or just engages in an unexpected way. With my three year old, I am cognizant of her interests and seek out opportunities, activities and experiences that encourage her where she is right now. Tomorrow those interests may be different. Today, she told me her favorite book was A Whale of a Tale from the Dr. Seuss Cat in the Hat Knows a Lot About That learning series. So, we spent the day talking about porpoises, dolphins, and whales. Looking up images, videos, and if there had been an aquarium here we would have planned a trip (unfortunately, the Bass Pro Shop is the closest thing to an aquarium in Shreveport). Instead of a trip to the aquarium, we are looking for places to practice echolocation. 

Packer concludes that “more than just affirming that learning is fun, learning for fun positions learning as an experience that is valuable for its own sake, regardless of the presence or absence of learning outcomes” (Packer 2006). My three old loves the process of learning in the environment that I have created for her and thinks nothing of the outcome. As her primary educator (academically, culturally, socially, emotionally), I am able to capitalize on her current, most prominent interests in order to make learning seamless and effortless (?) for her. A recurring characteristic of visitors in informal learning research is intrinsic motivation. The most successful learners have a positive disposition toward learning.  Creating this attitude toward learning begins at a young age. In doing this, we are creating life-long learners who will utilize these educational leisure sites for their personal enjoyment and learning. 
Little "readers"

Thursday, October 10, 2013

Teaching Art to Preschoolers using Art History


A few of the "art" books in our library: Babar's Museum of Art by Laurent de Brunhoff; You are My Work of Art by Sue Dicicco; and Art for Children, Figuring Figures by Brigitte Baumbusch.

Having a very creative and inquisitive three year old, I am always looking for ways to aid her in discovery and awareness of the things that excite her. Through this process, I am also passing on my own loves and interests. One of those loves is art and art history. On any given day, we have multiple art “activities” (as she likes to refer to any project we have going) in the works, hanging to dry, and on display in her “gallery” or “studio” (two different places in our home). Art is very much a part of our everyday vocabulary. We explore in doors and out of doors, talking about the things we see, looking at little details, comparing and contrasting, collecting, etc. The lesson plans I have selected all focus on teaching art elements and history through a collection of art historical masterpieces. By using these masterpieces to teach color, line, shape, texture, and subject, I am also able to teach culture, context, visual thinking skills, and history (just to name a few). The primary target age are preschoolers. It is my hope to use these with my daughter. 

1.  COLOR! This lesson explores the very basics of color: the science of color, primary colors (Modrian), secondary colors (Seurat and pointillism); as well as the emotional impacts of color (Matisse) and colors found in nature (Monet). Each lesson incorporates the works of art by the artist and hands own exploration of his technique.

2.  Art Cave Drawings (Learning Center) This learning center offers children an opportunity to learn about art forms from prehistoric cultures and experiment with a variety of materials by creating their own “cave art.”

3. Elements of Art These are a series of lessons that explore color, line, shape, texture, and space in various museum setting (but are easily adapted to the classroom).

4. Animals in Art By focusing on the subject matter in a grouping similar of masterpieces (all have tigers found within the painting), this lesson encourages students to compare and contrast as well as relate the paintings to their own personal experiences. Featured artists include Jean-Leon Gerome and Eugene Delacroix)

5.  Animals in Art II This lesson is based on the same idea as the one above. However, it introduces light and dark contrasts and the concept of space (above, below, behind, etc). Paul Gauguin is the artist highlighted in this lesson.

6.  Line Manipulatives This hands-on activity used the works of Van Gogh, Miro, and Mark Tobey to explore lines in artwork.

7.   Straight Lines Explores the element of lines through the artwork of Kandinsky, Modrian, Picasso, and Stella. Activities and artists in this lesson vary from those in the lesson above.

8.  Shapes in Art Using a variety of objects (tanagrams, vegetables, etc.) students explore, discover, and recreate shapes in the art of Paul Klee.

9.  Songs in the Key of Art This lesson incorporates music to reinforce teaching and understanding of the elements of art. Students listen to Greg Percy's "Songs in the Key of Art" while exploring the works of Kandinsky, Matisse, Modrian, and Denise Pannell (just to name a few).  The lesson links to many more songs featuring topics of art and art history.

10. Smelly Fruit Very simply, this lesson connects the senses using scented markers that students use to create still lifes with the corresponding fruit. While creating a kind of “scratch and sniff” art work is fun and appealing, I would suggest using old master's still life paintings (Severin Roesen, Pieter Claesz, Caravaggio) to inspire the students own creations.

Each of these lessons can be easily adapted to any age group. All include exciting hands-on learning that encourages the importance of creation. For my preschooler, the things made by her hands are extremely valuable and often seen as an extension of herself. By using art history to teach the elements of art to my three-year old, I am able to reinforce the value of her art as well as introduce her to a world of artists and masterpieces that influence us still today.

Tilda's Gallery
Tilda's Studio
(these are old pictures, these paintings have already been "sold" and replaced many times over :)

Thursday, October 3, 2013

The Art of Teaching in the Museum


American Art Collector, Jack Warner, "teaching" a group of 5th graders about "Freedom and the Founding Fathers." These fifth graders would be guided through Warner's collection of art by the docents lining the back walls. The museum educators used similar questioning, guiding techniques to the ones described in the Burnham & Kai Kee article. This photo was taken at the former Westervelt Warner Musuem of Art.   

In this essay, Burhnam and Kai-Kee expound upon two different museum experiences in order to articulate their ideal for teaching within the museum. Throughout the essay, it is made clear that the onus is on the museum educator to properly facilitate discussion so that all visitors will have “an experience” with the artwork or artworks they encounter. In my observation, informal learning occurs least or is absent when the instructor is involved to such a level. In both of these examples, the educator had a clear direction in which she intended to guide her students. As stated in the article, the educator’s “goal [on one hand] is for people to gain a greater knowledge and understanding of a given work, and on the other, for them to connect with it personally, directly” (Burnham & Kai-Kee, 2011: 15). With this in mind, she directs conversation, intermittently adds information, and aids the visitors in drawing certain conclusions or connections (the hands in all of the paintings) throughout her experience.

Informal learning occurs through the unscripted fresh dialogue of the museum visitors as they experience a piece of art for the first, second, third time. When the museum educator is viewed as a facilitator and only one source of information rather than the ultimate authority on the piece, visitors freely offer and seek information from all sources (text panels, other visitors, past experiences, similar paintings hanging in proximity) at their disposal. They do not look to the educator for affirmation or answers, but rather collaborate to extract the meaning with their peers. Ideally, the educator becomes one of their peers and they view the painting anew together.

Unfortunately, certain expectations are placed upon the educator by the nature of the experience: a directed tour. As the article states and many of us have experienced, museum visitors seeking out group tour experiences are “held together by the implicit promise and conviction that they [will] leave with an understanding of the artwork that they did not have when they began” (Burnham & Kai-Kee, 2011: 16). A truly informal learning experience may be impossible to create in a “guided tour” setting.

Sources:
Burnham, R., & Kai-Kee, E. (2011). Teaching in the art museum. Los Angeles: Getty Publications.

Instagram as an Online Literacy Site

Students today have much more access to and preference for their smart phones than a personal computer. At any given moment, students are texting, snap-chatting, kiking, tweeting, updating facebook accounts, etc. In this post, I would like to explore Instagram as an Online Literacy Site. Instagram is an app first site whose online version really has little purpose. With more people opting for their phones instead of their pc's and most websites having a "mobile" (version of their) site, the term "online" can no longer be confined to a computer. 

In order to access Instagram, students must have an account. Setting up an account is simple. Download the app to your smart device. Choose a user name and a password. A user can also login with a pinterest or facebook account. Now that an account has been set up...select people to follow and allow others to follow you. 

What do I see? The first thing you see when you access the Instagram app is the latest picture or video posted by a user you follow. As you scroll down the screen, you see images from the lives of others: a silly video about cassette tapes made by someone feeling nostalgic and sentimental before she "chucks" them out; siblings sporting different versions of a sunhat (one wide brimmed, the other a colander) as they walk with dad to the park; a beautiful arrangement of flowers fresh from an English garden accompanied by an appropriate cup of tea; a hazy sunrise over Lake Washington; s'mores with the Moores over a glowing firepit. These are just a few of the images in my feed today. Each image is preceded by an identifier listing the user who posted it and the time of post. At the bottom of the image, you can also see how many viewers have "liked" the upload and any comments posted about it. 

At the bottom of the smart device's screen are five icons that are used to navigate the entire space: home (house), explore (starburst), camera (camera;), following/news (heart in text bubble), and profile (business card?). 

The "home" page includes all of the images that those you are following post. "Explore" allows you to search users and hashtags for similar postings. The "camera" is where you create and upload your own content. Updates are sent in the "following/news" section and other business can be taken care of in the profile.

What does it mean? This site is a place for the user to explore their own social identity through the posting of personal images or video that relate to daily life, personal opinions, and connections to places, objects, or others. How does one become "literate" in this space? By using it. "Following" other users. Allowing others to "follow" you. Posting images and videos that articulate emotional, political, economic, or social viewpoints. Documenting the places you've been. Exploring what others are doing through #hashtag searches. Receiving feedback from those who follow you regarding your posts. Offering feedback on the images posted by other users. Even using Instagram as a commercial venue (more and more people are selling products on Instagram). As you navigate through instagram, you connect with people you know, you want to know, whose work you admire, those that are similar to you in some way, etc. The more you connect and contribute the more literate you become in the site. The more information you share, the more feedback you receive. 

How do you know? Online literacies are online spaces (websites, social networking sites, blogs, gaming sites, instant messaging, etc) in which users create and/or interact with multimodal content as part of a larger social network of learners in order to explore and create their own social identity. In "Powerful Spaces: Tracing the Out-of-School Literacy Spaces of Latino/a Youth," Elizabeth Moje noted that students "use a variety of written texts and other forms of representation to navigate within and across physical space" (Moje, 16). Instagram as an online literacy site deals with these "other forms of representation"with minimal text. In the article, Moje is referring to language, music, symbols, body language, place, etc. These same forms and many more are visualized in the content created by users in Instagram. A "selfie" of me in front of Grant Wood's American Gothic identifies a place and interest connected with me: the Art Institute in Chicago and an appreciation for American Art. As the site also functions as a social networking site, every image or video posted to the site is either a physical or metaphorical representation of the user. The posts are meant to depict some aspect of the users identity: a like, a dislike, a place or space, an emotion, opinion, etc. 

The image to the left is a nostalgic reference to a trip to the ocean, as well as, a looking forward to the events of the coming summer. The user spends summers at the beach and sees it as part of her identity: socially, as she reconnects with people each summer; emotionally, as she has built relationships with the environment; and physically, as this is her residence for two months.

Instagram is also an online image gallery. In "Visual Culture and Literacy Online: Image Galleries as Sites of Learning," B. Stephen Carpenter and Lauren Cifuentes report a study conducted with students using the online image gallery Seeing Culture. In Seeing Culture, students accessed, uploaded, and manipulated images within this online gallery in order to increase their "visual literacy and collaborative interpretation of images, digital videos, and other forms of visual culture" (Carpenter & Cifuentes, 2011: 35). While Instagram users only have the ability to manipulate their own images, they still engage and collaborate with the content of others by posting comments, tagging and #tagging and "liking" images. These exchanges build meaning, connections, and further identity formation as users continue to create content.

In the article, Carpenter and Cifuentes are not making an argument for Seeing Culture as an online literacy site, but rather a site of learning. However, they observe that students begin to cultivate visual literacies. The learning that occurs as students interact with the content helps them to construct meaning from the images within the gallery thus creating and/or developing a deeper understanding of, connection with, and a bank of terminology relating to what they are seeing. I believe these characteristics qualify it as an online literacy site. Likewise, through the posting of images and videos, Instagram users also build literacy as they interact with their own content, as well as the content created by others. 

Articles cited in this post:

Moje, E. B. Powerful spaces: Tracing the out-of-school literacy spaces of Latino/ayouth. In K. M. Leander & M. Sheehy (Eds.), Spatializing literacy research and practice (pp. 15-38). New York, NY: Peter Lang.

Carpenter, B. S., & Cifuentes, L. (2011). Visual culture and literacy ONLINE: Image galleries as sites of learning. Art Education,64(4), 33-40.




Two more examples of "literacy"(in the traditional sense) on instagram: