Mandy Lupton

Learning analytics beyond the LMS: the connected learning analytics toolkit

We present a Connected Learning Analytics (CLA) toolkit, which enables data to be extracted from social media and imported into a Learning Record Store (LRS), as defined by the new xAPI standard. A number of implementation issues are discussed, and a mapping that will enable the consistent storage and then analysis of xAPI verb/object/activity statements across different social media and online environments is introduced. A set of example learning activities are proposed, each facilitated by the Learning Analytics beyond the LMS that the toolkit enables.

Elementary Teacher's Conceptions of Inquiry Teaching: Messages for Teacher Development

This study explored practicing elementary school teacher’s conceptions of teaching in ways that foster inquiry-based learning in the science curriculum (inquiry teaching). The advocacy for inquiry-based learning in contemporary curricula assumes the principle that students learn in their own way by drawing on direct experience fostered by the teacher. That students should be able to discover answers themselves through active engagement with new experiences was central to the thinking of eminent educators such as Pestalozzi, Dewey and Montessori. However, even after many years of research and practice, inquiry learning as a referent for teaching still struggles to find expression in the average teachers’ pedagogy. This study drew on interview data from 20 elementary teachers. A phenomenographic analysis revealed three conceptions of teaching for inquiry learning in science in the elementary years of schooling: (a) The Experience-centered conception where teachers focused on providing interesting sensory experiences to students; (b) The Problem-centered conception where teachers focused on engaging students with challenging problems; and (c) The Question-centered conception where teachers focused on helping students to ask and answer their own questions. Understanding teachers’ conceptions has implications for both the enactment of inquiry teaching in the classroom as well as the uptake of new teaching behaviors during professional development, with enhanced outcomes for engaging students in Science.

Reclaiming the art of teaching

This paper explores the art and craft of teaching in higher education. It presents a model of the relationship between art and craft drawn from the authors theoretical and empirical work, and provides examples from the higher education context to illustrate the model. It discusses the characteristics of teaching as art and craft and critiques the move towards standardisation and conformity in favour of originality, creativity and innovation. It suggests that to see teaching as art is more holistic, satisfying and transformative than to see it as craft. It argues for reclaiming the art of teaching and provides strategies for encouraging and supporting artistic teaching.

Teen Content Creators: Experiences of Using Information to Learn

As access to networked digital communities increases, a growing number of teens participate in digital communities by creating and sharing a variety of content. The affordances of social media—ease of use, ubiquitous access, and communal nature—have made creating and sharing content an appealing process for teens. Teens primarily learn the practices of encountering and using information through social interaction and participation within digital communities. This article adopts the position that information literacy is the experience of using information to learn. It reports on an investigation into teens’ experiences in the United States, as they use information to learn how to create content and participate within the context of social media. Teens that participate in sharing art on sites such as DeviantArt, website creation, blogging, and/or posing edited videos via YouTube and Vimeo, were interviewed. The interviews explored teens’ information experiences within particular social and digital contexts. Teens discussed the information they used, how information was gathered and accessed, and explored the process of using that information to participate in the communities.

The potential of combining phenomenography, variation theory and threshold concepts to inform curriculum design in higher education

This chapter describes an innovative method of curriculum design that is based on combining phenomenographic research, and the associated variation theory of learning, with the notion of disciplinary threshold concepts to focus specialised design attention on the most significant and difficult parts of the curriculum. The method involves three primary stages: (i) identification of disciplinary concepts worthy of intensive curriculum design attention, using the criteria for threshold concepts; (ii) action research into variation in students’ understandings/misunderstandings of those concepts, using phenomenography as the research approach; (iii) design of learning activities to address the poorer understandings identified in the second stage, using variation theory as a guiding framework. The curriculum design method is inherently theory and evidence based. It was developed and trialed during a two-year project funded by the Australian Learning and Teaching Council, using physics and law disciplines as case studies. Disciplinary teachers’ perceptions of the impact of the method on their teaching and understanding of student learning were profound. Attempts to measure the impact on student learning were less conclusive; teachers often unintentionally deviated from the design when putting it into practice for the first time. Suggestions for improved implementation of the method are discussed.

Craft, Process and Art: Teaching and Learning Music Composition in Higher Education.

This paper explores models of teaching and learning music composition in higher education. It analyses the pedagogical approaches apparent in the literature on teaching and learning composition in schools and universities, and introduces a teaching model as: learning from the masters; mastery of techniques; exploring ideas; and developing voice. It then presents a learning model developed from a qualitative study into students’ experiences of learning composition at university as: craft, process and art. The relationship between the students’ experiences and the pedagogical model is examined. Finally, the implications for composition curricula in higher education are presented.

Designing rich information experiences to shape learning outcomes

Students in higher education typically learn to use information as part of their course of study, which is intended to support ongoing academic, personal and professional growth. Informing the development of effective information literacy education, this research uses a phenomenographic approach to investigate the experiences of a teacher and students engaged in lessons focused on exploring language and gender topics by tracing and analyzing their evolution through scholarly discourse. The findings suggest that the way learners use information influences content-focused learning outcomes, and reveal how teachers may enact lessons that enable students to learn to use information in ways that foster a specific understanding of the topic they are investigating.

Creating and expressing : information as-it-is-experienced

Abstract Music and dance are art forms that involve a full mind-body experience, integrating the cognitive, affective and kinaesthetic domains. To engage in creating music and dance is to use information to express oneself and communicate. In this chapter I explore the information experience of two distinct groups: those who compose music for an audience and those who dance socially with a partner. For the composer, information sources can be a stimulus for creation. Sounds, feelings, moods, images, ideas and life experiences can trigger a creative idea. These ideas are shaped by existing musical styles and structures, and by the composer’s personal aesthetic. The intention of the composer is to communicate their expressive ideas to an audience. For the social dancer, information sources are those used to communicate with a partner. There is no intention to perform for an audience. A social dancer aims to express the music and style of the dance while creating a strong connection with their partner. Information sources include the music, the partner’s body, the emotions generated by the dance, the position of other couples on the floor and the feeling of the floor. Use of information in the arts is an under-researched experience. Most information studies are based on the assumption that information is documentary and codified. Subjective and affective information is rarely recognised and legitimised. Information-as-it-is-experienced through creative practice such as music and dance is holistic in acknowledging mind, body and spirit as well as traditional documentary forms of information. This chapter draws on empirical research to illustrate experiencing information as creating and expressing.

The connected learning analytics toolkit

This demonstration introduces the Connected Learning Analytics (CLA) Toolkit. The CLA toolkit harvests data about student participation in specified learning activities across standard social media environments, and presents information about the nature and quality of the learning interactions.

'It makes you think anything is possible': representing diversity in music theory pedagogy

This paper critiques a traditional approach to music theory pedagogy. It argues that music theory courses should draw on pedagogies that reflect the diversity and pluralism inherent in 21st century music making. It presents the findings of an action research project investigating the experiences of undergraduate students undertaking an innovative contemporary art music theory course. It describes the students’ struggle in coming to terms with a course that integrated composing, performing, listening and analysing coupled with what for many was their first exposure to the diversity of contemporary art music. The paper concludes with suggesting that the approach could be adopted more widely throughout music programs.