Infusing Multiliteracies Into Museum Learning Practice for Inclusive Cultural Participation

Posted by Dr Stephania Savva

Description :

One of the most poignant discussions in the museum world, has been on issues of inclusion and access. Prolific museum figures like Nina Simon presenting in the recent Museum Next Conference in London, shared the vision behind OFBYFOR ALL, a new global initiative to help civic and cultural organisations become OF, BY, and FOR their communities. However, what is it that can help take the next step in terms of inclusion and learning within and out of museum grounds? 

This article draws on a doctoral research study to investigate museum’s democratic potential, through transformative approaches to pedagogy aimed at meaningful cultural participation.

The ‘meaningful’, stands for a degree of competence in reading, interpreting and constructing meaning from the existing multiple forms of language (Stapp, 1984: 112; Mitchell, 2007: 3). ‘Participation’ involves an ability to negotiate the complex dialogic relationship that exists between the written word, the spoken word, images, objects, time and space (Mathewson-Mitchell, 2007: 3).

Consideration of issues of access in relation to the significant literacy requirements of museums, suggests that increasing focus on the explicit teaching of museum-based literacies, could be the way through which to expand museum visiting opportunities for the less 'conventional' audience.

It is actually proposed that museum-based literacies could act as the means to the development of cultural competence in museum environments. This evolution in theory and practice of, and about museums, has been notably part of radical changes in the museum world since the 1970s, mostly known as new museology.

Museums as Agents of Change

The development of a “new museology” (Mayrand, 1985: 201), is a concept used to describe the focus on the potential of museums as a positive social force. Golding (2009) suggests the museums should act as frontiers, places where learning and identity are produced and developed for all, while new ‘bridges’ are raised between non-dominant communities and their own histories (Philip, 1992 in Golding 2009).

It became profound that if museums accept their educational role, “they must also accept their social responsibility to work towards supporting a participatory democratic society” (Hein, 2005: 50). We need to “take advantage of the current context, as ‘opening new educational and social possibilities’ (Cope and Kalantzis, 2000: 18), to promote democratic education and human needs...” (Early, 2007: 67).

Changing Times, Changing Literacy 

Ever since the 1960s, the nature of literacy practice and needs is changing; Hall (1989) suggests this is thought of as a consequence of New Times. New Times is an era of internalization, characterised by the breaking down of borders between local and global contexts resulting from rapid change in communicative practices (Gee, 2000: 183; Luke and Elkins, 1998).

One common element that has changed is that literacy has become inherently plural; thus researchers have problematized the very notion of literacy as a discrete set of skills. Luke and Freebody (2000) provide one of the more recent and useful definitions of literacy: 

"Literacy is the flexible and sustainable mastery of a repertoire of practices with the texts of traditional and new communications technologies via spoken, print, and multimedia". 

(Luke and Freebody, 2000: 9)

In such a perspective of literacy, the literate person is one who develops capacity to respond to emerging and communicative needs, a literate person who is a sophisticated user of texts. The individual engages with literacy practices as a decoder of text, as a maker of meanings, as a purposeful user of information and as a text analyst who employs critical thinking skills in the literate work (Luke and Freebody, 2000; Liddicoat, 2007: 20). 

Figure 1: Evolution of the concept of literacy over fifty decades

Although acknowledging contemporary, 21st century demands of ‘literacy’ and education, this definition does not incorporate the social context of literacy. Literacy is, as Gee (1996: 22) has aptly described, “a socially contested term”. To this respect, literacy is a social practice rather than merely a means to an end. 

Such a consideration draws on the paradigm of New Literacy Studies (NLS) and recognises literacy as a set of socially and culturally constituted practices enacted across and within social and institutional spaces. It acknowledges literacy as a social and historical construction that evolves dynamically (Giampapa, 2010: 4; Potvin, 2009; Garcia, Bartlett and Kleifgen, 2006). 

Literacy is seen as a social responsibility including a critical or transformative emphasis in which literacy is a tool to understanding social structure in which we live so we can transform it in meaningful ways (Gee, 1996: 58; Street, 1995). The social perspective of literacy, implies more than superficial contacts with print; it icorporates an understanding of how to manipulate words and concepts through complex daily social interactions in an accepted manner (Giampapa, 2010; Potvin, 2009; Reid, 1998; Kern, 2000) through cultural apprenticeship (Rogoff, 1990).

The ‘New’ in Literacies: Multiliteracies

Following the NLS paradigm, ‘multiliteracies’ have emerged. The term “Multiliteracies” immediately shifts us from the dominant written print text to acknowledge the complexities of practices, modes, technologies and languages with which literate people need to engage in the contemporary world.

The “New London Group” (a team of ten academics including James Gee and Allan Luke) came together in 1996 concerned about how literacy pedagogy might address the rapid change in literacy due to globalisation, technology and increasing cultural and social diversity. They employed the term ‘multiliteracies’ to address these issues (The New London Group, 1996).

Since then, The Ontario Ministry of Education has come up with a number of literacy initiatives, some of which are characterized by a critical and social view of literacy, where literacy is conceived of as "the ability to use language and images in rich and varied forms to read, write, listen, speak, view, represent, and think critically about ideas" (Expert Panel on Literacy Report, 2004: 5).

Figure 2: Multiliteracies and their design elements (Adapted from The New London Group, 2000)

Luke and Luke (2001: 92-94) echo this idea, and argue that new technologies have facilitated the emergence of new kinds of artefacts, such as digital storytelling, requiring new levels of engagement and development of higher and different mental faculties (i.e. new multiliteracies). Luke (2000) also talks about the critical multiliteracies - being able to understand, debate, and act upon the material, political, and social consequences of technological change.

An alternative view of literacy calls for a reconceptualization of literacy as reading and writing the world (Freire, 1970). This conceptualization foregrounds critical thinking in both teachers and students, and looks beyond functional literacy (reading and writing skills), to the knowledge and power relations in literacy discourses.

Agnello (2001) refers to this approach as postmodern literacy, and argues that through this approach “reading and writing become enhanced methods for exploring the democratic self and its formation through ideological exposure to knowledge and power relations formulated by educational policy texts. Through such exploration, literacy becomes a tool for self-, student, and social advocacy rather than commodity to determine whether one measures up satisfactorily on test scores” (Agnello, 2001: 24-25).

Museum Learning as a Multiliteracy Practice

Museum-based literacies or museum literacy, refers to the competence in drawing upon the museum, its space and collections using certain skills and practices. In 1984, Carol B. Stapp observed that “museum literacy” was then a newly emerging phrase that articulated the older idea of a philosophy of museum accessibility.

Museum literacy goes beyond ‘reading’ objects; which may be understood as visual literacy; it requires a deeper level of process and understanding of the multiple and interacting languages and modes of communication found in the museum. 

By broadening the view of museum literacy, it is acknowledged that the language that is involved in the museum is diverse and incorporates multimodal literacies including: linguistic, visual, audio, gestural, spatial patterns, technological and print-based (see for instance, Cope and Kalantzis, 2000: 160,203; Giroux, 1992; Hooper-Greenhill, 1999).

Figure 3: The multimodal literacies in museum-based pedagogy (Savva, 2016)

This view of museum learning redefines the goals and strategies of educators and the museum curricula. The idea of education in museums is seen as exploratory, broad, experiential, complex and multi-layered; museum strategies are now audience driven (Russo et al., 2007, Hein, 1998; Falk and Dierking, 2000).

To this discussion fits the incorporation of museum learning into the multiliteracies concept; this is facilitated by the realization that a display of material culture conveys messages about the people who created them and the times in which they were used (Pearce, 2003). 

The act of creating an exhibit is parallel to the act of producing knowledge. Exhibits are not simply displays, but systems of signs that express messages about culture. Museums and their exhibits reflect the ideology of those who create them.

In the same vein that “There is no such thing as ‘reading’ or ‘writing,’ only reading or writing something . . .” (Gee, 1999: 93), the same would hold true for creating exhibits. There is no such thing as displaying an artifact without displaying something about that artefact. Also, the interpretation of messages is similar to the deciphering of text, using the signs, symbols, objects, etc., of a museum exhibit as part of the process of creating meaning (Roberts, 1997).

Griffin (1999: 8) identifies the unique learning opportunities offered by museums as: opportunities to closely examine objects or specimens; opportunities for comparison that allow trends and patterns to be deciphered; natural learning processes that incorporate the sharing and communication of ideas and the raising of questions; and opportunities to develop perceptual skills that teach how to gather information from objects and experiences. 

Because museum exhibits make meaning through multiple media, multiple modes, and multiple symbol systems, the literacy practice of museum visiting is a multiliteracy. 

An interesting project exploring the latter, is the ‘Museum Literacy Project’ in 2008-2010, involving nine different museums, administrations and training institutions based in five European countries, supported by the EU programme Lifelong Learning - Grundtvig Learning Partnerships, 2008. The project focus was on museums and audiences with low schooling level, and how museum literacy can be reached and maximize the museum experience for these audience.

Dimensions of a Pedagogy of Multiliteracies for Museum Learning - The Research Framework

Taking into consideration the unique characteristics of the museum environment, I undertook an empirically-based doctoral study involving the design, enactment and evaluation of the Living Museum Partnership (LMP), a museum-school partnership that unfolded in 13 weeks for the construction of a student-generated virtual museum to support environmental education curriculum (Savva, 2016). 

Specific focus was on developing virtual learning environments and applying augmented reality to enhance culturally and linguistically diverse students' repertoires of literacy practices. This design-based research, draws from the field of New Literacy Studies, the proposed Museum Multiliteracies Practice (MMP) framework derived from the multiliteracies pedagogy of the New London Group, the Learning by Design Model adapted from Cope and Kalantzis and Schwartz’s museum based pedagogy.

Figure 4: The pedagogies interacting in the Museum Multiliteracies Practice framework (Savva, 2016)

It is proposed that museum educators and learning professionals undertake an approach for teaching and learning in the museum setting which incorporates multiliteracies pedagogy. Identification of museum literacies requires thorough examination into the interaction of modes that are evident, the incorporation of multiliteracies implicated, the various sign systems that are employed, and the unique nature of the museum learning environment (Mathewson-Mitchell, 2007: 7-8).

The focus should be not only on literacies as communication (meaning for others, as supports for social interaction). My doctoral research for instance also emphasized on literacies as a form of representation (or meanings for ourselves, as supports for thinking).

Cope and Kalatzis (1996, refined 2000, 2009) elaborate on the potentials of a ‘Pedagogy of Multiliteracies’ in fulfilling these aspirations. Two important ideas brought in a multiliteracies pedagogy are Learning by Design and Multimodality.

Learning by Design, is building into curriculum the idea that not every learner will bring the same lifeworld experiences and interests to learning, as well as acknowledging that every learner is not on the same page at the same time; pedagogies of learning are re-configured to construct learning as “a dialogue of difference” (Cope and Kalantzis, 2005: 31). The idea of Multimodality discusses learners’ movement between written, oral, visual, audio, tactile, gestural and spatial modes of meaning-making (Cope and Kalantzis 2005, 2009). 

On this basis, the New London Group (1996) has proposed a multiliteracies pedagogy consisting of situated practice, overt instruction, critical framing, and transformed practice.

• Situated practice includes learners’ prior and present experiences in a community of learners (composed of experts and novices). 

• Overt instruction involves the teacher’s or expert’s interventions to scaffold (Bruner, 1983) or support learning and increase the learner’s consciousness about learning. Scaffolding is a metaphorical concept that refers to the visible or audible assistance that a more expert member of a culture can give to an apprentice (Bruner, 1983, 1986). You might also note Vygotsky’s Zone of Proximal Development (ZPD), that relates to Bruner’s notion of the scaffold here. 

• Critical framing refers to learners interpreting the historical, cultural, political and ideological contexts of learning.

• Transformed practice includes implementing new understandings through reflective practice in other contexts.

Figure 5: The Multiliteracies Model and Learning by Design (Adapted from Kalantzis and Cope, 2000)

Also identified within the Learning by Design Model are four knowledge processes (See Figure 5 above). The knowledge processes identified are:

(a) Experiencing the known and the new

(b) Conceptualising by naming concepts and theorising 

(c) Analysing functions and interests 

(d) Applying appropriately and creatively.

Findings and Implications for Museum Learning Practice

Stapp (1984) had argued that schools do not address the knowledge, skills and attitudes for museum literacy. Recent observations of the characteristic use of museums by school-based teachers suggest that a relatively passive, idealist approach to museum experiences, as identified by Stapp, has continued, with teachers lacking confidence and competence in the museum setting (Mathewson-Mitchell, 2006). 

Based on the findings of my doctoral research, it is suggested that addressing museum-based multiliteracies leads to effective museum-school partnerships and meaningful museum learning practice. Research data suggested that students’ repertoires of literacy were enhanced as they engaged in the learning process as active designers and multimodal learners (Savva, 2016). It was found that students gained opportunities to:

Figure 6: Findings of Museum Multiliteracies Practice research (Savva, 2016)

It is proposed that any museum education programme or museum-school partnership or collaboration pays attention to the following key principles:

1. Teaching children, especially digital natives of our time, to be literate in any setting is not just a set of skills that can be transferred. Rather, education needs to enable them to participate in social situations using the required literacy practices.

2. Museum visiting is seen as multiliteracy practice; as such it requires specific museum-based literacies that are rarely identified or explicitly taught by museums or schools.

Conclusion

Ultimately, this brief review and presentation of the proposed empirically based, research framework for museum learning practice, forms a pathway to follow for inclusive cultural participation at any level and age. The London New Group’s (1996) ideas further developed by Cope and Kalatzis (2000; 2005; 2006) for a Pedagogy of Multiliteracies, could inform the development of the specific literacy requirements of museums, in a way that could lead to full museum literacy and a transformative cultural engagement and participation for diverse audiences.

Thinking About Buying a Hoverboard? Read This First!

Posted by Andreas Christodoulou

Description :

The hoverboard has grown in popularity because it's easy and fun to use. You can ride one to get to where you're going faster than you could by walking, and since it's smaller than a bike, it's convenient for those who want to try to take it out on city streets. 

The board gets its name because the wheels on most of the boards are slightly under the edges, giving the appearance of the person floating above the ground. Most boards have two wheels, but there are also solo wheels. You can find hoverboards online and in many retail stores. When you start searching for boards, you'll find a number of designs depending on exactly what you want to stand on while you're moving from one place to another as some do offer more space for the feet. Most boards have a small motor that is connected to each wheel. This allows you to move each foot by itself instead of traveling with both feet in place, similar to a skateboard. 

CNN has named the IO Hawk hoverboard "one of the coolest pieces of technology." Other companies have jumped on board with the craze and developed their own styles. You've probably seen the boards on awards shows and demonstrated in retail stores. They are popular in other countries besides the United States. Several musicians and actors have been seen using hoverboards. They have been used in music videos and movies in the past several years. 

Choosing the Best Board

There are a few things that you can do to discover the best board for your body and skill level. Among the best on the market are the Segway miniPRO and the Jetson V6. Taller wheels on the Segway allow for traveling over a variety of terrains, where a standard hoverboard usually has wheels that are closer to the ground that keep you on sidewalks and streets. There are sensors on the board that will slow you down if you're going over terrain that is hilly or that could cause injuries. A steering bar that comes to the knees on the miniPRO allows for easy control of the board. One of the features of the Jetson is that it's stable and has a wide base. The board also has an app that goes along with it so that you can see various details of the product and your usage. 

Shane Chen is known for patenting the design of the hoverboard. The design of the boards is essentially the same no matter what brand you get. There are pressure pads on the boards that have two wheels, activating the motor that is associated with the coordinating wheel. There are also speed sensors that activate the board as well. When you look at each board that is on the market, the thing that will set them apart is how they feel while riding and the experience of the rider. Two boards that are the exact same might not deliver the same ride for two people because one is more experienced than the other. When looking for a board, you want to find one that has the best sensitivity for your feet. You should feel comfortable while riding the board instead of feeling as though you might fall off, which does take some practice. The research group at Reviews.com recently took on the challenge to find the best boards available. Their methods used to find the best boards can also be used if you are looking for something for yourself. 

Back in 2015 there were reports of hoverboards exploding or catching on fire. One of the first things that the group did was to eliminate the boards that gave any indication of exploding or that had the potential to explode, which is something that you want to look for when selecting your own product. The board that you choose should be certified and put through a detailed electrical test to determine if it could explode. Although there is nothing that will guarantee 100 percent safety, these tests should put you at a high safety percentage while riding. 

After choosing a few boards to try, you want to ride each one inside the home or inside a building, such as your office building at work. You want to use safety gear at all times if possible, especially when first starting out. Figure out the proper way to get onto the board and how to get off. You might need some kind of secure device beside you the first few times you get on and off, but once you're able to mount and dismount with ease, it's like riding a bike. Most people will be a little off-balance while they ride for the first few times. It takes practice to get to a point where you can ride a hoverboard like a professional. It's possible that there will be a crash or two, but it's important to learn from the mistakes that you make so that you know how to ride the next time. 

One of the things that you need to look for if you plan to ride your hoverboard for long periods of time is the battery life. Some boards just don't have a battery life that lasts longer than a few hours while others will last half a day or longer. The Segway miniPRO is a board that has the longest battery life out of several that the research group tried. 

When you look at the hoverboards in front of you, you might notice that they look almost exactly the same except for the brand name. There could be differences in the pattern on the outside of the board or the type of tread on the wheels as most boards have the wheels on the outside area of the board. Some boards have the same robotic voice that tells you what to do or that offers tips on how to use the device. They will likely have the same kind of app to use. Hoverboards are similar in appearance because most of the companies that make them are in China. When the boards are made, they are picked up by outside companies, and a new name is put on each one. 

Another aspect to consider when you're getting a hoverboard is the price. Most are in the $500 to $700 range for a sufficient board that will do everything that you want and has the appearance that you desire. However, Don’t buy cheap, uncertified boards. Though many online merchants list boards that look like our top picks at dirt-cheap prices, we advise caution. These boards are often uncertified knockoffs that haven’t undergone safety tests. While the exterior of the board may appear similar, the lithium-ion (Li-ion) batteries are sometimes replaced by cheap, dangerous counterfeits that may catch fire.

Once you have mastered using the hoverboard inside, it's time to see if you can ride it outdoors. Stay on a flat surface to start with so that you're not navigating hills and slippery areas. You should also try to find a place that doesn't have many people or cars until you feel better about being on the board. A park is a good place to go or an empty parking lot. After you have mastered flat surfaces outside, you can move on to the terrain that you might encounter during the day, such as sidewalks that have rough patches or even grassy surfaces to see how well the tires would do on a surface that isn't paved. 

When you're choosing the best hoverboard, you want to find one that handles a variety of road situations. You want to get a board that can stop quickly and easily. Some boards are better suited for riding indoors, so you need to look at the features and specifications of the boards that are available to see which ones are meant for riding outside. A true off-road board will usually have larger tires with thicker tread on them and feel a bit more comfortable while you're riding compared to a board that is only meant for riding inside. 

The best board that is recommended for general commuting is the Segway miniPRO. It can be used inside or outside and is a better option if you plan to use it on a daily basis. The tires are filled with enough air to absorb the shock that you put the board through while riding. There are wide foot pads that make the board comfortable to be on for a few hours at a time. This is a hoverboard that does well with going up hills and going over surfaces that are cracked or that are littered with small pieces of debris. It does have quite a bit of speed to it as well. The Segway has a few features that other boards don't offer. You can set the lock mode in place so that an alarm will sound if anyone other than the person who operates the app is on the board. You are required to use an app with this board, but it does mean an added bit of security. There are speakers built into the board. 

The Jetson V6 offers several details that make it among the best on the market. It's lightweight and offers a smooth experience for even the novice rider. Wide fenders on the sides of the board allow for easy maneuvering whether you're inside or outside. The larger fenders also provide a bit more stability and security while you're riding. Turning while on the board seems almost automatic and is smooth. It does do best on flat surfaces instead of surfaces that are rougher. The frame is made of plastic, which makes it easy to pick up and carry with you wherever you want to go during the day. 

If you plan on being outside on the grass, then you want a board that has larger wheels so that you have more support. Read all of the description and reviews online and any information that comes with the board so that you're operating the device properly and safely. Look at the weight limits of the board as some are designed for younger or lighter riders. However, most boards will support the weight of an average man. Children shouldn't ride hoverboards if they are under 12 years old, and if they are under this age, they need to be monitored at all times and wear the proper safety equipment while riding. 

Also, be aware of where you live because hoverboards are illegal in some areas. They have been banned at college campuses, malls, airports, and certain roads in several states and countries. Know local laws before riding in public.

Safety Tips

There are a few safety tips that you want to remember while you're riding. Any device that has wheels has the potential of causing an accident of some kind. Even if you use the board properly, there's always a risk. This is why you need to wear everything from a helmet to knee pads so that the body is protected. Watch your surroundings so that you can clearly see if there is anyone walking behind you or near you or if there are any cars in the area if you're on the street or in a park. You also want to wear a shoe that has grip. 

When you mount the board for the first time, check to see that it has a self-balancing setting. This will help to keep the board still while you're putting your feet on the pads. The panels on the sides of the board should be level, and you want the wheels to gently respond to any type of pressure that they are given. Use your dominant foot to get on the board before putting the other foot in place.

Conclusion

Hoverboards can be a lot of fun, but do your research before you purchase one and exercise appropriate safety precautions when riding one.

GO EXPLORE: 3 Reasons the Hoverboard Is So Important 

Really appreciate your long-standing support! Big thanks! 💓

(DISCLOSURE: This page contains affiliate links. If you purchase a product through one of them, I will receive a commission (at no additional cost to you). I only ever endorse products that I have personally used and benefitted from personally. Thank you for your support!)

*by andreascy*

5 Animation Trends to Watch Out for in 2017

Posted by Andreas Christodoulou

Description :

For anyone working within animation, or with an intention to, in 2017, it helps to know what you are likely going to be coming into. As technology continues to change and improve to ever higher levels, it helps to know the current major design and planning trends.

With the help of the right information, you can make sure that when you enter the market you make an immediate impact. 

The year 2016 was a time for stop-motion animation to make a comeback, as brands sought to connect more emotively with their clients. Stop-motion animation gives a great look, and is a wonderfully persuasive art style, but new technology means that it can now be done more effectively than it was ever done in the past. 

So, what can we expect to see for animation trends in 2017?

1. Stylish 3D 

3D animation has long been a staple in making animation come to life and portraying the most beautiful look and feel possible; that is likely to continue in 2017. As political skullduggery probably means that businesses will continue with minimal budgets in an increasingly constrained yet creative world, stylish 3D skills will be a major boon for any animator who wants to make a sterling impact this year. 

Stylish 3D design is making a big comeback in the world of animation and it’s not going to slow down anytime soon. If you want to get a good idea of the next major factor for all animators, it will use a more high-concept style of 3D than ever before. 

Hopefully, this will mean that animators can use their talents to the best of their ability whilst receiving fairer budgets to operate with! 

2. Marketing Collaboration 

Another major impact that is likely to be on the market in the near future is more collaboration between big brands and entertainment industries. We’ve seen it outside of animation this year, with the X-Men-themed adverts, and we’re likely to see more Star Wars themed editions soon as well. These marketing collaborations are making their way into animation now, too; how long until we see characters from the likes of Overwatch appearing in banking adverts? 

After all, big companies are now using famous cartoon characters and animated heroes to sell their goods. From Fred Flintstone buying a mortgage to Top Cat moving out of his bin, many markets are using cool and iconic characters to build their brand. 

The reason why animators should be expecting this trend to continue so vigorously is quite simple—collaborations are making big bucks for both sides of the party. As companies wind up trying to combine two purchases into one advertisement, it’s likely that 2017 is going to see more companies engaging in these crossover promotional styles. 

It’s effective, as it helps to portray events by using characters that people can identify with far more than with actors. 

3. Web-Related Animation 

Animation won’t only be appearing in more adverts and in more 3D styles than ever—it’s becoming a major part of online marketing. It all started a few years ago with the creation of the (awesome) whiteboard systems that everyone loves using and engaging with. Animated explainer videos went a long way towards helping people forge and plan the right kind of way to tell their story—and animators should be ready to deliver more of this in 2017. 

Website animation designs will become far more effective for businesses as they combine content with cool animations and looks. Rich, full-screen animations can be used either as the focal point, the explanation, or as the cool extra that delivers the sale. Whatever the reason, 2017 is going to see far more interest in businesses using the power of animation to sell their websites and products. 

4. Continued Illustration 

This was huge in 2016 and it was so popular we reckon it will be a huge hit in 2017, too. Design trends tend to last quite a long of time and this is no different. Animators who enjoy the illustration style will be rubbing their hands with glee at the prospect of illustration becoming a significant part of the market long-term. 

It’s the best form of animation to use when telling a story, so it’s likely to stay as a staple in a world where everyone wants to have their story told and heard. The fact that illustration allows us to literally take any animation idea and make it so means that for many people, the ongoing presence of illustration as a vital form of art in animation can only be a good thing. 

The story matters, and illustrating it is important for added authenticity. 

5. VR Explosion 

Animation is about to take a wonderful step into a rather unknown future thanks to the mainstream growth of virtual reality. The end of 2016 saw the likes of the PlayStation VR arrive, and VR is about to become the latest trendy technology that everyone loves using. 

For this reason, it’s going to play a massive role in the world of animation for the years to come. It’s a form of projection that lends itself well to animation, allowing quality animators to take people inside their design and let them live within it closely. 

The idea that animation can become more immersive by placing us front row and center is obvious, and it’s about to be tested by a market that shows no signs of slowing down. For one guaranteed animation trend in 2017, stick to VR.

Conclusion 

As you can see, there’s plenty to look forward to and be excited about when it comes to being a young animator. With so much potential in your hands, you can help people to take a whole new approach to the way they sell their vision, their business and their ideas.

READ THIS RIGHT NOW:  5 Cool Things You Can Do With The Leading Video Editing Software Programs

You and other people like you have brought us closer to our goals. Thanks ever so much! 

*by andreascy*

3 Reasons the Hoverboard Is So Important

Posted by Andreas Christodoulou

Description :

You may have heard rumblings in the past of companies trying to develop the first ever hoverboard. The company that manages to conquer the finer points of gravity in order to create a board that doesn't need wheels will be worth millions instantly. But any such invention could be decades away, if not longer. So why our fascination with the hoverboard?

It all goes back to Back to the Future II, a 1989 film and the second installment in a three-part series starring Michael J. Fox and Christopher Lloyd. The first film in the series has Fox's character traveling back to 1955; the second film has him traveling forward to 2015. It is in 2015 that the movie's main character, Marty McFly, sees and uses a hoverboard for the first time.

Aficionados of the Back to the Future series also know that McFly 'invented' skateboards when he traveled back to 1955. In order to get away from an unfriendly gang chasing him through the town square, McFly grabbed a homemade wooden scooter from a kid, pulled the handlebars off, and used it like a skateboard.

The prevalence of the skateboard in the film series is important from a cultural standpoint. Why? Consider the following three reasons:

1. Skateboarding Was Just Beginning

If you are younger than 40, you might assume that skateboards are a turn-of-the-century thing. They are not. Skateboarding goes back to the early 1980s; to an age when kids were looking for things to do in the absence of computers, cell phones, and most of the rest of the technology we take for granted today.

In those early days, skateboarding was about hanging out with your friends and learning to ride tandem down a steep hill without killing yourselves. Most people considered skateboards a fad the kids would outgrow. Yet the writers of the Back to the Future series thought otherwise. They saw skateboarding as something that would survive well into the future.

2. Skateboarding Technology Keeps Advancing

Introducing the hoverboard in the second film proved that filmmakers believed in the future of skateboards. And while we may not have the technology portrayed in the film yet, skateboarding technology continues to advance year after year. Boards are getting better, they are lasting longer, and skateboarding becomes more exciting and challenging by the day.

Any student of sports history knows that advances in technology tend to make a given sport better. That is certainly true in skateboarding. The things our parents were doing back in the 1980s seem so passé to us; the things we do on skateboards today they never would have considered on first and second generation boards.

3. The Skateboarding Culture Has Survived

The 2015 of the Back to the Future series is one in which punks and thugs use hoverboards to do what they do. In part, that might be a reflection of the 1980s mentality that believed skateboarders were troublemakers just looking to disrupt communities whenever they could. We certainly know that thinking is by no means true. More importantly, the skateboarding culture that grew out of our parents' love for boarding has remained intact for decades.

Today, the skateboarding culture is still about hanging out with your friends and having a good time enjoying something you all love. Futurist predictions and hoverboards aside, what many people thought was a fad has become a staple of American youth. Perhaps some of it is due to the iconic nature of the Back to the Future series. But most of it is because skateboards are just plain fun.

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*by andreascy*

Is the Nearshore Trend All about Cost?

Posted by Andreas Christodoulou

Description :

To say that nearshore outsourcing is a hot trend right now is to state the obvious. Whether you are talking about technology, the legal industry, or even the energy space, companies of all scopes and sizes are seriously looking at trading in their offshore outsourcing partners for new nearshore partners. iTexico, a nearshore services provider in Austin, has firsthand experience of this growing phenomenon.

The nearshore trend began in the previous decade but did not start gaining steam until just a few years ago. Now it seems to be spreading like wildfire. As it does, experts are stepping back and asking whether this trend is really just about cost.

I don't think so. Sure, iTexico works with a lot of clients looking for nearshore outsourcing for everything from Android and iOS development to cross-platform titanium development. And yes, many of these clients are doing so because outsourcing is a more cost-effective means of accomplishing their goals. The question is why they choose the nearshore model rather than the traditional, decades-old model of offshore outsourcing.

A Technology Industry Redo

To gain a little insight into what's going on in technology; consider a 2013 piece published by Computer Weekly on its website. The emphasis of the article was the idea that offshore outsourcing was for large enterprises while nearshore was for smaller ones. On its face, the argument seems reasonable. But once you dig a little deeper, you find out there is more to it than that.

The Computer Weekly piece asserted that large companies outsource primarily to save money, making offshore locations like India very attractive. On the other hand, small startups outsource in order to get the talent they need in the shortest time possible. They are not necessarily worried about cost while spending investor money. This view seems rather shortsighted, if not somewhat fatalistic.

Still, if the Computer Weekly argument is true, then there is something deeper here. Big tech companies that only outsource to save money may be shooting themselves in the foot by not taking advantage of new ideas, new ways of doing things, and innovative solutions to old problems. They are stuck in the same rut of using the same outsourcing contractors who never seem to change things up.

On the other hand, startups are all about a redo complete with new ways of thinking. They are not relying on the same outsourcing partners their competitors have relied on for years. Rather, they are looking for partners with the same mindset and goals they have while going above and beyond cost savings, which can be reached through undertaking nearshore practices.

Nearshore Is Fresh and Exciting

iTexico's role as a provider of nearshore services in Austin gives them access to a lot of different clients with a vast array of goals. Yet the one thing that seems common to most of them is a desire for something fresh and exciting. Clients want flexible outsourcing solutions that fit their company culture yet do not sacrifice innovation and quality. Itexico is one of those leading companies that will satisfy these needs through their affiliation with multiple partners in Mexico and therefore the client's interest is immediately piqued.

At the end of the day, evidence shows that nearshore outsourcing is about more than just saving money. Indeed, saving money is a significant factor in motivating companies to outsource, but in the arena of technology and mobile app development, companies also want partners who can deliver cutting-edge results that will lead us all into the future. That is what nearshore outsourcing provides. And by the way, nearshore does it exceptionally well.

KEEP READING: Four Quick Ways to Freshen Up Your Small Business

I have to tell you...we have A LOT of really cool stuff coming VERY soon. 

Stay tuned! 😎💝

*by andreascy*

An Anatomy of Deeper Learning and Implementation for 21st Century Education: The Research Findings

Posted by Dr Stephania Savva

Description : 

21st century education is experiencing significant turbulence as a response to the call for more meaningful and relevant learning experiences that comply with students’ literacy needs and competencies required to succeed in their lives. 

Towards this end, deeper learning has emerged as a theory which could be the means to transform 21st century education when truly integrated in the classroom.

Deep Learning Quote by: Kelsey Sheehy.  Image by: THE OFFICIAL ANDREASCY

Does this hold true? This article will attempt to provide some insights on the matter drawing from research findings from the last two decades.

What is Deeper Learning?

Deeper Learning is a broad term coined by the Hewlett Foundation and refers to the range of skills and knowledge required for students to acquire and master "in order to succeed in 21st century jobs and civic life” (Hewlett Foundation, 2013). The essence of the concept entails a set of competencies incremental to students exposed in academic content. The intention is that through the instructional principles proposed by the deeper learning theory, students gain an in-depth level of knowledge and understanding on different subjects rather than superficial learning, and are in a position to achieve problem solving in and out of a school context, both in their school-word and their lifeworlds to be able to successfully cope with challenges in their college, career and life.

Can Deeper Learning Contribute to Succeeding 21st Century Education?

“Schools aren’t failing and don’t need reform”. Instead, a renown academic and researcher, Tony Wagner states, “we need to reinvent, re-imagine our schools.”.

In response to the dilemma for school leaders on what this transformation should entail for 21st century learning, educational researchers cohort that we should intend to cultivate deeper understandings and higher order thinking in a holistic manner by pursuing changes in terms of students, teachers, school culture, school systems and leadership (Figure 1).

Figure 1: Schools Tranformational Model by Lenz et al. (2015, p. 149)

In order to re-imagine schools in such a transformational and holistic way, deeper learning theory proposes 4 components that need to be implemented in a school setting (Infographic).

1. Policy makers and teachers should opt to create a strong school culture

2. Educational staff should be working collaboratively

3. Teachers should design instructional content that is meaningful and relevant to students' lives

4. Deeper Learning outcomes should be the ultimate intention of each learning experience

 

Infographic: 4 Components of Deeper Learning Outcomes (by Monica Martinez and Dennis McGrath)

One key indicator of whether learning has been improved, is student learning outcomes. The latter relates to achieving 21st century skills or the four Cs of learning as they are commonly referred to: creativity, critical thinking, communication and collaboration. In deeper learning theory, student driven outcomes are more specifically addressed and interpreted in terms of the following:

• Mastering core academic content: Students attain and master core key subjects and use a metalanguage to fulfill certain tasks

• Think critically and solve complex problems: It is imperative for students to exhibit competency in thinking critically, analytical thinking process and creativity in solving problems

• Work collaboratively: Students should be familiarized and feel confident working in groups to be better prepared to respond in a team setting later in their lives and succeed several goals.

• Communicate effectively: Students should be able to communicate effectively both orally and in writing. They must cultivate their presentation skills and developing logical and convincing arguments that are appropriate for communicating in a variety of settings. 

• Self-directed learning and ability to incorporate feedback: It is imperative that students grow into mature learning, be able to set their own learning pace, determine goals and monitor their progress, as well as strive to improve.

• “Academic mindset”: The term refers to the mental state students have by feeling confident based on their skills and abilities, in a way that they are empowered to overcome obstacles.

These outcomes are incremental towards an authentic deeper learning approach.

Deeper Learning in Practice: The Strategies

Deeper Learning is far from a generic theory. In fact, it has already been utilized in a range of settings that extend beyond the scope of education, such as in training in businesses. However, the focus in this article is to examine the practical implementation and strategies pertaining to schools. 

Over the last decade the spotlight is on deeper learning principles (DLP). In regards to the previous, research findings has indicated substantial benefits from the use of deeper learning principles. The National Research Council in its 2012 report Education for Life and Work suggests the following research-based methods for developing true deeper learning: to employ multiple and varied representations of concepts and tasks, encourage elaboration, questioning, and self-explanation, engage learners in challenging tasks through supportive guidance and feedback, teach with examples and cases, promote student motivation, and implement formative assessment.

Other research has showed that among the prerequisites for a successful implementation of the theory are to design instructional content that extends beyond superficial activities and relate to authentic life situations and problems. Towards this direction, learning experiences for students should stem from project based, connected approaches and inquiry based learning principles. Further to these, deeper learning activities should rely on apprenticeship-based learning, which adheres to allocating mentors with a real-world role. All the above should take place in the context of a collaborative classroom setting where groups of students work together to solve complex real life problems and apply transferable knowledge.

 Dr Monica Martinez in her book "In Deeper Learning: How Eight Public Schools are Transforming Education in the 21st Century" (2014), draws on the example of eight public schools educating students based on the following six strategies for developing deeper learning principles:

1. Empowering students to lead their own learning (student owned learning) through disruptive learning experiences. Students as self-learners are empowered through taking over leadership roles, managing complex projects and assignments, as well as engaging in reflective practice. 

2. Emphasize meaningful learning experiences through inquiry-based learning that seeks solutions to real-world complex situations (student centered learning). Students in groups critically reflect and solve problems with teachers acting as facilitators in the learning experience.

3. Design connected experiences and subjects around central concepts and ideas that will lead to Deeper learning outcomes and content knowledge and skills (competency-based learning). In this way the instructional approach promotes a coherent picture of what in-school learning is.

4. Extend learning experiences beyond school with authentic and relevant entanglements and opportunities to learn. This can be achieved through interaction with local communities by reaching out to museums, organizations and corporations.

5. Personalized learning is incremental to cater for students’ individual needs. The latter requires substantial time and dedication to prepare a profile with insights of each student’s needs, abilities and competence in order to then design appropriate and meaningful lessons and activities. 

6. Use of technology is a powerful tool in succeeding deeper learning in the schools researched by Martinez in purposeful ways promotes meaningful learning. Engagement in digital literacy by means of projects can enhance students’ analytical, creative and critical thinking skills, as well as communicative and collaborative attributes effectively regardless of the location, anytime and anywhere.

The above strategies are schematically represented in Figure 2.

Figure 2: Strategies of Implementation to foster Deeper Learning

Research Evidence of the Impact of Deeper Learning

With educators constantly bombarded with new learning theories and best practices to reach the objectives of the new millennium, there is reason to be suspicious and reluctant to adopt new approaches. Nevertheless, in the case of deeper learning, substantial evidence exists on the beneficial impact from its systematic implementation. The vast majority of this work is based in the United States where deeper learning has been embraced by schools, universities and a range of other learning settings.

The American Institutes of Research conducted a study in 2014 which illustrates that students in deeper learning schools graduated at higher rates than others from non deeper learning schools. In particular, in the San Francisco Bay Area, Envision High Schools, fostering deeper learning principles, succeeded more than 90% of their students continuing to college, in comparison to the 50% of students graduating from all California High Schools. Importantly, students from these schools managed to score highest rates in the standardized Academic Performance Index tests, when comparing to all other California schools. And in many of these cases, these students were the first in their family to attend college.

As a result of the need to assess deeper learning, influential foundations have developed different formative assessments including the Collegiate Learning Assessment, which is vastly used by more than 175 institutions across the United States. Internationally, the most reputable test is the Programme for International Student Achievement (PISA) exam, offering a reliable and widely acknowledged measure of key aspects of deeper learning. Further to these, the federal government has funded two unique consortia of states: SMARTER Balanced Assessment Consortium (SBAC) and Partnership for the Assessment of Readiness for College and Careers (PARCC) in order to develop the next generation of assessments that comply with the principles of deeper learning and contemporary education standards.  

Conclusion

The quest for deeper learning is not utopia. It is a complete theoretical approach with practical guidelines to integrate in variant school contexts. Although much research is still needed to determine its impact, the preliminary work being carried out so far illustrates that
  deeper learning could be the path to re-imagining teaching and learning for 21st century education.

RELATED READ: Six Learning Trends Driving Education

Intrigued to know what you think.

(DISCLOSURE: This page contains affiliate links. If you purchase a product through one of them, I will receive a commission (at no additional cost to you). I only ever endorse products that I have personally used and benefitted from personally. Thank you for your support!)