The visual arts classroom changes that occurred during online portfolio appropriation and how these changes were reflected in classroom discussions.

1. @travisnoakes PhD in Media Studies student.
University of Cape Town,
Centre for Film and Media Studies. Educator
Learner
Peers
Research exploration.
Online portfolio use, Visual Arts classroom
changes and related discussions.
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2. 2010 - 2012
Where?
Action research project with Visual Arts educators at an
independent and government school
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3. Example Number of portfolios*
Deviantart 13 000 000
Carbonmade 393 450
Cgisociety 184 784
* Stats taken from these websites on the 16th of August, 2011
DeviantArt
Carbonmade.com
CGI Society
Medium being studied.
Online portfolio software has emerged since 2003 to
share digital portfolios with an internet audience.
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4. Screenshot of learner MH’s Carbonmade Screenshot of learner MH’s Carbonmade Screenshot of learner MH’s Carbonmade
‘homepage’, November, 2010 ‘homepage’, December, 2011 ‘homepage’, May, 2012
• Online portfolio syllabus taught for two weeks each year;
• Ultimate aims are matric-exhibition preparation and preparing
for post-school reality.
Aligned with a National curricular statement module.
Appropriated at school to help learners improve their
‘Management and Presentation’ skills.
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5. school_marketing_blog_angry_parents.png image sourced from
http://yourschoolmarketing.com/2012/online-reviews/your-school-needs-reviews-today
(29 July 2012)
PTA motivator for online production at the independent school.
New media syllabi can address parental concerns
regarding one-laptop-per-learners’ value
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6. Free (for students’
storage needs)
Easy-to-publish
Appropriate-brand
Family-friendly
Popular
Variety
Sustainable
Legal (learners’
copyright protected)
Limited interaction
Brand association
with creative
professionals
Educators’ choice of medium.
An independent school educator chose
Carbonmade as it met these criteria.
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7. 1 ‘Home’ page template 2 ‘About’ page template (artist’s profile)
Portfolio title Work button About button Portfolio Profile
title image
Creative’s Contact Availability
name details for freelance
graphic
Profile Areas of
Folders of expertise
digitised description
artworks Skills
Footer Footer
Artist. Date. Artist. Date.
Carbonmade banner logo
3 ‘Artwork project folder’ page template
Folder
Name,
Description
Artwork
4 ‘Search page
Title results’ template
Description
Tags
Client tags
Footer
Artist. Date.
Carbonmade portfolio’s page types
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8. An “e-portfolio” is defined as a
product, created by a learner, which
collects digital artefacts and which
articulates experiences,
achievements and learning (JISC,
2008).
Online portfolio syllabi’s production aim.
Educator’s curricular goal: Visual Arts learner’s electron
learning portfolio (e-portfolio) showcase
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9. Learner AK example, 2012.
Home page
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10. Learner AK example, 2012.
About page
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11. Learner AK example, 2012.
Artwork project folder pages
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12. Learner AK example, 2011.
‘Search’ page results
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13. Research duration.
Followed online portfolio use by 16 learners for three
years; grade 10 (2010) into matric (2012)
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14. Learners worked in an activity system that shifted from one that only
used analogue portfolios to one that used online portfolios as an
adjunct.
Learners’ common object.
.
Activity theory can describe the change from a
traditional activity system to a new one
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15. Coding
First: intra-framework relationship (i.e. framework “A” to “B” or “no boundary object”)
Second: inter-framework relationship (i.e. “construct 1” to “construct 2”)
Tools
Activity Theory
(phase 1) 1 > 4 2 S-T T-S 3 T-O O-T 4 SO-Out Out-SO
Interpsychological ACTION
TRANSFORM
Subject 1 S-O O-S Object Outcome
14 CO-Out Out-CO
Activity Theory 9 C-T T-C
(phase 2) 5 > 14 13 D-O O-D
Intrapsychological 5 S-R R-S
6 R-O O-R 8 C-S S-C 10 C-O O-C 12 D-S S-D
7 11
Rules R-C Community of Practice D-C Division of Labour
C-R C-D
Activity theory diagram’s components.
.
Illustration of an activity system’s components.
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16. •Visual Arts is an unusual subject choice, its selection tends to be that of
•5 members of the class had learning difficulties.
‘Subjects’ are constant.
A difficult and unconventional group of learner
subjects. Plus one educator.
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17. New ‘tools’.
Tools added for digitisation and software use.
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18. Need: Problems experienced at research sites:
Uninterrupted Black out Intermittent power Battery failure
power
Fast, reliable Copper cable theft Local broadband cable failure Stopgap implementation
network International broadband cable failure Router failure No traffic shaping
Accessible Expensive to license sufficient copies Different by OS Unstable
software Inexperience with freeware Different GUI by browser Difficult to get a new password
Additional scanners and cameras Software virus infection No swop-outs
Appropriate
hardware Underspecification Old, slow and unstable Missing drivers
Timeous ICT Problem detection Notification Unavailable Slow warranty resolution
support
No Teaching-with-technology support Limited budget ‘New wine in old bottles’
Suitable
pedagogy No policies No guidelines No roadmap No incentives
to new media production in any local classroom.
Easy to underestimate the resource changes which online portfolio
tool use and digitization requires.
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19. Educational community of practice
1. Classroom community of practice 2. Extended community of practice
At the independent school, the classroom • Parents;
community comprised: • DOE curricular advisers;
•Researcher; • Educators;
•Visual Arts educator; • IT Department;
•Learners; • Online portfolio software’s
•Student teacher; developers;
•Information Technology (IT) integration • Online audiences
specialist and other IT support. - desired
- undesirable.
New ‘community members’.
Changing ‘community’ in- and out of class.
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20. Changes to educator’s roles Changes to learners’ roles
Organise support from: New roles:
•Student teacher; •Online portfolio roles (creator, viewer, critic)
•ICT integration specialist; •Showcase extra-mural art and other
•ICT helpdesk; •personal interests
•ICT Director and staff. •Contribute to subject-material in other curricula
Use new online resources: New peer-to-peer roles:
•Supplement curricular materials on •Assessment;
the school’s intranet with links to •Feedback;
other resources. •Peer instruction.
New ‘division-of-labour’roles in the classroom community.
Changing ‘division-of-labour’ roles in class.
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21. 9 rules before…
1. Satisfy educator’s personal beliefs;
2. Relate to the educator’s culture of practice;
3. Be commonly-accepted Fine Art literacies;
4. Fall within school’s budget and resourcing;
5. Show curricular alignment with the National Curriculum
Statement (NCS);
6. Meet the school’s professional values;
7. Accord with school policies;
8. Satisfy other Department of Education (DOE) policies;
9. Accord within discipline norms.
Changes to classroom ‘rules’. From ‘before’ to…
9 Rules pre-adoption
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22. 38 rules post-adoption!
Outside class:
1.Align with the Provincial and National DOE Visual Arts Department In the syllabus and curricula:
strategy; 12.Utilises ICT resource both in class and integrates external
2.Comply with DOE subject-area literacies (i.e. Visual Communication resources;
Design); 13.Ideally has a second teacher for technology support;
3.Adhere to Visual Arts (versus Fine Arts) literacies; 14.Sufficient time allocated in the syllabus (i.e. falls under
4.Include “new media literacies” relevant for secondary-school “Presentation and Management” which is 5% of the Visual Arts’ mark
pedagogy; outcome);
5.Adherence to an ICT proficiency definition and criteria for 15.E-portfolio curricula and Visual Arts syllabi integration;
benchmarking; 16.E-portfolio service selection;
6.Have support from a DOE decision-maker; 17.E-portfolio assessment and marking criteria;
7.Have sufficient resourcing curriculum planner and policy; 18.Self-presentation as a creative professional;
8.Educators interested, and able, to teach new media production; 19.In- and out-of-class support for digitization of artworks;
9.Educator performance (private versus public) and commitments; 20.Legal safety (respecting copyright and trademarks).
10.Realize benefits from curricular ICT investment; 21.E-safety (privacy protection).
11.Understand, and incorporate, youth media production patterns. 22.Terms of use for e-portfolios, networks and computers.
23.Educator’s tracking of compliance and appropriate feedback
levels.
24.Using social bookmarking for e-portfolio assessment and feedback.
25.Expectations on suitable content (extra-mural work, school
exhibitions).
26.Appropriate student focus in class.
27.Online roles (creator, viewer, critic).
28.Online community standards.
29.Using the resourcing and support available for (in)formal learning
at home.
… after!
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23. Case study 1: lesson numbers, dates and subject
2010
19 April Introduction to Online Portfolios . 2011, cont.
20 April Learning how to make a good digital copy of one's works. 2 Mar Using Diigo in class project.
21 April Capturing images (double lesson). 25 Mar Second introduction to Diigo
23 April Introduction to writing the creative profile (about page). 28 Mar Using Diigo in class project.
28 April Insert personal profiles into the webpage. 29 Mar Using Diigo in class project.
29 April Completion of any outstanding review documents. 21 SepE-portfolio consolidation and development
30 April Applying new guidelines to creative profile writing. 23 SepE-portfolio consolidation and development
3 May Answering the Online Portfolio questionnaires. 11 Oct E-portfolio consolidation and development
11 May Capturing newly updated work. 12 Oct Digitizing, presenting and publishing.
17 May Lunch break work. 18 Oct Online portfolio and Diigo task.
8 Sep Post-drawing test digitization and upload. 25 Oct Online portfolio lesson.
16 Nov Upload of Fikilile poster designs. 11 Nov Online portfolio lesson (in library).
2011
24 Jan Run through the e-portfolio checklist. 2012
27 Jan Remedial e-portfolio class. 30 Jan E-portfolio review.
8 Feb Critical Analysis introduction. Introduction to social 13 Feb E-portfolio review.
bookmarking with Diigo. 12 Mar E-portfolio review.
11 Feb Critique of a partner's work via Diigo. 20 Mar E-portfolio review.
16 Feb Work with Diigo and Carbonmade. 11 May Individual e-portfolio review.
25 Feb Critique of a partner's work via Diigo. 16 May Emergency e-portfolio workshop.
Research site.
Focus on discussions from revision lessons in
2011
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24. Learners spoke about:
A.The types of choices they could make with Carbonmade;
B. The process of online portfolio creation;
C. Or other issues.
Choices, process and other issues.
Three types of discussion content
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25. Sinclair and Coulthard’s ‘Initiation-Reponse-Follow-Up’ (IRF) model
for classroom talk (1975):
Initiation: teacher introduces the topic.
Response: One, or more learners respond to the teacher’s initiation.
Feedback: The teacher responds to, and usually evaluates the pupil’s response.
Discussion patterns.
Not the usual classroom talk pattern.
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26. Learner AH: My Dad's like, ‘you need to be more professional’.
Learner SM: That is professional.
Learner AH: (quotes from the introduction to his about profile
description), 'Hi, my name is Andrew and I like to padi. Not my friends. I
know for a fact they don't party. I PARTY.' That's professional? (laughs)
Learner SM: (laughs) Just leave it in, please?
Learner AH: No, I won't. I can't.
Transgressive peer rules versus normative school culture.
Daddy’s watching me.
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27. Screenshot of learner AH’s Carbonmade ‘about’, May, 2012
What does ‘professionalism’ mean to a
matric learner?
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28. Hi!
I just discovered your portfolio online and would like to invite you to Filter Foundry.
Your work is amazing and derserves to be seen by our creative community. It's really fast
and simple to upload. A short video after sign-up will show you how it works.
To get started, from FilterFoundry.com click the gold button in the top right corner
"I am a Creative" and enter "CREATE1024" as your promo code during sign-up to
enable your lifelong free account. I look forward to networking with you on our
creative platform!
RegardsNicki AlcombrightArt Curator – Filter Foundry
nicki@filterfoundry.com
Also follow us on twtter to stay connected: twitter.com/filterfoundry
Please unsubscribe me
Filter Foundry email to learner AH.
SPAM email content
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29. Learner AH: Sir, I was told to tell you that, um, someone like found my Carbonmade and like
asked me to go on their website.
Researcher: Great.
Learner SM: Little does he know it was a bulk email.
Learner AH: It wasn't. I'll show you it.
Learner SM: Did it have your name in it? She just says ‘Hi’ She does not say ‘Hi, Andrew’
Learner AH: Yes, she does.
Learner SM: It's just sent out in bulk, to just everyone.
Learner AH: It said: ‘Hi Andrew, I noticed your Carbonmade portfolio and I would like you to
join (website name).' (AH tries to access his email account). Access not allowed by (school
name). Oh, well, I can't access it.
Researcher: Can you forward that email to me?
Learner AH: Ja, sure.
Learner SM: No access. Conveniently.
Learner AH: I’ll slap you.
Learner AH: So that's where I activated my account.
Learner SM: Hi. Your name isn't involved. It is a bulk email.
Learner AH: Why would she give this to me then?
Learner SM: She sent it to a lot of people. Don't you understand?
Learner AH: OK. That's not even…
Learner SM: Sorry, Sir, I'm just explaining to Andrew that he is not special.
Researcher: OK. Can you forward that to me?
Discussion between learner AH and SM about the Filter Foundry email.
SPAM Email
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30. Learner AH: Sir, can I make my profile picture
two lions mating in the middle of the Kruger
Park?
Educator R: Firstly, that's a really stupid idea.
Learner AH: But, Sir, that's such a rare
occurrence.
Educator R: I actually find that offensive and I
think you are behaving like a juvenile.
Learner SM: Sir, he should get three demerits,
Sir.
Educator R: I think... Show some level of
maturity and some intelligence.
Learner AH: Well, that's what I'm doing. You're
the one who is getting argumentative. I'm
trying to ask you something.
Discussion about learner AH’s About page’s profile picture.
AH’s profile picture choice.
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31. Learner SM: Where's your picture?
Learner AH: I don't have one.
Learner SM: Why don't you have a picture?
Learner AH: Dude, 'cos I'm lazy. (laughs)
Learner SM: Didn't you get that picture from me?
Learner AH: Send me one email again.
(Learner AH used Carbonmade’s Graphic User Interface
(GUI) to select a profile picture to upload)
Learner AH: I've got this one of (‘special cultural event’s
name’s’) Movement.
(Learner AH searches a folder of imagery and chooses
IMG_2717. He pressed the ‘Add’ button and an image of
him in a dance group showed on-screen.)
Learner AH: It's working!
Learner SM: That is so outrageous.
Discussion about AH’s profile picture.
.
AH’s profile picture upload.
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32. Exchange student: Why do you have two… (learner SM’s firstname), why do you have two Carbonmades?
Learner SM: I don't have two, I only have one!
Exchange student: There are two here (he points to the screen's search engine results)
Learner SM: Well, that's wrong.
Learner AH: ‘Is wrong’ (laughs).
Learner AH: (laughs) Is two (SM first and surname)! There is...
Exchange student: It is two.
Learner AH: That's so dumb. There's one of you and the other one.
Learner SM: Now, that's a gangster one. The other one is so sad.
Discussion between learner AH, an exchange student and learner SM about his search engine results
One learner, two online portfolios.
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33. Learner EG: Out of interest, sir, why do we use Carbonmade and not something like Flickr?
Whereas with Flickr you can get, like there is a size limit, not, not, er, a number limit and...
Educator R: Well, OK, look, we, I looked at a number of software and decided on this. Um,
there, certainly for my purposes it is satisfactory, and you may have a parallel portfolio if
you wish to. But, um, what I'm trying to stay with, is to get one thing to work properly.
And I think that, um...
Learner EG: Like, it is so limiting and I already have like two images remaining. And it is
like so, forty pictures, sir, is like nothing.
Educator R: Yes, I am conscious of that and maybe, in some ways, it is a good thing,
because it forces you to, sort of, refine and choose your very best work.
Learner EG: Ja?
Educator R::So, um, there is no reason why you cannot archive your stuff. So, I think that
part of the process is selection and maybe that is one of the things that you have to do in
art is to learn to select, so I think that...
Learner EG: Like for matric, for example, we don't want to have a few works up. We want
them to be able to see all our stuff, sir. Using this as our portfolio...
Educator R: Well, you are using that as an adjunct and should you, uh,... in a sense, they
are saying to you it's not the entire exhibition.
Learner EG: Ja, OK.
Educator R: And there is nothing to stop you, as I say compiling, if you have your own
work that you feel is limited, for you to create an additional portfolio. So, you say you do a
lot of photography?
Learner EG discusses the Carbonmade software choice with his educator.
Why Carbonmade?
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34. iPad tablet
GoPro video camera
Links to
other online
portolios:
•Vimeo
•YouTube
•Wix
•Flickr
Discussions between educator and learner GH, CG and researcher about their new tools.
New tools in an affluent school.
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35. Learner EG: So, sir, could you ask the helpdesk to
unblock Flickr? I don't know why...
Educator R: I see. OK.
Learner EG: … I can't get on it?
Educator R: I can talk to them about it. Yes, that's a
very good point... Yes, I'll talk to them about it.
Learner EG requests that learners be given access to Flickr over the school’s network.
Newer tools mean newer rules.
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36. • Online portfolios require significant support to launch in
school classrooms due to the many changes required to
support their use; particularly in ‘tools’, ‘rules’ and ‘division of
labour’.
• Classroom discussions can be contextualised by describing
how an activity system’s components change from the
traditional activity to a new one.
In closing.
The end, for now…
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37. Thanks for your time  !
And to this research’s supporters…
University of Cape Town,
Centre for Film and Media Studies.
Dr Marion Walton
‘Digimobs SA’ research group
‘South African Multimodal Education’ (SAME) research group
National Research Foundation.
Grantholders Research Fund.
Cape Peninsula University of Technology,
Department of Informatics and Design.
Prof Johannes Cronje
and the ‘Technology in Education and Research
Postgraduate Students’ (TERPS) group
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