OF INSTRUCTIONAL TECHNOLOGY - ITDL
STANCE LEARNINGJanuary 2015Volume 12 Number 1Editorial BoardDonald G. Perrin Ph.D.Executive EditorElizabeth Perrin Ph.D.Editor-in-ChiefBrent Muirhead Ph.D.Senior EditorMuhammad Betz, Ph.D.EditorISSN 1550-6908
International Journal of Instructional Technology and Distance LearningPUBLISHER'S DECLARATIONResearch and innovation in teaching and learning are primetopics for the Journal of Instructional Technology and DistanceLearning (ISSN 1550-6908). The Journal was initiated inJanuary 2004 to facilitate communication and collaborationamong researchers, innovators, practitioners, andadministrators of education and training involving innovativetechnologies and/or distance learning.The Journal is monthly, refereed, and global. Intellectualproperty rights are retained by the author(s) and a CreativeCommons Copyright permits replication of articles and eBooksfor education related purposes. Publication is managed byDonEl Learning Inc. supported by a host of volunteer editors,referees and production staff that cross national boundaries.IJITDL is committed to publish significant writings of highacademic stature for worldwide distribution to stakeholders indistance learning and technology.In its first decade, the Journal published more than 600articles; 7,500 pages of research and theory by over 1,000authors. It logged over ten million page views and more than amillion downloads of Acrobat files of monthly journals andeBooks. Many authors benefited from refereed publication forretention, promotion, tenure, and advancement in theirprofessionDonald G. Perrin, Executive EditorElizabeth Perrin, Editor in ChiefBrent Muirhead, Senior EditorMuhammad Betz, EditorJanuary 2015iiVol. 12. No.1.
International Journal of Instructional Technology and Distance LearningVol. 12. No. 1.ISSN 1550-6908Table of Contents – January 2015PageEditorial: Artificial Intelligence1Donald G. PerrinThe pedagogical functions of arts and cultural-heritage educationwith ICTs in museums – a case study of FINNA and Google ArtProject3Pei Zhao, Sara Sintonen, Heikki KynäslahtiAugmented reality17Katrina L. Currie and J. CourduffThe role of e-learning, advantages and disadvantages of its adoptionin higher education29Valentina Arkorful and Nelly AbaidooEnriching professional practice with digital technologies: facultyperformance indicators and training needs in Saudi higher education43Abdulrahman M Al-ZahraniBranding in education57William Callister, Katherine Blevins, Ryan Kier and Isaac PettwayStudent engagement, e-connectivity, and creating relationships in theonline classroom: emerging themes65Andree Swanson, Bill Davis, Omar Parks, Stan Atkinson, Brenda Forde and Kunsoo ChoiKindles in the classroom: a survey of teachers and their perceptionsof a mandated high school kindle initiative73Erin Margarella and Matthew Ulyesses BlankenshipJanuary 2015iiiVol. 12. No.1.
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International Journal of Instructional Technology and Distance LearningEditorialArtificial IntelligenceDonald G. PerrinDr. Herbert A. Simon and Allen Newell of Carnegie Mellon University gained renown in themid-1950s when they created the first "thinking machine" and launched the field of artificialintelligence. Both were central figures during the cognitive revolution in psychology in the 1960sas scientists began to use computer models to study human thought processes.In 1962, as a research assistant to Dr. James D. Finn on the Technological Development Projectof the National Education Association, I was sent to the California Technical Institute to hear andsee Professor Simon demonstrate artificial intelligence using the computer. The crowded lectureroom tingled with excitement. Dr. Simon explained Turing’s test to determine whether thecomputer response could be differentiated from a response by a human being. He showed how thecomputer was able to make decisions and solve problems such as the following:Three missionaries and three cannibals must cross a river using a boat that can carry atmost two people. For both banks, if there are missionaries present on the bank, theycannot be outnumbered by cannibals (if they were, the cannibals would eat themissionaries). The boat cannot cross the river with no people on board.Dr. Simon also demonstrated intelligent robotics to detect and pick up an egg, and chessgames where different computer algorithms were compared.If the egg was detected and quickly removed, the machine went berserk in an un-programmedsearch for the egg. An electric shock restored the original program (was this analogous toshock treatment for a mental patient?).The algorithms for chess compared a set of simple rules vs. alternative strategies for all of thepossible next three moves. Simple rules worked better than analysis of millions of potentialoptions.The audience was intensely interested and excited by these demonstrations. At question timeI asked how long it took to write the program for the missionaries and cannibals. The answerwas “about six weeks, and two weeks to debug the program”. It was not my intent to deflatean enthusiastic audience. It took some time to appreciate the tremendous step forward theseexperiments represented in development of artificial intelligence.Fifty years later we find artificial intelligence, robotics, and automation augmentingproductivity at home, at work, and in personal and business communications. Siri listens andprovides answers faster than you can google them on a keyboard. And in 2012, IBM's DeepBlue won the chess championship from Garry Kasparov.There are serious questions about what skillsets schools should teach in the future whenubiquitous mobile devices complement human intelligence and deliver customized training.Are we approaching a paradigm shift where “thinking machines” will play a dominant role inour daily lives and make irreversible change in the way we live?Herbert A. Simon Obituary: on2.aspAllen Newell and Herbert A Simon. Computer simulation of human thinking.http://www.cogsci.ucsd.edu/ coulson/203/newell-simon.pdfReturn to Table of ContentsJanuary 20151Vol. 12. No.1.
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International Journal of Instructional Technology and Distance LearningEditor's Note: In this day and age when research shows renewed importance for curricula in arts relatedsubjects and their value in stimulating creativity, it is heartening to see new technologies to enrich access,dialog and interpretation of art and culture. It is of particular importance because budget cuts have virtuallyeliminated the arts from many curricula in a day and age where cultural understanding and creative problemsolving are in great demand.The pedagogical functions of arts and cultural-heritageeducation with ICTs in museums – a case study ofFINNA and Google Art ProjectPei Zhao, Sara Sintonen, Heikki KynäslahtiFinlandAbstractDigital museums and arts galleries have become popular in museum education and management.Museum and arts galleries website is one of the most effective and efficient ways. Google, acorporation specializing in Internet-related services and projects, not only puts high-resolutionarts images online, but also uses augmented-reality in its digital art gallery. The Google ArtProject, Google’s production, provides users a platform for appreciating and learning arts. Withthe virtual reality, recently added to the Google Art Project, more and more countries releasedtheir own museum and art gallery websites, like British Painting in BBC, and FINNA in Finland.Pedagogical function in these websites is one of the most important functions. In this paper, weuse Google Art Project and FINNA as the case studies to investigate what kinds of pedagogicalfunctions exist in these websites. Finally, this paper will give the recommendation to digitalmuseums and websites development, especially the pedagogical functions development, in thefuture.Keywords: arts education, cultural-heritage education, education with ICTs, pedagogical functions.IntroductionIt is valuable for students and children to visit a museum or art galleries, because the learningenvironment is rich and dense, and more opportunities for fresh ways of thinking can occur in andout of the classroom. It enriches the school curriculum and learning experience after class, andprovides an opportunity to work with an ‘expert’. Therefore, it is necessary to promote teachingand learning arts in museums, even though it is always limited by space and time.With the development of information communication technologies (ICTs), ICT environmentshave been challenging traditional pedagogy, and terms like student-centered approach,interactive and collaborative learning, and construction of learning environment, arise. TheNational Art Education Association (NAEA) 2009 stated that it is necessary to let learnersincreasingly combine technology with artistic knowledge and skills, and the nurturecontemporary visual arts education. The pedagogical strategy from the Australian curriculumlisted benefits that include enhancing achievement, creating new learning possibilities andextending interaction with local and global communities.The ICTs in museum teaching encompass the internet, email, and digitization. Amanda Clarke, etal. (2002) stated that technologies in museums have video, interactive smart board, web, internet,etc.Petrea Redmond (2011) illustrated the pedagogical transitions from face-to-face teaching toonline teaching, based on a four-year observation that the traditional face-to-face classroom wasnot as effective as the online space and, in order to guarantee effective learning outcomes, moreJanuary 20153Vol. 12. No.1.
International Journal of Instructional Technology and Distance Learningactivities and discussions with peers are needed. Pedagogical functions in online learning focuson reflective practices, like participant dialogues and feedback.ICTs have been affecting all fields of education, including the arts and cultural-heritageeducation, as more and more software companies and arts educators have paid attention to artsand cultural education with ICTs. In 2011, Google Inc. released its product, Google Art Project,to users. In 2013, the BBC offered users its Painting project about online British paintings. InOctober 2013, FINNA was published online. It provides access to the collections and services ofarchives, libraries and museums in Finland. All of the above offer the possibility of digital artsand heritage to users. Besides this, such uses may also generate knowledge and communicateinformation about them.In a word, pedagogy serves an important function in arts and culture education with ICTs, as invirtual museums. However, the research aim we will investigate is how to evaluate virtualmuseums so that they can meet the learning or pedagogical requirements. This study will useFINNA and Google Art Project in a case study to evaluate pedagogical functions in arts andculture-heritage education with ICTs. It will give recommendations for pedagogical functions inart and culture education with ICTs development, FINNA and Google Art Project, on how toimprove the knowledge, learning objectives and virtual museums as a teaching and learningresource development.BackgroundPedagogical functions in the information ageThe result of activities and their pedagogical function in online courses from the center forteaching & learning, Indiana University-Purdue University Indianapolis, shows that thepedagogical functions include experiential/authentic reflection, motivation, community building,problem solving, critical thinking, knowledge acquisition, prior knowledge/attitude, drill andpractice. Thus, it is found that pedagogical functions in the information age lead to actions andaffect of activities online from pedagogical views.Pedagogical functions of social media have been the center of attention in media educationresearch as well. Wen-Hua Teng from the University of Texas at Austin, based on the study ofblogs for homework, the class blog, online forums, wiki and Facebook, stated pedagogicalfunctions in social media include enhancing students’ learning experiences, strengtheningcommunication and fostering collaboration. The functions in social media provide users withvaluable interaction and communication. Pedagogical functions in social media thus lead tointeraction and communication related to pedagogy.Pedagogical functions in the information age do not just involve the pedagogical function atschool. It is a kind of online art teaching and learning resource, which refers to every part oflearning and teaching, provides traditional teaching and learning resources, and supports selforiented learning and peer-to-peer communication.Arts & cultural-heritage education and arts & cultural-heritage education with ICTsArts and cultural-heritage education has been regarded as the key factors in development of theknowledge society and creative ability. Michela Ott and Francesca Pozzi (2008) point out that, inorder to ensure the values of ICTs in cultural-heritage education, four learning approaches shouldbe employed. They are: personalized, inquiry-based learning approaches; on-site and anywherelearning experiences; interdisciplinary learning approaches; and collaborative learningexperiences. Qualified ICTs which support arts and cultural-heritage education should meet theselearning approaches.January 20154Vol. 12. No.1.
International Journal of Instructional Technology and Distance LearningAs for arts and cultural-heritage education, Gruber and Glahn (2009) provide a definition thatemphasizes a communication process about the artwork, cultural artefacts, cultural values andsymbolic systems; it is also an approach to stimulate the visitors’ awareness of foreign ideas.Due to the advancement of information technology, arts and cultural education is radicallymodernized. In the context of globalization, it is more important to use the Internet to share andexplain own arts and cultures.Arts and cultural-heritage education plays an important role in primary, secondary and adultschools, and art and culture is an important part of the core curriculum for primary, secondary andadult education.It has been shown that European countries have a high level of use of ICTs in arts education. Forexample, in 2009, the Education, Audiovisual and Culture Executive Agency published animportant report on the art and cultural education at schools in Europe. It is said that two thirds ofEuropean countries have issued recommendations or launched initiatives specifically designed toencourage the use of ICTs in the arts curriculum. Recently, Asian countries have increasinglyvalued arts and cultural education for promotion of creativity. The report from UNESCO aboutAsian arts education in 2005 stated that the arts have the potential to play a distinct and uniquerole in bringing the ideals of quality education into practice.Dunmill and Arslanagic (2006) found that research on the impact of ICTs in arts education is anew field, but internationally, growing evidence shows the benefits of creativity and ICTs. Eventhough virtual reality was introduced into arts and culture-heritage education in the 1990s,extensive research began to appear in the last ten years. Virtual museums have increased innumbers. For example, in Italy, Alessandra Antonaci, Michela Ott, and Francesca Pozzi (2013)studied independent technical implementations and found virtual museums are applicationsoriented, knowledge raising and supportive of learning.FINNA and Google Art ProjectFINNA is an interface which provides access to the collections and services of archives, librariesand museums in Finland. Expert organizations in FINNA guarantee the reliable content of theservices. FINNA is a new emerging platform, and the first official version went public in October2013. It will be developed and supplemented soon. Until now, FINNA not only providesmaterials and reliable information, it also shares the FINNA interface with partners. Its sourcecode is freely available to all, so that users can enhance this source code and adapt it for their ownlearning platforms. (FINNA office website)From its official definition, Google Art Project is an online compilation of high-resolution imagesof artworks from museums and galleries worldwide, as well as a virtual tour of the culturalinstitutions in which those works are housed. The first version of Google Art Project providedusers with a virtual gallery tour, artwork view, and the ability to create an artwork collection. In2012, Google Art Project was developed into its second-generation version. The new featuresinclude: explore and discover; video and audio content; and education. Pedagogical andeducational features have been highlighted in the new-generation version.Explore and discover, and video and audio content enrich the media and functions in Google ArtProject. A Wikipedia article on Google Art Project indicates that educational tools and resourcesstrengthen the pedagogical function of Google Art Project. This function derives from these threeoptions: A multitude of educational videos; Two pages—“Look Like an Expert” and “DIY”, which provides several activities forusers similar to those found in art galleries;January 20155Vol. 12. No.1.
International Journal of Instructional Technology and Distance Learning “What’s Next”, provides visitors a list of resources and links to various art historytimelines, art toolkits, and comparative teaching resources.(Wikipedia, the free encyclopedia; paragraph on Education)The pedagogical functions in arts and cultural heritage education with ICTsPedagogical functions in arts and cultural heritage education online communityMarion Gruber (2009) found that arts and cultural heritage education hold great potential forencouraging greater participation, innovation, and creativity in learning. The cultural institutionsshould provide services for communication and learning purposes.Gordon Graham explained that in the online community, learning occurs in two ways—communication of information and knowledge gain. These two aspects support the pedagogicalfunction in arts and cultural heritage education with ICTs. The aim is to introduce and evaluateinformation communication and knowledge gain in FINNA and Google Art Project in this study.Graham also studied two kinds of groups for an online community—the subject interest groupand the object interest group. The subject interest group consists of people who converse and areinterested in the same things; the object interest group consists of the people who study it andhave material interests in common. Different interest groups need different systems: if people areinterested in the same things, like content, they need “MUDS” (Multi-users directional systems),for example, and if people are interested in materials, they need “MOOS” (Multi-OrientedObjective systems).The pedagogical function in virtual museumsWith development of information technology, many kinds of online museums and e-museumemerge. Online there are several types of virtual museums and virtual-museum definitions. Ingeneral, a virtual museum is“A collection of digitally recorded images, sound files, text documents, and other data ofhistorical, scientific, or interest that are accessed through electronic media. A virtualmuseum does not house actual objects and therefore lacks the permanence and uniquequalities of a museum in the institutional definition of the term”In order to analyse the pedagogical function in virtual museums, the pedagogical function in realmuseums was first examined. Tran (2005) stated that a museum not only provides free-choice anda non-e
International Journal of Instructional Technology and Distance Learning January 2015 3 Vol. 12. No.1. Editor's Note: In this day and age when research shows renewed importance for curricula in arts related subjects and their value in stimulating creativity, it is heartening to see new technologies to enrich access,
mind, I like instructional design and technology (IDT). This term, which has been employed by one of the professional organizations in our field (Professors of Instructional Design and Technol-ogy), directly refers to the key concepts men-tioned earlier-instructional design and instructional technology (i.e., instructional media).
Instructional Systems at Florida State University, draws helpful dis-tinctions in his 2001 article on the history of instructional design and technology: “Instructional Tech-nology is the problem analysis, solu-tion design, development, imple-mentation, management, and eval-uation of instructi
May 26, 2021 · instructional design. IDD 610 Instructional Design (3 credit hours): Instructional Design is a project-based course that includes step-by-step strategies to create instruction using design models, instructional strategies, and technology applications. Learners will study the processes of analysis, design,
1. explain the definition of instructional media 2. identify the kinds of instructional media 3. identify the function of the instructional media 4. select appropriate instructional media for teaching English 5. Use media in four language skills ( listening, speaking, reading, writing) and grammar, vocabularies in teaching and learning process.
2. INSTRUCTIONAL DESIGN Instructional design is defined by Berger and Kam [1] as ‘the systematic development of instructional specifications using learning and instructional theory to ensure the quality of instruction. It is the process of analysis of learning needs and goals and
Proprietary Rights: Tests and Instructional Materials are owned by Paragon. You must not copy, reproduce, publish or distrib-ute Tests or Instructional Materials. (Section 3) Use of Instructional Materials: If you purchase Instructional Materials, you may use the Instructional Materials only for your
pathways based on their level of prior knowledge. 1e. ic les The instructional coach provides a one-time demonstration of an instructional strategy with no plan for follow-up. The instructional coach provides ongoing professional development sessions to support a year-long instructional focus but does not support individual teachers in .
Public Authority 2013 -2014 Annual Progress Report on: . established in June 2011 following a special two day residential meeting. A range of qualitative and quantitative evidence was analysed in order to assess the context for the successor five year strategy and to form a picture of current priorities and challenges. Other evidence examined included the changed economic context, the .
