Showing posts with label choices. Show all posts
Showing posts with label choices. Show all posts

Saturday, 7 September 2013

Four Learners Responses to an Emergent ‘Visual Arts Showcase e-Portfolio' Meta-Genre

Written for Visual Arts educators and researchers interested in the electronic learning portfolio design choices that learners make.

I presented at the South African Visual Arts Conference 2013 today on a cross-section of four independent school Visual Arts learners' e-portfolio design choices. Since I spoke in its pedagogical stream', I chose to prepare a paper that focused on learners' design choices and how they varied in reflecting different aspects of the e-portfolio's significance to the learners. This was used as a basis for a pedagogical reflection, which suggested three avenues for future research into teaching approaches:

A Social Semiotic approach to Multimodal Communication (SSMC) was used to explain the significance of designed ‘texts’ (such as an e-portfolio), which learners described in their interviews and profiles. Kress (2000) proposed that textual significance can be explained by using the the three key questions of an SSMC approach; ‘Who produced it?’, ‘For whom was it produced?’ and ‘In what context and under what constraints was it produced?’. Bateman's Genre and Multimodality {GeM} framework (2008) was used to describe learners' varied page design choices using its layout, content and rhetorical structural layers. My presentation features screen grabs from the four case studies and examples of choices that reproduced, extended, replaced or undercut (Yoshioka and Herman, 2000) their educator's guidelines. His instructions constitute a meta-genre (Giltrow, 2002), which one learner complied with very closely and extended, two reproduced, replaced and extended slightly and one completely undercut. These choices are explained in context of the e-portfolio's significance to each learner and my paper concluded with a pedagogic reflection that advised Visual Arts educators to teach these aspects when teaching e-portfolio curricula.

The ‘Visual Arts Showcase e-portfolio’ meta-genre has changed and matured since 2010 to become one that assists learners by providing in-depth guidance on each design choice. This approach resonates with the compositional approach of Linguistics, where learners create meaning from the “bottom up” through specific modal choices. Although this proved successful in encouraging compliance for particular choices, it is unlikely to help learners in appreciating how different combinations of choices can be used to create successful examples within the ‘Visual Arts Showcase e-portfolio’ sub-genre.

They should encourage learners to think about the cultural and social significance that the e-portfolio may have to them; at their school, in their professional life and in hobbies, the relevant curricular and extra-mural disciplines they want to feature, who they want to involve in its development and their orientation to potential audiences. In addition to supporting coherence, this should also give more freedom to learners to develop their emergent identities and voice.

The results of following this pedagogical curriculum design recommendation are an avenue for future research. Two other important avenues are pedagogical strategies to address time constraints and design choices with e-portfolios supporting social networking: The number of lessons allocated under ‘Self-management and Presentation’ is insufficient for educators to address important issues of self-curation and publication. The effectiveness of strategies (such as ‘flipping the class’) for helping educate learners about these issues should be investigated. An important criteria for Carbonmade being used at the independent school was that it did not afford social networking functionality (Noakes, 2011). It would be interesting to explore the design choices that learners make when their e-portfolios also afford social networking affordances.

The references for the citations in this post are included in my article. I have provided its source data (such as its interviews) under http://www.travisnoakes.co.za/p/articles-and-data.html at https://docs.google.com/document/d/1UXNq-TP8KVOLSAPOSid5ozWdWouTlgz5ltYqCmZOwPY/edit?usp=sharing.

Wednesday, 19 December 2012

Online portfolio page design element questions to help you in creating a better one.

Written for learners new to online portfolio page design choices, plus their educators.

You are already familiar with writing on paper. As you begin to work onscreen as well, it is important to understand the important differences between the analog environment of paper and the screen's digital one. The key aspects to consider whilst designing your online portfolio pages are categorized below, with related questions to answer in helping you design a better portfolio:

1. Understand the terms that define your online portfolio page's layout
Your online portfolio page is constructed using a digital page template that is constructed from a database of entries. Each webpage is constructed inside your web browser and, in Carbonmade's case, has a 'header bar' (featuring the portfolio title and 'Work' and 'About' navigation buttons), a 'page title' (either the artwork project folder's or the name you chose for your about page), a 'body section' (on your homepage this includes your project artwork folders and their titles; in your project's pages an artwork with its labels and tags and in your about page, your description, profile picture and related entries) and a 'footer' (typically used for a statement protecting your artwork's copyright). In reviewing each portfolio page, have you thoroughly defined entries for your; header bar, page title, body section and footer? If not, your page is likely to appear incomplete!

2. Use a spell-checker for your profile description
Are you sure that there are no spelling mistakes in your portfolio? While you may have to rely on your memory or a dictionary when hand-writing your profile, you should write your profile up in a word processing program (like Microsoft Word or Google Documents) to ensure that its spelling is correct. Once you're done, you can 'cut' the text content and 'paste' it into your profile description.

3. Check your digitized artworks' orientation matches your screen's
Paper is commonly used in portrait format, while all screens are made in landscape format. Before uploading digitised artwork, ask yourself if it is formatted for optimal display in the new format? If not, you should experiment with rotating, rescaling and different image resolutions to achieve the desired effect.

4. Check that all the elements of your online portfolio page's structure are present and work well with each other
The designers of Carbonmade's featured portfolios tend to take advantage of all the design options it provides. In particular, their choices for each of these webpage design elements must work together to create a thoroughly-professional impression. Check yours does too, by asking:

4.1 Online browser elements

4.1.1 Does your web address reflect the identity you're aiming to create?
4.1.2 Does your website title save well as a bookmark (see browser- and social bookmarking)?

4.2 Page title elements
4.2.1 Does your portfolio's title link well to your web address and portfolio's content?
4.2.2 Do your homepage navigation buttons link to complete pages?
 
4.3 Page body elements
4.3.1 Does the background colour you selected for your online portfolio resonate with the overall exhibition space effect you are trying to create (i.e. if your portfolio features mostly sketches, you may want to choose a white background to suggest a sketchbook)?
4.3.2 Does your page's heading tie in well with the page body content?
4.3.3 Do the text options you chose with your font's type, size and colour enhance the page's overall look-and-feel?
4.3.4 Have you titled your artwork project folder categories appropriately and chosen cover imagery for them that best highlights their content?
4.3.5 Does the format of the thumbnails you chose (one, two or three per row) create the effect you wanted (for example, choosing one thumbnail per row creates a landscaped cinematic effect for each image)?
4.3.6 Does the labels you chose for your artwork folders look best inside the folder, below it or
should you rather design folder covers that include custom text?
4.3.7 Have you chosen an appropriate style of artwork navigation (either flipbook, flipbook with thumbnails or list) in each folder and is it beneficial to stick to a common style across all folders?
4.3.8 Have your titled your digitised artwork imagery well enough for any viewer to attribute your artwork appropriately?
4.3.9 Have you added sufficient meta-information for your artwork folders and the digitised images they include? (For example, did you enter; an artwork description, a folder description, the relevant tags and a client description?)
4.3.10 Have you linked to your other web presences that relate to your online portfolio?
4.3.11 If you have chosen that you are 'Available for freelance', have you provided appropriate contact details that still protect your privacy from undesirable audiences?

5.  Check that your copyright is protected
5.1 Have you added appropriate copyright statements in each artwork's description or your folder labels and your page footer to assert your moral rights as the artworks creator and protect them?

Hope answering these questions helps you create a better, more coherent online portfolio.

Thursday, 7 June 2012

Introducing the 'Coding index for Social Media Use 4'.

Written for researchers interested in the ICT Access and Use project's coding indices development.

After reviewing first year students' initial and second interviews in the fourth phase of the ICT Access and Use project, Laura Czerniewicz and I have prepared a fourth index to code conversations in which the following themes were discussed:
  1. Representations of self;
  2. Friendships and social media;
  3. Social media affordances;
  4. Personal social media rules;
  5. Students’ feelings in relation to social media;
  6. Other roles of social media.
These discussions are outside the scope of the previous coding indices, which looked at students' past, current and future use of ICT.

In this posting, I describe the codes we decided on, their definitions, and then provide some examples of each code.

1. Representations of self.
Students spoke about how they chose to represent themselves online as themselves (their real names), using personas or with fake identities:

4.1 Identity representation
This is about stating who they are online, who they represented themselves to be, literally.
Not all students used a 'genuine identity' online, but some chose an online profile type that was a 'persona' or even 'fake identity' online. Three examples were:
  1. Student V used his “real” profile to publish writing on fanstory.com.
  2. Student O used another name (or persona) when she published her online diary to wattpad.com, as she did not want her intimate thoughts traced back to her by those who could recognise her handwriting.
  3. Student S and her best friend used a fake profile of a handsome guy to stalk prospective boyfriends' other potential girlfriends on facebook.com.

4.12 Type of username
The naming convention students used in selecting usernames would follow from their choice of identity. Most used some variation of their first and last names, while others chose a 'pseudonym': a pseudonym is different from a fake name as there is often a link between it and one's real name. Two examples of pseudonym use were:
  1. Student S' last name is an isiXhosa one, but she chose an English pseudonym at University that was easy for non-Xhosa speakers to use and remember.
  2. For his Facebook account, Student V uses a nickname of a film character he was given by his school friends and has not changed it as he believes that his friends would search for him using it.
The only examples of a fake name's use was in a fake account created for Facebook stalking. Student S said that she used to use it a lot. She would not like it if someone did that to her, but she would not accept a friend request from someone she did not know. So, the fact that girls will accept a friend request from a guy they do not know says a lot about how they feel about their privacy, 'Why close your Facebook if you will accept a friend request from some random who does not even exist? Some (girls) will even write on his wall and it's like, this guy does not even exist!'

4.13 Self disclosure
Another aspect of self-representation lay in the degree to which students were prepared to share the information they publish to social networks with all of its members or select groups of members. Student S was very selective about the people she chose to be her Facebook friends and said that she was comfortable with being very personal on it, because; 'For the people that are on Facebook, I feel as if I can share anything'. It is likely that she would not choose to limit the information that her Facebook friends could see by specifying a "limited profile view" for some groups of them.

By contrast, a researcher commented that she would not allow her parents to be Facebook friends with her. However, now that she could use Facebook's 'limited profile view' option for them, she might as she could then share select updates with her parents. Student R described the importance of knowing what your social network audience might see with the example of how a former high school prefect left his school and then his homosexuality was 'outed' by “Facebook Friends” who had used the photograph tagging functionality to identify him in gay bars.

Another aspect of self-disclosure is whether students allow their information on social networks to be searchable in these services' local search engines and/or external ones. The coding "Search settings for the Web 4.13.2" was added to cover instances where this was discussed.
2. Friendships and social media.
Students described the relationships between their face -to-face friendships and those existing online in these relatively open-ended codings:

4.21 Face-to-face versus online friendships
This code addresses the value students perceive online friendships to have, and how “real” they perceive them to be. Some students, like Student R, expressed a 'preference for face-to-face contact'. He would prefer someone to get to know him face-to-face than via his profile, 'The profile is an extension of oneself; it is still really important to be in touch with the real person. Facebook gives you many links and you can communicate with someone that is far away, but if you make Facebook your reality, then you sort of lose touch with actually sitting down and just having a glass of wine with someone and just chatting.'

A few students described the 'benefits of online friendships'. For example, Student K said that he believed his online friendships are real. There are people that he feels he can talk to and share with. There are other people that really encourage him. He felt that the relationships are realistic, rather than virtual. Student N said that she goes onto the internet to relieve her stress during her exams. When she relieves her stress, she does talk about the exams a lot with her friends on Facebook.

4.22 Friendship types by contact type
This coding covers the types of friends a student has on Facebook and on other types of social networks. For example, Student S said that only her closest friends and family are on BBM, while most of her friends are on Facebook and anyone can follow her on Twitter. So different levels of closeness are associated with different social networks.

4.23 Online social capital and self-esteem
This coding covers student feedback on the importance that online activities play in developing their social capital and self-esteem. Some students commented that when they joined Facebook, they felt under pressure to have 1,000 friends or more, to match their peers. Student K said that most people at are at the stage where he was on Facebook, when he first started. He noticed that many people had 1000 friends and he had a few, which he thought was a crisis. So, he went to Facebook pages that allow one to easily find new friends. He would go onto these pages and write 'Hi, just add me as a friend.' Then his Aunt told him, 'For real now, you need real friends, it's not cool to have many friends; who you don't know, who don't care and you won't even talk to.'

4.24 Types of exclusion
This coding deals with the extent to which students feel included or excluded from particular social networks due to them not having access to particular tools. A common example for South African students is those who do not have Blackberry phones and therefore feel left out of BBM conversations between their face-to-face friends.

3. Social media affordances.
A category for social media (software) affordances is useful to code student discussions about the distinct affordances that social media provides them. Since the most commonly discussed social networks were MXit, Facebook, Twitter and Google+, the categories reflect this by covering:

4.31 Facebook status updates
This code covers the types of updates students made as well as the reasons for the updates.
Many students spoke about their use of Facebook's status 'update' affordance and described the frequency with which they made updates. Student S said that on Facebook, you cannot have five status updates back-to-back as you need to give time for friends to comment. She normally updates her status on Facebook at least once every two days

Students also spoke about the reasons for updates. For example, Student K uses his updates for religious purposes; he comments on the challenges that people face and testifies on what God is doing for them.

The type of Facebook status update feedback they desired was also discussed; Student V, wanted his 'Facebook friends' to discuss the updates he made, as he is a lyricist and interested in what people think of the thoughtful updates he wrote.

4.33 Facebook: number of friends
This code deals with the number of friends affordance and the meaning this has for students.
As a 'social network' software, Facebook offers the affordance of allowing its users to view their friend's social networks or those which users have not set to be private. It also provides the total number of a user's "Facebook friends". Student Y wrote that she has 900 friends on Facebook, which came about, because she went on exchange. She met many groups on rotation. There are also family, friends and South Africans on exchange everywhere else. She emphasised that this was not by 'accept', 'accept', 'accept'!

4.34 Lists and circles
This code deals with the role that “friends’ lists” plays, either in Facebook (lists) or in Google + (Circles). Facebook offers an affordance for users to create "friend lists" and manage which lists get to view a user's updates. In speaking about how Student O's friendships online could be sustained, she stated that the fact that you are 'on their list, or that they are on hers, shows that you consider each other friends'. Even though you don't communicate with people often, you can still use the 'Family', group views. People will ask questions and one still feels that they are part of your life.

Google+, the social network that pioneered the concept of lists, shapes these as 'circles'. Student S spoke about this affordance, saying: In Facebook, Google+ believes that this is an add-on, while in their service one has to choose who one shares content with. You have "Circles"; a work circle, then school, then family. You separate (your contacts into) these groups and when you share something you can tick who you do, and don't, want to share with. People do not know what Circles you put them in.

4.35 Twitter affordances
This code looks specifically at how students understand Twitter affordances, and how they perceive these affordances to be different to other social media. While Facebook offers the affordance of 'friending' other users which they may approve or decline, Twitter offers "following", which is automatically accepted. Whilst "tweeting" is similar to updates, this does have its own syntax and benefits. Students discussed these affordances, for example. In discussing the merits of Twitter versus Facebook, Student R said that at least on Twitter, the people that he is following and the tweets that they put out are basically what he is looking at. So, at least he is following it, and it's not a lot of nonsense that one is not looking for (like on Facebook). By contrast, Student K stated that he finds Twitter "a bit dry" and prefers Facebook as you can see his profile and "meet me", while with Twitter, you just see who a person corresponds with, but do not get a good idea of what is going on.

4.36 MXit affordances
This code looks specifically at how students understand MXit affordances, and how they perceive these affordances to be different to other social media. Popular because of MXit's affordance of free messaging, this service was spoken about by Student R, who said that part of the reason that got him off MXit is that when you logon, there is probably a group of people he wants to chat to, but when you show that you are online, you get all these random messages. He related this to his concerns around asynchronous messaging: he has never really liked the realtime conversation where it is just all at once, and one has to do a relay; from someone to someone, come back... answer, answer, come back. It is too dispersed for him and he finds it difficult to follow these conversations.

4. Personal social media rules.
Some students spoke about developing rules that they used to govern when, where and how they would access social networks. For example, Student S said that she 'has her own rules for the different social networks'; there was a stage on Facebook when she would accept all friend requests and it reached a stage where she got to 1,500 friends. But they were all commenting on her wall, commenting on her personal pictures and asking her personal questions and she did not like this at all. So, she decided to clean up her Facebook and she would only have people that she knew personally; from primary school, high school or university. Not someone that she has never met before.

These codes are the indicators of the different social media rules:

4.41 Information flow control between services
In theory, students can publish a new tweet, blog post, picture, et al. and share this information after linking these services within their social media accounts (for example, this blog post is tweeted about via my Twitter account and that tweet is then published to my Facebook feed). This coding tracks student mentions of this practice.

4.42 Student media management
This coding is used where students speak about managing the types of media they select for publication to social media services. For example, Student S stated that when she updates Facebook it is for an audience. She always says, if you have a picture, keep it, why put it on Facebook? She only puts it up on Facebook if she wants other people to comment, so it's definitely for other people, to get their attention. Another example is Student R who spoke about regularly updating his profile; he had stages where he wants to update everything on his profile. When he sees a new movie that he likes, he will go under under information and add it. The latest thing he has done was with his CVs, he just went it to re-shuffle them around as he likes to place them in order of importance. He was having quite a bit of a Gossip Girl prediction. So he did not quite revamp it, you can see the influcence coming in as these characters pop-up. His profile will start to reflect what is going on in his life; before this his statuses were like about Vampire Diaries, his profile picture, his information reflected what he watches and stuff. This has become like a part of him and he updates it as he goes along; very regularly.

4.43 Social media terms of use
This code refers to student mention and understanding of social media terms of use; different terms of use apply to different social media services. For example, some will retain copyright of the material users submit, while others will share copyright or leave it as the users. When asked 'How does it work, in terms of copyright, do you know? Do you have any functions, settings or stuff? Or, do you basically go on the idea that somebody else is a writer and will respect your...)' Student V replied, 'The thing is that I have not checked it out. I have just been, like WOW!, 'writing site', bam, thrown it on there. And because there are so many people, I assume that the copyright means you get to keep your own work. Especially, because you can actually sell your work through this site.'

4.44 Privacy
This code deals with mentions of privacy and privacy settings on social media. Students described their perceptions of the privacy controls that social network software afforded them. Student S said when she first used Facebook, her profile was open and there were not as many privacy control settings. Now, if you go on, you will just see her name and what she is studying; no photos, most of her wall is 'off'.

Students discussed their concerns about privacy issues. Student S stated that she is big on 'Facebook stalking' other people. She knows that other people will stalk her and she does not want strangers to have access to her personal information.

It also includes students' descriptions of being searchable (or unsearchable) on a particular service or external ones. For example, if they talk about selecting settings on social media services that would make their profile searchable via that service and other search engines.

5. Student feelings in relation to social media

This cluster of codes refers to spoke about students feelings about or 'relationship' to one, or more, social media services. It was clear from the interviews that students form a relationship with different types of social media. There is at times a kind of personification happening.

4.51 Relationship to a social media service
For an example of a relationship to Facebook, Student S said that she definitely feels that because Facebook is so personal to her, that when they (Facebook) make a change to it, she feels like they are messing with her (personal) space!

4.52 Rationale and benefits of a social media service
Students did talk about their reasons for using specific social media services and their benefits. Student N said that Facebook was useful for support during University exams: She does feel that because all of her friends are in the same boat, that she gets support. One of her friends is writing and he also does Economics, so, you know, he was telling her the other day "you know, you better read...". So, it helps to know that there is someone going through what you are going through, not to just tell someone you are learning for exams and "Sorry, it will all work out". It helps a lot.

4.53 Understanding of services' use of personal data
Students could also describe their understanding of how social media services used their data:
For instance, Student K said that he was doing a course called 'Evidence-Based Management' in which they spoke about Facebook and Google. On Facebook, its Privacy Terms & Conditions state that you must update your account within 18 months or it will be terminated. So, they always want you update your infromation as they are making money off your profile and one's account details are provided to advertisers and they are making a lot of money from us using it.

4.54 Termination of service
A few students spoke about terminating their social media membership. Student S wrote that there was a time in the holidays that she was 'hating Facebook' and even deleted it for a couple of days. Facebook can be a way for people to ignore you; so she was not getting many wall-posts, she was updating her wall, saying things in status updates, but no-one was commenting. She felt a bit ignored, so she deleted Facebook. She got angry at it. Student K wrote that he wanted to 'stay away from Facebook for ever'; he finds Facebook draining as he was addicted to it. He would wake up with Facebook and go to sleep with Facebook. He wasted a lot of time on it; it has many applications and he received many invitations from dating sites which sent you profiles every day to your email. He needed space, so he stopped for three weeks and deleted his profile.

6. Other roles of social media
Code 5 covers the examples which emerged which demonstrated other roles played by social media in students’ lives.

One example is Student R, who spoke of the school that he went to, about 150 years old and tradition means a lot. One of the traditions was that prefects could lash their skivvies. Obviously now in modern times, this is counted as assault, so it was banned. However, it was happening behind closed doors. Someone had taken a video (of a beating), whatnot, and had threatened to go to Carte Blanche. The head boy was de-prefected, but then the rest of the prefects-body threatened to throw their badges away and there was this huge drama. This found its way onto Facebook and then the school said they would block Facebook and if you wanted to use it, you must go off campus. As a border, being at school during the week, there was not much Student R could then do with Facebook.

Hopefully, this introduction to the index is so thorough that you don't have any questions :) ! If not, please add yours as a comment below, thanks.

Tuesday, 3 April 2012

Online portfolio profile page guidelines for Visual Arts learners

Written for Visual Arts learners about to create online portfolio profiles and for the educators guiding  them.

Introducing the structure of guidelines for your online portfolio profile.
You typically enter three types of information into the profile you create for your online portfolio: a brief "(auto)biography", your "contact details" and "abilities". So, although the guidelines below are showcased with Carbonmade, they should still apply to any other service(s) you use. Once you have followed these guidelines, kindly read the assessment criteria at the bottom. Then take the time to reflect on whether your online portfolio meets these criteria and is truly appropriate for its audience(s). It's a good idea to ask your friends for constructive feedback on what you could improve...

Assumptions on which these profile page's guidelines are based.
These guides are based on ones used at an independent school, where learners are taught to develop a showcase electronic learning portfolio (e-portfolio). As such, the guidelines assume that you want to create a profile that reflects your genuine identity. This has many benefits:
  1. It should add credibility that you are willing to identify yourself as your portfolio's creator;
  2. It makes it easy for viewers to search for you using your real name;
  3. Your curricular artworks are done in the Fine Arts genre, where artists typically use their real-names;
  4. Using your real name should encourage you to have a sense of personal ownership and, hopefully, continue using it after you matriculate;
  5. In "The Facebook Effect", David Kirkpatrick quotes its creator, Mark Zuckerberg, as saying; "Having two identities for yourself if an example of a lack of integrity." By openly acknowledging who you are online and behaving consistently over different web services, you may actively develop not only a more coherent identity online, but off-line as well.
However, you may still prefer to create an online profile in which you use a nickname, pseudonym, a fake or a corporate identity. This can serve as a distinct online persona or corporate identity, which can be used in addition or as an alternative to your genuine one.

Here are four examples for creatives following these types under Carbonmade's featured portfolios:

Graeme Metcalf's "grabbins" nickname example (1 April 2012)



Pasquale D'Silva's PSQL pseudonym (1 April 2012) 
Cecilia Puglesi's "carbonomonono" portfolio header  (1 April 2012)
Agni Interactive's corporate identity logo (1 April 2012)
The downsides of using a nickname, pseudonym, fake or corporate identity is that it may make your portfolio difficult to search for by friends or others interested in you, personally. It may also be perceived to lack credibility when assessed using criteria commonly used by your Visual or Fine Arts educators. Lastly, it leaves you open to identity theft; unscrupulous learners may use your real name to create a fake profile  and portfolio for you!

1. Biographic information guidelines.

1.1 Portfolio title: The title of your portfolio is very important; it is not only shown on every page of your portfolio, but is the first thing displayed by search engines and is the bookmark title for other people saving your site. You should consider using your first and last name in the title, as well as a short descriptor for the type of online portfolio you have created. For example; "Severus Snape's E-portfolio" or "Pippa Riddle's School Art". 

1.2 Name: While you should use your regular name in the title, you should not use your middle names (i.e. "Severus Malcolm Payne Snape") as the benefits of this are generally outweighed by potential threats to your identity's security (middle names being typically used for official purposes).

1.3 About:  First decide whether you are writing in the first, or being written about in the third, person (click to see good examples of this). To kickstart your profile, consider adding an appropriate salutation to welcome viewers; for example “Welcome, stranger.” Not quite, but you get my drift...

While it is then tempting to write many, many words, please remember that your audience may be willing to only give you a short time. So, try to stick to 350 words as a rough guideline. It is also a good idea to first write your creative profile in software that spell-checks and gives you a word count. You can then cut-and-paste your text into your "about" section.

In writing a creative profile, do your best to stick to discussing your; creative aims, artistic interests and how these relate to your portfolioJust as Facebook shows your profile primarily to friends, Carbonmade provides yours to those interested primarily in your visual creativity. They are probably not interested in the fact that you play first team, like to party, are a chess whiz, etc. Remember, if your interests are not shown by your art, it's probably of limited interest to them. So, avoid going off topic; only discuss your sporting, musical, political, school or home achievements if relevant to your portfolio's artworks. Also avoid duplication of content; such as your name, which already appears in the page's "portfolio title" and "name".

As a learner, it's particularly important to protect your privacy: avoid putting in your age and information about your school. This information has NO relevance to your audience and could attract the wrong kinds of attention. Rather be general and say that you are a "secondary school learner from Cape Town".

You should update the "about" section of your profile repeatedly as you develop and mature. Read your "about" description aloud. What are the salient points? Does it flow well; with no repetitive or otherwise irrelevant information? Make the effort to rewrite your profile several times; checking that there is correspondence between what you write and what is in your portfolio. For example, if you mention that you are passionate about a particular style of art, artworks in this style must be featured!

1.4 Linking: You may already have other online presences that you want to link from within your "about" description. If so, you can add hyperlinks from their web address text under "about". You must check that each link works well, though. It is inconvenient for your viewers if they don't, whilst making you look seem incompetent.

1.5 Profile picture:  Here you need to choose whether your photo is for communication or for "art". If you want to communicate to your audience what you look like, it's probably easiest to upload a self-portrait photo of yourself. If it's for art, take the time to create something that is clever and well-executed. Whatever your choice, it will be displayed under the search results for your portfolio, so encourage your viewers to click further by using quality imagery, not a poor quality short-cut. P.S. Google search "worst profile pictures" for examples of what not to do, or watch "Link's Golden Advice for Single Guys". Girls, it'll help you too!

2. Contact detail guidelines.

2.1 Location: Letting people know that you live in the Western Cape Province, Cape Town (for example) is sufficient. Providing them with anything more is too much information, i.e. Suburb: Nobody needs to know. Street address: Especially you, Mr Stalker!

2.2 Contact details: The same applies with your contact information; if you provide your email address for viewers to get in touch, let your educator and parents know. While email contact may be safer than publishing your mobile and/or home phone numbers, your viewers do not need your contact details upfront, so why make them available for abuse? Rather wait for an email query, whose legitimacy you, your educator and parents should check, before providing phone numbers.

3. Abilities guidelines.

3.1 Available for freelance: While it is tempting to show this button, you need to do a reality check that (a) you produce work good enough to freelance and (b) you have the time to do school work, homework and freelance work? In the unlikely case that you answered "yes" to both questions, go ahead.

3.2 Areas of expertise: List the basic disciplines you are being trained in (or are exploring in extra-mural activities), here. Your school-based areas of expertise may be: "drawing", "painting" & "design". If you do "photography" as an extra-mural activity, list it here. Similarly, if you have done a printing workshop, you could add the discipline ‘printmaking’, too.

3.3 Skills: Under the ‘Skills’ heading, list the specific techniques/media/tools you are well-versed in using. This could include specific media/techniques such as "acrylic painting", "drawing in charcoal", etc. As you learn and master new techniques/media/tools, etc, you should add them under skills.

4. Important assessment criteria that your online portfolio's profile should meet.

4.1 Searchability: Carbonmade features over 470,000 individuals portfolios. If you want to increase the chances of yours being viewed by others, you need to check that your portfolio is easy to search for AND produces an attractive search result that a viewers would want to click. If not, you need to modify your profile's "name", "picture" and "expertise" to improve it:

For example, check out the search result for "Grame Metcalf" below:






First, it's interesting that you cannot search for him by his portfolio title's name ("grabbins" does not produce a result), but only by the real name "Grame Metcalf" he uses under his profile's "name" field.

Although his work has been selected as a Carbonmade featured portfolio, he can still improve its search result's appearance: to do this, he should experiment with a new profile picture which would display better behind the "name", "projects", "images" and "expertise" texts.

4.2 Credibility, integrity and honesty: By ensuring that your profile is thorough and informative, you build credibility with your viewers. Your portfolio's honesty is enhanced by ensuring that the content in your profile page corresponds with what you've uploaded in your project folders. Lastly, by featuring only information that is relevant to your creative work and giving due credit to your influences, you can also simultaneously increase the credibility of your online portfolio and its profile.

I trust that these guidelines proved useful to you? If you have any questions or suggestions for improving them, I'd appreciate you adding them in the comments box below. Thank you.

References
Kirkpatrick, D. (2010). The Facebook Effect: the Inside Story of the Company that is Connecting the World. Virgin Books, Great Britain.

Allen, B. & Coleman, K. (2011). The creative graduate: Cultivating and assessing creativity with eportfolios. In G. Williams, P. Statham, N. Brown & B. Cleland (Eds.), Changing Demands, Changing Directions. Proceedings ascilite Hobart 2011. (pp.59-69).

Wednesday, 28 December 2011

Visual Art online portfolio requirements and selection criteria.

Written for South African Visual Arts educators and decision-makers.

Eight requirements for optimal online portfolio adoption
My research into online portfolio software use in two secondary schools suggests that there are eight key requirements to meet before a school's Visual Arts educator(s) can optimally adopt online portfolios into a grade's syllabus:
  1. School management and Visual Arts department educators' buy-in; 
  2. Appropriate computer access for learners;
  3. Sufficient availability of scanners, cameras and other peripherals at school for learners or their educator to digitize analogue artworks;
  4. Reliable access to online portfolio websites and related Web2.0 services;
  5. Sufficient broadband to support upload of digitized artworks;
  6. Supportive Information Communication Technology (ICT) school policies;
  7. In-class support: ideally from a support teacher AND a technician;
  8. Student interest to enable the successful co-adoption of online portfolios.
The extent of these resourcing requirements suggest that curricular advisers and other national or provincial decision makers should initially focus on supporting adoptions at well-resourced private and public schools. Learnings from these environments can then be used for adoptions in more challenging, under-resourced environments.

Ten criteria for online portfolio software selection

Once a school's Visual arts educator(s) are confident that these requirements can be met, they need to choose an online portfolio software that is appropriate to their, their school's and students' needs.

At a one-laptop-per-learner, private school its Visual Arts department head reviewed several online portfolio options, before choosing CarbonmadeThis service was chosen, as it met ten criteria:

  1. It is free; there are no software costs to the school as learners do not need more than 35 images for a showcase electronic learning portfolio (e-portfolio);
  2. With sufficient broadband, online portfolio publication is easy to do, and teach;
  3. "Carbonmade" is a school-friendly brand name (when compared to Deviantart, for example);
  4. The service does not feature inappropriate content; violent, pornographic, racist or misogynistic content is not promoted;
  5. The service is popular and has featured portfolios that can be easily referenced as examples of best use of the new cultural form;
  6. A variety of creative professionals use the service; students can follow the examples of most interest to them in preparation for tertiary education, work or hobby opportunities;
  7. The service offers a real world experience of the online portfolio publication and students may derive benefit from being on a platform for creative professionals;
  8. With its large user base, the freemium service is likely to be sustainable
  9. The service's legal agreement respects the learners’ copyright;
  10. Unlike services, such as Deviantart and Behance, Carbonmade does not afford any social networking functionality. However, limited interaction was viewed as positive by the educator. He perceived that there was a potential for inappropriate feedback by grade 10 students as he believed they were not emotionally mature enough to give constructive criticism.
Subsequently, Carbonmade was approved for use at a relatively well-resourced public school by the Visual Arts curricular advisers of the Department of Education. This suggests that these ten criteria have broader relevance than an elite private school.

Your thoughts?
Do these eight requirements and ten criteria resonate with your experience? Are there any others that I should add? Kindly share your thoughts with my readers in the comment box below.

Wednesday, 7 December 2011

My PhD in Media Studies' research problem statement

1 What problem does my research address? 
There is a research gap regarding the multimodal choices that online portfolios afford, the choices that secondary school students make and the resonances of their choices. There is also a gap in describing how students negotiate with educators regarding choices the latter view as 'problematic'.

1.1 Who supports the presence of a problem?
David Buckingham (2003, 2007) argues that exposing students to media production in new school curricula can be a very effective form of media education. The new Visual Arts curricula that this Action Research project contributed to launching; “Create your own online portfolio” and “Improve your online portfolio” were intended to serve this aim.

In following these curricula, students made many multimodal choices in creating their online portfolios. Multimodal Theory, developed by Gunthar Kress (1996, 2010) and Carey Jewitt (2006, 2010), is highly appropriate for describing individual choices and their relationships; to each other, the page they help construct and other portfolio pages.  

Jewitt (2006) has used Yrjo Engstrom’s  (1987, 2001, 2005) Activity theory to explain the complex schooling context in which multimodal choices are made. Second generation Activity theory will be used to explain how the contradictions and tensions that result from a change to the traditional Visual Arts' classroom's 'tools', 'rules', 'division of labour' and 'community' in the new online portfolio activity system contributed to students negotiations with educators concerning 'problematic' choices.

2 How, where and when does the problem impact?
Although Buckingham’s body of research on media education (1990, 2007) suggests that teaching students media production is beneficial, there are few examples in the literature of these interventions by Visual Arts educators. There is also a research gap in students’ choices with online portfolio software.

By supporting successful initial curricular adoptions at a private (2010, 2011) and public (2011, 2012) school, this project enabled research into: select South African students’ multimodal choices with online portfolio software; their choices’ resonances; and uncovers how changes in creating an online portfolio as an adjunct to a traditional one contributed to students’ negotiations with educators regarding 'problematic' multimodal choices.

2.1 Who supports the impact of the problem?
Michele Knobel and Colin Lankshear (2011) have also identified the importance of students being taught “new media literacies” through digital media production and describe the challenge of educators’ “outsider mindset” being an obstacle to digital media’s successful adoption. This project has helped Visual Arts educators to develop “insider mindsets” that are better suited to support the initial curricular adoptions of online portfolios.

Both the private and public school’s curricula support students with creating showcase Visual Arts electronic learning portfolios (e-portfolios). Barrett (2008) has written about the importance of educating students to use e-portfolios for life-long learning. She has also blogged on the decline in North American secondary schools’ adoption of e-portfolios (2010), listing many challenges that e-portfolio adoptions face.

Hazel Owen (2009) did an e-portfolio literature meta-review, which showed that although there are pedagogical benefits of e-portfolio use in well-resourced, tertiary environments, there are many hazards too. My research has supported secondary school educators with exploring the benefits and hazards of their Visual Arts students’ e-portfolio use as an adjunct to the traditional portfolio.

3 Why does the problem exist?
The conceptual basis for the problem is that online portfolios are a new cultural form; freemium Web2.0 services only emerged from 2003. Their novelty partly explains why so little research has been done into the multimodal choices they afford.

3.1 Who supports the conceptual nature of the problem?
There are distinct resourcing barriers confronting adoption of Information Communication Technology in tertiary education in the developing world: Laura Czernieciwz and Cheryl Brown (2004) identified four key resource categories; 'technological' (i.e. availability of ITC resources), 'personal', 'agency' (i.e. access to digitisation and computer equipment), 'contextual' (i.e. formal enabling networks) and 'online content' (i.e. articles written for local audiences) where barriers to adoption occur. These categories arguably apply in secondary education too, as it is a similar formal environment. 

My research project project has assisted two secondary school educators in overcoming some of these obstacles and has facilitated the curricular adoption of online portfolios for studying multimodal affordances, students’ selections, their choices’ resonances and uncovers the background to negotiations regarding 'problematic' choices.

Saturday, 5 November 2011

Want an individual, non-commercial, ZA domain? Fokof.

Forgive me for occasionally using my research blog as a blue-sky thinking space, whilst venting the frustrations of a South African wanting a better consumer experience; whether it's about television, buying music or the Apple third-world product experiences at first world prices (see iTunes Store, my exhibit "F"). Not only is writing these concerns a bit better than keeping such thoughts in my head to stress on, but I really do not have a better alternative; do forums exist in which customers can criticize companies for services they "should be" (not "are") delivering? Thought not! So, I feel justified in roping my research blog in as a stand-in soapbox...

My current concern is justifying the choice of the .co.za domain name for one's research blog in the absence of better, local alternatives for South African consumers. I have recently assisted Associate Professor Laura Czerniewicz (@Czernie) with hosting and publishing her Wordpress blog; the site is hosted by the environmentally- friendly GetGreen (who were very helpful with facilitating a speedy domain purchase, hosting and linkage).

The choices they could offer for a personal domain are shown on this screen grab:


Like all local Internet Service Providers (ISPs) I have used (or use), this list's options offer no second and first level domain combination appropriate for an individual researcher stressing the local context of her research:

.co.za = commercial, but local.
.com = commercial, american or international.
.net = commercial, international, generally used as an alternative to .com.
.org = non-profit organization, international.
.biz = commercial, international.
.info = informative internet resources, international.
.mobi = used for mobile devices, international.
.cointernational, country code top level domain used by Columbia.
.co.uk = commercial, United Kingdom businesses.
.deinternational, country code top level domain used by the Federal Republic of Germany.
.esinternational, country code top level domain used by Spain.
.usinternational, country code top level domain used by the United States of America.
.cainternational, country code top level domain used by Canada
.com.auinternational, commercial domain used by Australia
.net.auinternational, commercial domain used by Australia 
.euinternational, country code top level domain used by the European Union
.ininternational, country code top level domain used by India
.asiainternational, domain sponsored by the DotAsia Organization 
.me = country level domain used by Montenegro, with a few exceptions

As you can see, Laura chose the "lesser of two weevils" by selecting a co.za address to show local context, whilst also unavoidably signifying her blog as a "co.mmercial" (as I have also done, but via Gridhost). 

This is a systemic problem that is not the ISPs' fault; http://en.wikipedia.org/wiki/.za shows that there are simply no domain addresses available for individuals to buy: for example, the academic second level domains (ac.za and school.za) are strictly for organizations (universities and schools, respectively), rather than individual staff...

It is frustrating that South African customers do not have any second domain choice (i.e. like name.za {an extension of .name domain}) to reflect their non-commercial, local context. Frankly, in a Web2.0 context where it has become very easy to publish online, this seems like a bad hangover from the predominately corporate publishing in the World Wide Web preceeding it :( ...

If you are also concerned about this omission, kindly add your comment below. This will help me to raise awareness of this problem online (and off). "Thank you", "Nkosi", "Baie Dankie".

Tuesday, 20 September 2011

Showing my new research focus at the "E-learning Update"

I presented on "Visual Arts students multimodal choices with Carbonmade" at the E-learning update conference today. This presentation gave the background to my current research direction, field research and findings:

A major change in my research direction has been necessitated by student's wide variety of choices in the written fields and imagery of their online portfolios. This should not be suprising for students (a creative class) who have made the unconventional choice of taking Visual Art. However, they all received the same curriculum, used the same software and had the same guidelines. I will be using three student case studies to explore the most varied example of online portfolios; "drawing", "mixed-media" and "media-interest", respectively.

This new approach path has been taken after analyzing screengrabs of each and every online portfolio page that 18 grade 10 students created using Carbonmade. I then used screengrabs of their educator’s free (“Meh!”) Carbonmade membership to list all the choices his students could have made. NVivo 9 software was then used to define and code all students’ choices from top to bottom, left to right for all the three kinds of Carbonmade page: "Home", "About" and "Project Folder Artwork". 

After tabulating the variations for each field choice, it became apparent that explaining guideline variations for the entire group would be impossible, so I have chosen to rather focus on the most distinctive student examples.

After following this process, my research questions now are:
  1. What are the modal choices that the online portfolio software, Carbonmade, affords?
  2. What are the multimodal choices that grade 10 Visual Arts students made with Carbonmade?
  3. What are the resonances of students' online portfolio choices?
  4. What problems did the educator perceive with select modal choices and how can these be explained by the contradictions and tensions that result from a change to the traditional class’ rules, division of labour and community in the new Visual Arts class’ online portfolio activity system.
Although I will be using Activity theory to answer the last question, my research's primary focus has shifted to using Multimodal Theory to explore the choices that Carbonmade affords users, the choices that students make and their resonances. 

Carey Jewitt in "Technology, Literacy and Learning(2006) shows how Multimodal Theory and Activity theory can be used to study the multimodal meaning-making resources that new technologies support. I hope to follow in her footsteps...

Wednesday, 14 September 2011

Problems and limits of traditional, analogue portfolios

Written for students of visual creativity.

David Hockney's book; "Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters" and the debate its Hockney-Falco thesis stimulated, should have encouraged drawing educators to introduce their students to the camera obscura, lucida and other optics as alternatives to groping for the image through "eyeballing", as Hockney described it (page 23, 2001). But just as drawing students are unlikely to be exposed to alternative drawing methods, most visual creatives are not formally exposed to the benefits of digital media as an additional portfolio medium to the traditional, analogue one. However, it is important for their students to fully consider all the limitations (and related problems) of relying solely on analogue portfolio media. Here follows a list of the limitations and problems for the student's consideration (plus the related benefits of having an online portfolio):

A. Difficult to assemble 
There's a reason that analogue portfolios are mostly collated only twice a year; they're often difficult to consolidate, frame and mount for presentation. This is likely to result in it being difficult for your teacher(s) to have an holistic view of your progress and for you to gauge the presentation of your year-end exhibit. Field research showed that a Visual Arts educator perceived a major benefit of students' online portfolio use being the resulting affordance to benchmark their progress and take pre-emptive action where they were unlikely to have sufficient work for year-end exhibitions.

B. No back-up
You don't have to own a Jackson Pollock to know that an original, physical artworks is often impossible to replace. So, if your artworks are stolen, damaged or destroyed right before your exhibition, it becomes impossible to physically prove your accomplishments to examiners! However, if you had kept a record of your work in an online portfolio, this would provide your a useful reference point for marking.

C. Poor distribution
Post-Google, those with access are very likely to use search engines to find background information on you and view images of your artwork. It is important to consider that by limiting your work to analogue media, you rely on your audience being close to the work for viewing purposes. By contrast, an online portfolio provides an opportunity for internet-connected audiences to easily view your creative work. Plus, you can study the digital audience of your artworks, its reception and how best to grow an audience for your artworks on the internet.

D. Lack of contextualisation for most artworks
In Secondary or Tertiary Education, students’ work is often contextualised by exhibition context and very often only feature the work's title and date. A benefit of online portfolio production is that it affords many options to label your artwork thoroughly. For example, Carbonmade affords options to add an "artwork title", "tags", "client tags" and a "folder description". By completing some, or all, of these tags appropriately, you can properly contextualise your artworks for ideal viewers; whether layperson or art historian :) . For example, you could add your "artist's statement" under folder definition or list any clients you have worked for under clients tags.

E. Limited opportunity to exhibit non-drawing work
There may be limited scope for you to include works done with reproduction (i.e. photography) and/or digital media (i.e. animations) tools in Visual Arts and Fine Arts exhibitions. If you need an outlet for other visual cultural interests, you can use an online portfolio such as Behance, DeviantArt or CGI Portfolio  to showcase designs and photos; potentially benefitting from ratings, comments and reciprocal links from other members.

F. No easily accessible feedback record
Educators seldom place feedback directly onto their students’ work as this would impact on the originals. However, a benefit of online portfolio pages is that your educator could use a social bookmarking tool, like Diigo, to comment on your pages, limiting the viewership to you (or select Diigo users). This could make your educator’s feedback easier to track and, hopefully, follow.


G. Digitisation for further study or job applications
Early exposure to digitising artworks could be beneficial for students who may need to submit digital portfolios as part to their university or job applications.

While your digital copy will never be the same as the analogue work it was sourced from, it can serve useful purposes when placed in an online portfolio. So, is there more to gain than what's lost in the "medium shift" translation of artworks and their use in online portfolios? Please share your view by commenting on this post. Ta.

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