Showing posts with label visual culture. Show all posts
Showing posts with label visual culture. Show all posts
Friday, 12 April 2019
Five curricular changes to consider when teaching visual arts e-portfolios
Written for visual arts and design teachers who teach their students e-portfolio curation.
'Young black women curate visual arts e-portfolios: negotiating digital disciplined identities, infrastructural inequality and public visibility' was recently accepted subject to changes for a special issue of the Learning Media and Technology journal. Contributions whose perspectives challenge 'universal technological solutionism' were invited for the forthcoming 'Global technologies, Local Practices: redefining digital education with marginalised voices'.
My contribution foregrounded the key challenges that three young black women faced in creatively appropriating online portfolio software for showcase e-portfolio production. Each student had to negotiate (i) cultural and technical forms of exclusion, (ii) visibility versus privacy concerns and (iii) different forms of digital infrastructural inequalities. To reach the journal's 6,000 word limit for articles, I cut mine's initial visual arts e-portfolio curriculum recommendations, but cited this post. I trust its readers will find the recommendations below helpful, whether for reworking the visual arts showcase e-portfolio curriculum or refining similar curricula. Such changes may better accommodate young visual artists’ varied circumstances and creative aspirations:
Recommended changes when teaching visual arts e-portfolios
+1 > Provide examples of privacy protection that can address visibility risks
+2 > Accommodate the roles in creative industry and digital identities that young people explore
Taken together, the case studies suggested a broader need for a more inclusive visual arts syllabus. South African visual arts pedagogy largely ignores the many and varied types of genres in visual culture that students may participate in. Despite affinity spaces in youth-, do-it-yourself and ethnic cultures potentially being valuable resources for young people's e-portfolio personas and projects, students reported exercising self-presentation strategies that hid participation in "unofficial", "illegitimate" genres. There was a missed pedagogical opportunity for challenging cultural exclusion and supporting greater e-portfolio differentiation by including teens' informal cultural interests.
I trust these five suggestions will help teachers of visual creative e-portfolios to better accommodate young people’s different circumstances, repertoires and creative aspirations.
'Young black women curate visual arts e-portfolios: negotiating digital disciplined identities, infrastructural inequality and public visibility' was recently accepted subject to changes for a special issue of the Learning Media and Technology journal. Contributions whose perspectives challenge 'universal technological solutionism' were invited for the forthcoming 'Global technologies, Local Practices: redefining digital education with marginalised voices'.
My contribution foregrounded the key challenges that three young black women faced in creatively appropriating online portfolio software for showcase e-portfolio production. Each student had to negotiate (i) cultural and technical forms of exclusion, (ii) visibility versus privacy concerns and (iii) different forms of digital infrastructural inequalities. To reach the journal's 6,000 word limit for articles, I cut mine's initial visual arts e-portfolio curriculum recommendations, but cited this post. I trust its readers will find the recommendations below helpful, whether for reworking the visual arts showcase e-portfolio curriculum or refining similar curricula. Such changes may better accommodate young visual artists’ varied circumstances and creative aspirations:
Recommended changes when teaching visual arts e-portfolios
+1 > Provide examples of privacy protection that can address visibility risks
"Lesley Ann", "Melissa" and "Dina" all chose not to use their full first and last names for minimising risks of sexual harassment. Such measures were often not sufficient, since their full names were shown in their email addresses. E-portfolio curricula must guide students appropriately on how to protect their privacy by not sharing genuine identities. For example, a curriculum could include reflection of the potential negative consequence of presenting one's legal identity online, versus assuming that using one's genuine identity and legal name, as "the ('Modern gallery') artist" must be the norm. Alternative self-presentation strategies should be taught, particularly where vulnerable individuals would benefit from privacy protection.
+2 > Accommodate the roles in creative industry and digital identities that young people explore
Taken together, the case studies suggested a broader need for a more inclusive visual arts syllabus. South African visual arts pedagogy largely ignores the many and varied types of genres in visual culture that students may participate in. Despite affinity spaces in youth-, do-it-yourself and ethnic cultures potentially being valuable resources for young people's e-portfolio personas and projects, students reported exercising self-presentation strategies that hid participation in "unofficial", "illegitimate" genres. There was a missed pedagogical opportunity for challenging cultural exclusion and supporting greater e-portfolio differentiation by including teens' informal cultural interests.
Educators could explore potential continuities between youth’s extra-mural affinities and the visual arts syllabus. This may better engage students’ interests, whilst also offering youth greater scope to share their varied personas. For example, presenting market-driven identities in creative industry proved a valued strategy for gaining economic capital amongst under-resourced students. E-portfolio curricula can also better house the existing social network and online content practices of students, which our curricular plans neglected. For example, the curriculum could accommodate students’ pre-existing digital portfolios by encouraging students to link link to theirs from within their e-portfolios.
+3> Cater for students who want to be seen as 'emergent creative pros', not "students"
An online identity as an arts student can be seen as undesirable to emergent visual creatives, who prefer to portray themselves as 'creative professionals' outside school. Examples of young creatives could be added to visual arts e-portfolio curricula for such students to learn from and experiment with.
+4> Foreground both process and product to make context explicit
The 'visual arts showcase' e-portfolio curriculum was taught as a capstone showcase exhibition project. This neglected sharing information related to students’ digital infrastructures. Their e-portfolios did not list the resources that each student used, which made it very difficult to compare the respective infrastructures youth used in e-portfolio curation. Teenagers from black, working class homes faced the greatest obstacles in accessing and using digital infrastructures. A danger lies in the increasing use of digital portfolios potentially serving as a new hurdle for these youth in accessing tertiary studies at elite institutions. This is allied to the rise of professional, digital self-presentation in spaces of creative production potentially serving as another gatekeeper to freelance projects.
+3> Cater for students who want to be seen as 'emergent creative pros', not "students"
An online identity as an arts student can be seen as undesirable to emergent visual creatives, who prefer to portray themselves as 'creative professionals' outside school. Examples of young creatives could be added to visual arts e-portfolio curricula for such students to learn from and experiment with.
+4> Foreground both process and product to make context explicit
My thesis revealed that students’ curation of disciplined digital identities and addition of other personas was strongly shaped by their levels of connectivity. In particular, under-resourced youth’s school and homes did not provide sufficient infrastructure for them to fully participate in e-portfolio design. The least resourced students were under-connected in lacking home internet access and having to share ownership of digital devices. Both were strong markers of class inequality. Under-connected students were at a severe disadvantage in being constrained to doing digital portfolio curation only in e-portfolio lessons. Youth with costly mobile internet access could workaround their computer lab’s slow internet speeds, but could not always work on e-portfolios at home owing to priorities related to mobile broadband costs.
The 'visual arts showcase' e-portfolio curriculum was taught as a capstone showcase exhibition project. This neglected sharing information related to students’ digital infrastructures. Their e-portfolios did not list the resources that each student used, which made it very difficult to compare the respective infrastructures youth used in e-portfolio curation. Teenagers from black, working class homes faced the greatest obstacles in accessing and using digital infrastructures. A danger lies in the increasing use of digital portfolios potentially serving as a new hurdle for these youth in accessing tertiary studies at elite institutions. This is allied to the rise of professional, digital self-presentation in spaces of creative production potentially serving as another gatekeeper to freelance projects.
+5> Provide workarounds for inequalities in digital infrastructures
E-portfolio teaching must accommodate the media ecologies of students who are under-connected to the internet. They should be identified and prioritised with classroom support, since other students can readily do such work at home. Our syllabi also neglected mobile technologies by focusing on desktop and laptop computer users. Resourceful teens used their mobile phones in class to continue e-portfolio curation and overcome school infrastructure constraints. Teaching should accommodate the mobile devices that students bring with them. Students must be encouraged to use these tools for creative production, as well as to make resourceful workarounds where there are problems with classroom infrastructure.I trust these five suggestions will help teachers of visual creative e-portfolios to better accommodate young people’s different circumstances, repertoires and creative aspirations.
Wednesday, 3 October 2018
Supporting education for 'digitally enfranchised' visual arts students?
Written for visual arts policy makers, educators and those visually creative who just may be interested...
As a genre closely aligned with the Modern take on aesthetic distinction, the visual arts school genre is very distant from postmodern approaches, let alone meta-modern ones. There are large gaps between school art and what occurs in contemporary art (Faucher, 2016), creative industry and screen-based visual culture. The national syllabus' emphasis on the institutional artist (as mostly an observational drawer and painter) ignore many other roles that young people might pursue for becoming successful visual creatives. Likewise, the visual arts syllabus does not explicitly address the existence of multiple visual creative hierarchies (i.e. observational drawing versus Manga illustrations) whose genres may compete in prioritising very different aesthetic and creative values (e.g. detailed realism versus imaginative graphic abstraction) for their creative communities. There is an opportunity for visual arts policy makers and educators to consider how visual arts teaching might address such competition and support young peoples' exploration of contemporary visual creative roles outside the traditional gallery path.
Within this opportunity lies the challenge of considering how the visual arts syllabus might respond to the growing role of digital media in contemporary life and art? In particular, what new academic and technical cultural capital should aspirant visual creatives be taught for supporting their
development of artistic identities and access to opportunities, whether in art worlds, creative industry or elsewhere... Here arts educators and policy-makers can turn to media studies educators and researchers who have explored young adults' creative digital productions and associated development of new media literacies (Coiro, Knobel, Lankshear, and Leu, 2014; Ito et al. 2009, 2010; Jenkins, 2006; Jenkins and Ito, 2015; Gauntlett, 2000, 2007, 2011; Lankshear and Knobel, 2006).
As introduced in my opening paragraph, the doxa of a highbrow Modernist taste in South African visual arts education contributes to its many blindspots. Foregrounding the institutionalised artist as its (only?) hero distances the school art genre from many learning opportunities. These span artistic media and genres (i.e. mobile phone photography for self-portraiture and perspective), creative processes (e.g. not handmade and crafted by others) and approaches to contemporary art (i.e pseudonyms) and creative industry (e.g. writing creative briefs). Educators could support students with considering decolonisation and its arguments against implicitly foregrounding only highbrow/high status cultural capital as "the legitimate one". Educators could also draw on indigenous repertoires {beadwork and other patterns} and the energy of African artists' identities as exemplified via the Zeitz Museum of Contemporary Art Africa and Norval Foundation's Art Museum's collections. Multiple platform, creative entrepreneurs could also be positioned as heroes by visual art educators who choose to address the fields of creative industry, fandoms and craft.
As a genre closely aligned with the Modern take on aesthetic distinction, the visual arts school genre is very distant from postmodern approaches, let alone meta-modern ones. There are large gaps between school art and what occurs in contemporary art (Faucher, 2016), creative industry and screen-based visual culture. The national syllabus' emphasis on the institutional artist (as mostly an observational drawer and painter) ignore many other roles that young people might pursue for becoming successful visual creatives. Likewise, the visual arts syllabus does not explicitly address the existence of multiple visual creative hierarchies (i.e. observational drawing versus Manga illustrations) whose genres may compete in prioritising very different aesthetic and creative values (e.g. detailed realism versus imaginative graphic abstraction) for their creative communities. There is an opportunity for visual arts policy makers and educators to consider how visual arts teaching might address such competition and support young peoples' exploration of contemporary visual creative roles outside the traditional gallery path.
Within this opportunity lies the challenge of considering how the visual arts syllabus might respond to the growing role of digital media in contemporary life and art? In particular, what new academic and technical cultural capital should aspirant visual creatives be taught for supporting their
development of artistic identities and access to opportunities, whether in art worlds, creative industry or elsewhere... Here arts educators and policy-makers can turn to media studies educators and researchers who have explored young adults' creative digital productions and associated development of new media literacies (Coiro, Knobel, Lankshear, and Leu, 2014; Ito et al. 2009, 2010; Jenkins, 2006; Jenkins and Ito, 2015; Gauntlett, 2000, 2007, 2011; Lankshear and Knobel, 2006).
Young people who develop new media literacies arguably enjoy a form of digital enfranchisement through developing a level of visibility through personal presences in digital environments through which they exercise their voices. This may feature roles that range from prosumption (i.e. liking, commenting on and re-sharing YouTube videos) to produsage (editing and sharing videos via videos on a YouTube channel) (Bruns, 2008). By contrast, individuals and groups who choose not to participate or cannot surmount gatekeepers are disenfranchised through being invisible in digital environments. As the online and offline environments become increasingly interlinked, individuals who enjoy high visibility online are potentially advantaged. Their digital symbolic capital serves to generate further interest and opportunities versus the proverbial 'people of no account/sans digital personas'.
Case studies for South African aspirant design students (Venter, 2018), visual arts students (Noakes, 2018) and media studies students (Brown, Czerniewicz and Noakes, 2016) suggest that young creatives are deriving benefits similar to those identified in the global North's media studies research. That said, there are large contrasts between the affluent research contexts of the Global North (in which most media studies research with teens is done) and under-served ones in the Global South. Educational ideas and media studies research from the Global North may translate very poorly for educators in South African classrooms who typically have minimal, if any, digital infrastructure, and may have to teach large class sizes. It is important to use educational sociology for scoping the many challenges involved when creatively appropriating digital literacies into the South African visual arts syllabus, as well as who benefits from such changes, or not.
It also important to understand how the digital media repertoires of young content producers mark new forms of social distinction (Noakes, 2018) or have even shifted to become commonplace. As part of 'Generation C'(ontent), elite groups of creatives in varied communities (Brake, 2013) enjoy the rare privilege (Schradie, 2011) of assuming roles with digital media that distinguish them from their peers. For example, presenting a qualified self (Humphreys, 2018) as a visual creative with an overall online identity spanning varied digital portfolios serves to mark social distinction (Noakes, 2018). In schools, art students' digital repertoires may signify distinction for both schools and students through requiring extraordinary development of technical cultural capital and access to resources for the development of digital personas and aesthetics. By contrast, such repertoires may seem unremarkable in creative industries where communicating via digital imagery is an everyday part of professionals' work in ephemeral screen culture (Grainge, 2011). At some tertiary institutions in Cape Town, digital portfolios are now required for evaluation before admission is granted (Noakes, 2018). This points to the changing status and use of digital repertoires over time {from rare to commonplace and expected for aspirant arts students after they leave school} in different fields {tertiary fine arts and design education} by particular groups. Assessment was not a key focus of my research, but it would be interesting for researchers to describe whether academic institutions have also shifted to screening students' overall online presences in evaluating admissions!
As introduced in my opening paragraph, the doxa of a highbrow Modernist taste in South African visual arts education contributes to its many blindspots. Foregrounding the institutionalised artist as its (only?) hero distances the school art genre from many learning opportunities. These span artistic media and genres (i.e. mobile phone photography for self-portraiture and perspective), creative processes (e.g. not handmade and crafted by others) and approaches to contemporary art (i.e pseudonyms) and creative industry (e.g. writing creative briefs). Educators could support students with considering decolonisation and its arguments against implicitly foregrounding only highbrow/high status cultural capital as "the legitimate one". Educators could also draw on indigenous repertoires {beadwork and other patterns} and the energy of African artists' identities as exemplified via the Zeitz Museum of Contemporary Art Africa and Norval Foundation's Art Museum's collections. Multiple platform, creative entrepreneurs could also be positioned as heroes by visual art educators who choose to address the fields of creative industry, fandoms and craft.
How new content on this blogsite might help young visual creatives and their educators
Describing concerns related to cultural stratification and infrastructural resourcing (in that order!) are important in my role as a scholar. Challenges in these two areas suggest how difficult it would be for secondary school visual arts curricular advisers to promote systematic change. It is simply impossible that South Africa's visual arts syllabus and educators could support all visual arts students with becoming digitally enfranchised. For the foreseeable future, three major obstacles will remain in place: arts education will continue to be under-served with poor digital infrastructure (1); there will be a dearth of support for arts educators to develop their own digital media literacies, let alone teach them (2), the Modern aesthetic hierarchy will continue to be reproduced in art history lessons and via arts studio practices (3).
In my roles as design steward and techné mentor, I am interested in an ongoing contribution towards digital enfranchisement for emergent/young artists beyond the e-portfolio syllabus. I would like to support their informal andragogical / heutagogical experiences via this blogsite by continuing to develop its links to educational content. Below is a table that lists potential lessons that could support digital enfranchisement. Its content is ordered from closest links to the established literacies in the visual arts. Such content will be written for students and arts educators may repurpose the content with appropriate attribution.
Digital enfranchisement lesson ideas
Table 1. Lesson ideas that may be close to existing literacies in the visual arts syllabus
Developing these lessons should provide helpful content that creatives can use for developing new media literacies. Hopefully visual arts and design educators can explore how such lessons might be integrated into their syllabi. In developing these lessons, I will also be learning as I use different combinations of platforms (perhaps Slideshare for a local Trolls II Emojis syllabus, but wikiversity for a global version).
If you can suggest further inspiration, please make a comment, ta. Or to collaborate, get in touch.
References
Brake, D. R. (2013). Are We All Online Content Creators Now? Web 2.0 and Digital Divides. Journal of Computer‐Mediated Communication, 19(3), 609.
Brown, C., Czerniewicz, L., & Noakes, T. (2016). Online content creation: looking at students’ social media practices through a Connected Learning lens. Learning, Media and Technology, 41(1), 140-159. doi:10.1080/17439884.2015.1107097
Bruns, A. (2008). Blogs, Wikipedia, Second Life, and beyond: From production to produsage (1st ed.). Bern, Switzerland: Peter Lang.
Coiro, J., Knobel, M., Lankshear, C., & Leu, D. J. (2014). Handbook of research on new literacies (1st ed.). New York, NY: Routledge.
Cronin, B., & Shaw, D. (2002). Banking (on) different forms of symbolic capital. Journal of the American Society for Information Science and Technology, 53(14), 1267-1270.
Faucher, C. (2016). Informal youth cultural practices: Blurring the distinction between high and low. Visual Arts Research, 42(1), 56-70.
Gauntlett, D. (2000). Web. studies: Rewiring media studies for the digital age. London, England, UK: Arnold, Edward.
Gauntlett, D. (2007). Creative Explorations: New approaches to identities and audiences. Oxon, England, UK: Routledge.
Gauntlett, D. (2011). Making is Connecting. The social meaning of creativity, from DIY and knitting to YouTube and Web 2.0. Cambridge, England, UK: Polity.
Grainge, P. (2011). Ephemeral media: Transitory screen culture from television to YouTube (1st ed.). London, England, UK: Palgrave Macmillan.
Humphreys, L. (2018). The Qualified Self: Social Media and the Accounting of Everyday Life (1st ed.). Cambridge, MA: The MIT Press.
Ito et al. (2009). Living and Learning with New Media. Massachusettes, USA: Massachusettes Institute of Technology.
Ito et al. (2010). Hanging Out, Messing Around, and Geeking Out. Massachusettes, USA: Massachusettes Institute of Technology.
Jenkins, H. (2006). Convergence culture: Where old and new media collide (1st ed.). New York, NY: NYU press.
Jenkins, H., & Ito, M. (2015). Participatory Culture in a Networked Era: A Conversation on Youth, Learning, Commerce, and Politics John Wiley & Sons.
Lankshear, C., & Knobel, M. (2006a). New literacies : changing knowledge and classroom learning (1st ed.). Berkshire, England, UK: Open University Press, McGraw-Hill Education.
Lankshear, C., & Knobel, M. (2006b). New literacies: Everyday practices and classroom learning (2nd ed.). Berkshire, England, UK: Open University Press.
Noakes, T. (2018). Inequality in Digital Personas- e-portfolio curricula, cultural repertoires and social media, (Unpublished doctoral dissertation). University of Cape Town, Cape Town, RSA.
Venter, M. A. (2018). Patchworked creative practice and mobile ecologies. (Doctoral dissertation). University of Cape Town, Cape Town, RSA. Retrieved from https://open.uct.ac.za/bitstream/handle/11427/28365/Venter_Patchworked_creative_2018.pdf?sequence=1.
Describing concerns related to cultural stratification and infrastructural resourcing (in that order!) are important in my role as a scholar. Challenges in these two areas suggest how difficult it would be for secondary school visual arts curricular advisers to promote systematic change. It is simply impossible that South Africa's visual arts syllabus and educators could support all visual arts students with becoming digitally enfranchised. For the foreseeable future, three major obstacles will remain in place: arts education will continue to be under-served with poor digital infrastructure (1); there will be a dearth of support for arts educators to develop their own digital media literacies, let alone teach them (2), the Modern aesthetic hierarchy will continue to be reproduced in art history lessons and via arts studio practices (3).
In my roles as design steward and techné mentor, I am interested in an ongoing contribution towards digital enfranchisement for emergent/young artists beyond the e-portfolio syllabus. I would like to support their informal andragogical / heutagogical experiences via this blogsite by continuing to develop its links to educational content. Below is a table that lists potential lessons that could support digital enfranchisement. Its content is ordered from closest links to the established literacies in the visual arts. Such content will be written for students and arts educators may repurpose the content with appropriate attribution.
Digital enfranchisement lesson ideas
Table 1. Lesson ideas that may be close to existing literacies in the visual arts syllabus
#
|
SUBJECT
|
INSPIRATION
|
|---|---|---|
| 1 | Folksonomies through social bookmarking | Independent school syllabus |
| 2 | Search engine syntax for researching art, etc. | (See this Google cheat sheet) |
| 3 | Using artists' blogs, portfolios and digital affinity space for visual creative learning | Online portfolios such as DeviantArt and Behance, online art galleries |
| 4 | How to curate your inspiration | Dr Potter and Ass Prof Gilje who propose digital curation to be a new literacy |
| 5 | Developing digital portfolios | Baron on developing a digital portfolio |
| 6 | E-portfolio: digital curation and self-presentation | Visual arts showase e-portfolio syllabus |
| 7 | Becoming an artist | Dr Hansson's research into university art students' online portfolios |
| 8 | Emojis II Trollz (designing pixel art) | Emojipedia and online trolls |
| 9 | Medias and mediums: expressive potentialities of modalities and media | Social semiotic researchers using multimodal an analysis for studying transduction |
| 10 | The creative brief | Writing numerous briefs as a brand manager |
| 11 | Protecting your work's copyright and selling your work online | Prof Haupt on creative copyright and Prof Gauntlett on Making is Connecting |
| 12 | Prosumption practices for online audience engagement | Lankshear and Knobel on New Literacies |
Developing these lessons should provide helpful content that creatives can use for developing new media literacies. Hopefully visual arts and design educators can explore how such lessons might be integrated into their syllabi. In developing these lessons, I will also be learning as I use different combinations of platforms (perhaps Slideshare for a local Trolls II Emojis syllabus, but wikiversity for a global version).
If you can suggest further inspiration, please make a comment, ta. Or to collaborate, get in touch.
References
Brake, D. R. (2013). Are We All Online Content Creators Now? Web 2.0 and Digital Divides. Journal of Computer‐Mediated Communication, 19(3), 609.
Brown, C., Czerniewicz, L., & Noakes, T. (2016). Online content creation: looking at students’ social media practices through a Connected Learning lens. Learning, Media and Technology, 41(1), 140-159. doi:10.1080/17439884.2015.1107097
Bruns, A. (2008). Blogs, Wikipedia, Second Life, and beyond: From production to produsage (1st ed.). Bern, Switzerland: Peter Lang.
Coiro, J., Knobel, M., Lankshear, C., & Leu, D. J. (2014). Handbook of research on new literacies (1st ed.). New York, NY: Routledge.
Cronin, B., & Shaw, D. (2002). Banking (on) different forms of symbolic capital. Journal of the American Society for Information Science and Technology, 53(14), 1267-1270.
Faucher, C. (2016). Informal youth cultural practices: Blurring the distinction between high and low. Visual Arts Research, 42(1), 56-70.
Gauntlett, D. (2000). Web. studies: Rewiring media studies for the digital age. London, England, UK: Arnold, Edward.
Gauntlett, D. (2007). Creative Explorations: New approaches to identities and audiences. Oxon, England, UK: Routledge.
Gauntlett, D. (2011). Making is Connecting. The social meaning of creativity, from DIY and knitting to YouTube and Web 2.0. Cambridge, England, UK: Polity.
Grainge, P. (2011). Ephemeral media: Transitory screen culture from television to YouTube (1st ed.). London, England, UK: Palgrave Macmillan.
Humphreys, L. (2018). The Qualified Self: Social Media and the Accounting of Everyday Life (1st ed.). Cambridge, MA: The MIT Press.
Ito et al. (2009). Living and Learning with New Media. Massachusettes, USA: Massachusettes Institute of Technology.
Ito et al. (2010). Hanging Out, Messing Around, and Geeking Out. Massachusettes, USA: Massachusettes Institute of Technology.
Jenkins, H. (2006). Convergence culture: Where old and new media collide (1st ed.). New York, NY: NYU press.
Jenkins, H., & Ito, M. (2015). Participatory Culture in a Networked Era: A Conversation on Youth, Learning, Commerce, and Politics John Wiley & Sons.
Lankshear, C., & Knobel, M. (2006a). New literacies : changing knowledge and classroom learning (1st ed.). Berkshire, England, UK: Open University Press, McGraw-Hill Education.
Lankshear, C., & Knobel, M. (2006b). New literacies: Everyday practices and classroom learning (2nd ed.). Berkshire, England, UK: Open University Press.
Noakes, T. (2018). Inequality in Digital Personas- e-portfolio curricula, cultural repertoires and social media, (Unpublished doctoral dissertation). University of Cape Town, Cape Town, RSA.
Venter, M. A. (2018). Patchworked creative practice and mobile ecologies. (Doctoral dissertation). University of Cape Town, Cape Town, RSA. Retrieved from https://open.uct.ac.za/bitstream/handle/11427/28365/Venter_Patchworked_creative_2018.pdf?sequence=1.
Tuesday, 13 December 2016
Multimodal education for inequality: exploring privilege in visual arts students’ e-portfolio personas #8ICOM
Written for researchers interested in how technological and material inequalities become evidenced in young people's digital personas.
Here's the 19 minute 8ICOM conference talk that accompanied my Multimodal education for inequality presentation. This talk aimed to be a concise overview of my PhD research and its contribution:
"My research serves as a cautionary
tale concerning the inequalities evidenced in visual arts students’
curation of digital personas. By contrast to often celebratory accounts of
teaching contemporary digital media literacies, I describe how the technological
and material inequalities between students at a government and an
independent school became mirrored in digital portfolios.
My thesis’ research
contributions are as an Action Research project that enabled the recording
and analysis of students' differing negotiations of arts studio personas
for up to three years. It included students from very different social
backgrounds with contrasting access to media ecologies for digital
curation. I explore how young people’s e-portfolio styles mirror inequalities
in their digital curations and connections to varied affinity spaces. I also
highlight other challenges youths faced in articulating interest via
e-portfolios. For example, remediating “unofficial” cultural repertoires, such
as fashion and Manga.
In South Africa, just
doing ICT, visual arts or visual design subjects is a rare privilege. The
Department of Education’s technical report on the National Senior Certificate
reveals that a low percentage of students do subjects likely to support
access to study options in visually creative industries. In 2012, Equal Education reported that Cape Town’s schools offering
art or design until grade 12 (Matric) are predominately those serving the middle-
and upper-classes. Anecdotal
experience suggests that very few students have curricular opportunities to
experiment with online content creation. A narrow subject focus tends to
exclude inter-disciplinary productions, such as visual arts students
using ICT technologies to curate their productions. Such rigid silos ignore the
importance of hybridity in domains such as contemporary art or graphic
design. My action research project makes a small contribution to building
bridges between silos.
I helped teachers
develop syllabi that appropriated online portfolios for e-portfolio curation. Online
portfolios emerged in 2003 and visual creatives increasingly use such
services to reach web audiences. Digital portfolios are
used for varied forms of capital exchange: For example, securing academic
and vocational trajectories. Some portfolios also support commercial
transactions, such as auctions or art catalogues. Portfolio portals
provide a resource to develop extensive knowledge about the numerous
domains in visual culture. Visual creatives can also develop in-depth
knowledge by learning from others in digital affinity groups. For
emergent creatives, experimenting with portfolios can help with developing
intent around who they want to be.
My action research
project aimed to enfranchise students with fair opportunities for formally
experimenting with online content creation. I helped two educators appropriate
Carbonmade for their students to produce e-portfolios. E-portfolios were taught
conservatively as an aid to prepare for matric exhibitions. A
Bourdieusian field analysis reveals why: it was easy to source the well-resourced
sites supporting digital media prosumption. By contrast, e-portfolio curricula
had to dovetail with the DOE’s visual arts syllabus requirements. It was
a process to gain approval from the DOE, WCED and to secure buy-in from
educators.
Youth were taught and
assessed on their self-presentation as visual arts students (or
"disciplined" identities) and in organizing curricular showcases.
Students' Carbonmade entries were used by the service’s database in creating
four types of page: A 'homepage', ‘artwork project folder’ pages, an ‘about’
page and ‘search page’ results.
Carbonmade’s use was
part of a broader digital curation process, which Potter defines as new
media literacy involving intertextual meanings and strategies for different
audiences. E-portfolio curricula saw students practice the steps A. to C. of
collation, production and sharing in their digital curations. Twenty nine
students curated e-portfolio; seventeen pupils came from an elite,
all-boys, independent school’s Class of 2012. They were taught
e-portfolios from grades 10 to 12. Twelve volunteers came from a less
well-resourced, mixed sex, government school, where ICT broadband
failure delayed the bulk of my lessons to grade 11 in 2014.
The independent school’s
speedy adoption mirrored its material and technological advantages
versus the government school. van Dijk identifies five different types of
inequality and their properties shaping digital media’s usage. My research
focuses on the material and technological aspects:
Technology wise, the
independent school had a one-laptop-per-learner-policy and conspicuous
consumption of electronics was evident. Varied societies, workshops and
extra-mural leisure activities received the independent school’s
support. By contrast, the media infrastructure available to government school
learners in its Khanya computer lab were old. As an Arts and Culture
Focus school it offered some co-curricular activities, but most students
needed to leave early for safe public transport.
The results from my
sites are not comparable due to these large differences, as well as the
shorter e-portfolio syllabus at the government school. There were also
important differences in students’ vocational interests, with the
government school volunteers being more motivated to pursue visual creative
studies. Working in a creative industry seemed a prized social trajectory to
them. By contrast, many independent school students perceived such choices to
be low in prestige, versus say, finance or medicine.
After four years of
fieldwork I amassed a lot of data and my analysis followed Potter’s (2015) example. He
researched digital curation through a combination of Social Semiotics
and Cultural Theory. Given the potentially strong role of ICT
infrastructure and capital resources on youth’s curation, I added insights from
Digital Materialism (especially Infrastructure studies) and also Social
Interactionism. I also adopted Sen’s (1992) inequality approach.
I did a multimodal
content analysis on the representational and communicational choices of all
students. I then wrote 12 case studies, covering student’s diverse
circumstances and e-portfolio styles. The content analysis revealed particular
patterns in the disciplinary, extra mural visual creative and other
personas at each site. For example in
self-presentation, no government school students wrote self-descriptions
over 10 sentences long or used formal genres. Similarly, informal
mobile genres were used for self-representation in their images. Here,
youth tended to differentiate themselves through the “unofficial” visual
culture personas they shared.
Notable patterns at the independent school included the impact
of strong assessment on students’ presentation of their disciplined
identities, which predominately featured formal styles. Most students added
lifestyle personas to differentiate themselves. Several drew on differentiated
practices in tourism, watersports and music for subject matter.
Students’ contrasting e-portfolio styles marked
their unequal access to ICT infrastructures. The
content analysis showed that youth did not have equal opportunities, but
the formal and extra-mural advantages of the better-off were amplified at both
schools. For example, students from homes supporting “free”
internet access created better organized and more extensive showcases than
under-, or non-, connected classmates. Young people’s disciplinary and
“unofficial” e-portfolio personas evidenced privilege. Youth’s online access for developing academic
cultural capital online could be likened to museum visits. As can be seen
across all these digital curation practices, limited internet access
seriously hampers one’s opportunities to engage with exhibits or in developing
one’s own.
This points to the importance of each young
person’s digital hexis in developing e-portfolio styles. Young
people with a history of access and use of ICT were advantaged in having foundational
digital literacies for e-portfolio curation. By contrast, those
inexperienced with scanners, desktop computers, internet browser use and local
area networks, had to play ‘catch up’ in class.
To situate how
material and technological inequalities become evidenced in e-portfolio
curation, my research links young people’s habituses to their affinity spaces. Each
individual's habitus comprises different habituses. My research focuses on four;
the secondary school habitus, a primary home habitus, a vocational habitus and the mediated
preferences in the digital information
habitus. The secondary habitus links directly to the legitimated affinity
spaces supported in classroom arts studio practices. Other affinity spaces tend
to relate to “unofficial” personas.
Here follows case
studies for five enthusiastic students, who differed in terms of the
material and technological resources available in their habituses and affinity spaces:
A White, independent school
student, George went beyond want his educator expected by using a fine arts
gallery metaphor while closely reproducing the disciplinary identity. His
benchmark example evidenced a fandom for fine art, which was unusual
amongst his peers. George was privileged to attend both international and local
galleries, and also pursued this fandom in online affinity spaces. Keen to do Medicine,
George’s assessment strategy foregrounded his observational drawer and painter
personas to achieve the best possible grades from his markers. Although he
published extra-mural photography and designs to Instagram, Deviantart and
shared them via social networks, George’s assessment strategy avoided
mentioning such “unofficial” accounts in his e-portfolio.
Nathan, was a Black,
government school student. Despite also being a fan of art, Nathan could not
do visual art or e-portfolio production outside class. His digital
information habitus was heavily constrained and this was mirrored in an
e-portfolio curation of four images and a brief self-description. Privacy
concerns also shaped his concise profile and decision not to add a self-image.
Unusual in expressing dissatisfaction with his
e-portfolio at the curriculum’s end, Nathan did ‘not really’ believe his
e-portfolio might support his vocational objectives in design.
Masibulele also attended
the government school. His case highlights some assimilatory challenges that
Black students might face in producing visual arts e-portfolios: a first-language
isiXhosa speaker, Masibulele chose to use English instead for an
international audience. He did not share traditional mixed-media productions
as he perceived that these productions were not what was expected in arts
class. For the same reason, he also did not initially share his fashion
labels’ creations. Despite his educator’s inclusive approach, exclusion
of traditional and fashion repertoires shows how students might conceal
cultural capital from home. This suggests strategies of assimilation in
respect of the predominately taught Western fine arts canon and observational
drawing and painting studio practices. His case also highlights how particular
types of visual culture (surface, media and genre) embody social distinction,
albeit moderated within “multi-cultural” repertoires.
Melissa’s case
illustrates the influence of global youth culture and gendered
strategies on self-naming practices. She used a well-resourced home environment
to explore “unofficial” Japanese Manga, Anime and calligraphy practices.
The influence of Japanese pop-culture was also evident in the pseudonymous
identity choices she made. Such privacy choices reflected shared concerns
with her female classmates about unwanted audiences and the dangers of
cyber-bullying and sexual harassment. Her well-developed digital hexis had a
downside; while she did use a pseudonymous identity, her contact email address
featured her full name. Melissa linked to a separate deviantArt profile
to share Gothic and other interests with potential to be misinterpreted by a
religiously conservative audience.
Kyle’s case highlight
the ease of extra-mural interests dovetailing with dominant cultural capital
being remediated into e-portfolios. A White, independent school student, Kyle shared exclusively resourced sports and
photographic productions that dovetailed with his school's institutional
cultural capital. Kyle could easily access professional photographic and
videographic equipment and focused on ‘point-of-view’ work in extra-mural
productions from grade 11. He took travel photography and combined his
enjoyment of wave-boarding with technicity to shoot and edit professional-looking
videos. YouTube was used to research video techniques, such as
achieving the right frame rates to show a giant wave break. Kyle also used
Flicker to research productions by photographers with similar lenses and
cameras to him.Kyle linked to his Flicker and Vimeo accounts from his
e-portfolio. After matric, Kyle became the most successful prosumer amongst his
peers with over 30,000 followers of his Instagram account and high quality
prints of his work are available to buy via society6.com. While Kyle and
Melissa’s examples show what is possible for young people as prosumers, it also
suggests the reproduction of advantage via high volumes of capital needed to
develop a prosumer identities as a semi-professional photographer or aspirant
animation producer.
I had hoped that my
action research would support new literacies and equality. By contrast,
it seemed to contribute to the reproduction of symbolic advantage: Under-resourced
students did not create disciplinary showcases and faced challenges in
adding cultural repertoires. Well-resourced students created showcases,
adding distinctive prosumer identities, while negotiating their disciplinary
personas with more exclusive ones. While e-portfolio production is still being
taught at the private school, it’s NOT for government school students. That is a pity; both
Masibulele and Melissa used their e-portfolios to successfully apply for tertiary
studies - Masibulele did surface design and Melissa Fine Art. Despite her
passion for animation, Melissa went on to study Fine Art, evidencing the
importance of educational investment in dominant high culture.
Similarly, Masibulele's parents would like him to transfer to studying
architecture.
Both Melissa and
Masibulele are fortunate relative to their government school peers in being
able to progress into tertiary habituses rather than being unemployed. Ironically, despite facing the least challenges in e-portfolio curation, Kyle
and George went on to study outside visually creative industries: George
entered medicine and Kyle business science.
My content analysis and
case studies suggest the importance of material and technological resourcing
in young visual artists’ e-portfolio curations. In
particular, resource-intensive communications may not accurately reflect
young peoples’ intensions and abilities: inequalities in some
teenagers’ digital information habituses meant that under-resourced sign-makers could not fully
express their curricular interests. In addition to missing social
information, inexperience with software also led to mis-identifiers misrepresenting
what youths wanted to express.
As a pathfinder project,
mine has opened up much to explore:
> How can the middle-class underpinnings of the initial pedagogy be adjusted to better accommodate all students?
> How do online portfolio styles change as youth become professionals or hobbyists?
> My research took place in relatively well-resourced English secondary schools, but what about other languages and resourcing?
> Digital portfolios increasingly serve to access tertiary education, but how are they assessed?
> How can the middle-class underpinnings of the initial pedagogy be adjusted to better accommodate all students?
> How do online portfolio styles change as youth become professionals or hobbyists?
> My research took place in relatively well-resourced English secondary schools, but what about other languages and resourcing?
> Digital portfolios increasingly serve to access tertiary education, but how are they assessed?
To close with a
speculative proposition; Bourdieu foregrounded disinterested aesthetic
dispositions as a key marker of Distinction in 1979. As prosumers increasingly make both their
tastes and work digitally visible, are we not witnessing an emergent form of
social distinction, a ‘Distinction 2.0’? Perhaps researching individuals’
distinctive curations of digital personas can provide as interesting insights
into Postmodern societies, as understanding French people’s contrasting
aesthetic dispositions once did in the Modern!
Friday, 8 July 2016
Unexpected ethical challenges in using screen grabs of youths' #participatoryculture productions #visualresearch
Advances in online image and text search may pose unexpected ethical challenges to researchers in protecting the privacy of their participants while sharing visual productions. I mistakenly assumed that depersonalising screen grab imagery would be sufficient to conceal teenagers' identities. However, in testing "depersonalised" screenshots of my participants' online portfolio screen grabs, I learnt that the ever-growing accuracy of text-and/or-image searches (i.e. via Google Image, TinEye, Bing, Pinterest et al.) requires additional steps for dis-identification. Without these, sharing webpage screen grabs can potentially be used by undesirable audiences to locate young people's websites and contact details. Screen grabs may also pose reputation risks in potentially being shared long after participants might want them to be. Both types of risks will be weighed up against the benefits of sharing select students' e-portfolio productions in my thesis. These include visual representations making it easier for readers to become familiar with the online portfolio genre. Screen shots also provide visual support for research themes emerging from young people's choices.
Background to my visual research ethics challenge.
I had developed an original method for multimodal content analysis that used screen grabs to reverse-engineer the choices that 29 visual arts students made in using Carbonmade. To keep the rich nature of my visual data, I analysed these privately using NVivo. I then sought to de-identify select web page screenshots for sharing in conference presentations. I followed a process for visual anonymization, which was not extensive as I wanted to preserve most of the screen grab for accuracy. The anonymizing process involved Adobe Photoshop's blur function being used on several fields of every webpage. This ranged from the web address and portfolio name on every page to all mentions of their name on their profile pages and their contact details. It also involved checking that the e-portfolio's creator was not identifiable from their portrait picture and that no images disclosed their school's identity (i.e. school poster designs or uniforms). To further protect anonymity, image files were titled using pseudonyms.
I also added select screen grab, two per A4 page, into my draft thesis's case study chapters. During their review, Associate Professor Marion Walton advised me to remove screen grabs that might expose its creators to ridicule and also to check the reverse search-ability of all images. She was concerned that these might not be truly anonymised. In checking, I learnt that the depersonalisation measures I took were insufficient. A 'visual specific dilemma' existed whereby my participants could still be traced through the following types of internet searches:
 |
"George", 'depersonalised' About page, 2012. A participant who gave permission for portfolio screen grabs to be shared. |
- An internet text search using text used in students’ self-descriptions under their About Us page;
- An internet text search using the folder titles shown by the screenshots (i.e., in Google, using <e-portfolio software name> + <folder title>);
- An internet search using the image titles shown in the screenshots (i.e. in Google, using <e-portfolio software name> + <image title>);
- An internet image search using the screen grabs (for example in 'Google Images');
- An internet image search of the images inside the screenshots;
- In addition, location information and other information in the case studies and school backgrounds could be used in narrowing image and text searches.
Testing the first four types revealed I had not successfully de-identified several screen grabs.
Ethical concerns and considerations.
This was concerning as it held ramifications for my future and past publications. It also had consequences for the ongoing e-portfolio pedagogy at the independent school research site:
I warned the e-portfolio educator, "Mr Proudfoot", that he should take additional steps to better protect student privacy via revising their e-portfolio pedagogy: my action research project found that teaching students to hide their contact details did provide a false sense of security, since teachers mistakenly believed that this made their students difficult to contact. Simply using students’ real names in online searches quickly served up their social network profiles. Some of these were public by default. Teachers must better support students with resources and examples of effective privacy protection that can at least minimise the dangers of ill-considered self-disclosure. This could include case studies of bad examples and in-depth advice on constructing pseudonymous personas. Schools should also provide support, such as policies and staff that young people can readily refer to in case of unsolicited online contact.
I recently asked an ethics expert about protecting students' privacy and his advice contrasted to the cautious visual research feedback that I expected. He advised that since the screen shots are of web pages they are in the public domain already, I actually do not need these students' permission. Despite it not being a legal or institutional requirement, I remain mindful of the assurances that I gave to schools and students on protecting the research participants' privacy. Such assurances helped me overcome one challenge in securing ethics approval from the Western Cape Education Department/Department of Education and my two research sites. I am also aware that only a few of my case study subjects responded to Facebook or emailed requests for retro-active permission to publish anonymised screenshots in my thesis.
My concerns around potential disclosure and lacking participants' explicit consent resonates with Prosser, Clark and Wiles' (2008) contention that concrete contextual issues and a researcher's individual moral framework must be added to legal and institutional requirements in making ethical visual research decisions. The risks to participants associated with disclosure may be small, but it does not sit well with my moral compass that the screen grabs in my thesis might provide visual evidence for subverting past assurances. Particularly now that the thesis itself is easy to source and search. In the past, the provision of UCT thesis hardcopies were mostly limited to its library. However, these are now automatically digitised for sharing post-graduation online via the library's website (and possibly Open UCT). Further, since I have already shared many screen grabs online in conference presentations, I must also explore reciprocal measures to protect my participants' privacy. For example, by replacing the screen grabs I shared in old presentations with properly anonymised ones.
To find out how other researchers have tackled the problem of depersonalising screen grabs, I did Google Scholar searches for guidance on anonymising 'screen grabs', 'screenshots' or 'screen captures'. I could not find relevant content, which seems to mirror the reality of screen capture techniques being mostly used for exemplars rather than in the research process itself. Lacking a matching example to follow in visual culture research, I found Dr Kirsty Young's discussion of her research experiences with young people's online spaces (2013) particularly informative. It highlights several ethical dilemmas posed by new forms of research enabled by the internet.
My research project is unusual in being human subject research focused on public texts. It is the former as I have been involved in developing a new syllabus and doing face-to-face research with youths throughout e-portfolio lessons. However, I am also researching public texts since all my participants Carbonmade portfolios have no privacy restrictions. Given its unusual position in straddling both methods, I cannot expect unanimous agreement in the academic community regarding how the ethical principles of consent and anonymity pertain to my study. The public text argument versus one for the more onerous rules governing human subject research could easily be argued in both cases. This may pose unexpected problems for the publication of my visual research data. If research data cannot be shared it becomes redundant, which itself is unethical in wasting participants' time (Young, 2013).
In response, I must be cautious and take steps to ensure that my project's ethics in sharing screengrabs cannot be faulted from a human subject research perspective. While all participants and their parents/guardians consented to my research, some were only asked after my fieldwork concluded for permission to re-publish their work. I had not considered the future need to use young people's webpages publicly in academic publications. Given that the webpages are the intellectual property of their authors and that their content would be displayed more widely than the youth possibly intended, I intend to secure written consent for their academic use. This consent will address the timespan that informed consent is given for and afford options for the level of anonymity required. I will show my case study subjects examples of their dis-identified webpages to assist their decision-making.
My research project is unusual in being human subject research focused on public texts. It is the former as I have been involved in developing a new syllabus and doing face-to-face research with youths throughout e-portfolio lessons. However, I am also researching public texts since all my participants Carbonmade portfolios have no privacy restrictions. Given its unusual position in straddling both methods, I cannot expect unanimous agreement in the academic community regarding how the ethical principles of consent and anonymity pertain to my study. The public text argument versus one for the more onerous rules governing human subject research could easily be argued in both cases. This may pose unexpected problems for the publication of my visual research data. If research data cannot be shared it becomes redundant, which itself is unethical in wasting participants' time (Young, 2013).
In response, I must be cautious and take steps to ensure that my project's ethics in sharing screengrabs cannot be faulted from a human subject research perspective. While all participants and their parents/guardians consented to my research, some were only asked after my fieldwork concluded for permission to re-publish their work. I had not considered the future need to use young people's webpages publicly in academic publications. Given that the webpages are the intellectual property of their authors and that their content would be displayed more widely than the youth possibly intended, I intend to secure written consent for their academic use. This consent will address the timespan that informed consent is given for and afford options for the level of anonymity required. I will show my case study subjects examples of their dis-identified webpages to assist their decision-making.
Additional steps for depersonalising or anonymising screen grab images
Given the ready availability of image search sites and image reverse search applications, it is important for researchers to take steps to fully depersonalise images for participants' anonymity. As web page design is multimodal, it is also important that researchers filter both images and text. For example in my research into students' e-portfolios, I had to avoid mentioning folder titles verbatim in my thesis. I also must try to avoid quoting students’ profile descriptions verbatim for longer than three words.
The two alternate options (A - B) I tested for depersonalising screen capture images were:
A. Black out all text and replace profile image with silhouette outline
 |
| Option A. "George" depersonalised About page with with all text blacked out and profile image in silhouette outline, 2012 |
All text is blacked out, making it impossible for viewers to copy text strings in their searches. The blurred outline image is replaced with an outline drawing to add some visual information.
B. Only add depersonalised screen grabs at small thumbnail sizes, organised inside tables
Here the size of each image is reduced to a thumbnail size for making their recognition via reverse image search more difficult. I tested each option in reverse image search engines and neither options A nor B produced results linked to its creator, let alone Carbonmade.
While the process of dis-identifying over 80 images will be lengthy, I am pleased that I can use heavily anonymised imagery, rather than none. In addition to changing these thesis' images, I must also reciprocally update them in old presentations, which need then to be reloaded to Slideshare.
Request for comments... or turning this post into an academic paper.
This post was written to stimulate discussions on ethical issues related to the use of screen grabs.
It heeds the call to engage the general internet publishing publishing population in debates about the use of content for research purposes as this can ensure the ethical use of online content, (Young, 2013). Kindly add your thoughts by commenting below.
 |
| Option B. "George" de-personalised e-portfolio pages from 2012 reduced into thumbnail images in a table |
Here the size of each image is reduced to a thumbnail size for making their recognition via reverse image search more difficult. I tested each option in reverse image search engines and neither options A nor B produced results linked to its creator, let alone Carbonmade.
 |
| Google image search result for option A's image, 2016 |
 |
| Google image search result for option B's image, 2016 |
Both options enabled sufficient levels of anonymity in their results being linked to generic software entries. I then tested what would happen if a thumbnail image of student's work was selected from the table of thumbnail images. At such a small size, the highly-pixelated image results did not link back to their creator or Carbonmade during a reverse image search.
 |
| Google Images result for "George" depersonalised thumbnail painting crop 2016 |
Request for comments... or turning this post into an academic paper.
This post was written to stimulate discussions on ethical issues related to the use of screen grabs.
It heeds the call to engage the general internet publishing publishing population in debates about the use of content for research purposes as this can ensure the ethical use of online content, (Young, 2013). Kindly add your thoughts by commenting below.
There is also a gap in the literature concerning ethical issues related to sharing screen grabs of young people's participatory culture as research evidence. If you would like this post to be upgraded into an article for helping close the gap, please get in touch. For updates on my research, follow this site or @travisnoakes.
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