Innovationin technology-enhanced learning (TEL) is a complex process that requires the active involvement of diverse actors. This paper elaborates on two design innovation approaches that call for the active involvement of stakeholders: co-creation and co-design. While co-creation and co-design are well aligned, they are rooted in different traditions. We argue that co-creation and co-design can contribute to TEL innovation, and we present a design research case based on a research and innovation project that uses co-creation and co-design to innovate in science learning outside the classroom. Based on a qualitative analysis of the project co-creation and co-design outputs, we elaborate on the key differences between co-creation and co-design and highlight the main implications these differences have for TEL innovation.
In recent years, digital fabrication, and especially its associated activities of 3D design and printing, have taken root in school education as curriculum-based and maker-oriented learning activities. This article explores the adoption of 3D design and printing for learning by fourth, fifth and sixth grade children (n=64) in multidisciplinary learning modules in elementary school education. School-coordinated 3D projects were not led by design experts, such as art and design teachers, designers, researchers or technical specialists, but run 'in the wild' by school teachers. The study was conducted by using an ethnographic research design, including field observations, non-formal interviews and a reflective questionnaire. The results indicate that, in the adoption of 3D printing activities, learning is centred on the technical skills and the usage of 3D tools. Hence, the elementary ABCs of 3D printing do not achieve the full design and creativity potential of digital fabrication that earlier research has suggested. However, the results do have implications for the potential of 3D printing projects to increase children's empowerment. In their current state, 3D design and printing are some of the learning tools, among others, and similar achievements can be achieved with other hands-on learning technologies. In order to enhance the learning of creativity and design thinking skills, 3D activities in school should be planned accordingly.
This article explores ‘quarantine art’ – an Instagram challenge of recreating well-known artworks in self-isolation for the consumption of others – to investigate how people come together on social media to form an aesthetic tribe of consumer-producers. Drawing on a mixed-method qualitative approach, it presents netnographic observations and participant interviews subjected to representational and non-representational analyses. The findings illuminate the broad assemblage of visual arts, crafty practices and social media affordances that allow for a new communal expression, an aesthetic form of being together, and an emancipatory embrace of the ancient ‘maternal’ trope. That is, a new type of female subjectivity is brought to the fore – one that, separated from its ancient predecessors burdened by ‘caring for others’, celebrates aesthetic expression, nurturing and caretaking as a means to break down isolation. Overall, this study offers a feminist post-postmodern reading and elaboration of research into consumer tribes and virtual communities gathered around art, culture and aesthetics.
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