Designs of Learning and the Formation and Transformation of Knowledge in an Era of Globalization

Abstract

In this article, the formation and transformation of knowledge and the role of designs for learning will be elaborated and discussed in relation to the introduction of national curricula and school textbooks during the beginning of the industrialized era vs. the introduction of individual curricula and new digital learning resources in the postindustrialized era of globalization and multiculturalism. Quite different teaching and learning strategies have been emphasized, which I will call here ''designed information and teaching'' vs. ''designs for learning''. It seems obvious that our current society is in a stage of change that requires a new understanding of knowledge, learning and identity formation. The new position and role of the learner underlines the productive and constructive aspect of learning. Pupils not only read texts, they also produce texts, pictures, film and music and they compile and edit virtual texts. Multimodal texts, as well as the information flow of the Internet, are the consequences of, and at the same time a vehicle for, new social patterns. ''Learning Design Sequences'' (LDS) is introduced as a theoretical map for the purpose of analyzing critical incidents in (a creative) learning process, using different genres, modes and media in a process of meaning-making.

Formal Learning Sequences and Progression in the Studio: A Framework for Digital Design Education

“…Learning in the studio is often aligned with theories on transformative learning (Boyd & Myers, 1988;Selander, 2008), experiential learning (Kolb, Boyatzis, & Mainemelis, 2001), and symbolic interactionism (cf. Blumer, 1986).…”

“…Communication and peer-topeer interaction are critical aspects of a design-based learning environment. Indeed, communication as "making meaning" is conceptually close to design, which is seen as a way to configure social interaction and communicative resources (Selander, 2008). In this light, a user-centered design process -where emphasis is put on transparency, communication, user control, and participation (Löwgren & Stolterman, 2004) -is a promising candidate for not only a rigorous design process (Garrett, 2010), but also a highly suitable process for learning and making meaning (Selander, 2008).…”

“…Educational initiatives aiming to teach digital design need to evolve with the field and resonate with not only declarative academic requirements, but also the procedural craftsmanship and reflective qualities of design practice (Kolko, 2011;Schön, 1983;Selander, 2008;Wärnestål & Lindqvist, 2013). As theory and design practice are being revitalized in this context, there is room for improvement in how we prepare students to deal with these sorts of problems professionally.…”

“…This ability is increasingly being required by professional digital designers the coming decade and beyond (Kolko, 2010a). The contribution is a theoretical framework for formal learning sequences and progressions that can be used by studio course instructors as a tool for systematically increase the design challenges in and between studio courses, as well as a model for implementing transformational learning sequences (Selander, 2008).…”

Presenting as a matter of design – exploring designs for learning

“…I consider this kind of design theory useful in understanding sign-making activities like the reception. The perspective also stresses participants' creation and production (Selander, 2008d) and thereby connects to reception as a form of presentation. The theoretical point of departure is Selander's (2008a, b, c) model of a formal learning sequence (see also Åkerfeldt, Benyamine, Selander & West, n.d.;Selander & Kress, 2010) where presenting is a final part.…”