Mar 252014
 

Today I am delighted to have been asked to liveblog another of the ARTIST ROOMS Research Partnership events, this time hosted in collaboration with Generation: 25 Years of Contemporary Art in Scotland, a forthcoming exhibition at the National Gallery of Scotland.  The seminar has been organised by ARTIST ROOMS and engage with funding from the National Lottery through Creative Scotland. Tweets can be followed on the wider #artistrooms hashtag.

The event, Gallery Education: Developing Digital Resources, is of particular interest to me as EDINA lead the development of a number of innovative digital resources, and I’m particularly interested to hear more about some of the challenges of digital resources around the arts because of our own work on the Jisc MediaHub service.

As usual this is a liveblog so I apologies in advance for any typos, omissions, etc. and welcome all comments and feedback on the post. And if you enjoy today’s post I would recommend looking back at the MOOCS in Cultural Heritage Education liveblog, which now has a number of additional resources and references added. 

Welcome – Sarah Yearsley, engage 

Sarah Yearsley, engage, the National Association for Gallery Education

Sarah Yearsley, engage, the National Association for Gallery Education.

Today is the second event that ARTIST ROOMS and engage have collaborated on looking at digital learning, and part of a series looking at best practice. We also are running the event in collaboration with GENERATION: 25 Years of Contemporary Art in Scotland, which is running events across the country. This is a busy year for ARTIST ROOMS. Engaging with young people is a common theme when we talk about engaging with young people in the context of both ARTIST ROOMS and GENERATION.

Welcome from Damien McGlynn, ARTIST ROOMS.

Damien McGlynn, ARTIST ROOMS.

Damien McGlynn, ARTIST ROOMS.

Damien is giving an outline of the day which will include two discussion groups and an opportunity to see the Louise Bourgeois exhibition, and to play with the Art Hunter app and my colleague Tessa, who produced that, is also here today.

We are running this event with several partner organisations: ARTIST ROOMS, GENERATION and the ARTIST ROOMS Research Partnership. Our colleague Professor Neil Cox from Edinburgh University is here today so do ask him any questions about the research partnership. Now over to Rosie who will chair the morning session.

Morning session: Mapping the terrain and producing content for your audiences.   Chair: Rosie Cardiff, Senior Producer, Tate Digital

Rosie Cardiff, Senior Producer, Tate Digital

Rosie is giving some background on her role, looking after much of the digital learning content on the Tate website. I also manage a small team that manage the Tate Kids and Tate Collective (resources for young people) part of our site, I just wanted to highlight these learning resources. One of these is Circuit, which is working with young people across the country, the website launched recently but will be showcasing digital content produced by young people over the next four years.

Another project which I thought might be of interest, done with Tate Collectives – a young peoples space around the galleries, where we did the 1840s GIF Party – GIFs based on the 1840s gallery. We provided training on how to make the animated GIFs. This was hugely popular. The girl in the grey dress has had over 77k reblogs, but we have also seen a huge spike in interest in the painting itself in the gallery as well.

So those were a couple of projects I wanted to highlight – but do talk to me during the day and ask me about the projects we have been up to recently at the Tate.

So now over to our first speaker, Jen Ross, who is director of the MSc in Digital Education, and also a tutor on the eLearning and Digital Cultures MOOC, which I have had the pleasure of doing and really enjoyed!

Content is just something to talk about: designing for active online learning’ – Jen Ross, Programme Director, MSc in Digital Education, University of Edinburgh

I’m not sure I need to do anything now that Rosie’s shown the work that Tate has done to engage people digitally in the collection… I will be talking about how we do that at the University of Edinburgh. Really the thing that I want to say, my contribution to this day, is “yes, content is amazing, but content is really just something to talk about” whether thats online or face to face in gallery or schools spaces. I will talk about what you can do in the online space, as sometimes its easy to think about what we might do in a gallery or a face to face space just because

“Conversation is king. Content is just something to talk about” – Cory Doctorrow

Jen Ross, Programme Director, MSc in Digital Education, University of Edinburgh

Active learning has been a huge movement in teaching and learning spaces. You see spaces where learning takes place around tables – like today – rather than lecture theatres. And digital spaces can be a way to encourage that active learning without needing to reconfigure the space. the barrier to creativity is lower when we talk about participating digitally. And you can really evidence that work you do with people – the Tumblr page that Rosie showed is an exceptional way to evidence the impact on young people they are trying to reach.

So as you think about these spaces today I want you to think about these spaces and how they can be connected, intimate, busy, creative, exploratory and inspiring. Its not just about putting content in the digital space.

So I wanted to show you some good examples of work that our students have done around digital creativity. We have a module “e-learning and Digital Cultures” which is part of the MSc in Digital Education. This was the starting point for the MOOC, it was also the first module we had run that was entirely openly shared – students had to be enrolled but what they produceed was all shared openly online. And we really asked students to make multimodal work, to express what they had engaged with in the course. So in 2013 we asked our small masters group to engage with the much huger MOOC course and how they had encountered that. So people made videos, they shared things on Pinterest, we had people creating visual people and making interpretations around the. And also using onlione resources that only exist online – for instance “ThingLink”. Some of our students are really digitally savvy, but even those who are not can use the big list of interesting resources to create engaging materials.

That process worked really well and so we set, as a final assignment on our 5 week free global #EDCMOOC course, we also asked for multimodal assignments. Not everyone commits to the course throughout but those who did were asked to create a digital artefact, which was peer assessed by others on the course. And we have gathered these publicly. So this padlet I’m showing represents only about 300 of those produced but it gives some sense of scale. But if you ask people to create things they really respond.

Image showing the padlet of #edcmooc artefacts

I also wanted to show you a trailer for a game which some of our students on our game based learning module did, “Tomorrow Calling Trailer”, this was so much more than was required for the credits for the course. If you give students the right content, and something to create with some relevance to them personally and/or professionally, than they really do respond.

This Open Badges and Open Accreditation open education resource is something that was produced for my module Digital Futures, and again this is so much more than you would expect in a postgraduate essay, and it’s lives on beyond the class.

Sometimes students go further still. And here we see a multimodal dissertation (multimodaldissertation.weebly.com). When you open these avenues up, then you really see unexpected things like this take place.

This is our Dissertation Festival, which takes place in Second Life. This is a space for collaborating and sharing experience with each other. These kinds of spaces and collaborations are another way to think about what you can do in an online space which are not about just creating new content or resources. A Digital resource can just be about making a space for interaction, a space for people to work together.

And this is a project that some students did, totally separate from their coursework, asking students learning online to reflect on the playlist that has inspired their work (www.elearnenmuzik.net). Again these are projects emerging from the context of the Digital Education programme, but come out of people engaging in digital spaces and being involved in things that they are interested in.

So what I want to leave you with… whatever you are thinking about or planning, do think about not only good content or resources but also how it can be a great active learning space for your learners, for your audiences.

‘Digital fear & beyond’ – Rohan Gunatillake, Co-producer, Sync

And now over to Rohan, co-producer at Sync a collective supporting technology and the arts, and he’s also been working in the Digital R&D fund for the arts:

What I’m going to do is talk about… well I don’t have a background in education but I have spent the last four or five years working with arts organisations and technology and digital. And talk about some of the issues either supporting or getting in the way of really interesting work in the arts. A lot of that for me is about recognising that working with digital technologies isn’t about technology, but about people.

Rohan Gunatillake, Co-producer, Sync

The story sort of begins… I moved to Scotland four years ago. Mainly for love, but also because I got a gig with the Edinburgh Festivals! I came to start a project with the Festivals called the Edinburgh Festivals Innovation Lab – Edinburgh Festivals is the group of both the very big festivals and the smaller and much more niche festivals. The question we have here was that, like you, these are great organisations and very busy and in the domain of innovation and digital practice they are doing what they think they should… but where are the other opportunities? What other possibilities are there? What have they missed? So I was looking across the 12 festivals to look at that. Some worked well, some worked less well but all were really useful for trying new ways of working.

One of the big core things we did with the festivals was that obviously the festivals are a rich resource… and Edinburgh University has generated a great technology and start up scene… but they didn’t talk to each other. So the thing Sync is best known for is for the Culture Hack Scotland 2011 which was this big event to bring these groups together. Scotland is not a big enough country for those sectors not to be talking to each other.

And then Creative Scotland liked that festivals work… and wanted us to do that across Scotland. So we had a two year project called Sync and again this was about creative relationships, not just transactional relationships. And we carried on running the Culture Hacks – these are 48 hour opportunities for technologists, producers, artists, arts organisations, all getting locked into a room to create stuff. Amazingly each year people come and about 30 projects get made. And we have supported that with the Geeks in Residence programme where we’ve taken developers to arts organisations from the Royal Opera through to arts organisations in Eigg. We wanted organisations to see what it would be like to have a technologist in your organisation, in your building coming up with ideas and projects specifically for you. And that’s been really interesting and challenging. We’ve also created this magazine, Sync Tank, highlighting this type of practice across the UK and across the world.

I have also been working on the Digital R&D Fund for the Arts – this runs in England and Wales, and on a smaller scale in Scotland – which funds experimental projects (about 60 each year) around galleries, often around education as well. I am a “learning partner” – I listen across all the projects and pick up the themes and the big stories, and tell the story of that to the wider sector. We do that through the website and also through a print magazine which will be printed in the summer.

Even summarising the insights from Sync takes a long time so I just wanted to highlight three things coming out of these three strands of work. And these are in the context of what makes the most

How we are arts organisatins can move past the commissioning mindset. The pastiche of how the arts work with technologists or digital agencies is that, I give you £5k, technologist goes back to studio in Leith. And when they come back everyone is unhappy. That’s been how we have commissioned in the past, often about websites. Often these projects are approached like physical builds – big plans, fundraising, and unexpected ongoing costs. That’s the pastiche. What Sync – and others – have tried to do is to break that. Sometimes that is the right approach – if you know what you want to achieve and have requirements to deliver again. But when we see the kind of experimental work Jen was explaining, the Tate Digital world… where do those ideas come from? How do you assure that those are strong enough ideas? Sometimes your team can do that, and that’s great, but often the best ideas come from conversations with others coming from another perspective, an outside point of view. We can easily think our audience want the same from our work as us. So arts organisations can feel that metadata is really interesting – really useful for them but is it what people want to do? Maybe a niche! So you need to try to establish what users really want. We’ve seen that where that really works, two things happen. Firstly the organisation lets the digital talent to bring their intelligence into the room in a really open way, not just give them things to do. So in our Geeks In Residence programmes I went and interviewed directors of the organisations wanting a Geek, they talked about collaboration, and when the Geek showed up they closed into a commissioning mindset. We used the mindset that if you have a photographer in residence you wouldn’t tell them what to take, what lens to use, what shutter speed… as they began to understand that metaphor, that you would never do that, then something more constructive could take place. So as long as you think about what you want to achieve, but not be too perscriptive, that goes well. And the other thing that works really well is co-creating with audiences, involving them in the design process. And we’ve seen Unlimited Theatre doing fantastic work here. That’s one big message.

The two cultures thing?. We like to tell the story of technology and the arts as being two cultrues… but what I notice in practice is that the clash of cultures is actually the “deliver the project” methodology that people are using. I said people approach digital like capital builds. there is a gantt chart or basecamp… that’s how they see digital project delivery. But there is another part to the process in start up and web culture around prototyping, iterating, testing in public, taking feedback to improve. That iterative model is very different approach. It’s like Prince2 versus Agile. What we have found is that some arts organisations really understand that… they are used to the culture of the rehearsal room, to creating that way. Others are cautious, if not terrified, of showing something half made in public. Because of how they normally present work. Agile and Lean are thrown about but if we want to successfully do that stuff, it can require a different mindset.

Digital Fear. Part of what Sync does is take people out to drinks. Once every three months we invite four or five people running arts organisations out for a drink, with an invite along the lines of “when it comes to this digital stuff, the common complaint is I don’t have time or don’t have money. Tell us what you really feel”. That invitation tries to create as a conversation… the Festivals work was around a big data project, technical challenges that were solvable, there were business issues which we solved, and then we still had the “I’m just not quite sure about it” factor – the emotional part. And thats the most significant and most under talked about part of digital innovation in the arts. We call it Digital Fear. What comes up in these conversations re things like “I’ve been an expert in my field for 20 years, now I’m not an expert”, “I speak to the web developer and I feel like I’m talking to  my children”. That’s real stuff. That’s messy emotional gut stuff that is much harder to solve than the business or technical challenges.

As a coda to my kind of “drunk uncle” speech/provocation here… we are a relatively small player, we’ve been invited by Creative Scotland to bid for another two years, and we are placing three things at the heart of our proposal is:

  • Practice – if whatever digital work you are doing isn’t about your core practice then you will never get senior buy-in. If it’s not about what’s on stage for you, then that’s not what you should be doing. How are digital tools changing your core practice?
  • People – it’s the people who actually make the work. You hear about amazing work but behind all great digital projects is a very tired and very brave digital person!
  • Process – we often talk about projects… but the risk is that if you just fund projects we just have lots of nice projects but no organisational or sector embedded learning. So how do we embed innovative learning and processes into our organisations. This is a much more sustainable way to build this stuff – the teach a man to fish idea.

So that’s Sync, and that’s us… thank you!

Discussion group one: Audiences and digital content

We are now moving to discussions in our groups (I’m on the Purple table) so notes here will be sparse as we get chatting but I’ll be capturing the reporting back to the room shortly.

Rosie is introducing our discussions here drawing the sheet on each asks us to consider:

  • Who is your target audience?
  • How will you measure the success of your digital learning project?
  • How will you produce content for your audience? Can you repurpose existing content?
  • How will you engage and interact with your audience? Where will that be?
  • What will the ongoing legacy of the project be once it is produced? How will it be maintained and sustained – not just technically but to keep things fresh.

So, we will be thinking about and discussion these for the next 50 minutes. And I’m sure anyone reading the blog today would be encouraged to do the same and to tweet any comments to the #artistrooms hashtag.

Discussion group sesstion

Some thoughts from our group:

We have been talking about our own contexts and backgrounds, and the kinds of projects we are working on. There is a fairly common focus on young people so we are just unpacking that a bit: thinking about how to make young people feel welcome in the space, using the right language for young people, the use of the right spaces (such as Tumblr, Twitter, Instragram, and custom websites) and a focus for young people as co-producers in these space – posting to the accounts for the night etc, and to some extent training young people in the skills and confidence to use these technologies, and the meaning of doing so on behalf of an organisation (professional skills). Ownership and active contribution are being flagged as the most effective way to create better digital projects, and to build ambassadors in those groups.

Some discussion of practical issues and kit: phones, ipads, that can be used, laptops within the office – but the logging on/take over of accounts takes place when they are in our spaces – we log them in. Discussion of a real sense of caution about how acceptable that stuff is, how much control the organisation can and should have, and what challenges some submissions can raise – do you show critical work? what is the impact of that? Can raise really thorny issues, so you need processes in place to deal with that. The more you involve your audiences, the more those issues are raised. When content is out of copyright, this stuff can be easy, but often you are much more restricted than that… that area of IPR is tricky. You cant let people use the artwork, maybe they have to be inspired by it instead… you have to think laterally. And then when you do ask for contributions you have to have clear guidance, clear terms, ways to ensure that any clear problem can be dealt with but there are lots of grey areas.

We are now discussing the types of projects we might have in mind… one of our participants talks about schools groups coming to a museum in the same building, but not tending to come to the gallery. And real challenges around creating materials for teachers during the time ever changing exhibitions are running. But a recommendation: Group for Education in Museums, part of the Scottish Museums group, which are the generic resources/activities called “Hands On” – a downloadable PDF. And Glow also offers potential – you can bring an archive to life, getting artists to talk about their work – almost creating little programmes, setting a series of challenges. Glow Meet works really well as it’s live and interactive and at the end there are resources to explore. An online platform to use… but it hooks in pupils but also teachers and parents now primed for involvement. But schools work is obviously working with the teachers, not necessarily the young people. But there are also new youth arts club ideas that take it out of formal spaces… that’s happening this year. There will be 12 hubs around Scotland, a different way to connect with young people. Also Code Club (for 9-11 year olds) learning online coding, also apps. We have kids using Scratch, and now HTML, and working with an online gaming company whose staff volunteer – as part of staff development. That company are now looking at accreditation. But code clubs are free to do, need to be volunteer run, there are free resources to use. And it seems effective and really creative – lots of ideas and collaboration taking place, a whole group to continue working with… skills based and bipassing and teachers’ own Digital Fear. And it gets interesting as the youngsters start encountering code used in industry.

And we are moving onto the idea of measuring success and how one might do that… depends on the aims, and how clear those are. And about what the audience thinks is working for them, what they would change, how they feel about it. Changing attitudes in an organisation can also be part of what you are measuring. Also discussion of Retweeting young people’s comments, using texts to reach people. Discussion of what counts for an organisation – just about the physical space or can organisations appreciate online engagement? How does that take place? How is that measured? Are likes etc. useful? How do you reflect richer interactions and what ways can you find to encourage that. Discussion of how to stay cool – Tumblr is engaging but niche, Instagram is big, Google+ Hangouts offer great opportunities for live Q&As.

Questions and Feedback

Red Table: we talked a lot about young people as our audience. We talked about finding platforms to use, in consultation with groups. We also talked about working with groups for longer periods of time, and leaving space for platforms to be changed or developed over time. Copyright came up in relation to the challenges of engaging with modern contemporary art.

Blue Table: we talked some of the projects taking place, particularly the GENERATION projects. The audiences often quite different as within gallery sector and artist educators. Talked about th eneed to provide something to different, not to replicate what you do, not to replicate what others are doing – e.g. why would we replicate MOMAs online courses. We talked about successes and moving away from the idea of numbers, and followers, and hits, but instead the quality of engagement. Hard to do, people don’t always comment or respond. It can look like you are failing – people can have a good experience without feeding directly back to you, so we talked about how you can understand that people enjoy what you do. And we also talked about organisational change and cultures. Also talked about the time and cost and challenges of suiting multiple platforms. And also social platforms – how we interact rather than push things out, and how that builds your organisations reputation. Also briefly talked about legacy – short term digital and social contractors result in expertise just leaving with the person.

Yellow Table: talked about sometimes the need to use digital is communicated, rather than the use of technology coming from the audience, and being about their experience. About focusing more on content than on technology delivering it. Some digital fear. Real feeling that many of the stats funders require are not actually that useful, that qualitative feedback is key and that there are better ways to capture that stuff. Then there was also the feeling that once digital content is out there you can find unexpected audiences…. seen to be a good thing but then do we respond to that… do we have more opportunity to learn from that inside of a  project – not just use in the next one. Lots of interest in Geek in Residence approach, the scariness of iteration too though and the organisational change required for that to work.

Green Table: We had a fairly wide ranging discussion. One thing that hasn’t come up yet… a kind of internal issue that we can be quite object focused, that the engagement with a particular object and the mediation of that encounter with the object. Lots of work already there but more to be done there. Talked about some local authority challenges – how things like ARTIST ROOMS or GENERATION can create opportunities for trying things out, to feed into other projects. Words like “risk”, “trust” and a fear about sharing a not fully formed project or website, that can be quite scary particularly in this economic climate. And we did mention the word copyright.

Purple Table: We spoke quite a bit about audiences. The majority of us were working with young people, schools or teachers. And the challenges of that. And talking about what success looks like – is it museum or gallery footfall? Or can you change organisational culture to count those engaging online, what does success look like there. And we also talked about some of the challenges of asking young people in to participate – and what happens if contributions are critical of your organisation or of your funders and how you deal with that. Also some concerns around very quick turnaround exhibitions,lots per year, and how one can generate content or resources to meet that schedule – and the possibilities of generic resources to help in those scenarios. Also talked about platforms… maybe drift from Facebook, where are young audiences going… and the potential of Google Hangouts – guiding people around a space at a distance. We had on our table some people who don’t have collections to work with, some fully formed apps, through to young peoples groups. Real diversity there so real opportunity for more sharing around these models.

And now more questions and discussion:

Q1) I wanted to ask about “bring your own devices” – I’ve heard schools talking about not investing in hardware but encouraging their students to bring their own devices…

A1) We allow students to bring their own devices, but have a device pool for accessing our app on site as well. It’s just launched so will be tested this summer.

Comment) Nick would just like to mention the Warhol MOOC with Glyn Davis, from the school of design. For those that want to try that technology.

And now we will move into the lunch part of the day…. so the blog will be quiet again for a wee bit!

Lunch – An ARTIST ROOMS exhibition Louise Bourgeois, A Woman Without Secrets will be on display in Modern One (Scottish National Gallery of Modern Art).  In-gallery ArtHunter app demonstration will also be available.

Image of Damien demonstrating how the app works on an iPad outside the New Acquisitions exhibition.

Damien demonstrates how the app works outside the New Acquisitions exhibition.

Image of a group Testing out Art Hunter at the Scottish National Gallery of Modern Art

Testing out Art Hunter at the Scottish National Gallery of Modern Art

Welcome back, Christopher Ganley, ARTIST ROOMS

So I just want to welcome everyone back with some thank yous. Thank you to Nicola for blogging today – we will circulate the link after the event. Thank you to Rosie, Rohan and Jen for this morning’s session. And above all a huge thank you to our funders for making this event possible.

Afternoon session: Marketing and evaluating digital resources – Chair: Tessa Quinn, Head of Digital, National Galleries of Scotland

I wanted to start off by talking a bit about what we do. We are quite lucky in having a digital team. We’ve been doing things including the Art Hunter app, and  the Titian and Diana iOS7 App for iPad, that latter was something our funders were really keen for. We are also creating a mobile version of the website, and that has included some changes and decision making around the website. I have also been developing a Digital Engagement Strategy and there are four key areas of that: Working collaboratively within and outwith the organisation – digital is no longer just for the geeks but about part of the mainstream; To Open up our collection; To grow our audiences; And to increase income.

Our strategy says we want to grow our audience by learning more about them. We did talk a bit about analytics, about what is or can be useful. And we want to know them to design for them, not for what we think they want. And with all this learning, we need to take some action. So you need room to look at your learning, look at your analytics, and look for possible change and improvement.

Tessa Quinn, Head of Digital, National Galleries of Scotland

Even though we have a digital team doesn’t mean that we don’t learn or make mistakes…. what we found useful was WeAreCulture24 Action research – they brought organisations together to talk about sharing analytics across 22 organisations. It allows you to see the differences and similarities across the sector, across the organisations. I highly recommend the report “Lets Get Real 2” – and we really started to learn how to learn. When we look at redesigning the homepage we learn from where people click. Every department wants a page there but that’s not how visitors actually use it… and that’s about coming up with a question, then seeing if the numbers will give us an answer.

One of the things that we are trying to learn is that for ten years we have been trying to build digital content, some great stuff… but we are terrible at telling people about these products, making sure they find them… its something we could be much better at. And with that in mind I want to introduce you to David Craik Director of engagement consultants Bright Signals, he’s also formerly head of marketing for S1.

‘Agile Marketing’ – David Craik, Director, Bright Signals

I’m going to talk today about Agile Marketing – a good marketing buzzword (because it is). I will tell you a wee bit more about what we do. We set up Bright Signals about four years ago. We really create content. We do digital marketing for Tennants lager, working for Channel 4 for the Commonwealth Games, working with Ambition Scotland, also the National Piping Centre.

Hopefully what I’ll get across today is that marketing is really changing. The days of pushing and cajoling are over. Marketing is about giving people what they want, content they want and enjoy. Either we all work in marketing, or – maybe a better way to think of it – none of us do!

So we are about lots of creativity, but there is also increasingly an expectation that we can measure everything. There are many more channels than we ever had in the past. The pace of change is very fast! So one approach here is Agile Marketing. So to explain what this is… a history lesson… way back before 2001 most IT projects were based around bamboozling Gantt chart. And as digital began to explode it became clear that this “waterfall” approach didn’t work for digital – they were delivered late, over budget, and worst of all they didn’t deliver what users wanted. So a bunch of techies in California came up with the Manifesto for Agile Software Development. This set out principles that highlight flexibility. Away from that idea of project management, structures, etc. towards this flexible stuff. Did it catch on? Yes, it really did. Google for instance is all about changing based on what the audience wants. Mark Zuckerberg talks about “moving fast and breaking things”.

So what does this have to do with marketing?

David Craik, Director, Bright Signals with one of his slides

David Craik, Director, Bright Signals with one of his slides.

Well traditionally marketing has been about “big bang” campaigns, TV stuff, etc. With marketing… John Wanamaker said “I know half my advertising is wasted, I just don’t know which half”. It was about knowing it wasn’t working, and not knowing how to measure that. And then we have the HIPPO – the most HIghly Paid PersOn’s decision. Often who drives decisions, but rarely represents users need.

So Agile marketing principles?

  • Less big band campaigns, more small scale experiments
  • Less subjective opinions, more evidence
  • Less talking, more doing

We work every week on content, we develop a “back-log” of relatively small scale targeted marketing activities – or break up the bigger stuff – each with defined performance measure. And we deliver in short fixed cycles of creative and content development, then we ship, prototype etc. And we re-prioritise all the time in response to those measures.

Does anyone use Google Ads? Well if we look at search results to hotels in Glasgow… you would bid on a click on that advert (e.g. £1 per click). Advertising is interesting here because of the side of the audience. There are 694,000 searches each second. And that audience is pretty close to the point of conversion, the point of buying. On facebook the ads might be distracting or annoying. If I’m searching Google I probably want to buy or book things. And all that makes ads a great way of getting insights. Not necessarily sales but insights into what audience wants.

So if I’m setting up a wine shop I can set up an A/B testing ads… I’m trying to work out “wine order” or “ordering wine”, and “deliver wine” or “wine home delivery”. I place two ads, I use the two different words. I find out which one people click on. I don’t even have to set up delivery to test what will work. So that’s an example of how this can work….

Thinking about that pipeline… we use a tool called Trello, like a virtual stickies board. So we have ideas in the right hand column. Loose notional thoughts. Then it moves into a development phase…. might not go anywhere, might go into development and cost checking. And if it goes into production we then usually commission others – techies etc… and then it goes to live. There are two live columns that we use – Live – proven, Live – measuring. It only moved to Proven when run several times and engagement checked – e.g. on facebook it would be likes, comments and sharing. Only when it hits a level, e.g. 1% it moves to proven. If it doesn’t work it shifts to ditched….

So, for example… Brooklyn Museum had an exhibition of Indian Paintings. They set up a thing online where you saw a painting for a few seconds each and asked users to rate their favourites.

Looking at stuff we do every day… we work with Hornsby’s Cider – asking poeple to identify a building; project for Channel 4 called 9point88 about the Oscars; and for Tenants Lager about fixtures etc. None of these are directly anything to do with the product…. it’s tangental… that Brooklen Museum is example is just about the product. You in galleries and museums are so lucky in that you have great products, people care about that. For many brands there isn’t always that sort of devotion to the content. People are passionate about your product…

David Craik, Director, Bright Signals showing examples of new, innovative museum experiences.

David Craik, Director, Bright Signals showing examples of new, innovative museum experiences.

So how do you bring content into the museum experience. I was lucky that I was able to attend South by South West last year – and learned a lot. I made a point of attending a talk by Leslie Walk on the future of digital content for museums and galleries. She said “museum attendance are in decline. and hat;s partly because there’s something missing from most visit experiences… Play”. Now we can argue that perhaps but the examples she went on to give, about play in a good way, was the Cleveland museum of art and something called the “Gallery One” project. Now this had a £20M benefactor. But one of these ideas was just asking participants to take a picture of themselves replicating a sculpture – using an Xbox basically so quite cheap, similarly making a face like a sculpture, and then a bit interactive wall to engage with the content in a different way. Now this latter screen was so costly and perhaps more obvious. But the cheaper fun stuff – those statue and sculpture exhibits – were so much more engaging because they are playful. And that’s the tone of the brilliant Art Hunter app we’ve been trying out as well…

We are seeing Google putting the gallery exhibition tour online through google maps. We have Google Glass on it’s way and, by all accounts, wearables will be a big sector. The hardware – the hard to do stuff – has been done. The opportunity potential is content relevant to the location of the person wearing them. A relatively easy way to add content to the user experience.

And there’s a project called Google Tango, which uses 3D sensors to measure the space around you… making it much easier to put a layer of interactive content around it. Would cost a fortune to develop but this will be shared by Google very soon…

I wanted to talk about conversion iteration – facebook does this all the time because tiny tweaks make such a difference. SkyScanner, for my money the most successful digital company to come out of Scotland, they also iterate. They also do a form of A/B testing. They have a button that gets you to book, and that generates income for them. They started with “book”, they decided to test out “continue”, “select”, “go”. Which do you think led to the biggest improvement. Most of us think the latter…. The actual results…. for “continue” they had +0.95% clicks; “select” had + 6.41% clicks; and “go” saw -1.80% clicks. Now any increase is massive for their income. But I would have guessed, like most of you did, that “go” would be huge. Now you can test this easily… and in some markets they saw a 30% increase for “select”. So testing is so crucial here. Now Skyscanner has a really clear focus on a clear metric. They develop hypotheses from task-based one-to-one user testing. They keep it simple – isolate on A/B at a time. Senior Management respect the data. And they test this stuff with Google Analytics – which is free. And this process makes a huge difference but is ongoing, it needs iterating over time…

So, to summarise… we have issues like HiPPos, we need to be flexible, AdWords are low risk and low cost, interactive experiences can bring digital into a physical space…. and to remember Skyscanner’s approach to A/B testing…

Q1) I suppose you had Google Glasses on there… there is a company bringing out better virtual reality hardware – the Occulus Rift – will that be better?

A1) Really it’s all about content, what’s useful to the user…. don’t overthink it about what’s new and spectacular or cutting edge. You have content. That’s what people are interested in. It’s about how you connect up that digital thing to that real thing. The planning for that Cleveland gallery and that huge interactive wall… they wanted to create interactive experiences in the gallery… but they pulled back to focus on enhancing the real pieces of art. It’s about what layer of content can you apply to enhance the real thing…

So we now have table discussions…

Discussion group two: Evolving and marketing your digital resource

Tessa is outlining our key points for discussion:

  • How will your target audience find out about your digital learning project?
  • Is there anything else that can be done to help people find it?
  • What analytics will you collect? Is there A/B testing you could do?
  • Is there any other information you would like about how your audience responds to your learning project? How might you collect it?
  • How will you use this information? When will you use it? This is the key one!

Again I am on the Purple table…

We are discussing the silos between marketing and other teams…. and also how low conversions may be between social media activity and website information about exhibitions, and then to the exhibitions themselves… but the possibilities of competitions etc. Marketing can have a lot of control over channels which can complicate things… and how to challenge silos… and how to provide guidance to staff…  talk of QR codes and iBeacons (largely used in retail), the idea of something that detects your location that can be used inside… And of the potential unattractiveness of QR codes and potential for crafted objects… and of Augmented Reality (e.g. Layar).

Thinking about A/B testing, analytics… and how people find our stuff. We find that things on EventBrite helps… getting the band out there… interesting stuff like engaging with other cultural events, sitting near other events… if we want a younger audience being grouped by which bands etc. have gigs can be really useful. Affiliating yourself with things that your target audience are interested in. Noting that Tumblr gives a good visualisation of key influencers in material going viral… really useful to see that visually. Also talking about the importance of having something physical in the space that points to the digital… Physical spaces and physical/print materials… and the importance of memorability. But then working out what works…  There are also challenges. We really market stuff we know will sell well sometimes, for complex reasons. And there is audience awareness beyond your control…

Old stuff has value too… especially unique stuff. Make stuff findable for a much longer life… make sitmaps, tag stuff, add sharing buttons, Wikipedia is great for that… connections from there generate lots of referrals. Use unique materials or expertise in your digital resources… that makes a big difference. Exploit what you have.

How do you go further than the obvious local channels? Building your mailing list and audience helps… how do you push beyond that? The App Store is another channel to promote stuff… there is no arts area – there is leisure, travel and education. Can seek reviews etc. and have your team be ambassadors… A lot of this goes right to the top… your programme will attract different audiences in the same way… and appeal to different demographics, keep them aware of other shows coming up… Programming does make a difference, and won’t always align with your target audiences/overarching strategy. Discussions also of deep engagement with the work… that being the goal not necessarily numbers. And how one measures the quality of engagement. Visitor books can help in person…. but so many people don’t fill them in… A way of surveying people or recording that visit. Just writing down good comments etc.  Sometimes this stuff is ad hoc. But you could potentially do that digitally.. people like to see how others respond to the work. I was at the Oceans exhibition at Fruitmarket Gallery – collecting water from the seas, collecting stories alongside. That’s got such huge potential!

Feedback from Groups

Red Table: Had a meandering discussion about what digital learning is. About analytics and Google Analytics. We talked about a project on a closed forum – not as obviously relevant to analytics. We talked about interpretation, and relating everything back to the collection (where you have one). This came out of the Brooklyn Museum aspect,the ideas of the collection as asset… an archive of learning objects, or images, looking at content again.

Blue Table: We mostly ignored the prompts and had a sort of impromptu Google Analytics training… talking about what was possible, what could be done… what could be got in terms of demographics etc. And understanding who is using what and how useful that data might be. And we talked about better targetting online and offline… things like making sure you do promote digital learning adn resources on your website, linking to relevant works, etc. Doing what Google does in offering the right things for what people search for. And also about making sure that things are prominent in the physical space – like use of the Art Hunter logo at exhibition entrances and gallery entrances. Also about A/B testing and Google Analytics… try changing labels perhaps to see if clicks change.

Green Table: We had an interesting conversation. All day we’ve had problems thinking about our audience, and whether we know enough about them. Similarly around analytics – what we collect, how best to do that. Had some really interesting discussions about digital, about the possibilitis of the second skin, if you like, on top of what is already exhibited in collections. Also about if we are using social media and trying to market things… do people who are very busy fail to open emails? Twitter feeds are on our websites… are our websites as effective as they could be… or do we just change one thing on the site to make things better – like the button tweaks. So really how to make exhibitions more personal, more interactive, how do we get their responses? Do we still rely on paper? Is that wrong? Is a piece of paper in the post effective? Should we be doing that if advertising digital learning or resources. David’s point about not making things too difficult… and really think about what your key message is, and your key measures… people said they had used measures but probably not regularly enough.

Purple Table: We had quite a wide ranging discussion as well… augmented reality… tracking locations in other ways too… also how you are set up organisationally… that marketing targets might be different to what you want to achieve, and how you can get around that… we also talked about the importance of the physical space and the linkages around physical and digital resources. For some audiences, particularly older audiences, print can still be important. Talked about digital resources potentially having a longer lifespan – through Google, through Wikipedia, etc. And really thinking about what the unique selling points of your organisation might be, if you have iconic items or key unique expertise, then you have something unique that no-one else has, you can really help get other things out there. And talking about digital stuff – reviews being important for instance. Asking your audience to share and support it and be ambassadors for you, influencers that reach more people… etc.

Yellow Table: Also a wide ranging discussion. Talked about how flexibility to respond sounds good but some concern about timescales. Discussion of social media… could we do it better? Could we do it for each other and help each other? And talking about quite physical digital resources – creating material that can be brought out into the space, not just online. The HiPPo thing struck a chord. Thought analytics and data could be really useful from that regard. Got a bit confessional about making assumptions – and the wrong assumptions – about what people want. Research being important here. Also we may not know what we will change… but we may go back and ask different questions. To find quick wins and small changes.

Panel discussion with speakers (David, Rosie, Tessa)

Image of the Panel Discussion, showing David Craik, Tessa Quinn, Rosie Cardiff

Q1) How have you monitored Art Hunter in the last year? Also how could it be used in events or one off things – not just artefacts

A1 – Tessa) There is an app evaluation package, called Flurry, which allows us to see downloads, usage, how many items they are collecting etc. tines of day being used. But so much data… we needed to find the questions we wanted to ask. We saw a spike when we launched it. We currently have around 100 downloads per month of each version (iOS and Android). And because we are about to redevelop it for GENERATION we have been able to use that data to help us do that. We found, for instance, that 60% of people use it outwith gallery hours… we don’t know why but we can now ask those questions… and we want to also see what we can do that takes it beyond the gallery space to see how to make it more useful. And we have also been doing some research on gallery visitors about whether they have used the app, and how it has impacted their experience.

We have tried to keep the app as open as possible with unlockable content. We have the button called “Extra” – could be any number of things which could include events. We did try using it for two Friends events. But for partner offers our partners wanted to track a lot of what was going on which was harder to do… but for GENERATION we’ll think about that again.

A1 – David) In terms of analytics…. Google Analytics has several thousand measures. We talk about “the critical q” – for any organisation there are key questions – probably three of them – that really matter, and those need to be questions you can actually address. So conversion rate (e.g. for Skyscanner) might be on of those measures.

Q2) Was wondering about that Lets Get Real report – and the key findings there…

A2 – Tessa) that one question “why did you visit the website today?” was just part of the website. Of those only 30% wanted to visit the gallery that day, but our website was so focused on that. There was so much more being looked for… and a need for consumable, browsable data…

A2 – Rosie) We found that we had about 40% international visitors… so they may not step foot in the gallery. Particularly in terms of learning resources they have an interest far beyond those who visit… but is that what your organisation is about? If you are all about attendance and ticket sales that might not be useful to focus upon. To have those priorities…. I think each person in Tate would have their own response. It would be hard to get a consistent organisation-wide view of that. We all want to give a great experience… but we have very different ways to do that.

A2 – David) With Critical Q it doesn’t really matter if they differ… having your three for you to focus on is useful.

A2 – Tessa) One way to do that is to have different dashboards for different parts of the organisation…. to help deal with that.

A2 – Rosie) We are trained in how to use the analytics but… you can do brilliant against your metric but noone else might care!

Q3 – Rosie) One thing about the Agile Marketing… how do you measure the successful things….? We have 1 million Twitter followers…. we aim at a number of retweets… but what are you measuring as success.

A3 – David) Measurement for small scale actions like a post is about engagement…. we use various tools to grab that. Likes, comments or shares. for Tweets it’s replies, retweets or favourites. Poeple can get hung up on it. Reach can be useful… even if people don’t “like” it. Engagement helps us judge things… each sticky in Twillo for us is a theme, we have maybe 10 posts around the themes…. we divide clicks or comments or like by the number of page likes. So you can see the engagement proportionate size (e.g. 0.1% engagement).

Comment) our group talked about success being about getting funding for your next project!

Q4 – Christopher) This morning we talked about copyright and contributions etc. Are there examples of people working around copyright issues…

A4 – Rosie) It can be a real challenge. That can be very tricky to manage. And worse somehow as a Google Image search might well surface materials that an artist’s estate will not permit you to use or share online. At Tate we have to be really really careful about it. We are protecting artists as well as creating a great user experience. It would be good to look at themes that the artist addresses, that their work addresses, and activities for interaction broadly around that…. With Tate we did a kids activity around Lichtenstein but not branded as such, about artwork from dots. But there are things you can do… and thinking around what the artist address. That 1840s room was brilliant that we could just put the artwork out there… if only we could do that for everything… but we can’t! Getting other artists involved – a contemporary artist interested in that work – can be another way…

A4 – Tessa) I think every year the artists are becoming more flexible. When I was working 10 years ago just getting images on the website was difficult, now most artists are keen. Certain artists are particularly complex. There were moves to trademark the name “Picasso” for instance. So you have to think about this stuff first. And then you need to be creative about how address the issue. And if you are shooting video for instance then just including images you are fine to include.

A4 – David) This stuff is a creative challenge. What’s the human angle? Is there a twist? So for the Commonwealth Games we are looking at making a water cooler device with a secret beer dispenser for locals…. so there’s a human interest factor… the human interest is that there is a huge audience coming to Glasgow, will drink lots of beer, and the twist: what if we don’t want them drinking our beer…. and so voice recognition (not too complex at all – a phone, a computer, a human listening in!) will mean that those with a Scottish accent get beer, those without get water…. there’s a human angle and then using the public to give it a twist.

Q5) Thinking about sponsorship, or partnership… any examples of more creative ways to work with sponsors through the digital platforms that you have?

A5 – Rosie) Not particularly about working with sponsors. I’m not sure how interested they are about being collaborative with us…. with technology companies and developers though – as Rohan said this morning – is about a more collaborative aproach. A lot of the funding out there – the NESTA/AHRC fund for digital arts – are looking for more collaborative work here.

A5 – Tessa) We still find it hard to find sponsors for digital projects… maybe we don’t pitch it right, maybe our regular sponsors aren’t interested in digital. When we have had funding often part of the bigger funding process. I think the NESTA thing taught us the benefit of a real relationship with your digital provider. But that’s trickier with procurement processes – already a procurement type relationship. But maybe there is a need to restructure tendering processes. But the NESTA fund means you partner with the provider in the bid. But sometimes the technology provider may also own the idea… can be collaborative though. You don’t put digital to one side once done… you have to iterate.

A5 – David) Speaking from the point of view of brands. Savvy brands know that ads aren’t interesting any more, content is. Most stuff we do has cultural aspect. Markleting spend moving from ads towards content, to jointly created content. Questions here about “selling your soul to the devil” but otherwise huge potential for making content that’s genuinely engaging to audience, to customers, etc. And reach new audiences. But it’s about picking the right partners.

A5 – Rosie) we have challenges with sponsors. BP sponsor a lot of stuff but we have campaigners who oppose that. They look to us to boost their profile, but that also impacts on our too.

A5 – Tessa) And the approval too… everything needs approving for some sponsors. Really challenging for the practical arrangements.

Round up of the day

Christopher is starting to round up the day by saying that this is the sixth event in 13 months with engage. We will send round a link to the video

Sarah Yearsley, engage 

Keywords I found interesting today:

  • iteration – and the process of developing content online
  • play – really important
  • content
  • experimentation – liked hearing this. A lot of what loearning people do is about experimentation
  • failing small – making small changes and building upon them, to make bigger changes perhaps
  • be clear, think carefully – think about the benefits of what you do
  • unexpected outcomes
  • sharing models – engage, ARTIST ROOMS, and GENERATION really help here
  • digital space to meet – not just about content and structures, but spaces for people to meet
  • hidden content – loads hiddden on our website… great learning resources but can be hard to find. maybe where A/B testing comes here
  • digital fear – maybe still some of that but if we start small we can then think bigger as useful…

Sarah Yearsley, engage

Comment from David: the digital fear thing… the biggest challenge is the creativity, the ideas for content…. ironically people in this room are great for the hard bit, the content, the creativity… the technology is easier by comparison!

Back to Sarah:  And I will say what I say at the end of every event: There are some evaluation forms on this table. Please fill them in and let us know what you think. Either on paper or via SurveyMonkey.

Christopher: this event was a wee bit different to the london event because of feedback of wanting more discussion.

Sarah: the next engage event is at the Scottish National Portrait Gallery. Where we will hear about how we engage with audiences away from the gallery space – in the community, through games, etc. Also a free event. Please do book and come along – 23rd April.

Finally thank you all for coming, thank you to the galleries for hosting, thanks to Nicola for blogging, and finally thanks again to all of our speakers!

And with that we are done….

Find Out More

Related Resources

The delegate pack included a wide range of resources which will be of interest both to those who attended the event, and those following the blog (only). “These online resources were suggested by contributors as background reading and reference for the seminar. The selection aims to offer some starting points; from projects that contributors have found useful and inspiring, to details of many of the projects referenced by contributors in their presentations.

Apr 132012
 

Today I am at the eLearning@Ed Conference 2012. This is an annual event focusing on experiences, innovation, and issues around elearning and based at the University of Edinburgh. As usual this is a live blog and will likely contain typos and occasional errors – do leave a comment if you have a correction!

Please note: the LTS team are livesketching the day with an iPad today as well: http://tweelearning.tumblr.com/

::: Updated – you can now view all presentations here :::

The schedule for today (and these will be updated and transformed into headings as the day progresses) is:

Welcome – Professor Dai Hounsell, Vice Principal Academic Enhancement

It’s lovely to be here this morning and to be reminded of how wonderful a place to work this is with such a creative and innovative community. And this is such a wonderful Edinburgh title “Pushing the Boundaries, Within Limits”. Indeed you may recall a campaign for Glasgow called “Glasgow’s Miles Better” and someone created a mini local Edinburgh one “Glasgow May be Miles Better but Edinburgh is Ever So Slightly Superior”.  But that note of caution is sensible. There has been so much talk about how elearning is going in mainstream that we can lose sight of how

We are pushing boundaries but then what sits within those boundaries is really changing. The University in 2012 would be unrecognisable to someone stepping out of a time warp from 1992 say. I think many of our practices and notions of what makes good teaching can be the consequence of old ways of doing things. That’s part of the challenge of breaking boundaries. A lot of our boundaries are part of the past. If we had started with word processing rather than pencil and paper would feedback have become a thing we do after the fact? And if we think about collaborative learning it really challenges some of our colleagues in terms of what they think is right or fair, some funny words can come back in response like “collusion”. As an aside a colleague speaking in Scandinavia found there is no word in Swedish or Danish or Norwegian for “collusion”, it’s all just “collaboration”.

When our colleagues get nervous about the possible downsides of students collaborating together we have to recognise that they won’t change overnight but we also have to realise that it’s valid and right to push them. And on that note I shall hand over to Wilma.

Wilma Alexander, chair of the eLearning Professionals and Practitioners Forum is welcoming us and telling us that eLPP is changing it’s name officially today to eLearningEd. This is intentionally less obscure and should help to clarify what the group is about and particularly to help colleagues in the University understand what we are about.

So to introduce our first speaker: Grainne has been invited along today because much of her current and past research looks at the kinds of issues Dai has talked about in his introduction

Keynote – Openness in a Digital Landscape. Professor Grainne Conole, University of Leicester. Abstract

I’m going to talk a little bit about the notion of openness which I’ve been working on at the Open University and more recently at University of Leicester where I’ve been since September. I’ll be talking about technologies trends. I’ll talk about learner experience. And I’ll talk about open practices – Wilma pointed out the hashtag for today (#elearninged) and how many of you tweet [it’s most of the room], that sort of thing is really changing what we do.  Then I’ll be a little more negative and talk about teacher practices and paradoxes. I’ll talk a littloe about new approaches to design. And then I’m going to talk about metaphors and the need for new ways and types of descriptions.

Technological Trends (http://learn231.wordpress.com/2011/10/25/trend-report-1). In the 2012 Horizon report we’ve seen mobiles and e-books highlights. In Leicester the Criminology masters programme have just given all of their students iPads as part of the package. We have Game-based learning and learning analytics – that latter is a sexy new term to explain the types of analytics we can gather on how people learn and use our materials, resources, tools. Gesture-based learning and the Internet of Things – there was a lovely article on the Guardian. See Also: Personalised learning, cloud computing, ubiquitous learning, BYOD (Bring Your Own Device), Digital content, and Flipped dynamics between student and teacher.

If you Google or look on YouTube Social Media Revolution and also The Machine is Us/Ing both of which really give a good sense of how things are changing. And you might also want to look at a report we did for the HEA where we looked at some key features of Web 2: Peer critiquing; User generated content; Networked – this is the power of tweeting; Open; Collective aggregation; Personalised. The report is: http://www.heacademy.ac.uk/assests/EvidenceNet/Conole_Alevizou+2012.pdf. If we had time

Gutenburg to Zuckerberg – John Naughton (blogs at http://memex.naughtons.org/) and it’s a great book. And he says: take the long view – we could never have predicted the impact of the internet even in 1990; the web if not the net; disruption is feature; ecologies not economies; complexity is the new reality; the network is now the computer; the web is evolving…

Sharpe, Beetham and De Freitas (2010) found that learners are immersed in technology; their learning approaches are task-orientated, experiential, just in time, cumulative, social; they have very personalised and very different digital learning environment. I have two daughters, one is very organised and very academic in her use of technology but she thinks Facebook is the work of the devil. The other daughter is dyslexic and is quite the opposite and loves Facebook. Who loves Facebook? Why? Who hates Facebook? Why? Our students will also be conflicted, have different views. And our students will be using both institutional technologies and outside tools

Open. Open Resources span a huge range – there has been huge funding for the OER spaces like MERLOT, MIT OpenCourseware, OU Learning Spaces etc. Increasingly research here shows that making OER available isn’t enough. In a recent report (http://www.oer-quality.org/) and the OPAL site we looked at what sort of support people need to use OER effectively, I really recommend the recommendations and that OPAL site if you are interested in OER.

Open Courses. These Massive Open Online Courses (MOOC) get huge numbers of participants but high drop out rate. Really interesting to have open educational materials and open courses (http://mooc.ca/). There is also the Open Access University in New Zealand.

Martin Weller, author of Digital Scholar and blogger, talks about open scholarship and exploiting the digital network, new forms of dissemination and communication. I use Twitter on a daily basis and am connected to about 4000 people there, the speed of disseminating information through Twitter is unprecidented and very core to my practice.

Thinking about Open Research I wanted to talk about some of the spaces I use. My blog, e4innovation, is core to what I do. Repositories have become a core part of what we all do – we have the REF coming up and those repositories are being scrutinised in more detail. And there is use of things like wikis and semantic wikis, bookmarking like Diigo, Slideshare, Dropbox, Academia.edu etc. Although I tend to use Twitter and Facebook mainly. I’m on Google+, Academia.edu etc. but don’t tend to use it.

Really interestingly Google now has a Citation tool within Scholar and you can set up a profile. And for sure these will be increasingly used for promotion, for REFs etc. This uses an algorithm from Physics I think. I applied to be a visiting lecturer recently and they asked what my h-index was.

Teacher practices and paradoxes – there are huge opportunities here but they are not neccassarily being fully exploited, we see replication of bad pedagoguey (electronic page turning for example). And intensive research universities like Edinburgh there is also a real tension between teaching and research because promotion is based on research not teaching practice and that pressurises time and attention.

So thinking about Learning Design we have been building up a series of principles. At Leicester we have Carpe Diem workshops on learning design and we’ve been combining this with some JISC work quite effective. Our 7 Cs are Conceptualise then… Capture, create, communicate, collaborate, consider. That’s an iterative cycle. And at the end of that you Consolidate.

In September we will be launching an MSc in LEarning Innovation using much of those learning design resources to think about how we approach this new MSc. So I’m going to share some of our slides and resources here. The Programme includes a series of “e-tivities”. We trialled this with a group of sessions with teachers in South Africa online over two weeks with 8 slots of 1.5 hr face to face sessions and additional work around this.

Peter Bullen and colleagues at the University of Hertfordshire has this concept of How to Ruin a Course – a great way to think about and improve a course. So we used linoit.com – a virtual sticky board – to think about what would and would not be included, what elements would be needed, and what would definitely not be in there. And then we colour coded for types of course content (eg communication and collaboration, content and activities, guidance and support, reflection and demonstration). And worked through this in Google docs, mapped this into a course map. And that has been pulled out into a plan for the course, technologies and expectations. The point about these different views is that they are designed to be iterative and improved over time. They may look simple but they are grounded in good and substantial imperical research.

We have also tried to reuse as much OERs as possible, to adapt others, and to create as needed. We’ve done a learning design resources audit to think through all that we need to deliver this course. We’ve built in various aspects, we decieded we wanted some podcasts, maybe a little interview or snippit of people like Diana Laurillad and at the OU we found students found these sorts of snippits really enjoyable and useful.

And then we’ve broken down the course activities into Assimilative, Information handling, Communicative, Productive, Experiential, and Adaptive activities. We have a little widget you can use here. And that gives us a picture of the type of profile of a course and lets you adapt it over time. This view can also be used quite significantly with students. I did an OU Spanish course and you get this amazing box labelled “Urgent: Educational Materials”. When I did OU Spanish my weakest area was communication by far. There is a really interesting link between what the course profile looks like and what the students need and take in.

As we started looking at the Learning Outcomes…. We didn’t do that first as you can get too stuck into the words here, easier to look at this later when you have a sense of what will be done. And then we can draw things together looking at how the Learning Outcomes and the Assessment (and all learning outcomes should be assessed) and how these are hit along the timeline of the course. So we mapped that conceptual model. And then we went back to linoit and set up a week by week outline where everything comes together. We can then drill down to a “task swimlane” and put into a little template for the e-tivities. And we are also drawing on some nice tools from the OU library in terms of information activities etc. And then finally we have an action plan for how we do this, a detailed thing to close the loop. These kinds of workshops can be very stimulating but you have to be able to follow up in a practical useful way.

And finally…

Metaphors. The ones I’ve been playing with are:

  • Ecologies – the co-evolution of tools and users, a very powerful metaphor; Niches colonisation of new habitats – Google+ perhaps; Survival of the fittest
  • Memes – particularly drawing on Blackmore here: something that spreads like wildfire on the internet, but perhaps we’ve gotten too cosy here
  • Spaces – campbell 72 talks about the cave, the campfire where we present, the mountain top, the watering hole – how might these apply in elearning
  • Rhizomes – the stem of a plant that sends out roots as it spreads… multiple interconnected and self-replicating and very like ideas and networking. Drawing on dave cormier here. Those of you on Twitter will recognise that sort of close furtive network of connections I thin.

The future of learning: technology immersed, complex and distributed… fuller notes on Slideshare: http://www.slideshare.net/GrainneConole/conole-edinb urgh.

Q&A

Q1) You talked about Learning outcomes need to be assed, can you talk more about assessment

A1) Assessment is fundamentally about articulating whether students have understood what we wan them to learn. I’m certain our old approaches are no longer appropriate. One of my daughters was

Q2) I was interested in your last slide about digital futures and was interested in whether you had looked at opening up coding practices

A2) I was involved in a project around x-ray chrystallography as Chemistry is my original background. Making raw data available we have questions of ethics and a very different way to share our ideas when still developing. But when I blog things openly I get feedback that improves the work. I think more open approaches particularly regarding data coding could be really interesting

Q3) What can be done to reduce the marginalisation of those not already using technologies?

A3) A lot of teachers do feel threatened, they are under a lot of pressure. I think this goes back to day 1 of lecturing in Chemistry. I was given a bunch of content and drew on my experience. I learned as I went and I think that’s how a lot of teachers start. I think we need to ease teachers into to easy conceptual tools that let them assess what technologies may or may not be useful – they don’t have to use everything, they can’t possibly know everything, it’s about baby steps.

And on to our next speaker…

Motivated, Omnipotent, Obligated, and Cheap: Participating in a MOOC (Massive Open Online Course) – Jeremy Knox, PhD candidate, School of Education. Abstract and Biography.

The research I will be talking about today is my PhD research on MOOCs which has been a participant observation pilot here based on three different MOOCs: Change 11, Change Education learning and technology – George Siemens, Stephen Downes and Dave Cormier; Udacity CS101 – Independent company created by Sebastian Thrun; MITx – first course offered by MITx.

MOOC stands for Massive Open Online Course. Udacity published 90,00+ enrollment numbers; MITx published 96,00+ enrollment numbers; Change11 has less, perhaps 1,300 active in the first three months based on my experience so far.

Open is perceived in the MOOC as both Open Access and Free. And for both Udacity and MITx that is what they do. That’s also why participant numbers are so hard to estimate for MOOCs – the door is open to entry but also to exit. Big gaps between enrollment and active participation. In the Change11 MOOC there is a more open curriculum and can decide their own outcomes and are encouraged to self-assess – a slightly different model.

Online tends to come down to either a central or distributed space. Udacity and MITx have central spaces where all the learning takes place – a little like an institutional VLE basically. So you have a central space with video lectures, notes etc. Again this is a point of difference with Change11 – all their content is created by participants rather than one organisation. So it is distributed across the web – blogs, twitter, etc.

Courses – MOOCs are structured courses. Udacity and MITx are very traditional with clear aims and objectives. Here you have to learn about building a search engine or about circuits and electronics. In Change11 students far more choose what they learn.

Hopefully that gives a sense of what a MOOC is, that there are various models in use here. So I want to talk about some terms I think might also define the MOOC.

Motivated – a central aspect of being a participant in the MOOC. Downes (2002) says that if you are not motivated then you’re not in the MOOC. There is an assumption of motivation and no central intent to encourage, support, motivate students. Perhaps an issue mappable to wider OER discussion. And some work by Downes found that as little as 4% of participants are active in the MOOC. Here I’m showing a viualisation of communication on Twiter between Change11 participants – you can see a small number of highly active participants/course members.

Omnipotent – is perhaps more relavant than open. They are sold as learners having lots of control over the learning process. They promote learner defined aims and self-assessment. That implies an innate ability to self-direct within the MOOC which we’ll come back to. Traditional education is framed as a passive process within this type of promotion. I suggest this isn’t just about Change11 which heavily promotes this way but also about MITx and Udacity the same need for self-directed students is assumed. The MOOC dissolves itself from responsibility for the students.

Obligated – Change11 requires students to aggregate, remix, repurpose and feeding forward. Participation is seen as essential in the MOOC. This is down to the model of the network that underpins connectivist theory and the MOOC. The more connected you are, the better the learning is. The network isn’t an analogy for learning, it is learning in connectivism. So as the network decreases so does the learning. So something to say there about collaboration. There is a tendency in the MOOC to enforce participation – important for the individual but also essential for the whole. So despite the idea of autonomy the network is crucial here.

So I think Omnipotent and Obligated are real clashing factors here… a problem for the MOOC.

Cheap – perhaps in the financial sense. But more in the sense of responsibility. Learners are responsible for own motivation, they must self-direct, in Change11 they have to decide outcomes and self-direct, if the learners don’t participate there is no course. There is a tendency for MOOCs to shift responsibility from the institution to the student.

So to finish… I would suggest that to rephrase Downes to “if you’re not motivated then it’s not my problem!”. Now I think there is an arguement for the institution or organisation to take that responsibility.

Q&A

Q1) I’ve participated in Change and I was a wee bit late contributing materials. I was excited to take part but it was rather demotivating as little was going on. Rather than Cheap perhaps Collaborative is more appropriate. Is that a better word than cheap?

A1) Yeah I think that’s part of it but I wanted to get at the fact that the institution should be involved. I think collaboration there would have to mean the institution also collaborating in the process.

Q2) Aren’t you trying to impose formal learning expectations onto an informal, lifelong learning space?

A2) I think I am questioning whether being able to self-direct is innate and whether this discourse of openness and access is actually right as these are not neccassarily innate things, that access to technology and understanding is not open, these are learned things.

Q3) I’ll come back to some of these issues but there is an interesting philosophical difference in France where courses were open and people can join and disappear. Perhaps this about opening opportunities for people to find out more and explore that learning but perhaps dropping out of these spaces isn’t a failure but a choice also.

A3) that is a fair point.

Wilma is now talking about the university of edinburgh’s innovative learning week which took place for the first time this year and our next speakers will be reflecting on that experience.

Case studies – Law less ordinary: reflections on Innovative Learning Week in the School of Law – Dr Gillian Black, School of Law.

I want to talk about one of our most successful ILW events. This was our Criminology photo competition organised by one of my colleagues who lectures on the criminology degree. She asked students to identify images from news, videogames, films etc. around crime and injustice. The challenge was to use the image and use text to change our expectations. This was set up on PebblePad and you needed to send in an image, text and the name of contributors. Students took images, shared them with commentary. And she also wanted this to be freely available and publicly available. You had to login to add images. But you could comment as you would on a blog. It ran from the beginning of January to he end of Innovative Learning Week. It was very popular.

I think the winning entry was an image on the idea of “Facebook Rape” or Frape. The success was such that Dr Suami is looking at running an exhibition of these images. And that reenforces that this didn’t just happen online but also was part of our offline practice as well.

Why did this work? Well Dr Suami is a very popular lecturer with enthusiastic students. And it was fun. But those of us who found it difficult to get students along in person perhaps will understand that an advantage of this activity was that students could take place at any time and on their own terms. I hope this will have a lasting legacy.

The other aspect here was that the activity did cross courses, engage colleagues, really brought the programmes together.

Followed by: Changing Atmospheres – The 1 Minute Film Project at the School of Geosciences. Dr Elizabeth Olson.

This project involved 5 academics designing this over two months. We set undergraduate geography students a challenge! We set them the task of recording audio and video separately and then making a one minute film about it. So there was a technology aim here. It was a two day challenge. We trained them the basics of filmmaking – a good shot, storyboarding, artistic outputs, sound recording. Sent them out for 5 minutes to capture stuff. Then we had a full day for capture. We borrowed tools – H1 and H3 zoom mics, HD camcorders that the department has for research. We used Mac Pro and PCs – brought in some extra kit of our own into a lockable room. We ended up using Audition (free software) for audio, And some of our free tools we used what software we had so Adobe Premier CS5 and Final Cut Pro – we didn’t have to induct them in any of the software really.

Feedback we had was really interesting – the storytelling aspect complimented everyday practice. A worrying comment that this was the most useful 2 days of the year! And another found it invaluable as an opportunity to explore the city as good geographers from a very different angle. We let students vote on the films so I’ll show them from least to most voted on films. [great wee films although speeded up scenes seem particularly popular]

We had increadibly popular feedback, a lot of students want to carry on filmmaking as a hobby, and students have talked about using film and photography into their assessed work. It was increadibly labour intensive, increadibly good fun.

After a short tea break we are back for some case studies which are just being introduced by Marshall Dozier

Case study – 2012: A MATLAB® Odyssey – Antonis Giannopoulos, School of Engineering. Abstract

Really I should have Dr Craig Warren, my former PhD student, as author, it’s all his work but he is on holiday at the moment!

So I will be talking about turning a traditional lecture based course into a largely online course. But lets start with what MATLAB is, how we used to teach it, why it needed to change, the aims of the new course, what new material was creates, what tools we used and some feedback.

So MATLAB is a programming environment for algorithm development, data analysis, visualisation and numerical computation. But it’s about problem solving, they don’t come in to learn programming for it’s own sake. We teach some sort of programming, usually in second year, in Chemical, Civil, Electrical and Mechanical engineering – we all arrived at MATLAB separately but as we were all teaching the same thing we though that we could really do something here to bring our teaching toether in some way.

We were teaching MATLAB through lectures and some computer lab-based exercises. If you aren’t a programmer or don’t like programming these lectures can be really hard to engage with. We can have live examples, movies etc. but it’s not hugely effective. Those lectures were ok but not very exciting. We wanted to change this a software tool you really only learn and learn through programming tend to learn through doing something as a hands on experience. So we saw this as an opportunity to really create engaging interactive material. We created a 5 credit module and use this as part of other modules. We wanted it to be online, self-paced, self-study model. Pass the buck to the students to take responsibility for working through the materials. It was very much targetted to those with no prior knowledge of MATLAB or with no previous programming experience. And we wanted them to learn to be competent using the most common features of MATLAB to solve engineering problems.

The tools we used were screencasts created with ScreenFlor and also a Samson Go Mic. And we have online course PDF assembled from LaTeX source – LaTeX is old tech but lets you output your material to all sorts of different formats.

The new material created includes a core comprehensive PDF with link sto lots of supporting material; self-test excercises; tightly intergrated screencasts linked from PDF – showing and describing basic MATLAB concepts and providing solutions to exercises.

You can have a look at the site here: http://www.eng.ed.ac.uk/teaching/courses/matlab

And I’ll give you a demo here of a screencast.

This course is being used in all of the different 2 year undergraduate courses across engineering. They develop numerical and programming skills and are being used really well. We have the courses as self-paced materials but they are well supported – my course we have 10 x 2 hour labs to work through problems etc.

Student feedback has been really good. We intentionally limited screen cast to 5 mins maximum so you go and do and practice as you work through the course. The course is available outwith the university. The screencasts are on YouTube. They’ve been live for 2 years so we’re starting to be able to analyse usage. We plan to publicise the course within UoE. And we want to use this course to develop similar material for other software tools that are part of degree programmes in engineering. And we want to look at other ways to make core materials available in more interactive ways – maybe with tools like iBooks for instance.

Acknoweledgement here must be given to the Edinburgh Fund Small Project Grant which helped fund this work, to Dr Craig Warren of course, to colleagues across Engineering and LTSTS for their support.

Q&A

Q1) You mentioned that MATLAB was really expensive and I was just wondering whether students have access to that software away from the lab as that can be really important for learners on self-paced courses.

A1) So the student version of MATLAB is available on all university machines across all labs etc. But students can also access MATLAB remotely via nx. It’s not as easy as it could be but they do have access whenever they need.

Q2) Any plans for transcripts for deaf students. And I think you could be making the course inaccessible to those students with those videos. And transcripts may help foreign language students.

A2) I haven’t thought about that particularly. I think that

Q3) You talked about analysing use -how are you looking at this and are you starting to look at student performance

A3) Craig is starting to do this. We have seen far better performance on final exams. But we need to do more.
Case study – Maps mashups as a teaching aid. Richard Rodger, HCA

I’m going to be talking about the AHRC funded Visualising Urban Geographies project. And I want you to imagine yourself as geographically challenged students here. We are great at the cultural aspect of history but I think we need to do far far more with geospatial perspectives on history.

Our objectives were to create a set of geo-referenced historical maps of Edinburgh, to reach a broader public, to develop open source software and avoid GIS…

And the contributions of my colleague Stuart Nichol and the staff at the National Library of Scotland’s Map Rooms – which is a fantastic resource – has been crucial here.

So we started with resource development. Maps were scanned and geo-referenced. One of the core issues to address was the thorny issues of boundaries and we wanted to make multiple types of boundaries available for all of these maps.

So maps have lots of historical information of course. I want to give you a few examples here. So looking at Edgar’s 1765 map we’ve given this topography – Edinburgh is certainly not flat! These maps have huge detail – looking at Edgar 1765 – so pick out something here, West Bow and Victoria Street perhaps, and I’ll show how this changes through 100 years of maps here. You can trace changes on the map and relate it to other documentary material and resources.

And then of course there is the chronological map – Chris Fleet of NLS is very proud of this form here, the map started in 1870 and gradually it grows to show the expansion and changes to the city over time, giving a 2D map a more dynamic feel that will appeal to a more general audience and their spatial awareness.

It’s probably evident here that our data is held in all sorts of different places… The Mapbuilder is all about address based history – census data, taxation records etc. So we used a geocoder to exploit these address based history. And we were plotting these points on a historical map – anyone can plot on a google map but it’s adding it to the historical map that adds important value here. So you can look, for instance, at clustering of addresses of solicitors in Edinburgh. When addresses have been geocoded they can be exported as a KML and viewed on a historical map. So the distribution of edinburgh solitors from 1861 superimposed on a relevant historical map. If we look at the same sort of group of solitors from 1811 we can see a move of location – that needs investigation. I think that’s very much about the change in practice in the law around this time, from lower new town to more central commercial areas.

Other ways to make this sort of data available to the wider public. So looking at James Colville, the Edinburgh Cooperative Building Company Ltd, the colonies and his walk to work in the 1870s – looking at this data you can see real social change over time.

Similarly you can look at James Steel, 1869 – Easter Dalry feu – and see the development of Haymarket over time.

Another tool we have here allows you to measure distance from the tool, you can see the trip of Colville’s walk around the colonies – the distance, the gradiant, the area of his travels. Very useful.

Of course addresses are one thing but also wanted to think about properties in Edinburgh. So boundaries and juristictions are very important here. So we’ve used our own data on properties here. One of the greatest contributions I think is in the definition of these maps – by creating shapefiles for these maps we can pour data into our thematic mapping engine. We can use those boundaries to express complexity in administration areas of the city. You have to imagine a mosaic of overlapping juristictions and some areas that are entirely dislocated from the rest of the city. For a historian to have that laid out so you can then plot data into those maps with the appropriate boundaries. Whilst we did it for Edinburgh it could be for any city really.

Q&A

Q1) How have students been finding these tools and what have they been doing with them?

A1) History in practice. Dissertations and advanced projects. 8 different types of case studies of that. Possibly talking to the converted here but they have responded really positively. And there is a community neighbourhood project in Wester Hailes that has found this work really useful and there has been lots of community engagement here. And there is also a project on mill sites in Perthshire that have also been using this data.

Case study – ‘Engage & Reveal’ project – Lindy Richardson, ECA

I’m going to talk to you about collaboration. The title should be “Reveal & Engage”. But after listening to everyone today I’m going to rename it “Engage, Reveal & Engage”. One of the challenges we have is about engaging our students. We artists can be quite separate in our practice until it comes to showing off – much of how artists use the web is about showing off our work!

So I want to start by talking about collaboration, working together to achieve something. Artists do get together whether virtually or in the flesh. There are loads of collaborative drawing projects line the Moly_x:an international moleskin sketchbook exchange – you can find this on Flickr. Artists draw and send on and new material is added. It’s a progressive linear collaboration. You contribute and it is physically exchanged and posted on the web. You haven’t actually interacted with the other artists though. It’s actually quite remote.

I set up a project in ECA to help students to understand how to physically interact with others’ work. Student one had two areas of pattern, student two had two different areas of patterns. And the idea was that they printed onto the print bed. Then for the second screen you had to print on the person before you’s work. They freaked out! The idea was about physically interacting and engaging with their fellow students’ work. We do lots of physical stuff in art which allows lots of handing on of work rather than collaboration – but you wouldn’t do that with one person researching something, another writing an essay, etc. So the idea here was that they engaged with and reflected on the process but still students in the printing project were mainly thinking separately…

So, I then set up an international collaboration project. This was British Council funded across cultures encourages collaboration through physical exchanges of materials from indigenous cultures. So we showed students Ayreshire needlework and Paisley paislies. Students responded to that original inspiration. And partner students in China did similarly, took inspiration and sent to us. And then the idea was to exchange these fabric pieces and we would add or subtract to these as part of the exchange. And what I expected was absolutely not what we got! So we sent a beautiful hand embroidered pieces and many of thenm came back quite crunchy, quite glued. Some of our students were quite upset by that.

So… Reveal and Engage… was a project at ECA to encourage our students to work together and to move out of their bubble, and to find synergies and common research areas. So we wanted them to contact each other, to engage in dialogue and to be collaborative. As artists and designers when we put up our materials online that’s our name, our work, and some text. So we did this event in the sculpture court. Each student got a 1.5 metre square space to pitch themselves. We taped out squares, they could pick their own area and sell themselves. You were speeddating each others work basically. Interestingly a few programme directors said no to this event. But when the event ran the students kept coming up and wanting to join in. I was a bit naughty and let them take cards and engage but not pitch themselves.

So the students required to provide a concise statement about your areas of interest and research focus. And examples of their own practice. It was really good for the students to think about that. So the students had a name plate with name, email, mobile number, website (where appropriate) and programme. In the second year we were asked for name badges though one student hated that. The students had to make 5 contacts. This was excruciating for some of them. It’s so easy to do this by phone, email. etc. To force them to do this physically was alien but was really really helpful. They had to make a minimu of 5 follow up meetings for discussion and potential development. Some were nervous about having too little interest, others were overwhelmed. Students quickly became aware of how effective and relevant their approaches were.

One of the most important things was to encourage students to enjoy the experience. to make contacts outside your area. And it will have huge benefits in the future. So here is an image of an ECA fashion show where students from textiles and fashions have worked together.

And then… ?

The challenges of working together became apparent. We set up staff surgery sessions to help with this and this also allowed you to work with both students at the same time, staff from outside your own areas. And that helped a lot as you can set up “collaborations” but as staff we often leave students to it and they need some of that support to make that work.

Some great collaborations took place – lots of fashion and textiles students working together, a great example of a performance costume and jewellery designer coming together. And the students really became aware of transferrable skills, particularly around communication, presenting themselves, being professional.

So how is the collaboration and the success of this venture assessed? We use the e.portal – we give feedback and the students have to also reflect on themselves and only then do they see both aspects of feedback in parallel, we use peer assessment, we had some sessions with the students themselves. But there are challenges here. Our students are very visual but they are not as keen to put their work into writing so this means we can have great projects and work from students but then their poorer performance on written aspects and reflection can effect their feedback or performance.

Next a project with concrete, glass and textiles in collaboration with Saint Peter and his collaborator as muse [I’m pretty sure that’s wrong, correction to come], an incredible concrete thing. And we will produce something amazing marking collaborative forward direction with the University which ECA is now part of.

And now, to lunch!

‘Enhancing the student experience- Representing, supporting and engaging with our 20,000 members’ – Rachel King, Martin Gribbon and Andew Burnie, Paul Horrocks (in absentia), EUSA. Abstract

Through this session we hope to give an overview of EUSA’s activities and to give an idea of the practices and activities that IT tools have been used in our work. We had hoped that Paul Horrocks, a third year maths student whose work you will see, would be able to speak today but he’s tied up with exams at the moment but we wanted to acknowledge him here.

Our visiiojn is to represent the student voice effectively to the university and beyond, to support student academic and social wellbeing, provide opportunities for participation and development through student activities, and things like discounted food and drink etc. We like to be a collaegue, a critical friend etc. to the University. All students of the University are automatically EUSA members unless they choose to opt out.

Representation is really important, we have to show we are listening and responding and to know how best to support students. Our general meetings have had poor attendance in the past, often not quorate in fact, so we have, for the first time, run a referendum online this year. And we had an average of 2000 votes on each item versus meetings that would have perhaps had 120 students so that’s been a success we think. We do also try to encourage students to engage – we can seem like a strange and perhaps irrelevant interruption in studies. So we do things like supporting candidates for the student elections and telling them lots of tips and hints about how to run a successful campaign… [we are now watching a video made for candidates on how to deal with nice and very difficult students you are trying to engage with – on YouTube as Election Advice – Door Knocking; Election Advice – Lecture Announcements].

Representation is most effective when student led so I am handing over to Andrew to talk about a very successful online petition that he led…

So last year registry informed us that they planned to reduce the month of exam schedules down to two weeks, were really angry and upset as that crammed near 10 exams into a very short period. I am lucky, I’m a representative for my class so I could email student colleagues and to let the university know. We were able to get it increased back to a three week period. But that wasn’t great. Many students hadn’t heard about this until my email, they didn’t feel informed or consulted by the University. So I set up an online petition – I wanted name, I wanted to know about course and school to see if this was just an issue for me and my colleagues. Then I wrote some code to turn the responses into a spreadsheet and look at the statistics. I thought that we would have loads of Science and Engineering responses but we actually had loads from HSS. And we had good responses from first and second year students. The most responses were from Informatics, not surprising as my school and they personally had an email from me. And I got a lot of students on joint degrees commenting as they felt that their dual schedules were not properly accomodated. I also had Google Analytics on the site to see activity. I shared the comments that had been placed. Those pages were used quite frequently and students were really thinking about whether to sign it. It was first just promoted on Facebook by me and by emails to my school. On the third day I send EUSA an email asking for it to go to class reps. When you target emails at engaged people like class reps. And it went pretty viral on Facebook. So we saw lots more responses. And Twitter was useful too but not many. Most students use Facebook, a lot don’t use Twitter – but computer scientists do. So, we had all these responses and, with EUSA’s support, we got the decision reversed by Registry. So why was it successful? It was student led and that’s crucial. Well it was a petition about only one issue, it was focused and clear, but you could personalise it with the comments box. People could participate in different ways – by signing the petition, by sharing on Facebook or even coming to the meeting with Registry, allowing that engagement on lots of levels was really important. Back to Rachel…

One of the other things we do in supporting our members is the services like the Advice place – we offer accomodation, health, etc. advice and that’s all online now. And we have been working on outreach with a roadshow around the university campuses to explain what the Advice Place is and does. And part of that is ensuring their Facebook Page and Twitter pages are up to date. The Advice Place is now in the Dome with a lovely new centre. You can see that they are sharing information on Twitter about student support funds, condom deliveries, where to find them, etc.

Societies are a really big part of students lives here, there are over 160 and we have been setting up a database of all societies so we can train treasurers etc. And you can now engage online, join online, pay your subs online etc. Each society has a page they can update and let people know what they’re doing.

We also have a volunteering centre in the Potterrow dome now and students can come in or look online for volunteering opportunities. The volunteering centre can easily add opportunities and students can easily sign up. I really encourage you to take a look and think about volunteering opportunities you may have – there is almost no part of the university that wouldn’t benefit from some volunteering effort.

We also have various peer support services – there is an International Buddy Project, and a project called Tandem – for people who want to practice speaking various languages, just talking not academic stuff, and that’s open to staff and students. We also have a scheme called Peer Proofreading and it followed a pilot in recognition of demand among non-native English speaking students for reliable sources of help in proofreading student work. The proofreading is purely about spelling and typos, not about academic content. So the student submits some work, it gets sent to a trained volunteer proof reader, and they send back feedback and the student can meet to discuss issues etc. And there is a community of proofreaders building up – a Facebook group for them, we’ve been surprised about how many students were keen to train as proofreaders actually.

And we have an initiative called Path Finder which is about choosing appropriate classes. At the moment students have the DRPS only, it’s hard to navigate that system. And it also helps highlight prerequisites etc. The idea is that students and staff have coauthored course descriptions. Students can see both sets of information and can see the consequences of that course in terms of course eligibility etc.

So far they have the DRPS data and BOXE reports and we hope that Paul, who has been designing this, will be able to work on this over the summer and will be able to get some financial report to do this. And now over to Martin…

I’m going to talk about a Facebook page we set up for Freshers Week. I don’t think this is neccassarily groundbreaking but I wanted to explain why we used that approach.

This was a Facebook Group, called Edinburgh University Freshers Week 2011. It has 2131 members. The first post by a student was on 17th June 2011 and actually we had 1000 members already at 17th July 2011. Students really want to engage early in the year.

So why do this? Well students want to come together before September. It allows students to ask questions they might otherwise keep to themselves or each try to ask individually. So it allows students to share experiences and expertise. However a downside there is that not all answers will be correct so we have to keep an eye and comment where there is an incorrect answer address that. We use social media a lot but this is by far the most successful social media activity we’ve done, it’s really enhanced the student experience.

So to look at Facebook here you’ll see a typical question which was about whether or not accommodation services should have been in touch, it gets 26 replies and they find solutions and approaches. And we have another student looking for others on his course. And others share where they will be, finding out who will be in your halls etc. You also see students setting up their own groups for various accommodation spaces etc.

We have set up the Edinburgh University Freshers Week  2012 group already. They have to ask to join. I’ll accept them only if they are real people. Businesses we decline. But we’d encourage any staff who want to to join this group and help students feel part of the University. Back to Rachel…

Future challenges for us certainly relate to engaging with our ever-growing and diverse student body, and ensuring there are inclusive and accessible learning and teaching – podcasts and WebCT being of concern at the moment.

Q&A

Q1) Are you thinking about having any special focus on distance students as we increasingly have more of these

A1) Rachel: We are talking with the University about this. There is alo an independent group called SPARKS that support student associations who are also looking at issues around distance students and how to support them so we are engaging.

A1) Martin: Obviously Facebook and Twitter etc. are globally available. We do also email about events on campus and campaign etc. to all students, distance or not.

Q2) DRPS is not only difficult for students, also very difficult for staff too. The Pathfinder system looks great but how do you plan to keep information current?

A2) One of the things that Paul has been so grateful is that the school felt that to set this up they needed the ability to maintain and keep this system up to date. And there would be a student coordinator every year and to add new data every year.

Q3) Are there plans to roll out Pathfinder to other schools?

A3) They would very much like to. They have tried to design it so that that’s possible.

Case Study – ‘The Idiots Guide to Collaborative work practises: Author, The students’ – Victoria Dishon, School of Engineering

I’ve been doing some work with our students on how they engage with their academic studies using technology. When I started doing that there were significant discussions in our school about what students do when they receive an assignment from us. I didn’t say what sort of technology I was looking at. I just asked students about technology.

Someone from another organisation said that “Engineering does a lot of group work, do you provide collaborative software? What do the students do when you give them an assignment?” and although I had some ideas I wasn’t actually sure.

So to see why we do so much group work we needed to look at our degree programmes. And all of these are accredited b the relevant professional body (e.g. Institute of Mechanical Engineers) and as a result the activities and assessment is very structured. So I’ll show you our mapping of specific learning outcomes to the degree programme from when we were most recently accredited in 2008. So if we have a look at these learning outcomes the ways in which these are phrased clearly requires you to talk to others, to exchange knowledge. And there is a requirement to manage and participate in shared experiences, in group experiences.And that is experience that you need to have for the real engineering world. And you need to understand customer relationships and peer collaboration.

So, I decided, going back to that original question, that I needed to speak to my colleagues about this and ask them that question. And my colleagues said: well it’s difficult to say; it depends on the assignment; I don’t really care as long as it comes in on time; well they must talk and meet. Some of my colleagues know really well what their students do. And it does depend on how much they are involved with a specific assignment. But generally it wasn’t really clear.

So I thought did I ask the right question? Did I ask the right people? So I decided that I better ask the students… So normally if you send out a student survey you will get 10-20 responses from super keen people. But I got 200 responses!

So I asked if they were using social media or file sharing sites for a class activity or an assignment. 94.5% said yes. I asked about what they were doing with them. There were tick boxes etc. and also loads of comments. I’m happy to share the detailed data here and will be doing that with my school of course. Students were using social media to discuss how they use class materials. Students upload tutorial sheets to Dropbox or Facebook and working their way through the tutorials. They write their workings out, take a picture, share it, correct each others work, explaining what they’ve done wrong. etc.

Students responded that they do this all the time, it’s not part of their assignments alone, it’s a core part of what they do. They do a lot of filesharing – for varying reasons. Mainly they do that because email isnt very efficient and don’t want stuff lost in the email boxes. And they are creating shared materials, not just assignments. So they had more in their toolbox than we thought. Not hugely surprising but the data is super helpful. We have decided we want to explore this more. I originally sent this survey to all our students. I followed up the survey asking if students wanted to come and chat and follow up on this. Seven students came to chat for half an hour, most went on for an hour and half in the end. All of those students were happy to work with the school to develop tools to help them with their learning. But that was a very self-selecting groups.

So some examples…

A 1st year Civil Engineering student has a laptop and smartphone. They are part of her life – not just her studies. She uses facebook every day mainly for social activity and she uses it as a lifeline to back home in Aberdeen. And that link was really important to making her feel her at home at university. She is also happy to join in work on there. There is a year 1 Civil Engineering FB group – they gossip, they share class info etc. Its set up by students themselves. She did join in a FB group for sharing documents and discussing an assignment. After that completed that group stopped. She uses dropbox as more reliable and harder to lose than a USB stick, She uses text messages to arrange personal and academic meetings. Not a big fan of email – it doesn’t seem personal enough for her. She’d prefer phone or Facebook.

A 3rd year Electrical and Mechanical Engineering student is a class rep and uses technology across personal and academic life. He use doodle to arrange meetings with email confirmations. He uses Dropbox to manage all files and to co-create academic materials. He doesn’t use his school file space at all. He also uses Dropbox to upload tutorial questions and past exam questions. And they use mobile phone or iPad camera to share notes etc – that was much more widespread than I realised. He regularly creates and managed FB groups, managing a University of Edinburgh Society page including advertising. And he uses FB to plug gaps in the knowledge between his two disciplines that are not fille sby the academic materials.

A 4th year Electrical and Informatics student. He considers himself to be completely digital, uses a laptop and mobile. He sees everything online as his front space to the world, that it is his personal brand, and how important he thinks that is. He uses Google docs, dropbox etc. And he’s created loads of spaces himself here.

So the commonalities here…

  • Ease of use
  • frequency of access – want everything when they need it and where they are
  • consideration of the tools that met the differing academic and social requirements
  • all demonstrated levels of understanding of privacy and security issues that suggested these had been considered before I spoke to them
  • all consider these tools to be essential to their acadenmic work set
  • the development of these strategies happen mostly without UoE staff directio or guidance, through peer discussion adn actions.
So… what do they do when we give them an assignement? They go out into the world and gather their digital office tools, on a bus, at the flat, in the library or in the computing labs,. They work together, they work separtely and they share. And they do a great job of this without us
Q&A
Q1) This sounds very positive but are there students who fall off the edge here..
A1) We had a real mixed set of responses. Some students were struggling and didn’t want technology forced on them. One of the students – the one that created the 3rd year mech eng FB group. There were 102 students in that coure, and 98 were in the group and the four students were being sent that material separately to keep them up to date.
Q2)
A2) We try to provide flexible students who have the knowledge to go out and find the materials needed for any task – whether an assignment or any other challenge. We are saying to them here is the way to identify the problem, find the right tools and find the solution. So it’s about giving them the skills and toolsets to address any number of issues.
Q3) By the time you’ve reacted to what students say they want they will have moved on… or by formalising that space they will move on because they don’t want you there surveilling.
A3) I would quite like to have shown you the FB groups students use so I asked for permission but they said no. It’s their space. If they want us to help they will ask that, or many will. My concern is about those who are not confident to do that. But us going into their spaces is an issue, it would put them off. It does raise real questions of how you support technology and what technology you support.
And after a short tea break it’s onto the next session…

Case study – Digital Feedback – Dr Jo-Anne Murray, CMVM Abstract

I’m going to talk about some work we’ve been doing out at the Vet School. Some of our students are engaged in online distance education courses so when I talk about digital feedback I’m talking about distance students in particular.

Interaction and communication is key to engaging students in online learning. This is really important when you look at the literature. So it’s about building a community learning experience. So we provide virtual lectures that can be accessed asynchronously. We have a virtual classroom that allows realtime interaction between students and the instructor. We also have text based syncronous discussion. And we have our own virtual campus in Second Life for students and interactions between students and instructors.

So we do provide an aspect of ongoing feedback. But when we come to assignment feedback this has typically been text based and has been delivered by email or through the VLE. Feedback enhances learning. Hand-written comments can be given weeks after submission. And when we think about students perspectives of feedback and the National Student Survey our students are not all that satisfied with the feedback particularly the timliness of feedback, the level of detail and the comprehension of that feedback.

We have lots of work on feedback for traditional students but there has been pretty limited work on the role feedback plays in distance education. Most studies have only examine text-based feedback. And can be limited due to lack of verbal and non-verbal information. Two important factors here are social presence and the sense of instructor interaction, things like friendliness, humour, ways to let the student know that the instructor is concerned and interested.

So thinking about digital technologies… we could use audio, screencasting, webcams. Although quite limited there are some programmes using digital feedback in HE. And this potentially gives us an opportunity to provide richer more detailed feedback, more comprehensive feedback, more timely feedback (but not taking more time to produce), nuances conveyed through tone of voice and use of learning. So hopefully enhancing the relevance and immediacy and usefulness of feedback.

So our case study here relates tio the MSc/Dip/Cert in Equine Science. This is delivered part time over 3 years. And it is delivered using a blend of online learning methods, through asynchronous and synchronous discussion. Students enjoy and thrive on quality unteractions and we really try to promote a sense of presence in the teaching. But feedback on assignments lacked that.

So we trialled feedback on dissertation proposal assignment. We used screencasting software called Jing to deliver this digital feedback – it’s a free to download software, it’s easy to use and it’s less time consuming than generic feedback sheets. So if I play you an example here you can talk through the feedback but also highlight relevant text and the key areas being discussed.

We asked students for feedback. All of the students reported digital feedback as helpful and preferable to written feedback. Felt it much more personal and helpful. Some also found seeing the text being discussed particularly helpful. In terms of improving the students work many of our students felt that it did improve their understanding of how to improve their work. All students said they would like this type of feedback again. Most found it was easy to access, we supported those who had more difficulties.

In terms of tutor feedback and how I found it it was very easy to use, it felt more personal to each student, probably included more detail – I was able to explain to a student how to improve her work far easier through talking than through writing it down. And less time consuming.

In conclusion I would say it’s a very valuable tool for providing feedback. It was a very positive experience for both tutor and students. And it really enhanced the quality and timeliness of feedback.

Q&A

Q1) You used JING, I suspect that it was stored to their own server… so who has that recording. Are there any issues with that?

A1) You have to watch out how you upload the recording to the servers but you can make it private to a specific URL. I have downloaded those files to our own servers as flash files so they could be deleted if we wanted them to be.

OER, OCW, MOOCs and beyond: open educational practice European research & Discussion – Professor Jeff Haywood,Vice Principal Knowledge Management and Chief Information Officer.

What I’m going to cover is to quickly look through OER, Open CourseWare, MOOCs etc. and educational practice, and to speak about what we do and don’t do here at the University of Edinburgh. And to end on a set of slides on economics.

If you want to read the best text on this it’s Taylor Walsh’s Unlocking the Gates (available free from Ithaca). So OER or Open Educational Resources… it is an area of real interest to those that are in th eeducation for development and developing nations etc. so organisations like UNESCO etc. have funded these. And funding from HEA, JISC, Jorum etc. have been important to the creation of OERs. And people like Open Nottingham and Leicester for instance have really stepped into this. We have tried before and may want to revisit.

What is OpenCourseWare is kind of a hodge podge of resources, many of incomplete. MITs set are rated quite highly but many of the resources that are referenced are not open, you cannot do the readings here. There are standards coming through here… there is development of ISO standards takiing place. And the Open University is one of those who have stepped into this domain and into free courses and the space of the MOOC. The thing to note here is the idea of fully automated courses. Standford’s first course here was CS 101 and if you see their FAQs you are entirely walled out of the institution and you get no credits for the course. MITx awards you a certificate but not tradable in the academic exchange sense. And ChangeMOOC which is about the converted learning with the converted.

I also wanted to talk about Coursera which is a Stanford spin off. There is a question here for Edinburgh… do we build our own. For us we think it makes sense to join in with an existing leader so we are talking with Stanford adn Coursera to open that up and looking for volunteers to build materials for that space.

And I wanted to move on to OEP – Open Educational Practices. The OPAL website (oer-quality.org) and this is about thinking about what you might do and what you might need. In terms of structure and need you will find some super thought provoking discussion in the documentation there. There is a classification scheme with a Low to High Learning Architecture scale and an OER Usage scales rom Low to High. So for an institution you can conciously think about conciously where you may want to be on that spectrum.

The OER University – also mentioned earlier – one of the crucial things here is that it is going to be cheaper for the learner – there is a note there for cheaper rates for assessment and credit. So it has the model of learners learning from OER, supported by volunteers, then open assessment from participating institutions, then grant credit for courses, and students are awarded diplomas or degrees [Jeff is showing a diagram adapted from Taylor 2007]. So we are seeing some decoupling of the institution here…

So I have been working on a project, OERtest, with Hamish McLeod, Sue Rigby and others, looking at how one can go about testing knowledge from OERs. And the guidelines we’ve been building up are concerned with entire course-modules offered as OER – the OER must be an entire course unit/module with full course materials, LOs, guides, assessment protocols, supporting documentation, equivelent to a unit/module offered in any HEI. It is intended for units which have been made available entirely online in one space. So it’s perhaps more like a MOOC.

We have several scenarios here. One is an OER traditional student who attends our institution, studies OER modules, request assessements, then use credits within the same institution. Many were nervous about that but seemed like the most straightforward idea.

The next scenario is an OER Erasmus which is the notion of a student completing a course from another university that is used at home institution – a Stanford CS module say as part of an Edinburgh programme.

Another scenario is an OER RPL is not a student at all, studies OER module from… whereever. And requests assessment from our university and uses credits from our university. This is very much like recognition of prior learning. It should work with relatively flexible institutions. But if you look across Europe some organisations regulate that sort of possibility and process and indeed regulate the cost for those sorts of work.

So the critical bit is you have to understand where in the qualification framework you will define yourself as an institution. You decide the level you want to work in. And how many credits you will assign to the work to be done. And then associated with that when you issue the marks you have to tell the people who are receiving those credits how the credits are acquired. And all of the students that graduate have a certificate explaining how the teaching took place.

So…. we took the proposal about teh University offering credits for other learning to the Senatus Academicus and actually they were quite unphased, as an institution we have real confidence in our ability to ensure that the right process takes place to ensure that we this properly if we decide to do it.

Economic Models..

OER

  • cost for HEI is the sum  of value of all inputs needed to design, develop, maintain course materials and delivery platform plus ensure visible.
  • return on investment – reputation, increased applications, signals quality, pro bono service, complies with current ethos
  • Cost for learner – not a lot of evidance that suggests that the value to the learner community is significant. Time to use, need to integrate into other learning.
  • ROI for learner – additional learning materials for course or pleasure. There is some evidence that users of OER are already students looking for additional materials.

OCW…

MOOC

Cost for HEI: again as per OER plus lite-touch tutoring/support and lite-assessment mechanism for certifiate (if offered) and “advertising” and keep pushing these courses.

ROI for HEI – all of the above but stronger, arena to “practice” OEP – and that’s a place to play that is separate from your main institutional practice

Cost for learner – as OCW but more structured/demanding – and that can mean more drop offs/out

ROI for learner – closer to the “educational real thing”, possible “proof” of competence as certificate – not a trivial thing in some parts of the world, It will cost you ££s for your certificate but that proof of competance is fairly inexpensive and may be well worth that investment.

So… ROIs on accreditation of OER-based learning (=MOOC+Assessment+Accreditation)

The Cost for HEI:

IF (unbundled curriculum = 0)

ELSE (course materials/tutoring = MOOC)

+ full assessment for credit + ward)

ROI for HEI = as MOOC + ££s for assessment/accreditation

Cost for learner = time, ££s

ROI for leaner = accreditation, certification and the pleasure of learning.

So… the cost implications of OER-based learning… Well…

  • Level 9 UoE course = 120/6 = 20 credits @ £9000/6 = £1500 if taken “normally”
  • Cost to assess learning achieved = 1 day work – £300/£600 (gross salary/fEc)
  • Cost to validate/award = 1 day work = £300/£600
  • Cost to learner for 20 credits = £600/£1200

So cost only low versus normal course. So if we want this to be cheaper then the assessment must be lighter, must be different from normal assessment. So needs to be lighter and automated. Which is great for competance based courses, not so much for qualitative courses.

And finally… we know what it costs to do it… what are we going to chage for it. The price can be set for any number of reasons…what can the market bear – which is important for most of our courses and why the business school charges twice as much and dentists can charge even more. And then there is the impact on current offerings of price differntials, small or large. Impact on reputation for quality. Loss-leader approach? Purposeful cross-subsidy for pro bono services etc…  How do you position your institution?

Conclusions – well there are spaces that you can experiment and play with in th ewider educational ecologies for traditional universities. Change in education has been slow, perhaps leading to complacency, or at least low agility. Awareness of why one is there is important for reputation and sustainability. There really is no such thing as a free lunch both for universities and learners.

Q&A

Q1) I don’t think I agree that the crunchy bit of the issue is the economic issue, I’m concerned that the MOOC movement isn’t going back to 1990s style automated learning and isn’t very pedagogically interesting.

A1) I agree to an extent if we’re talking about what MOOCs have largely done to date… a lot have come from computer science and engineering type disciplines where there are competencies that can be assessed in more automated ways. But you need to get the learning outcomes and credits right here and a trade off between the types of course you run in these spaces versus in person courses.

Q2) My issue is about what kind of learner we have in mind. Getting into the university has a bunch of pre-requistites, that’s partly about fairness of admission, partly to make sure students are able to complete and succeed in a course. If you create a course that anyone can take we might as well just open our doors.. that’s one of the implications I think. Isn’t there another or better way to tackle disadvantage of access. Should we provide a bridging process.

A2) I think those are legitimate concerns. But it depends on how you view entries to a MOOC. Participants only get assessment at the end of the programme, that’s one part of the answer, and the other is that this model is predicated on crowd-sourcing the answers to your questions. We shouldn’t assume we have to have the answers to everything. Maybe answers will come from knowledgeable others. Perhaps you moderate them, But it’s not your responsibility as an institution. It’s a different mindset to the one behind our closed gates.

Q2) So how do you manage those expectations?

A2) Well the key thing is it’s a different experience I’m talking about here.

And finally…

Dr Jessie Lee is closing the day for us with thank yous to the speakers, to the committee who have put today together, and information services and the Institute for Academic Development, and lets thank everyone who came along today as well.

And with that we are done here… lots of interesting stuff today and lots of thoughts and ideas to follow up on.

 

Apr 012011
 

Today I will be liveblogging the eLearning@Ed 2011 conference which is taking place at the National eScience Centre at Edinburgh University today. The usual rules of liveblogging apply of course – posts will be updated through the day and there will be typos, errors, etc. that I will be correcting as I spot them or when I clean up this blog post at the end of the day.


Welcome by Tim O’Shea, Vice-Principal of UoE

This is the 8th eLearning @Ed conference. Emphasized that Informatics one of the top 5 depts in the world, a leader in ISG etc.  All 3 colleges and ISG are here represented today. We are a really huge university. We could have just had elearning in Moray House or the Vet School but a fundamental of the approach that Jeff Hayward and I have taken is to make sure there isn;t just one unit where all elearning is based but a community across the university. The university’s mission is to ensure we have valuable non trivial use of elearning across the university. We are doing something new here, we are creating new spaces for students to learn in. At events like this we can think about taking best advantage of the unique aspects of elearning.It is not about economics but about the student experience.

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