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Easy searching, classification, reclassification. Reducing
analog information to the common denominator of pixel values makes
it easier to classify and search for specific information. Currently,
this potential is vastly underutilized due to the lack of adequate
search engines -- in fact, most of the searches conducted today
are based on classification schemes and 'tagging' of electronic
entries. However, there are already examples of crude search engines
that use the criteria of pattern similarities within digital representations
enabling one to, for example, find all of the images in a virtual
repository containing leaf-like structures or human faces. Retrieved
entities can be as easily reclassified and the classification stored
for future uses and fast recovery. The implications of this are
manifold. The user is not anymore constrained by the historical
circumstances that led to the establishment of certain collections,
or by predetermined choices but can make an original choice which
will be governed by his/her personal history and interest (2).
Anonymity, pseudonymity. In digital environments identity
depends on one's wish to create one. This characteristic of the
medium has numerous implications and a profound influence on personal
experience during digital interactions (8).
Most often anonymity is transformed into pseudonymity, where one
creates a new digital identity which can be specified by a simple
descriptive name or with elaborate textual or pictorial details
(avatar). Although in many domains of digital interactions anonymity
is fiercely fought against (for example, in the domain of email
or commercial exchanges) it has unexpectedly positive aspects and
uses in educational contexts. Some educators have already discovered
the beneficial uses of anonymity in collaborative learning activities
-- where an individual feels protected and freer to express one's
views, and where comments and criticism are always addressing the
content rather than the author.
Intimacy. The sense of intimacy in the digital medium comes
partially from one's anonymity and also from the strong sense of
control one has in this environment. In a matter of seconds one
can choose and switch between widely different contexts, make a
decision to participate or just to observe, to contribute or to
download, to broadcast messages to thousands of individuals or just
a select few... This sense of intimacy and control one has over
digital representations of works of art can play an important role
in establishing a relationship with a work of art, a necessary element
of art appreciation.
New social/collaborative space. The digital medium opens
up new possibilities for social and collaborative interactions.
These possibilities were first realized (but are only rudimentarily
explored) by the corporate sector. This led to the development of
a new kind of software -- now known under the name of "groupware".
Collaborative action provides a new dimension to the experience
of works of art. For example, it allows witnessing and possible
collaboration during the actual creation of the work of art. The
technique was explored to some extent in the area of literary creations
-- John Updike writing the final chapter of his latest novel using
the input of the thousands of interested individuals spread all
over the globe (1).
History log. Although one can make the claim that information
stored in any medium preserves the past in some way, this is incomparable
to the ease and precision with which history can be logged in the
digital medium. This is the natural outcome of the fact that the
information in this medium is the interaction which makes logging
of it a necessary part of the environment. Currently, log files
are mostly used for technical purposes: to establish how many individuals
visited a site, which files were downloaded most frequently, etc.
However, the possibility for digital preservation of past events,
for example, of reactions that different individuals had while being
exposed to a specific phenomenon carries a huge and as yet untapped
pedagogical potential. (examples: follow my footsteps through the
virtual gallery.... write a single word that comes to your mind
when contemplating a work of art and see how many hundreds? thousands?
had the same association...).
Cumulative knowledge accrual. The accumulation of logged
information and the ease with which this information can be filtered,
searched and classified at a later date is the basis for cumulative
knowledge gain. Some examples of creation of 'knowledge spaces'
(7) already exist
in the academic world and provide good examples of further directions
one may exploit in the world of the arts.
Problems
Although it is evident that the new medium can have an enormous
influence on educational practices it is still vastly underutilized.
This state of affairs is the result of at least two distinguishable
types of problems: a) problems related to technology associated
with the new medium, and b) problems which arise from misunderstanding
and misuse of the new medium.
Technology related problems
Since the new medium is intimately linked with the rapidly changing
field of micro-electronics (where new standards are introduced in
less-than-year intervals) one would expect that the majority of
problems are linked to technology itself. However, this is misleading.
Although there are many legitimate technical problems associated
with the use of computers in general, in most educational contexts
the problems that are perceived as technological in nature are actually
problems of interface design. This misperception is especially dangerous
because it also offers the illusion of a possible solution through
technological advances. Many Web-based curricula that did not fulfill
the expectations of their creators are still waiting for more powerful
computers, faster Internet connection, real-time streamlined video,
etc.
The major technology-related problem seems to be not in the domain
of hardware but rather in the discrepancy which exists between the
technical knowledge of educators and their students. The need for
investment into technology-related professional development of educators
was even recognized and articulated on the policy-making level in
the US (5).
Problems related to the misconceptions about the new medium
Misconceptions about the new medium arise most often because of
the tendency to treat the digital medium as a slightly different
form of existing media. The disastrous effects of such practice
can be best seen by looking at the relationship between the print
and the digital medium. The idea of an 'electronic book' was born
very soon after the introduction of computers into everyday life.
It seemed easy and tempting (and besides that, it saves the trees)
to make printed information available in electronic form. First
attempts copied even the constraints of the original medium -- electronic
pages were sequentially numbered and the reader was supposed to
read them in order. The ease of information manipulation and navigation
in the digital medium soon led to the addition of new features specific
to the new medium to electronic books. Most important of them was
the introduction of hyperlinks which allowed non-sequential navigation
through electronic texts. The first experiments with hypertext were
disastrous. Instead of making the transfer of knowledge easier,
they made it harder. Hyperlinks allowed the user to jump ahead to
the topic of interest but often without enough background information
(which would have been supplied in sequential browsing) to understand
the text. Several jumps back and forth and the reader was hopelessly
lost. We know now that converting printed text into hypertext does
not consist only of converting the print into electronic form. In
order to be useful hypertexts have to follow their own rules for
optimal interaction -- from screen-sized text chunks to the redundant
background information provided for hyperlinks and several modes
of navigation. Similar misconceptions exist in the domain of art
education where most often the creation resembles a digital, hyperlinked
art catalogue.
There are no easy remedies for the above problems. It is obvious
that we need more experiments in order to find optimal ways of using
the new medium.
Implications for interface design
What follows is a number of suggestions for pedagogical uses of
the digital medium. These suggestions are exploiting the profiled
characteristics of the medium in the context of current technological
limitations. However, before dealing with specific solutions, it
is necessary to mention the most general principles of interface
design, often forgotten for the sake of other competing design interests:
- any procedure and interaction in the digital medium should
be easier or faster to execute than the same one using traditional
means, or
- the benefits of any interaction in the digital medium should
be substantially greater as compared to the same interaction using
traditional means, or
- the best solution: less investment, greater benefits;
These simple principles can be applied to almost any stage of interface
design -- from visual look and feel, to navigational strategies, to
the general site organization. Examples include substituting two mouse
clicks for one in drop menu choices (often one click for selection,
the other one to 'go'), providing alternative navigational routes
and shortcuts, or the overview of the whole site structure. The benefits
are often psychological and social: being 'invisible' in a room full
of people (online 'chat' rooms), having time to compose one's response
(email), or to explore at one's own pace (virtual exhibits). However,
these benefits are often overlooked in favor of more technical ones
(like using cryptic commands for faster file access), which for the
average user have no perceived value. The best possible solution is
the combination of the two above-mentioned solutions -- greater reward
with comparatively less investment. A traditional example would be
the ease with which one can 'cut and paste' in a word processor. The
general interface suggestion for the design of Web-based art education
sites is to minimize the dependence on technology during pedagogical
activities. Since the major technical difficulty for the most users
connected to the Internet (including the majority of schools) is the
narrow-bandwidth and undependable telephone connection this could
be achieved in the following ways:
- by off-line browsing of pre-loaded content;
- creation of hybrid pre-loaded and interactive sites;
- using redundant and interchangeable storage and transportation
media;
- modularized content;
Although off-line browsing seems to be defeating the point of the
Internet connection, in reality the number of really 'interactive'
sites is very small. Most often the sites are updated on a weekly
or monthly basis. Currently there is a number of programs, popularly
known as 'spiders'
that can be scheduled to automatically download whole WWW sites onto
the local hard-drive at scheduled intervals. Subsequent visits to
the same site download only the information that was added or changed
since the last visit and are executed very quickly. In spite of the
abundance of these programs, they are rarely used.
Creation of hybrid sites (in terms of information storage and management)
resolves the problems of narrow bandwidth while preserving interactivity
and 'live' presence. On these sites the high-bandwidth information
is downloaded in advance so that the live Internet connection can
be used for interactive activities. Unlike the previous solution
the creation of such sites depends for the most part on the information
provider.
Another solution to narrow bandwidth and shortage of local storage
space is to provide larger data-base type parts of the Web site
(like image collections) on removable storage media (CD ROMs, ZIP
disks). All of the above mentioned solutions depend on and are most
efficient if the content is modularized.
The last, and potentially the most beneficial interface design
suggestion is:
- whenever possible exploit the specific characteristics of the
new medium for the creation of new pedagogical paradigms;
This, somewhat cryptic directive is also the hardest to implement.
In simple words it can be restated as: use the new medium's potential
to the full extent. However, it is often hard to predict which design
features and interactions are most compatible with the new medium.
This knowledge often comes from hindsight. For example, during an
experimental college course that used Web-based tools to support collaborative
teaching and learning, the students were asked to submit their papers
anonymously (6). The
papers were posted on the class Web site so that other students could
comment on them (the comments were also anonymous and were appended
to the original paper). What struck the instructors was the visible
increase in the quality of student writing. In retrospect, it is easy
to explain - the students were not writing any more for the instructor
but for 'the world'. Protected by their anonymity they could more
freely express themselves. Anonymity of papers also allowed the commentators
to focus on the content and not the author and again, under the protective
shield of anonymity, openly express their opinions. Other positive
effects of such a simple Web-based interaction design are surprising
and also include:
- benefits of exposure of individual students to the work of
others (which is not usual in traditional coursework);
- instructor's insight not only into the students ability to
create, but also in their ability into critically appraise the
work of others;
- creation of a database of high quality student papers to serve
as future resources and 'standard setters'.
Again, in retrospect, it is easy to see that this procedure tapped
into the several of the mentioned characteristics of the digital medium:
anonymity, intimacy, collaborative social space and cumulative knowledge
accrual. One can easily imagine similar techniques used in the field
of art education
Conclusion
The intimate connection of the digital medium with technology leads
to the perception that the existing problems of using this medium
in education will be solved through technological advances. It has
been suggested that the existing technological problems can be bypassed
by adequate design of interaction protocols. The major problems
of Web-based (art) education are not technological but psychological
in nature. They arise mostly from the attempt to transplant the
existing interaction models into the new medium. These models are
not only ill-suited for pedagogical purposes but also prevent exploiting
the unique characteristics of the digital medium and using them
as a basis for the development of the alternative and more efficient
educational paradigms.
Note 1. See,
for example, the description of WebBuddy, WebWhacker and WebDown
programs which can be downloaded as trial or shareware versions
from a variety of software repositories on the Web.
References
(1) Amazon.com,
The Largest Bookstore on Earth, on-line http://www.amazon.com
(2) Getty Information
Institute, The (1997) Digital Experience: Art Collector, on-line:
http://www.getty.edu/digital/inthe/index.html
(3) Levy, P. (1996)
The Art of Cyberspace, in Druckrey, T. (ed.) Electronic Culture:
Technology and Visual Representation, 366-367, Aperture Foundation,
NY
(4) Perrone, C.,
Repenning, A., Spencer, S., Ambach, J. (1997) Computers in the Classroom:
Moving from Tool to Medium, Journal of Computer Mediated Communication,
Vol. 2, No. 3 (on-line: http://209.130.1.169/jcmc/vol2/issue3/perrone.html)
(5) President's
Committee of Advisors on Science and Technology, Panel on Educational
Technology (1997), Report to the President on the Use of Technology
to Strengtyhen K-12 Education in the United States, in in Educational
Technology Review, 26-27, No 8, 1997 (full report on-line: http://www.whitehouse.gov/WH/EOP/OSTP/NSTC/PCAST/k-12ed.html)
(6) Prince, G.,
Milekic, S., Nikolic, V., Tus, O., Fetherstone, B. (1997) Conflict
Resolution and Historical Analysis: An Experiment in Collaborative
Teaching/Learning, on-line: http://hamp.hampshire.edu/~AWAKE/ConRes
(7) Suthers, D.D.,
Erdosne Toth, E., Weiner, A. (1997) An Integrated Approach to Implementing
Collaborative Inquiry in the Classroom, Computer Supported Collaborative
Learning '97, Dec. 10-14, Toronto (on-line: http://advlearn.lrdc.pitt.edu/advlearn/papers/CSCL97.html)
(8) Turkle, S. (1995)
Life on the Screen: Identity in the Age of the Internet, Simon &
Schuster
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