Today educational activities take place not only in school but also in after-school programs, community centers, museums, and online communities and forums. The success and expansion of these out-of-school initiatives depends on our ability to document and assess what works and what doesn’t in informal learning, but learning outcomes in these settings are often unpredictable. Goals are open-ended; participation is voluntary; and relationships, means, and ends are complex.
The mobility of students in developed countries has dramatically increased over the last fifty years. Students do not necessarily remain in their countries of origin for higher education and work; they might be born in one country, attend university in a second, and find employment in a third.
The current “spatial turn” in many disciplines reflects an emerging scholarly interest in space and spatiality as central components in understanding the natural and cultural worlds. In Space in Mind, leading researchers from a range of disciplines examine the implications of research on spatial thinking and reasoning for education and learning.
Most research on media use by young people with disabilities focuses on the therapeutic and rehabilitative uses of technology; less attention has been paid to their day-to-day encounters with media and technology—the mundane, sometimes pleasurable and sometimes frustrating experiences of “hanging out, messing around, and geeking out.” In this report, Meryl Alper attempts to repair this omission, examining how school-aged children with disabilities use media for social and recreational purposes, with a focus on media use at home.
Professional and amateur musicians alike use social media as a platform for showcasing and promoting their music. Social media evaluation practices—rating, ranking, voting, “liking,” and “friending” by ordinary users, peers, and critics—have become essential promotional tools for musicians. In this report, H. Cecilia Suhr examines one recent development in online music evaluation: the use of digital badges to aid in assessment and evaluation. Digital badges have emerged in recent years as a potential credentialing method in informal learning environments.
Music videos were once something broadcast by MTV and received on our TV screens. Today, music videos are searched for, downloaded, and viewed on our computer screens—or produced in our living rooms and uploaded to social media. In We Used to Wait, Rebecca Kinskey examines this shift. She investigates music video as a form, originally a product created by professionals to be consumed by nonprofessionals; as a practice, increasingly taken up by amateurs; and as a literacy, to be experimented with and mastered.
Soft Circuits introduces students to the world of wearable technology. Using Modkit, an accessible DIY electronics toolkit, students learn to create e-textile cuffs, “electrici-tee” shirts, and solar-powered backpacks. Students also learn the importance of one component to the whole—how, for example, changing the structure of LED connections immediately affects the number of LEDs that light up.
Fresh from a party, a teen posts a photo on Facebook of a friend drinking a beer. A college student repurposes an article from Wikipedia for a paper. A group of players in a multiplayer online game routinely cheat new players by selling them worthless virtual accessories for high prices. In Disconnected, Carrie James examines how young people and the adults in their lives think about these sorts of online dilemmas, describing ethical blind spots and disconnects.
Gaming the System demonstrates the nature of games as systems, how game designers need to think in terms of complex interactions of game elements and rules, and how to identify systems concepts in the design process. The activities use Gamestar Mechanic, an online game design environment with a systems thinking focus.
The New York Times declared 2012 to be “The Year of the MOOC” as millions of students enrolled in massive open online courses (known as MOOCs), millions of investment dollars flowed to the companies making them, and the media declared MOOCs to be earth-shaking game-changers in higher education. During the inevitable backlash that followed, critics highlighted MOOCs’ high dropout rate, the low chance of earning back initial investments, and the potential for any earth-shaking game change to make things worse instead of better.