caa2014.thatcamp.org/2014/02/11/note-from-the-pedagogy-breakout-creating-non-linear-textbooks/
changing the “textbook” from chronological to something else: thematic (like “communication”), then use a crowdsourced materials (“why do we look at old things”) to create a customized syllabus. no need to reinvent the wheel.
learning outcomes//teaching outcomes (partnership opportunities)
what is it to teach thematically?
finding the right tools for the job//teaching portal
do we focus too much on finding the right tool instead of creating the right content?
wiki model//sustainability//editorship
resources as a forum/community
google+/hangout for a community of peers
what value is a community? (teaching outside your area, first time teaching, responding to new groups of students, new teaching methods – expanding the dialogue)
how do we keep art history separate from other disciplines? (do we need to?)
team teaching/interdisciplinary methodology
falling enrollment rates
changing the language of classes: syllabi changing, class titles changing
k-12/common core changing
ideal resource forum: what would it stress? a skill based model (why learn art history) or thematic (art history itself)
end of session: creating a google+ community – plus.google.com/u/0/communities/112121309526258693821
see also: plus.google.com/u/0/109713576014955162590/posts
links:
arthistoryteachingresources.org // omeka.org/.net // narrativemedicine.org //

caa2014.thatcamp.org/2014/02/11/digital-methods-for-undergrads/ starting point//link to google doc

how are classrooms set up (what sorts of rooms, how do students interact with professors/other students)

how do we evaluate collaboration (digital badging?)

incorporating media – wikipedia, new media techniques, etc.

how to make these not “silos” and instead a new methodology

“in art history, we need to be leaders and not just follow the humanities”

having students blog, sharing that content on social media like twitter, facebook, etc. using twitter to write a joint paper.

crossing national boundaries to collaborate on work (with blogs/digital online writing).

different platforms for different prompts/audiences

re-photography projects

what skills do we need to cultivate with the students? maybe look at k-12 and museum education for guidelines. more opportunities for the visual.

how do you deal with more traditional mindsets against digital/interactive teaching? and how do  you deal with the students who just won’t get involved?

how do you show the material is getting through to the students? (assessment strategies). individualized feedback, etc.

creating projects that are “real world” examples

having students peer-grade

color wheel examples: CMS, tumblr, produced videos, etc

using digital tools students use everyday to create research projects

taking audience voices that aren’t usually heard to create a survey of a museum

recording thoughts as a blueprint for final piece

digital badging (chicago public schools use this: www.macfound.org/learning/ (press release: www.cps.edu/News/Press_releases/Pages/PR2_07_01_2013.aspx). personal plug: this is something i’m super interested in exploring as well, if you’d like to talk about it, please email me: adrienne.canzolino@loop.colum.edu)

links:

medianola.org // shadowpuppet app // openbadges.org/

competing aspects of time//the risks of hyperreality
showing alternatives in reconstruction (archeology)
what is the “truth” of a site/piece of art/etc
what are the ethics of uncertainty? injecting uncertainty into the classroom without confusing students.
allowing students to explore the uncertainty and annotate and visualize uncertainties themselves
varied audiences//disclosure of uncertainty for different groups//responsibilities. layers of absolute evidence – helps for “consumers”
interdisciplinary approach to research and presentation. especially helpful for non-visual research, such as sounds and smells.
“always dealing with a part for the whole” and the need for “truthiness.” even with graphics programs, it’s always a simulation, no matter how accurate you can be.
finding strategies to tell students to pick something apart.
what is the role of the model if you are just going to change it when it’s built?
restoring for functionality vs restoring for other reasons
art history’s embrace of the unitary object; need to embrace a diachronic nature of objects. cultural biography.
hard to talk about uncertainty in a visual way because of our insistence on visual objects being “true.”
wobbly/fuzzy maps: leaving off info is just as bad as “fudging” the data. what kind of data can you make fuzzy, then? (for example, if you don’t know a location, where do you put it when it’s required? possible example: create a “range” on your visualization, create a homespun effect)
instead of throwing a million examples at undergrads, lets slow down and give less information and talk about them in a broader context
multiple reconstructions of monuments to present to a class/representing process (allows for representing uncertainty)
even simple things like physically erasing what we’re uncertain of can allow students to visualize.
audiences: community engagement//what/why are we trying to recreate, and for whom? experiential spaces/physical spaces (creating a story)
phenomenology (smell and sound scapes as well as visual narratives)
mashups and influences; representing stylistic and perceptive shifts
tools//examples:
idre.ucla.edu/gis-visualization/vsim // GIS // civic.mit.edu/tools // sketchup // ben franklin home wireframe // OWL //

open access collection of resources as supplement or replacement of the “traditional” survey textbook
artsy: art genome project
identifiy needs//challenges
what is different between a wiki, a non-linear book, etc.
how to create it: metadata, open source, copyright, access rights
making connections that aren’t limited to the “usual” methods like chronology, geography
art genome: tags v. genes. tags are the visual data; genes are the “content” (raw data)
smart history: open and free access as well; maybe there is a way to link this type of system with the art genome
how do we get students to engage with it? concept maps, constructing connections.
benefit of “survey” is a guided method; too much information might be overwhelming, how do we use these tools with a guided method in mind? maximize accessability
what types of concepts/groupings are best for the “survey” guide? (metadata) do undergraduates need a chronological guide, broken down maybe into styles/content/themes? how to contextualize history/teaching the transfers of ideas/
what are the goals we are trying to teach to? letting students delve into text/talking about visualization? (creating portals, narrowing focus, creating themetics and timelines as part of the class)
creating transformative experiences for students!!!!! (“it is why we all teach!”)

Bamboo DiRT (dirt.projectbamboo.org)
infrastructure in the art communities: one portal for all digital tools and projects (an idea that usually fails)
monolithic portals vs. a lightweight approach to tools
overkill of tools: too complex; hard to peer-review the tools
make existing apps work vs. creating new apps (no need to reinvent the wheel, especially when your background isn’t in app development) – no need to spend the time and money on it, either. (spend the money elsewhere!)
ask yourself “what is missing” and look at that as a form of creating collaborations.
tools are not the answer: methodology/research/what can be done digitally (don’t search for the one perfect tool)
interdisciplinarity – no longer thought about with undergrads, because it is the norm and no longer a “novel” idea.
an assumption of “disciplinarity” with a lot of tools that already exist
digitalhumanitiesnow.org // journalofdigitalhumanities.org // cartodb.com // gephi.org // cytoscape.org // readtapestry.com // omeka.org // viewshare.org // scalar.usc.edu // raw.densitydesign.org // thinglink.com
social networking as research/collaborative tool (facebook/youtube/pinterest)
allow students to fail at using tools, in order to start discussion about tools/research