Online supplements to Smit, E., Tuithof, H., Savelsbergh, E., & Béneker, T. (2023). Geography teachers’ pedagogical content knowledge: A systematic review. Journal of Geography. https://doi.org/10.1080/00221341.2023.2173796 Supplement 1: Extended information on selected studies Supplement 2: Full references of studies used in the review Supplement 3: Codebook Abstract: Pedagogical Content Knowledge (PCK) is the knowledge teachers use to teach a specific subject to a specific audience. The importance of PCK to quality teaching is widely recognized. However, an overview of research about geography teachers’ PCK is missing. To fill this gap, we conducted a systematic review. We analyzed 43 empirical studies, but only 9 used PCK as a framework. Most studies addressed instructional strategies or teaching orientations. The studies were too diverse to draw conclusions on geography teachers’ PCK in general. But portraits of 16 geography teachers emphasized the necessity of geographical knowledge and teaching experience for PCK-quality.
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This paper describes a comparative case study that aims to uncover the quantifiable differences between non-interactive and interactive public displays in the urbanenvironment. The study involved a large temporaryinteractive public display on a central city square showing a selection of custom-made content. We have evaluated the effect on passers-by and spectators in two conditions: 1) non-interactive (2102 passers-by, 228 viewers), by showing a content loop, and 2) interactive (1676 passers-by, 257 viewers), by adding physical pushbuttons for content selection and gaming. We discuss the influence of noninteractive and interactive public displays on: 1) attracting attention, 2) engaging people, 3) improving social dynamics within and among groups of viewers, and 4) catering for the suitable time of day. Based on our observations, we provide quantitative support for the hypothesis that interactive displays are more successful than non-interactive displays to engage viewers, and to make city centers more lively and attractive.
Hoofdstuk 12 uit deel III: Uses of cultural technologies. The essays in this volume discuss both the culture of technology that we live in today, and culture as technology. Within the chapters of the book cultures of technology and cultural technologies are discussed, focussing on a variety of examples, from varied national contexts. The book brings together internationally recognised scholars from the social sciences and humanities, covering diverse themes such as intellectual property, server farms and search engines, cultural technologies and epistemology, virtual embassies, surveillance, peer-to-peer file-sharing, sound media and nostalgia and much more. It contains both historical and contemporary analyses of technological phenomena as well as epistemological discussions on the uses of technology.
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“Empowering learners to create a sustainable future” This is the mission of Centre of Expertise Mission-Zero at The Hague University of Applied Sciences (THUAS). The postdoc candidate will expand the existing knowledge on biomimicry, which she teaches and researches, as a strategy to fulfil the mission of Mission-Zero. We know when tackling a design challenge, teams have difficulties sifting through the mass of information they encounter. The candidate aims to recognize the value of systematic biomimicry, leading the way towards the ecosystems services we need tomorrow (Pedersen Zari, 2017). Globally, biomimicry demonstrates strategies contributing to solving global challenges such as Urban Heat Islands (UHI) and human interferences, rethinking how climate and circular challenges are approached. Examples like Eastgate building (Pearce, 2016) have demonstrated successes in the field. While biomimicry offers guidelines and methodology, there is insufficient research on complex problem solving that systems-thinking requires. Our research question: Which factors are needed to help (novice) professionals initiate systems-thinking methods as part of their strategy? A solution should enable them to approach challenges in a systems-thinking manner just like nature does, to regenerate and resume projects. Our focus lies with challenges in two industries with many unsustainable practices and where a sizeable impact is possible: the built environment (Circularity Gap, 2021) and fashion (Joung, 2014). Mission Zero has identified a high demand for Biomimicry in these industries. This critical approach: 1) studies existing biomimetic tools, testing and defining gaps; 2) identifies needs of educators and professionals during and after an inter-disciplinary minor at The Hague University; and, 3) translates findings into shareable best practices through publications of results. Findings will be implemented into tangible engaging tools for educational and professional settings. Knowledge will be inclusive and disseminated to large audiences by focusing on communication through social media and intervention conferences.
Het doel van het onderzoeksproject Immersieve journalistiek en het Betrokken Publiek is om samen met publieke mediaorganisaties en drie kennisinstellingen meer inzicht te krijgen in hoeverre emotionele betrokkenheid van nieuwsconsumenten bij journalistieke producties van invloed kan zijn op de publieke functie van journalistieke organisaties. Het overdragen van informatie aan burgers en het duiden van gebeurtenissen en ontwikkelingen in de samenleving is een kerntaak van de journalistiek. Publieke mediaorganisaties moeten tevens hun specifieke publieke functie waarmaken. Tegelijkertijd is door de toegenomen concurrentie en commercialisering in de mediasector, de journalistiek nog meer genoodzaakt het publiek centraal te stellen en zoeken journalistieke organisaties naar nieuwe manieren om de mediaconsument aan zich te binden. Zij zoeken daarom naar nieuwe technieken en vormen van journalistiek. Een vorm is immersieve journalistiek. Via immersieve journalistieke technieken zoals 360-graden video, augmented reality en virtual reality gaat het publiek als het ware deel uitmaken van een verhaal in plaats van het alleen te ‘ondergaan’. Hierdoor zouden gebruikers meer emotioneel betrokken worden bij nieuws, waardoor de media hun publieke functies (beter) kunnen waarborgen. Of immersiviteit de betrokkenheid van het publiek daadwerkelijk vergroot en of emotionele betrokkenheid ook bijdraagt aan de informatieve - en duidingsfunctie van de journalistiek is echter de vraag. Onderzoek naar immersieve technieken in de journalistiek is nu nog grotendeels gericht op de productiekant en op de narratieve elementen van dergelijke media-uitingen. Er bestaat nog weinig kennis over de ervaring van de gebruiker en welke impact immersiviteit heeft op kennisoverdracht. Veel publieke media-organisaties experimenteren met immersieve journalistiek, maar worstelen met de vraag of ze daarmee hun publieke functie kunnen waarmaken. Dit onderzoek biedt een nieuw perspectief op de ervaringen van de huidige mediaconsument en de rol die emotie speelt bij immersieve journalistieke verhalen. Volgens de werkveldpartners is er in het werkveld veel behoefte aan publieksonderzoek, waarna praktische tools ontwikkeld kunnen worden.
In leaving the more traditional territories of the concert performance for broader societal contexts, professional musicians increasingly devise music in closer collaboration with their audience rather than present it on a stage. Although the interest for such forms of devising co-creative musicking within the (elderly) health care sector is growing, the work can be considered relatively new. In terms of research, multiple studies have sought to understand the impact of such work on musicians and participants, however little is known about what underpins the musicians’ actions in these settings. With this study, I sought to address this gap by investigating professional musicians’ emerging practices when devising co-creative musicking with elderly people. Three broad concepts were used as a theoretical background to the study: Theory of Practice, co-creative musicking, and Praxialism. Firstly, I used Theory of Practice to help understand the nature of emerging practices in a wider context of change in the field of music and habitus of musicians and participants. Theory of Practice enabled me to consider a practice as “a routinized type of behaviour which consists of several elements, interconnected to one another: forms of bodily activities, forms of mental activities, ‘things’ and their use, a background knowledge in the form of understanding, know-how, states of emotion, and motivational knowledge” (Reckwitz, 2002, p. 249). Secondly, I drew the knowledge from co-creative musicking, which is a concept I gathered from two existing concepts: co-creation and musicking. Musicking (Small, 1998), which considers music as something we do (including any mode of engagement with music), provided a holistic and inclusive way of looking at participation in music-making. The co-creation paradigm encompasses a view on enterprise that consists of bringing together parties to jointly create an outcome that is meaningful to all (Prahalad & Ramaswamy, 2004; Ramaswamy & Ozcan, 2014). The concept served as a lens to specify the jointness of the musicking and challenge issues of power in the engagement of participants in the creative-productive process. Thirdly, Praxialism considers musicking as an activity that encompasses “musical doers, musical doing, something done and contexts in which the former take place” (Elliott, 1995). Praxialism sets out a vision on music that goes beyond the musical work and includes the meanings and values of those involved (Silverman, Davis & Elliott, 2014). The concept allowed me to examine the work and emerging relationships as a result of devising co-creative musicking from an ethical perspective. Given the subject’s relative newness and rather unexplored status, I examined existing work empirically through an ethnographic approach (Hammersley & Atkinson, 2007). Four cases were selected where data was gathered through episodic interviewing (Flick, 2009) and participant observation. Elements of a constructivist Grounded Theory (Charmaz, 2014) were used for performing an abductive analysis. The analysis included initial coding, focused coding, the use of sensitizing concepts (Blumer 1969 in Hammersley, 2013) and memoing. I wrote a thick description (Geertz, 1973) for each case portraying the work from my personal experience. The descriptions are included in the dissertation as one separate chapter and foreshadow the exposition of the analysis in a next chapter. In-depth study of the creative-productive processes of the cases showed the involvement of multiple co-creative elements, such as a dialogical interaction between musicians and audience. However, participants’ contributions were often adopted implicitly, through the musicians interpreting behaviour and situations. This created a particular power dynamic and challenges as to what extent the negotiation can be considered co-creative. The implicitness of ‘making use’ of another person’s behaviour with the other not (always) being aware of this also triggered an ethical perspective, especially because some of the cases involved participants that were vulnerable. The imbalance in power made me examine the relationship that emerges between musicians and participants. As a result of a closer contact in the co-creative negotiation, I witnessed a contact of a highly personal, sometimes intimate, nature. I recognized elements of two types of connections. One type could be called ‘humanistic’, as a friendship in which there is reciprocal care and interest for the other. The other could be seen as ‘functional’, which means that the relationship is used as a resource for providing input for the creative musicking process. From this angle, I have compared the relationship with that of a relationship of an artist with a muse. After having examined the co-creative and relational sides of the interaction in the four cases, I tuned in to the musicians’ contribution to these processes and relationships. I discovered that their devising in practice consisted of a continuous double balancing act on two axes: one axis considers the other and oneself as its two ends. Another axis concerns the preparedness and unpredictability at its ends. Situated at the intersection of the two axes are the musicians’ intentionality, which is fed by their intentions, values and ethics. The implicitness of the co-creation, the two-sided relationship, the potential vulnerability of participants, and the musicians’ freedom in navigating and negotiation, together, make the devising of co-creative musicking with elderly people an activity that involves ethical challenges that are centred around a tension between prioritizing doing good for the other, associated with a eudaimonic intention, and prioritizing values of the musical art form, resembling a musicianist intention. The results therefore call for a musicianship that involves acting reflectively from an ethical perspective. Doctoral study by Karolien Dons
