Over the past few decades, education systems, especially in higher education, have been redefined. Such reforms inevitably require reconsideration of operational notions and definitions of quality, along with a number of related concepts. This reconsideration aligns with the core of higher education reforms: improving efficacy and compatibility with emerging social demands while adapting to competitiveness and accountability trends. As primary players in the teaching and learning process, online tutors have a protagonistic role and, therefore, must be equipped with a suitable set of competencies and attributes in addition to content knowledge. This quantitative research aims to analyze the perceptions of 250 online tutors working in European higher education institutions, distributed in 5 knowledge areas: Business, Education, Humanities, Sciences and Health. This descriptive and exploratory nonexperimental study reveals the technological and pedagogical skills and competencies that online tutors consider fundamental for effective online teaching and proposes professional development actions to ensure quality online teaching.
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In March 2020 schools in The Netherlands closed to contain the spread of Covid-19 virus. Shortly after, schools took to online education. The condensed setting of the Covid-19 situation provided a background to study which learning activities and tools teachers choose in online education and how they use them to promote interaction. Interaction is quintessential to learning but in online education it is not easy to provide room for interaction. Our central research question therefore is how interaction within online education activities change over time. An online longitudinal survey amongst teachers was conducted. The first four rounds took place in the early stages of the lockdowns and shortly after. In total 179 different secondary school teachers participated of whom 16 responded three rounds or more. Most teachers use tools in online education that can facilitate more interaction than necessary for the Instructional Design. This means that improving interaction in online education is more a pedagogical challenge than a technical one. It was also found that teachers who deploy Instructional Designs that require more interaction use more and different tools. However, only few of these tools seem to facilitate the interactive quality the teachers pursued. Over time we saw the interactive quality of Instructional Design and tools converge. We are in awe of the artful way in which some teachers manage to combine the possibilities of different tools to establish high interactive quality in the online learning processes they conduct.
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Over the past decade, journalists have created in-depth interactive narratives to provide an alternative to the relentless 24-hour news cycle. Combining different media forms, such as text, audio, video, and data visualisation with the interactive possibilities of digital media, these narratives involve users in the narrative in new ways. In journalism studies, the convergence of different media forms in this manner has gained significant attention. However, interactivity as part of this form has been left underappreciated. In this study, we scrutinise how navigational structure, expressed as navigational cues, shapes user agency in their individual explorations of the narrative. By approaching interactive narratives as story spaces with unique interactive architectures, in this article, we reconstruct the architecture of five Dutch interactive narratives using the walkthrough method. We find that the extensiveness of the interactive architectures can be described on a continuum between closed and open navigational structures that predetermine and thus shape users’ trajectories in diverse ways.
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Fashion has become inextricably linked with digital culture. Digital media have opened up new spaces of fashion consumption that are unprecedented in their levels of ubiquity, immersion, fluidity, and interactivity. The virtual realm continuously needs us to design and communicate our identity online. Unfortunately, the current landscape of digitised fashion practices seems to lack the type of self-governing attitude and urgency that is needed to move beyond commercially mandated platforms and systems that effectively diminish our digital agency. As transformative power seems to be the promise of the virtual, there is an inherent need to critically assess how digital representation of fashion manifests online, especially when these representations become key mediators within our collective and individual public construction of self. A number of collectives and practitioners that actively shape a counter movement, organized bottom up rather than through capital, are questioning this interdependence, applying inverted thinking and experimenting with alternative modes of engagement. Starting from the research question ‘How can critical fashion practitioners introduce and amplify digital agency within fashion’s virtual landscape through new strategies of aesthetic engagement?’, this project investigates the implications of fashion’s increasing shift towards the virtual realm and the ramifications created for digital agency. It centers on how identity is understood in the digital era, whether subjects have full agency while expected to construct multiple selves, and how online environments that enact as playgrounds for our identities might attribute to a distorted sense of self. By using the field of critical fashion as its site, and the rapidly expanding frontier of digital counter practices as a lens, the aim of this project is to contribute to larger changes within an increasingly global and digital society, such as new modes of consumerism, capital and cultural value.
