Background and Context: In order to fully include learners with visual impairments in early programming education, it is necessary to gain insight into specificities regarding their experience of and approach to abstract computational concepts. Objective: In this study, we use the model of the layers of abstraction to explore how learners with visual impairments approach the computational concept of abstraction, working with the Bee-bot and Blue-bot. Method: Six blind and three low vision learners from the elementary school level were observed while completing programming assignments. Findings: The model of the layers of abstraction, can overall be generalized to learners with visual impairments, who engage in patterns that reflect iterative actions of redesigning and debugging. Especially our blind learners use specific tactile and physical behaviors to engage in these actions. Implications: Ultimately, understanding such specificities can contribute to inclusive tailored educational instruction and support.
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About this publication: What is the correlation among the creative industries, creative industry policies, new media paradigms and capitalism as colonial relations of dominance? What is the role of these industries in the prioritization of the interests of capital at the expense of those of society and how can these paradigms be criticized in the context of the actual, neoliberal, flexible regime of reproduction of capital? To what measure is this regime ‘flexible’ and to what measure it is just an extension of rigid, feudal and racial logics that underline (post)modern representational discourses? To what measure do the concepts of creativity, transparency, openness and flexibility conceal the hegemonic nature of modern hierarchies of exploitation?This publication brings together six essays that offer a critique of the relationship between the creative industries and capital. It treats ‘the networked world’ — its democracies, cognitivities, its attention and its paradigmatic cultural discourses — as one of the domains wherein and by which capitalism and its colonial relations of dominance are being reproduced, reorganized, perpetuated and ‘modernized’.The Gray Zones of Creativity and Capital (eds. Gordana Nikolić and Šefik Tatlić) consists of works from a diverse range of authors from around the globe: Jonathan Beller, Josephine Berry Slater, Marc James Léger, Ana Vilenica, Sandi Abram & Irmgard Emmelheinz. The book first appeared in Serbian in 2015.
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Computational thinking (CT) skills are crucial for every modern profession in which large amounts of data are processed. In K-12 curricula, CT skills are often taught in separate programming courses. However, without specific instructions, CT skills are not automatically transferred to other domains in the curriculum when they are developed while learning to program in a separate programming course. In modern professions, CT is often applied in the context of a specific domain. Therefore, learning CT skills in other domains, as opposed to computer science, could be of great value. CT and domain-specific subjects can be combined in different ways. In the CT literature, a distinction can be made among CT applications that substitute, augment, modify or redefine the original subject. On the substitute level, CT replaces exercises but CT is not necessary for reaching the learning outcomes. On the redefining level, CT changes the questions that can be posed within the subject, and learning objectives and assessment are integrated. In this short paper, we present examples of how CT and history, mathematics, biology and language subjects can be combined at all four levels. These examples and the framework on which they are based provide a guideline for design-based research on CT and subject integration.
My research investigates the concept of permacomputing, a blend of the words permaculture and computing, as a potential field of convergence of technology, arts, environmental research and activism, and as a subject of future school curricula in art and design. This concept originated in online subcultures, and is currently restricted to creative coding communities. I study in what way permacomputing principles may be used to redefine how art and design education is taught. More generally, I want to research the potential of permacomputing as a critical, sustainable, and practical alternative to the way digital technology is being taught in art education, where students mostly rely on tools and techniques geared towards maximising productivity and mass consumption. This situation is at odds with goals for sustainable production and consumption. I want to research to what degree the concept of permacomputing can be broadened and applied to critically revised, sustainable ways of making computing part of art and design education and professional practice. This research will be embedded in the design curriculum of Willem de Kooning Academy, focused on redefining the role of artists and designers to contribute to future modes of sustainable organisation and production. It is aligned with Rotterdam University of Applied Sciences sectorplan masters VH, in particular managing and directing sustainable transitions. This research builds upon twenty years of experience in the creative industries. It is an attempt to generalise, consolidate, and structure methods and practices for sustainable art and design production experimented with while I was course director of a master programme at WdKA. Throughout the research I will be exchanging with peers and confirmed interested parties, a.o.: Het Nieuwe Instituut (NL), RUAS Creating 010 kenniscentrum (NL), Bergen Centre for Electronic Arts (NO), Mikrolabs (NO), Varia (NL), Media Arts department at RHU (UK), Media Studies at UvA (NL).
