Werken aan onderwijsvernieuwing gaat uit van innovatiediffusietheorie waarbij de onderwijsvernieuwing wordt gezien als een innovatie. De organisatie is het sociale systeem waardoor het diffusieproces heen gaat. Aandacht gaat uit naar het adoptieproces en het proces van "reïnvention" waarmee dat gepaard gaat. Onderwijsvernieuwing wordt niet gezien als een top-down proces, waarbij vooral het management aan zet is.
DOCUMENT
Nowadays, digital tools for mathematics education are sophisticated and widely available. These tools offer important opportunities, but also come with constraints. Some tools are hard to tailor by teachers, educational designers and researchers; their functionality has to be taken for granted. Other tools offer many possible educational applications, which require didactical choices. In both cases, one may experience a tension between a teacher’s didactical goals and the tool’s affordances. From the perspective of Realistic Mathematics Education (RME), this challenge concerns both guided reinvention and didactical phenomenology. In this chapter, this dialectic relationship will be addressed through the description of two particular cases of using digital tools in Dutch mathematics education: the introduction of the graphing calculator (GC), and the evolution of the online Digital Mathematics Environment (DME). From these two case descriptions, my conclusion is that students need to develop new techniques for using digital tools; techniques that interact with conceptual understanding. For teachers, it is important to be able to tailor the digital tool to their didactical intentions. From the perspective of RME, I conclude that its match with using digital technology is not self-evident. Guided reinvention may be challenged by the rigid character of the tools, and the phenomena that form the point of departure of the learning of mathematics may change in a technology-rich classroom.
LINK
Panasonic’s nearly one hunderd-year history can be divided into several phases. The constant factor in Panasonic’s history was—and is—change. And this may also contain the simple answer to the question about Panasonic’s secret of success: the ability to transform as required by an ever-changing environment, the willingness to keep developing, and the openness to learn and take risks have been engrained in the company’s collective memory. Giving up is not an option, and the only way out is the way forward. Therefore it can be boldly concluded that Panasonic as a corporation will still exist 50 years from now, and maybe even a 100 years from now. The company may look differently, produce different products or services, and market them in a completely different way, but chances are high that Panasonic will still be a major player in the domestic and global markets.
DOCUMENT
This PD project explores alternative approaches to audiovisual technologies in art and creative practices by reimagining and reinventing marginalized and decommodified devices through Media Archaeology, artistic experimentation, and hands-on technical reinvention. This research employs Media Archaeology to uncover “obsolete” yet artistically relevant technologies and hands-on technical reinvention to adapt these tools for contemporary creative practices. It seeks to develop experimental self-built devices that critically engage with media materiality, exploring alternative aesthetic possibilities through practice-based investigations into the cultural and historical dimensions of media technologies. These developments provide artists with new creative possibilities beyond mainstream commercial standardized tools and infrastructures. A key component of this project is collaborative innovation with artist-run analog film communities, such as Filmwerkplaats. By fostering knowledge exchange and artistic experimentation, this research ensures that reinvented tools remain relevant to both analog film communities and contemporary media art practices. The intended outcomes directly benefit two key groups: • Artist-run film labs gain sustainable methods for evolving their practices, reducing dependence on scarce, out-of-production equipment. • Digital-native artists are introduced to alternative methods for engaging with analog processes and media materiality, expanding their creative toolkit. This collaboration also strengthens art and design education by embedding alternative technological perspectives and research methodologies into curricula, providing students and practitioners with resourceful, sustainable approaches to working with technology. It advocates for a more diverse educational paradigm that incorporates media-technological history and critical reflection on the ideologies of linear technological progress. Ultimately, this research fosters critical discourse on media culture, challenges the dominance of corporate proprietary systems, and promotes innovation, redefining the relationship between creativity and technology.