Online Learning: The benefits!

Thinking about enrolling on an online course? Read on to find out about the drawbacks and benefits of online learning.

There are a few aspects of online learning which could be viewed as disadvantages, such as the courses not being a sociable as face-to-face ones (Casey et al, 2018. p.8) and a perception of less tutor contact (Reece and Walker, 2007, p.139-40). However, the negatives can be addressed and there are even some added benefits too!

Below are my top five points around why online learning can be a positive experience!

1.     Online learning does not have to be isolating, many online courses can offer functions that let you, as a learner to engage with other students as well as your tutors. Online learning environments, or video conference applications can offer opportunities for video calling, text chat and discussions (O’Neil, 2019, p.26).

While video calls need to take place ‘in real time’, you can also take advantage of sites that host discussion board which allow you to engage in conversation when it is most convenient for you. Interacting in these online forums might seem strange at first, however it is worth keeping in mind that everyone is feeling the same and once you get past the initial cheesy introduction post you will have broken the ice. Remember that collaboration is beneficial in the digital age (Sobko et al, 2019, p.36-55), just as it is within a traditional classroom!

Tutors can make these online discussions less daunting by setting up questions and topics for you to respond to (Darby, 2020).

 

2.     Tutor time can feel confusing when delivered online, at the start of a course identify when the tutor is available during the week, how you can access them and what their usual ‘office hours’ are. This will give you a good understanding on how to make the most out of your tutor.

If your course is delivered online but does not include ‘live’ elements, you may not have scheduled video calls or similar. However your tutor should still have set days and times that they are available for a chat and to provide feedback (Darby, 2020). 

Remember to make use of your peers and any online discussion boards! Using discussion boards allows you to consider and articulate your ideas and questions in a way that 'live' communication does not (Thormann and Zimmerman, 2012 p.49), this can be beneficial as it gives you the time and space to think about how you might contribute without any pressure.  

3.    Flexibility is probably one of the key positive features of online learning (Darby, 2020), you can fit your learning around your daily commitments and complete work at your own pace (Reece and Walker, 2007, p.139-40).

Ensure that you engage with activities and make a note of any deadlines so that you do not fall behind, but enjoy the freedom to complete work when best suits you (Spencer, 2020, p.4) - be it 6am or 11pm! This links to another great benefit of online learning, having the freedom to learn at your own pace (Spencer, 2020, p.4) and complete content and tasks as and when you are ready to. Allowing you to take responsibility for your own leaning (O’Neil, 2019, p.23).

Do not forget to contact your tutor for support if you are struggling with an element that is stopping you from progressing!

4.     You can make use and access resources put together by your tutors 24/7. This comes with the added benefit of allowing you to go back over content that you may have found tricky, allowing you to make the most of your tutors excellent subject knowledge (Reece and Walker, 2007, p.107) over and over again!

 

5.    Learn by doing! Many online learning courses will set work for you to complete independently (Coffey, 2009) and then ask you to come together or to send in the work for feedback (Thormann and Zimmerman, 2012 p.50). this way of learning allows you to acquire new knowledge by doing and problem solving and can help to increase your engagement and knowledge retention! 

If you are thinking of starting an online learning course keep these five points in mind – and happy learning!

References

Casey, M., Shaw, E., Whittingham, J. and Gallavan, P. (2018) Online Teaching: Tools and Techniques to Achieve Success with Learners. Rowman & Littlefield

Coffey, h. (2009) Digital game-based learning. Learn. NC.

Darby, F. (2020) How to Be a Better Online Teacher: Advice guide. [online] Available at: Https://www.chronicle.com/interactives/advice-online-teaching. [Accessed 17/05/20].

O’Neil, C. (2019) Developing online courses in Nursing education. Springer Publishing Company; 4th Revised edition edition.

Reece, I. and Walker, S. (2007) Teaching, Training and Learning: A practical guide. Business Education Publishers Ltd; 6th Revised edition edition.

Sobko, S., Unadkat, D., Adams, J. and Hull, G. (2019) Learning through collaboration: A network approach to online pedagogy. E-Learning and Digital Media. Vol 17: 1.

Spencer, B. (2020) A handbook for online student learning in difficult times. Brighthorse Books.

Thormann, J. and Zimmerman, K. I. (2012) The complete step by step guide to designing and teaching online. Teachers College Press.

The Road Sign Collection

The Road Sign Collection started by chance after an art walk during an art tutor CPD day run by NEAAT (Network of East Anglian Art Teachers). As a group we were instructed to walk around the Fine City of Norwich and document the walk with; photos, drawings, rubbings. During this walk, I photographed road signs. I was drawn to these due to the nature of my art practice, which is concerned with the relationship between text and site.

The choice may have also been influenced by my interest in what Duchamp calls the ‘unchoice’ (O’Doherty, 1986), with so many things to look at in a fine city and I am choosing to focus my attention on road signs. They struck me as ready-mades in a site-specific installation, something chaotic, yet powerful in their ability to direct traffic (Ranciere, 2009).

However, despite my initially drawing my attention, once the day had come to an end I promptly forgot about the signs.

During this time, I was teaching a short course titled, ‘Exploring Drawing and Illustration’, keep your eyes peeled for a future blog post ‘Teaching Drawing’ for more on this, with one of the weeks focusing on line drawing techniques - something that I am usually guilty of neglecting within my practice. However, covering this topic and seeing my learners’ outcomes – particularly their continuous line drawings, made me want to give it ago within my art practice. 

Working with the long-forgotten road sign photographs, I drew mostly continuous line drawing of the photographs using a drawing tablet and digital pen. I found, as my learners had hours earlier that it is much easier to tell someone not to take the pen off the page than it is to not take your pen off the page. However, I found the continuous line drawing outcomes felt more natural and so persevered.

I felt that once the pen was lifted from the page the aura of that piece of work is set (Benjamin, 2015) and that those drawing which contained broken lines lost their authenticity. Having a break in the line looks too considered, shows a pause in the process and takes away from the overall aesthetic of the sign. 

The intention is that each road sign drawing will be an original (Benjamin, 2015), with each only drawn once, in one continuous movement. There is some irony in this conversation about originals, as the signs themselves are of course not original, rather they are multiples of something mass-produced and largely used. What it is that makes them original is the lived experiences the sign has had (Benjamin, 2015), reflected in the condition of each sign. The more these road signs have been interacted with, the more damage they will suffer (Dezeuze, 2007). This is something that I wanted to ensure that I captured within the drawings, to allow each sign to be recognisable as a copy of the original sign, drawing on Judovitz's notion of originals as multiples of sorts (1998). 

Initially, this activity did not have a purpose beyond flexing my continuous line drawing skills. However, as I created the drawings, I started to see the potential for a new project. I started to explore the use of block fill colour to make them more reminiscent of the originals. I was undecided on the outcomes and continued to keep a version in which they remain as continuous line drawings.

The use of colour in the signs felt important to their ability to carry out their function successfully. I had to start to consider the readability of the sign and our temporal relationship with them (Foster, 1996). Without the colouring, there is a sense of unfamiliarity to them (Deleuze and Guattairi, 1987).

The more time that I spend with the road signs the more I start to consider placing them into a new context (Grosenick, 2002). The text is direct and to the point when it is within the original context.

Within my practice, I look to have public-facing outcomes and these signs lend themselves to be repositioned into a new context, away from the road. I look to explore what this does to our relationship with these signs that we encounter every day once they are put into an art context. This starts with turning them into drawings and will perhaps end in a gallery context, allowing this new cultural framework to change the context of the road signs (Kwon, 2002).

Reference

Benjamin, W. (2015) Illuminations. London: Penguin.

Deleuze, G.  and Guattairi, F. (1987) A Thousand Plateaus: Capitalism and Schizophrenia. University of Minnesota Press.

Dezeuze, A. (2007) Tate Papers no.8: Blurring the Boundaries between Art and Life (in the Museum?). [online] http://www.tate.org.uk/research/publications/tate-papers/08/blurringboundaries-between-art-and-life-in-the-museum. [accessed 23/10/19].

Grosenick, U. (2002) Art Now. Taschen GmbH; 01 edition.

Judovitz, D. (1998) Unpacking Duchamp: Art in Transit. University of California Press

Kwon, M. (2002) One Place After Another: Site Specific Art and Locational Identity. The MIT Press: Cambridge Massachusetts and London, England.

Ranciere, J. (2009) The Future of the Image. London: Verso.

Welcome

In this blog I will be exploring both my art practice and teaching philosophy, with a view to examine how the two co-exist.

A synopsis of my art practice:

My art practice explores the use of text and site. I often use found text within my work and will draw upon the texts original meaning to guide my practice. The use of our shared public language is essential to the works success.

Within my practice I create site specific installations and work with the concept of text/context to create works which resonate with the site. One of the aims of my art practice is to create situations in which dialectical relationships can take place between; the art and the audience/the art and the site.

My practice take a DIY approach and I strive to use materials that are inexpensive; such as electrical tape and ready mixed paint and processes which are easily accessible.

My teaching background:

I am currently teaching unaccredited art courses within an Adult Community Learning setting. Within this role I plan and deliver short art courses, the themes of these include, ‘Exploring Drawing and Illustration’.

As well as this I work part-time as a Study Skills and PASS (peer assisted student success) Adviser in a Higher Educational setting. Within this role I plan and deliver sessions, conduct 1-2-1 tutorials and facilitate PASS Leader Training. Sessions range from presentation skills to leaflet design.

I am also currently running a Creative Practitioner Support Programme at SPACE Colchester, 37 Queen Street. Each month will see two artist feedback sessions open to all creatives; whether they are still studying, graduated, emerging or re-emerging. Offering opportunities for peer-to-peer feedback on work-in-progress.

Previously I have worked within an FE setting teaching Art and Design.