Learning Theory

Behaviorism

Overview of Behaviorism and Its Connection to Teaching and Learning

Definition: Behaviorism is a psychological theory that focuses on observable behaviors and how they are influenced by external stimuli. This approach emphasizes the role of reinforcement and punishment in shaping behavior. It assumes that learning occurs through interactions with the environment rather than through internal mental processes.

Historical Development of Behaviorism

Early Foundations (1890s – Early 1900s):

• Ivan Pavlov (1849-1936): Known for his work on classical conditioning, Pavlov’s experiments with dogs demonstrated that behavior could be conditioned through the association of stimuli. His discovery of the conditioned reflex laid the groundwork for future behaviorist theories.
  • Example: Pavlov conditioned dogs to salivate at the sound of a bell by pairing it with food.

Rise of Behaviorism (1910s – 1950s):

• John B. Watson (1878-1958): Often called the father of behaviorism, Watson rejected introspection and focused solely on observable behavior. In his famous “Little Albert” experiment, he demonstrated that fear could be conditioned in humans.
  • Teaching Connection: Watson emphasized the importance of environmental control and habit formation in education.
• B.F. Skinner (1904-1990): Skinner expanded on behaviorism with his theory of operant conditioning, which focused on how consequences shape behavior. He introduced the concepts of reinforcement (positive and negative) and punishment.
  • Example: Skinner’s experiments with rats and pigeons in operant conditioning chambers (Skinner boxes) demonstrated how behavior could be influenced by rewards and consequences.
  • Teaching Connection: Skinner advocated for the use of reinforcement in classrooms to encourage desired behaviors, leading to practices like token economies and behavior charts.

Decline and Adaptations (1960s – Present):

• Behaviorism’s dominance waned in the 1960s with the rise of cognitive psychology, which emphasized internal mental processes.
• However, behaviorist principles continue to influence educational practices, particularly in classroom management, skill mastery, and behavior modification.

Women Who Contributed to Behaviorism

While the field of behaviorism is often associated with figures such as Ivan Pavlov, John B. Watson, and B.F. Skinner, several women made important contributions to its development and applications:

1. Mary Cover Jones (1897–1987):

• Known as the “mother of behavior therapy,” she pioneered desensitization techniques to help individuals overcome fears through gradual exposure and positive reinforcement.
• Her work with a child named Peter, who had a fear of rabbits, demonstrated that conditioned fears could be unlearned.

2. Rosalie Rayner (1898–1935):

• Collaborated with John B. Watson on the famous “Little Albert” experiment, which demonstrated how emotional responses, such as fear, could be conditioned in humans.
• Though her contributions were often overshadowed by Watson, she played a critical role in shaping early behaviorist research.

3. B. Marian (Martha) Breland Bailey (1920–2001):

• A student of B.F. Skinner, she, along with her husband Keller Breland, applied behaviorist principles to animal training.
• Her work demonstrated the practical applications of operant conditioning in real-world environments.

By acknowledging these women, we gain a more comprehensive understanding of behaviorism’s development and its diverse contributions.

---

Key Concepts in Behaviorism and Their Applications to Education

1. Classical Conditioning (Pavlov):
   • Application: Teachers can create positive classroom environments by associating learning activities with enjoyable stimuli (e.g., praise or rewards).
   • Example: A teacher might use a specific song to signal the start of a fun activity, leading students to feel excited when they hear the song.
2. Operant Conditioning (Skinner):
   • Application: Reinforcement and punishment are used to increase or decrease specific behaviors in students.
   • Example: Positive reinforcement (e.g., giving praise or gold stars) encourages students to repeat good behavior. Negative reinforcement (removing an unpleasant task) can also strengthen behavior.
3. Reinforcement Schedules:
   • Skinner identified different schedules of reinforcement (e.g., fixed-ratio, variable-ratio), which influence how quickly and consistently behaviors are learned.
   • Teaching Connection: Teachers can use intermittent reinforcement (e.g., occasional rewards) to maintain long-term motivation.
4. Behavior Modification:
   • Application: Teachers can apply behaviorist strategies to modify problematic behaviors by identifying triggers and consequences.
   • Example: A teacher may implement a behavior contract where students earn privileges for meeting behavior goals.

Strengths and Limitations of Behaviorism in Education

Strengths:

• Effective for teaching basic skills and behaviors that require repetition and reinforcement.
• Provides clear, measurable outcomes, making it easy to track progress.
• Useful for classroom management and establishing routines.

Limitations:

• Critics argue that behaviorism overlooks internal cognitive processes, such as motivation and critical thinking.
• May not be suitable for fostering creativity, problem-solving, or deep understanding.
• Over-reliance on external rewards can reduce intrinsic motivation.

Implications of Behaviorism for Instructional Design

Behaviorism has significant implications for instructional design, particularly in the development of structured learning environments that emphasize measurable outcomes. The following principles illustrate how behaviorism can influence instructional design:

1. Clear Learning Objectives:
   • Instructional designers should establish specific, observable, and measurable learning objectives to guide both instruction and assessment.
2. Reinforcement Strategies:
   • Incorporating positive reinforcement (e.g., praise, rewards, or certificates) can motivate learners to engage with the content and complete tasks.
   • Negative reinforcement (removing an undesirable element upon task completion) can also enhance motivation.
3. Task Analysis and Sequencing:
   • Instruction should be broken down into smaller, manageable tasks (chunking), allowing learners to master each step before progressing.
   • This step-by-step approach aligns with behaviorist principles of gradual skill acquisition through reinforcement.
4. Practice and Repetition:
   • Repeated practice helps reinforce learning and promote the automatic recall of basic facts and procedures.
   • Instructional activities should incorporate opportunities for learners to practice key skills multiple times.
5. Immediate Feedback:
   • Providing timely feedback reinforces correct responses and helps learners correct errors quickly, enhancing retention and learning efficiency.
6. Behavior Monitoring and Assessment:
   • Continuous assessment through quizzes, performance tracking, and behavior observation allows instructors to measure progress and adjust instruction as needed.
7. Instructional Tools and Technology:
   • Behaviorist principles have influenced the design of computer-based training (CBT) programs, educational software, and e-learning platforms.
   • These tools often include features like progress tracking, automated feedback, and rewards to maintain learner engagement.

By applying behaviorist principles, instructional designers can create highly structured, goal-oriented learning experiences that foster skill development and positive behavior changes. While these strategies are particularly effective for foundational learning and behavioral training, they may need to be supplemented with other approaches to address higher-order thinking and creativity.

Application of Behaviorism in an Online K-12 Art Class: Strengths and Limitations

In my chosen context of an online K-12 art class, I feel that behaviorism offers both strengths and limitations when applied to instructional design.

Strengths:

1. Building Foundational Skills:
   • Behaviorist techniques could be highly effective for developing foundational art skills such as observational drawing, color blending, or perspective drawing. Repeated practice with immediate feedback could also be used to reinforce these essential skills.
2. Clear Objectives and Feedback:
   • Establishing clear, observable learning objectives (e.g., “Create a balanced composition using complementary colors”) would also help to guide students’ progress. Timely feedback given on any type of classwork, artwork included, keeps students engaged and aware of areas for improvement.
3. Motivating Student Engagement:
   • Reinforcement strategies, such as digital badges, praise, or perhaps a showcasing of student work could help to motivate learners to stay engaged in creative activities. This could be particularly useful in maintaining attention in an online setting.

Limitations:

1. Creativity and Expression:
   • Art education often emphasizes creativity, self-expression, and exploration—areas that may not fit well with rigid behaviorist approaches. Over-reliance on rewards and structured tasks could also stifle creativity, making students more focused on meeting external expectations than on personal artistic growth.
2. Intrinsic Motivation:
   • Behaviorist strategies may reduce intrinsic motivation over time. In art class, I believe that fostering a love for the creative process is crucial. Balancing reinforcement with opportunities for self-directed projects may help to maintain a student’s intrinsic interest.
3. Critical Thinking and Interpretation:
   • Higher-order thinking skills, such as analyzing and critiquing artwork, also require more than behaviorist techniques. Encouraging students to reflect on their artistic choices and engage in peer critiques would require additional approaches to complement behaviorism.

In conclusion, I feel that while behaviorism could provide a strong framework for teaching basic art techniques and maintaining engagement in an online K-12 art class, fully supporting artistic creativity and critical thinking would require integration with other instructional approaches promoting exploration, self-expression and reflection.

Color Harmony Quest: A PB & J Art Adventure

Activity Title: Mastering the Art of Color Theory through Composition

Overview: This online art activity for elementary students focuses on applying behaviorist principles to teach foundational color theory and composition in a fun and engaging way. The goal is for students to demonstrate mastery by creating a balanced composition using complementary color schemes.

Learning Objectives:

• Students will identify and apply complementary colors in their artwork.
• Students will create a digital or physical art piece that adheres to the principles of balance and color harmony.

Behaviorist Elements:

1. Stimulus:

• The instructor provides visual examples of artwork demonstrating complementary color schemes.
• Instructions clearly define the criteria for success, including a rubric outlining the expected elements (e.g., use of two complementary colors and overall balance).

2. Response:

• Students will create their own artwork using the specified color schemes.
• They will submit their artwork for review and receive feedback on whether their piece meets the learning objectives.

3. Observable Behavior:

• The successful application of complementary colors in a balanced composition.
• Submissions are evaluated based on their adherence to the rubric criteria.

Warm-Up Activity: PB & J Complementary Color Matching Game

To make the activity more engaging, students will begin with a playful warm-up that draws parallels between complementary color pairs and a peanut butter & jelly sandwich.

Instructions:

• Students enter an interactive game where they assemble virtual PB&J sandwiches. The twist: each ingredient represents a color pair.
  • Peanut butter represents warm tones (e.g., orange).
  • Jelly represents cool tones (e.g., blue).
• The objective is to correctly pair colors to create a balanced and appealing “PB&J color harmony sandwich.”

Gameplay:

• Students are provided with a stack of bread slices that need to be paired into successful complementary color combinations. The game challenges them to correctly match warm and cool colors to form a complete PB&J sandwich.
• Correct Pair: When students successfully pair complementary colors (e.g., orange and blue), an animation shows the sandwich being created and added to a stack of completed sandwiches. Positive reinforcement is provided through praise, points, and visual feedback.
• Incorrect Pair: If students mistakenly pair two warm or two cool colors (e.g., two slices of peanut butter or two slices of jelly), an animation shows an unsuccessful sandwich being formed. As a consequence, two additional slices of bread are added to the stack, reinforcing the need for correct pairings.

Learning Outcome:

• Students understand that complementary colors work together like peanut butter and jelly, enhancing each other to create delicious visual balance.

Reinforcement Strategies:

Positive Reinforcement:

• Students receive praise and digital rewards (e.g., a badge or certificate) when they meet the criteria for color use and composition.
• Exceptional work is showcased on the course platform’s “Student Spotlight” section, motivating students to strive for recognition.

Negative Reinforcement:

• If a student struggles with color application, they may be assigned additional, simpler tasks to reinforce understanding (e.g., a guided color-matching exercise).
• Removal of these extra tasks once they demonstrate proficiency serves as negative reinforcement, encouraging students to improve their work.

Additional Reinforcement Techniques:

• Immediate feedback from both the instructor and an AI-based tool integrated into the platform, which highlights areas where the student’s artwork aligns or deviates from the color theory guidelines.
• Opportunities for peer feedback, with constructive comments guided by a template that emphasizes identifying correct and incorrect use of colors.

Instructional Steps:

1. Introduction (Stimulus):
   • The instructor presents an engaging video and/or slideshow on color theory, emphasizing complementary colors.
   • Students participate in a brief quiz to check initial understanding of the concepts.
2. Warm-Up (PB & J Color Match Game):
   • Students engage in the interactive game to reinforce color theory concepts in a playful, memorable way.
3. Demonstration (Modeling):
   • The instructor demonstrates how to create a balanced composition using complementary colors.
   • Visual aids, including step-by-step artwork creation, are provided.
4. Guided Practice:
   • Students complete a color selection exercise where they practice identifying and pairing complementary colors.
   • Immediate feedback is provided, reinforcing correct choices.
5. Independent Practice (Response):
   • Students create an original art piece applying the color theory principles.
   • They submit their work for evaluation.
6. Feedback and Reinforcement:
   • Instructor and/or platform tools provide immediate feedback.
   • Positive reinforcement (praise, rewards) is provided for successful completion.
   • Additional guidance and tasks are assigned as negative reinforcement to those needing further practice.

Assessment:

• Artwork is evaluated based on the rubric, focusing on color application, balance, and overall composition.
• Students who meet all criteria receive positive reinforcement.
• Those needing improvement receive specific feedback and further practice opportunities.

Summary:

This behaviorism-driven activity leverages stimuli, responses, and reinforcement to teach elementary students essential art concepts. Observable behaviors, such as correct application of complementary colors, indicate successful learning. Through consistent feedback and structured reinforcement, students are guided toward mastery of the content while staying motivated and engaged.

 

---

 

Cognitivism Art Activity: Art21 Educator Guide Analysis

Art 21 Educator Guide – Bodies of Knowledge

Overview of the Material: The Art21 Season 11 Educator Guide, Bodies of Knowledge, serves as a comprehensive resource designed for educators. It provides lesson planning materials, artist profiles, thematic discussions, and activities focused on contemporary art. It is a resource that teaches us, the teachers, how to bring complex themes explored through Contemporary Art into our classrooms. For this activity, I decided to position the educator as the learner, and explore how, in relation to Cognitivism, the guide helps educators facilitate discussions on new fields of inquiry that expand students’ perceptions and understanding of the world.

Application of Cognitive Load Principles

Principle 1: Reducing Extraneous Cognitive Load

• Observation: The guide’s structure is well-organized, with sections for each artist, thematic overviews, and discussion questions. However, the static format may require educators to sift through a large volume of information to find the most relevant materials for their specific student groups.
• Recommendation: In its online format, the guide could incorporate adaptive filtering tools, such as dropdown menus or selection filters. These tools would allow educators to specify factors like student age or prior knowledge, dynamically tailoring the content to scaffold initial understanding. For example, an elementary-level version might emphasize foundational definitions and simplified artist case studies, while a high school-level version could highlight critical analysis of artistic themes and practices.

Principle 2: Managing Intrinsic Cognitive Load

• Observation: The guide addresses complex themes such as identity, expertise, and inquiry in contemporary art. While the discussion questions and activities support deeper exploration, they may not fully accommodate students with limited experience in these topics.
• Recommendation: Implement a tiered approach where educators can select scaffolded entry points. This might include introductory questions and activities that gradually build toward more complex concepts. For example, younger students could first explore basic concepts like “What is knowledge?” before progressing to discussions on artistic research methods.

Does the Material Address Cognitive Load Needs?

The Art21 Bodies of Knowledge Educator Guide is a valuable instructional tool that presents contemporary art themes effectively. However, adaptive digital features that allow educators to customize content based on student needs could further enhance its usability. These features would reduce cognitive load by providing content tailored to varying levels of experience and understanding.

Conclusion:

The Art21 Educator Guide excels in supporting inquiry-based learning and thematic exploration of contemporary art. Incorporating interactive and adaptive design elements would enhance its effectiveness, making it easier for educators to scaffold learning experiences that meet the diverse needs of their students.

---

Selected Pages from the Art 21 Bodies of Knowledge Educator Guide:
(link to full pdf below)

Art21. (2023). Bodies of knowledge: Season 11 Educator Guide.
Retrieved from https://art21.org/wp-content/uploads/2023/06/Bodies_of_Knowledge_0623.pdf

Constructivist Art Activity: Designing an Online High School Art Class with The Studio Habits of Mind

Introduction to Studio Habits of Mind: The Studio Habits of Mind (SHoM), developed by Harvard University’s Project Zero, provide a framework for fostering creativity, problem-solving, and critical thinking in visual arts education. These eight habits—including Develop Craft, Observe, Reflect, Express, and Stretch & Explore—are designed to help students engage deeply with the artistic process and connect their work to broader cultural and social contexts. Each habit emphasizes the active and reflective construction of knowledge, aligning closely with constructivist learning theories.

In my opinion, I feel that integrating the SHoM into this activity is an effective strategy for exploring Constructivist Learning approaches as the SHoM promote active learning where students explore, experiment, and reflect on their artistic decisions. Through situated learning, students encounter real-world challenges, applying artistic skills and perspectives to create meaningful projects. Collaborative elements support social interaction, further reinforcing the co-construction of knowledge.

The Studio Habits of Mind
Project Zero. (2003). Studio thinking: The real benefits of visual arts education. Retrieved from https://pz.harvard.edu/resources/eight-habits-of-mind

Scenario: Community Narratives: Visual Voices

In this scenario, students in an online high school art class embark on a project called “Visual Storytelling Through Community Narratives.” The objective is for students to create a series of “living portraits of the community” that put visual form to the voices and stories shared by community members. Throughout the project, students will apply the Studio Habits of Mind (SHoM), including Develop Craft, Observe, Express, and Stretch & Explore.

To begin the project, students will explore a “community seed bank” — a collection of audio recordings where various community members share stories and themes that have shaped their community’s development. Students listen to these stories, using a worksheet to organize and reflect on familiar narratives as well as those that offer new perspectives. This approach emphasizes active learning, where learners engage with authentic materials to build knowledge. By connecting with real-world contexts through situated learning, students are prompted to reflect and engage in social interaction to co-construct new understandings, aligning with key principles of constructivist theory. This approach is rooted in constructivist learning theories, which emphasize the active construction of knowledge through engagement with meaningful, real-world contexts. By connecting with authentic community experiences, students are prompted to question, reflect, and build new understandings through exploration and social interaction. This initial exploration serves as a starting point for their research, allowing students to identify themes of personal relevance or curiosity. These portraits are not literal representations of people but can take any artistic form that the students feel best conveys the narratives they have explored and wish to share. From there, they interact with community members to gather further insights and use various artistic techniques to create a visual narrative. This process reinforces social interaction as students actively engage with diverse perspectives, fostering deeper understanding. Towards the end of the project, students present their portraits to the community members during the virtual art exhibition, allowing for reflection, feedback, and collaborative assessment. This final dialogue emphasizes the reciprocal nature of learning, as both students and community members share and interpret the visual stories together. The class will conclude with a virtual art exhibition where students present their community portraits and discuss how their artwork captures and interprets the stories and themes they explored. This final presentation encourages reflection on their artistic choices and their role as storytellers within the community.

Identified ZPD Skills and Studio Habits of Mind

Based on this scenario, the following skills lie within the students’ Zone of Proximal Development (ZPD):

1. Developing Craft (SHoM) and Technical Skill Development (ZPD Skill):
   • Learning to use new artistic tools and materials to convey visual narratives.
   • This involves guidance on mastering techniques like digital illustration or mixed media.
2. Observation (SHoM) and Research (ZPD Skill):
   • Enhancing the ability to observe their surroundings deeply and gather meaningful insights about their community.
   • With teacher or peer support, students learn to document visual and contextual details effectively.
3. Express (SHoM) and Articulation of Ideas (ZPD Skill):
   • Developing the ability to clearly express the story behind their artwork through artist statements and discussions.
   • Learners need scaffolding to organize their ideas and articulate connections between their research and artistic choices.

Scaffolding Strategy for Conceptual Development

To support the development of these ZPD skills, the instructional designer will implement a scaffolding strategy that includes structured guidance to gradually develop mastery:

1. Tiered Conceptual Development:
   • At the most basic level, students begin by creating a literal visual representation of what is happening in the story shared by the community member. This step familiarizes them with the basic narrative elements.
   • In the next tier, students are encouraged to create an image that visualizes how the story impacts or contributes to the community’s development. This includes integrating symbolic elements that convey emotions and underlying themes.
   • At the advanced tier, students consider how the story connects to broader aspects of the community, incorporating multiple narratives or motifs that reflect interwoven experiences and identities.
   • Throughout this process, guided prompts and reflective questions help students deepen their conceptual understanding and artistic vision.
2. Tiered Technical Development:
   • Students explore different ways to visualize narrative within an image, starting with traditional approaches. They first analyze how a single image can capture multiple events happening simultaneously, inspired by approaches like temple mural paintings where the viewer roves through the composition without a fixed perspective.
   • At the next level, students experiment with sequential storytelling formats, such as comic strips or storyboards, to understand how time and narrative progression can be visually structured.
   • Finally, students integrate various visual storytelling techniques, merging static and dynamic elements to create layered narratives that engage the viewer on multiple levels.
   • This scaffolding process is supported by visual examples, guided activities, and discussions on narrative techniques across different artistic traditions.
3. Progressive Conceptual Checkpoints:
   • At key points in the project (e.g., after initial research, draft sketches, and mid-project reflections), students submit work-in-progress updates.
   • Each checkpoint includes peer, teacher, and community member feedback, enhancing the collaborative and reflective aspects of the project and allowing learners to make iterative improvements.

Social Constructivist Approach

Collaboration is integral to this learning experience, supporting social constructivism by promoting dialogue and the sharing of diverse perspectives. This process fosters schema development, as students build upon their existing understanding of their community through exposure to new ideas and feedback. The class will incorporate the following social constructivist strategies:

1. Peer Collaboration: Stretch & Explore (SHoM) and Social Interaction (Constructivist)
   • Students participate in small groups to share ideas, offer critiques, and discuss different approaches to their projects.
   • Peer groups meet weekly in video sessions to review progress and provide constructive feedback, fostering a sense of community.
2. Community Interaction: Reflect (SHoM) and Situated Learning (Constructivist)
   • Students engage with community members through virtual interviews or online forums to gain diverse perspectives on their chosen themes. This interaction allows students to reflect on their learning and artistic process, aligning with both the Reflect habit and situated learning by grounding their projects in authentic community experiences.
   • This real-world interaction enriches their understanding of the subject matter and provides authentic context for their artwork.

Differentiation Strategies

Recognizing the diverse needs of learners, the instructional designer will:

1. Offer Multiple Formats for Learning:
   • Provide text-based instructions, video tutorials, visual examples, and access to the audio files in the “community seed bank” to accommodate various learning styles.
2. Adjust Complexity Based on Skill Level:
   • Advanced students may be encouraged to experiment with more complex techniques or multimedia projects, while beginners receive simplified exercises to build foundational skills.
3. Provide Choice:
   • Students choose their project themes and artistic mediums, fostering intrinsic motivation by aligning the activity with their personal interests and strengths.
4. Implement Feedback Tiers:
   • Facilitate a feedback system with peer, teacher, and community input to guide continuous improvement.
   • Tailor the depth and complexity of feedback to match each student’s development level, ensuring supportive scaffolding at every stage.

Summary

This constructivist activity emphasizes active learning, where students construct their knowledge by exploring and engaging with real-world content. The Studio Habits of Mind are essential for structuring and deepening artistic exploration, aligning with constructivist principles such as inquiry, reflection, and social learning. This dual emphasis highlights how artistic habits can reinforce active engagement and collaborative knowledge construction within a constructivist learning framework. By scaffolding both artistic and research-based skills, and fostering interaction with peers and community members, students develop a collaborative and iterative learning process that enhances their understanding of both their art and their community.

Project Zero. (2003). Studio thinking: The real benefits of visual arts education. Retrieved from https://pz.harvard.edu/resources/eight-habits-of-mind

Connectivism Activity: Building a Personal Learning Network (PLN)

In the field of instructional design, a Personal Learning Network (PLN) can support continuous growth and development by providing access to professional organizations, thought leaders, and communities that promote collaboration and knowledge sharing. Selecting and following female contributors to the field highlights diverse perspectives, promotes gender equity, and showcases innovative approaches in instructional design that can inspire more inclusive practices. For this activity, I have selected three female entities that align with my interests in inclusivity, diversity in digital learning, and instructional design for art.

Entity 1: Yvonne Marie Andrés

Link: Global SchoolNet

Description: Yvonne Marie Andrés is an e-learning pioneer who co-founded the non-profit Global SchoolNet and the Global Schoolhouse. Andrés has been instrumental in promoting international collaborative learning projects, with a focus on fostering digital inclusion and global education. She has received numerous accolades for her contributions to education technology and online learning.

Benefits:

• Access to Resources: Members of Global SchoolNet can participate in global learning projects and access collaborative tools to connect classrooms worldwide.
• Professional Development: Andrés’ initiatives provide educators with training in global collaboration and digital learning strategies.
• Networking Opportunities: The network connects educators with peers and experts worldwide, promoting cross-cultural learning and innovation.
• Staying Current: Andrés’ projects keep members informed about new trends and best practices in global online education.

Entity 2: Connie Malamed

Link: The eLearning Coach

Description: Connie Malamed is an instructional designer and founder of “The eLearning Coach,” a popular resource hub offering practical advice on creating engaging eLearning experiences. Malamed has a background in arts education, which informs her approach to instructional design by emphasizing creativity, visual design, and learner engagement. Her work focuses on improving instructional design practices through podcasts, articles, and courses.

Benefits:

• Access to Resources: Malamed’s website offers a vast collection of articles, podcasts, and guides on effective eLearning design.
• Professional Development: Learners can enroll in her courses to build expertise in topics like visual design and instructional strategies.
• Networking Opportunities: Through her online community, instructional designers can share best practices and insights.
• Staying Current: Malamed provides updates on new tools, methods, and trends in instructional design.

Entity 3: Dr. Maha Bali

Link: Maha Bali Blog

Description: Dr. Maha Bali is a professor of practice at the American University in Cairo and a leader in the field of equity and open education. Her blog and advocacy work focus on inclusive digital education and the importance of equitable access to learning.

Benefits:

• Access to Resources: Bali shares insights on open education, digital equity, and culturally responsive teaching through her blog.
• Professional Development: Educators can engage with her work on fostering equitable access to digital learning.
• Networking Opportunities: Bali collaborates with global educators and leads discussions on inclusive instructional practices.
• Staying Current: Her blog and public talks keep educators informed on trends in digital inclusion and global education.

Conclusion:

Integrating these three female entities into my PLN will support my instructional design practice by providing opportunities to learn from experts, access specialized resources, and stay informed about emerging trends in inclusive and art-focused digital learning. These connections will foster continuous professional development and collaboration, enhancing my ability to design meaningful and equitable learning experiences.

Andragogy Learning Experience Reflection

I. Introduction

• Throughout my learning experiences as an adult, I have engaged in both formal and informal educational settings. My formal education, including an MFA in Visual Art from Silpakorn University, Bangkok (2014) and a BS in Fine Art from the University of Wisconsin Madison (2007), provided structured, in-depth learning experiences with clear objectives and dedicated time for skill development. However, my informal learning experiences, such as the Artist-in-Residence – Community and Education Residency at the Singapore Art Museum and the Artist-in-Residence Program at the Madison Public Library, have been equally significant in shaping my practice. These programs allowed for more self-directed exploration, real-world application, and collaborative engagement beyond the structure of formal education.
• In this reflection, I will focus on my artist-in-residence experience at Madison Public Library, specifically the development of The IDEX, a project designed to encourage collective ideation and creative contribution.
• The Madison Bubbler Residency, which facilitated this project, is rooted in the idea that libraries serve as community hubs for creativity and informal learning, aligning with andragogical principles that emphasize self-direction, real-world application, and collaboration.

---

II. Reflection on the Chosen Learning Experience

• The artist-in-residence program at Madison Public Library provided an opportunity to collaborate with facilitators and patrons to create engagement strategies during a time of social distancing.
• My primary project, The IDEX (www.theidex.com************************************), was an interactive digital platform that invited community members to contribute their “greatest idea” to a collective index of creativity. This initiative aimed to foster reflection, creativity, and shared learning through a simple but powerful process.
• A key aspect of this residency was iterative learning, where feedback from facilitators and library patrons helped refine engagement strategies. This aligns with andragogical principles that value prior experience as a resource for learning.
• The experience was highly successful due to its emphasis on self-directed learning, real-world problem-solving, and community collaboration. It provided opportunities to apply creative problem-solving skills in an unstructured, dynamic environment, leading to meaningful engagement with the public.
• One of the defining strengths of The IDEX was its accessibility—participants could engage at multiple levels based on their own comfort and experience. Whether they contributed a fully formed idea, reflected on others’ submissions, or simply explored the site, the project offered multiple entry points for engagement, making it inclusive and adaptable to different learners.

---

III. Application of Andragogy Principles

• Motivation to Learn: This project was driven by intrinsic motivation—my desire to foster community engagement and explore the role of creative thinking in public spaces. There were no external rewards, but the opportunity to create meaningful interactions provided deep personal fulfillment, especially within the context of the pandemic which, in many ways, restricted familiar methods of engagement.
• Readiness to Learn: The urgency of the pandemic and the need for alternative engagement strategies made this project immediately relevant. The ability to contribute to a meaningful initiative enhanced my readiness to adapt and develop creative solutions.
• Orientation to Learning: This experience was problem-based—rather than learning theory in isolation, I actively worked to design and implement a solution to a real-world issue: maintaining community engagement despite physical distancing.
• Self-Directed Learning: The residency allowed me complete autonomy in conceptualizing and executing The IDEX. I chose how to structure the project, which digital tools to use, and how to present it to participants.
• Experience as a Learning Resource: My previous experiences in digital art, community engagement, and creative facilitation directly shaped how I approached the project. The learning process was iterative, drawing on both prior knowledge and feedback from facilitators and participants.
• Informal Learning Context: Libraries, particularly through programs like The Bubbler, serve as a non-formal learning environment, allowing for flexible, self-directed learning that blends structured facilitation with participant-driven exploration.

---

IV. Preference for Formal, Informal, or Non-Formal Learning

• Reflecting on this experience, I recognize that I have a strong preference for informal and non-formal learning environments that allow for autonomy, creativity, and real-world application.
• This preference influences how I engage in my Personal Learning Network (PLN)—I seek out online communities, collaborative projects, and creative networks rather than solely relying on structured coursework or certifications.
• Engaging in self-directed and community-driven learning fosters deeper motivation and allows me to contribute knowledge, ideas, and mentorship within my PLN, reinforcing a reciprocal learning experience.
• The residency experience reinforced the importance of peer feedback and social learning, influencing how I engage with digital platforms for artistic growth.

---

V. Conclusion

• The artist-in-residence program at Madison Public Library exemplified the principles of andragogy, offering self-directed, experience-based, and problem-oriented learning.
• The project’s success stemmed from intrinsic motivation, creative autonomy, and community-driven problem-solving, highlighting the effectiveness of informal learning environments.
• Moving forward, I will continue to prioritize informal and non-formal learning opportunities within my Personal Learning Network, leveraging collaborative engagement and self-directed exploration as key drivers of professional and creative growth.
• Public libraries, particularly through residency programs like The Bubbler, serve as vital spaces for adult learning, providing opportunities for experiential learning, community engagement, and self-directed skill development in ways that align strongly with andragogy.
• Support your libraries! They serve as invaluable hubs for informal teaching and learning, fostering creativity, community engagement, and self-directed exploration for learners of all backgrounds.

---

The IDEX Workbook, Rebecca Vickers (2020), in collaboration with The Bubbler, Madison Public Library.  Click image to download PDF.

Learning Models Activity: Project-Based Learning (PBL) – Photography Scavenger Hunt

Learning Model: Project-Based Learning (PBL)

Learning Scenario: In an online art course, students will participate in a Photography Scavenger Hunt to explore and apply the Elements of Art and Principles of Design. This project-based activity encourages students to capture their own photographs while also curating found images from online sources to illustrate key artistic concepts. The goal is to foster a deeper understanding of composition, visual storytelling, and aesthetic decision-making through hands-on, experiential learning. The project will culminate in an online exhibition where students present their collections and reflect on their artistic choices.

Students will complete the following steps:

1. Research Phase: Students review the Elements of Art and Principles of Design, studying examples from photography and visual art.
2. Scavenger Hunt: Each student receives a photo challenge list featuring specific art elements (e.g., “Find an image that illustrates strong contrast”). They must capture original photographs and collect found images that fit each prompt.
3. Curation & Reflection: Students organize their collections into a digital format, annotating each image with explanations of how it demonstrates the chosen element or principle.
4. Final Exhibition: Students showcase their collections in an online gallery or slideshow, presenting their findings and discussing their interpretations in a peer critique session.

Formative Assessment:

• Weekly Check-Ins & Peer Discussions: Students share selected images and receive formative feedback on how well their work illustrates the assigned elements or principles.
• Instructor Feedback: Students submit progress updates where the instructor provides guidance on composition, selection, and artistic intent.
• Self-Reflection Journal: Students document their process, explaining why they selected certain images and how their understanding of visual composition evolved.

These formative assessments ensure that students continuously refine their selections and deepen their artistic awareness.

Authentic Assessment: The final authentic assessment is an online photography exhibition where students present their scavenger hunt collections. This final showcase serves as an opportunity for students to:

• Defend their artistic choices by explaining how their images align with specific art elements or design principles.
• Engage in peer critiques, providing constructive feedback and discussing how different interpretations emerge from the same prompts.
• Simulate real-world artistic practice, where photographers and artists organize exhibitions to communicate visual concepts to an audience.

This assessment is student-centered because it allows learners to explore creative expression while applying core artistic principles in a meaningful, real-world format.

Connections to Learning Theories:

• Constructivism: The scavenger hunt engages students in active discovery, allowing them to construct knowledge through experience.
• Experiential Learning (Kolb): Students learn through direct engagement, capturing and analyzing images rather than passively studying them.
• Social Learning Theory (Vygotsky): Peer feedback and critique sessions reinforce the idea that learning is enhanced through social interactions.
• Authentic Learning: The exhibition mirrors professional photography showcases, providing a realistic and practical application of artistic skills.

Conclusion: By using Project-Based Learning (PBL), this activity ensures that students are actively engaged in the learning process rather than passively absorbing information. The combination of formative assessments (feedback and reflection) and an authentic assessment (online exhibition) provides a structured yet flexible learning experience that encourages creativity, critical thinking, and artistic exploration. This mirrors real-world artistic processes, making it a highly relevant and impactful learning experience.

Signature Assignment – Minicourse Idea and Learning Theory Connection

Minicourse Idea: SDG-Focused Online Art Course for Kids

This minicourse is designed to introduce children to both fundamental art skills and the Sustainable Development Goals (SDGs), a set of 17 global goals set by the United Nations to address major challenges such as poverty, inequality, climate change, environmental degradation, peace, and justice. Through creative, hands-on projects that incorporate various artistic techniques like drawing, painting, collage, and digital design, students will explore important global issues like climate change, biodiversity, and social justice. By using art as a tool for expression and learning, students will develop both creative and critical thinking skills. The integration of art with the SDGs provides a compelling platform for students to connect their work to these meaningful, real-world topics, emphasizing the importance of each goal in building a sustainable future for all. Learning to think creatively is essential in developing the innovative solutions needed to tackle these important issues, reinforcing the role of creativity in promoting sustainability.

---

Learning Theory Connection

1. Experiential Learning

Experiential Learning is based on the idea that students learn best through direct experience. In this minicourse, students will engage in art projects that encourage them to explore and interpret SDG themes creatively. Through hands-on activities, students will reflect on their work, gain feedback, and refine their artistic and conceptual understanding.

Strengths:

• Encourages active participation and engagement.
• Helps children internalize complex SDG themes through creative exploration.
• Supports iterative learning by allowing students to refine their artistic ideas over time.

Limitations:

• Requires structured guidance to ensure students connect their artwork to SDG themes meaningfully.
• Some students may need additional support in verbalizing their interpretations and reflections.

2. Project-Based Learning (PBL)

PBL aligns well with this minicourse because students will work on long-term projects related to SDG themes. For example, a final project may involve students designing a virtual exhibition showcasing artwork that promotes sustainability and social awareness. Through collaboration, self-directed exploration, and iterative feedback, students will gain deeper insights into both artistic techniques and global challenges.

Strengths:

• Encourages deeper engagement by giving students a meaningful, real-world project.
• Promotes collaboration and peer learning through shared critiques and discussions.
• Builds critical thinking skills by requiring students to research SDG topics and visually communicate their ideas.

Limitations:

• May require additional scaffolding for younger students who are new to self-directed learning.
• Online collaboration tools must be integrated effectively to ensure peer engagement.

3. Constructivism

Constructivism posits that learners construct their own understanding and knowledge of the world, through experiencing things and reflecting on those experiences. In this minicourse, students will create art that reflects their personal interpretations of SDG topics, thereby constructing knowledge through artistic expression and reflection.

Strengths:

• Empowers students to take ownership of their learning.
• Facilitates personalized learning experiences that are tailored to each student’s interests and understanding.

Limitations:

• Can be challenging to assess objectively.
• Requires careful facilitation to ensure all students are constructively engaged and learning effectively.

---

Application of Learning Theories to Instructional Design

Learning Activities

• SDG-Themed Art Prompts: Each lesson will center on an SDG theme (e.g., “Plastic-Free Oceans” for Life Below Water).
• Hands-On Art Creation: Students will experiment with different artistic techniques while responding to the prompt.
• Peer Sharing & Reflection: Students will share their work, receive feedback, and refine their pieces.

Assessment Strategies

• Formative Assessment: Weekly reflection journals where students describe their creative process and SDG connections.
• Summative Assessment: A final virtual art exhibition where students present their work to classmates and discuss its impact.

Engagement Strategies

• Gamification Elements: Optional badges for completing sustainability-themed challenges.
• Community Involvement: Partnering with environmental or social organizations to feature student artwork on websites or social media.
• Interactive Discussions: Using digital forums or video discussions for students to share thoughts on how art can drive social change.

---

Conclusion

By leveraging Experiential Learning, Project-Based Learning, and Constructivism, this minicourse encourages creativity, critical thinking, and social awareness in young learners. Through hands-on artistic exploration and meaningful real-world connections, students will not only enhance their artistic skills but also develop a deeper understanding of global sustainability challenges. This approach makes learning engaging, interactive, and impactful, preparing students to become both skilled artists and informed global citizens.

United Nations Sustainable Development Goals website