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1.
This study was intended to assess the effect of a psychoeducational computer‐assisted and paper‐and‐pencil training designed to empower visuospatial skills in students attending the second grade of the primary school. At pretest, posttest and at the subsequent 3‐months follow‐up, 44 Italian second graders were presented with a battery of tests assessing nonverbal problem solving, imagery, speed of processing, visuomotor coordination, and verbal working memory. After pretest, 22 pupils were trained by the psychoeducational intervention for 15 weekly sessions (Fastame & Antonini (2011). RECUPERO IN… abilità visuo‐spaziali [Recovery in… visuo‐spatial abilities]. Trento, Italy: Edizioni Erickson). Posttest scores and a follow‐up assessment conducted after 3 months by the end of the training documented the positive effect of the psychoeducational intervention in enhancing visuospatial functions of the experimental group. These outcomes were also replicated when a questionnaire assessing visuospatial efficacy was proposed to the teachers of the participants.  相似文献   

2.
The novelty of three-dimensional visualization technology (3DVT), such as virtual reality (VR), has captured the interest of many educational institutions. This study’s objectives were to (1) assess how VR and physical models impact anatomy learning, (2) determine the effect of visuospatial ability on anatomy learning from VR and physical models, and (3) evaluate the impact of a VR familiarization phase on learning. This within-subjects, crossover study recruited 78 undergraduate students who studied anatomical structures at both physical and VR models and were tested on their knowledge immediately and 48 hours after learning. There were no significant differences in test scores between the two modalities on both testing days. After grouping participants on visuospatial ability, low visuospatial ability learners performed significantly worse on anatomy knowledge tests compared to their high visuospatial ability counterparts when learning from VR immediately (P = 0.001, d = 1.515) and over the long-term (P = 0.003, d = 1.279). In contrast, both low and high visuospatial ability groups performed similarly well when learning from the physical model and tested immediately after learning (P = 0.067) and over the long-term (P = 0.107). These results differ from current literature which indicates that learners with low visuospatial ability are aided by 3DVT. Familiarizing participants with VR before the learning phase had no impact on learning (P = 0.967). This study demonstrated that VR may be detrimental to low visuospatial ability students, whereas physical models may allow all students, regardless of their visuospatial abilities, to learn similarly well.  相似文献   

3.
Three‐dimensional (3D) information plays an important part in medical and veterinary education. Appreciating complex 3D spatial relationships requires a strong foundational understanding of anatomy and mental 3D visualization skills. Novel learning resources have been introduced to anatomy training to achieve this. Objective evaluation of their comparative efficacies remains scarce in the literature. This study developed and evaluated the use of a physical model in demonstrating the complex spatial relationships of the equine foot. It was hypothesized that the newly developed physical model would be more effective for students to learn magnetic resonance imaging (MRI) anatomy of the foot than textbooks or computer‐based 3D models. Third year veterinary medicine students were randomly assigned to one of three teaching aid groups (physical model; textbooks; 3D computer model). The comparative efficacies of the three teaching aids were assessed through students' abilities to identify anatomical structures on MR images. Overall mean MRI assessment scores were significantly higher in students utilizing the physical model (86.39%) compared with students using textbooks (62.61%) and the 3D computer model (63.68%) (P < 0.001), with no significant difference between the textbook and 3D computer model groups (P = 0.685). Student feedback was also more positive in the physical model group compared with both the textbook and 3D computer model groups. Our results suggest that physical models may hold a significant advantage over alternative learning resources in enhancing visuospatial and 3D understanding of complex anatomical architecture, and that 3D computer models have significant limitations with regards to 3D learning. Anat Sci Educ 6: 216–224. © 2013 American Association of Anatomists.  相似文献   

4.
This article presents a longitudinal study, over eleven years, of the academic progress of a cohort of design students (n = 475) at a major Australian university. The students were from four different spatial design disciplines: architecture, industrial design, interior design, and landscape architecture. The article identifies cognitive variables that may predict future academic success. This research uses regression analysis to identify correlations across a range of variables, in particular exploring the relationship between university entrance scores, subjects studied at school (art and graphics) and academic success as defined by university grade point average and time to completion. This study shows that prior knowledge in art and graphics is not a useful predictor of future academic success, while university entrance scores and first year performance are related to ongoing academic success. These results suggest that for the design disciplines explored here, discipline‐specific prior knowledge is not an important requirement for university entrance.  相似文献   

5.
A tool for self assessment in secondary art education was developed and tested. The tool includes rubrics for assessing production and reception activities in art education and consists of visual and text rubrics. The criteria in the rubrics are based on the Common European Framework of Reference for Visual Literacy which was developed by The European Network of Visual Literacy (ENViL). The way teachers and students use the rubrics, whether they consider them helpful and to what extent students’ self‐assessments are in line with teacher assessments was studied. It was concluded that teachers work with the rubrics intensively and both students and teachers appreciate its visual form. However, it was found that the agreement between teachers and students about the students’ scores was moderate and needed to improve. The results show that it is untrue that students, or boys in particular, overestimate their own performance in art education. The current study contributes to the development of feasible and valid assessment criteria and instruments in secondary art education.  相似文献   

6.
Modern art curricula derive from the assumption that visual arts education can be of a high quality only if productive and receptive artistic activities are implemented. In art education practice, we are able to follow incentives for artistic expression but pay less attention to developing art appreciation that is based on developing as subtle perceptions of artwork as possible. Students have few opportunities to observe, enjoy and understand artwork. This discussion presents the results of a study that monitored the development of art appreciation abilities of 11–14 year‐old students in Slovenian compulsory education. The level of art appreciation abilities is rather average and more developed with older students and girls. There were no statistically significant differences with regard to school stratum.  相似文献   

7.
The first purpose of this study was to investigate whether the visuospatial working memory (VSWM) skills of 15–16‐year‐old pupils with difficulties in mathematics differ from those of their normally achieving peers. The goal was to broaden the view of the complex system of VSWM. A set of passive and active VSWM tasks was used. The study’s second purpose was to investigate whether pupils with mathematical difficulties differed in their VSWM skills based on whether they had signs of reading deficits or not. Results indicate that the pupils with poor performance in maths showed poorer performance on certain VSWM tasks. The group with deficits only in maths had less capacity for storing passive visual simultaneous information, while the group with difficulties both in maths and reading had deficits in both storing (passive visual and visuospatial information) and processing, and had less ability to control irrelevant visuospatial information compared to their peers of the same age. The results indicate a general VSWM deficit in pupils with both mathematics and reading problems and a specific VSWM deficit in pupils with only mathematics problems.  相似文献   

8.
This article reports on the findings of a study investigating creative risktaking behaviours of the commencing university students enrolled in three units across three disciplines: Interactive and Visual Design, Fashion Design, and Film, Screen and Animation. The study employs an action research methodology in order to help students develop confidence and competence in creative risk‐taking. Upon analysis from relevant literature three key provisions for the study are proposed, being: P1 An open and playful learning environment that encourages sharing and challenging multiple perspectives; P2 An adequate period of time for students to develop and revise creative concepts; and P3 Opportunities to assess their own performance in developing creative risk‐taking capacities. The study draws on the students’ written self‐reflections to identify the key challenges and opportunities in encouraging creative risk‐taking among first year students, which are challenges of collaboration; creative resilience and self‐efficacy; and balancing creativity with technical competency. The article suggests several ways that educators can encourage students to take creative risks within higher education in preparation for careers in the creative industries.  相似文献   

9.
Sylvia Pantaleo 《Literacy》2012,46(3):147-155
Colour, a visual element of art and design, is a semiotic mode that is used strategically by sign‐makers to communicate meaning. Understanding the meaning‐making potential of colour can enhance students’ understanding, appreciation, interpretation and composition of multimodal texts. This article features a case study of Anya, an 11‐year‐old student who participated in a classroom‐based research project that explored developing student visual meaning‐making skills and competencies by focusing specifically on a selection of visual elements of art and design in picture books and graphic novels. Excerpts from Anya's interview about her multimodal print text revealed that her intentional use of colour was affected by her participation in the learning opportunities afforded during the explorative study that included overt instruction about making meaning with colour. The semiotic analysis of Anya's use of colour in her multimodal text included a consideration of how the various distinctive features of colour were evident in her work. The article concludes with a discussion of pedagogical and assessment issues associated with teaching students about colour and other visual elements of art and design.  相似文献   

10.
Although visual arts teachers have free access to high quality online artwork images offering them immense teaching resources, making meaningful use of them remains a pedagogical challenge. During the COVID-19 pandemic, the transition from face-to-face to online teaching caused an immediate need for teachers to enhance their digital competencies and technological capability for planning and delivering a blended art curriculum. Herein, I propose a ‘teacher-curator pedagogy’ via a study in six primary and secondary schools in Hong Kong to assess its effectiveness. The study took place in the academic year of 2021-22 with 331 student participants. The proposed pedagogy puts visual arts teachers in the role of ‘digital curators’ who create virtual exhibitions for teaching art appreciation and artmaking. This paper addresses the theoretical framework, implementation strategies, and the results of the study highlighting its effectiveness, impact and limitations on teaching when using teacher-curated virtual exhibitions in both physical and virtual learning contexts. It was found that the technological capacity and confidence of the teacher participants was enhanced through the use of online resources and virtual exhibition tools. Making use of the 3D presentation of exhibits in themes and context through digital content curation, the teachers engaged students with deep interaction through the blending of online and face-to-face teaching. However, the proposed pedagogy was limited by the high demand of training and preparation work, hardware and software support, and difficulties in assessing and monitoring learning beyond class.  相似文献   

11.
This mixed-method research attempted to clarify the role of visuospatial abilities in learning about mineralogy. Various sources of data—including quantitative pre- and postmeasures of spatial visualization and spatial orientation tests and achievement scores on six measures and qualitative unstructured observations, interviews, and field trip notes—were utilized to document the abilities and learning of 27 university students. Results indicated that (a) some students had initial difficulty with certain visual concepts, such as 3D crystal models, symmetry elements, mirror symmetry, rotation, inversion, and combination of symmetry elements while they were learning about mineralogy; (b) learning about mineralogy and spatial ability are two interrelated components; while the mineralogy course improved students’ spatial ability, their existing spatial abilities had a strong influence on facilitating mineralogy learning; and (c) spatial visualization skill is a better predictor of mineralogy achievement than spatial orientation skill. While the discussions highlighted the role of visuospatial thinking in learning about mineralogy, it is argued that researchers and curriculum developers should focus on the productive role of visuospatial thinking in learning about science.  相似文献   

12.
This is a case study of a one‐year arts educational project ‘I – from dreams to reality’ in which artists worked at school with teachers and learning at the school was planned through arts‐based, co‐operative teamwork during one extra school year of 10th grade students in Finnish basic education. The theme of the year was ‘I’, and so the project was designed to highlight everyone's own way of thinking and expressing art. The research task was to determine whether long‐term holistic arts pedagogy and artist co‐operation at school have any significant connection to students’ self‐efficacy and social skills. Data has been collected through students’ self‐evaluations before and after the school year. Altogether 40 students from 10th grade participated in this case study. Half of the pupils participated in an arts educational project called ‘I – from dreams to reality’ and half formed the control group. Artists worked with the test group weekly during a period of one school year (altogether nine months). Students’ self‐evaluations concerning their self‐efficacy and social behaviour were collected by e‐questionnaire. The measures used were Likert‐based evaluation scores of pupils’ self‐assessment of their self‐efficacy and social behaviour in everyday situations at school. According to the results, artist–teacher co‐operation and learning through the arts can be worthwhile experiences to develop students’ self‐efficacy and social skills.  相似文献   

13.
The purpose of this study was to examine the impact of a leadership training program on participants’ emotional intelligence scores. The target population for the study consisted of participants in leadership positions. Seventy‐one participants from over 30 countries took the pre‐test, and 45 subjects of the sample participated in the second training and took the post‐test. The findings of the study show that there was growth in mean scores a year after training and coaching had occurred.  相似文献   

14.
In this paper, we investigate university lecturers’ experiences of and reflections on the development of their pedagogical competency during a 9-month university pedagogical course. The effects of long-term university pedagogical training are considered through experienced pedagogical competency by analysing university lecturers’ evaluations of and reflections on their pedagogical competence areas during the course. Data was gathered from 31 participants using a self-evaluation questionnaire and reflective writings, and analysed using a mixed-methods approach. The results show that the participants experienced significant development in their pedagogical competency. However, it became evident that the concept and practice of reflection is not clear, especially in different disciplines. In addition to the number of credits of the training, the design, and the long timeframe of the pedagogical training, the context in which the training is put into practice, as well as the social aspect of reflection, need to be taken into consideration.  相似文献   

15.
Students who struggle with learning mathematics often have difficulties with geometry problem solving, which requires strong visual imagery skills. These difficulties have been correlated with deficiencies in visual working memory. Cognitive psychology has shown that chunking of visual items accommodates students’ working memory deficits. This study investigated the effects of visual‐chunking representation as a testing accommodation for improving students’ geometry problem‐solving performance. Participants were four third‐graders with difficulties in mathematics. An adapted reversal design was employed to examine the students’ performance changes during standard testing conditions and accommodated testing conditions. During the accommodated condition, students were presented with visual‐chunking images. Results suggested that the visual‐chunking representation accommodation improved students’ performance on geometry problem‐solving tasks, and an interview confirmed students’ preference for the visual‐chunking representation approach.  相似文献   

16.
This study investigates the effects of a competency‐oriented course and the effects of feedback training on students’ reflection skills. Thirty‐one nursing students enrolled in a conventional course with lectures and assignments following a traditional test. Subsequently, they enrolled in a competency‐oriented course, which included more performance‐oriented tasks based on competencies and a performance‐based assessment. In both courses, half of the students received feedback on their assignments from tutors who were trained in feedback skills (experimental group), while the other half of the students received feedback from non‐trained tutors (control group). After each course, all students wrote a reflection report. Results show that students’ reflection reports after the competency‐oriented course were of a higher quality than the reports after the conventional course. Contrary to our expectations, the quality of the reflection reports of the control group (students supervised by non‐trained tutors) was significantly higher than the quality of reflection reports of the experimental group (students supervised by trained tutors). This study shows that a competency‐oriented design of courses enhances students’ reflection skills, but that the training in feedback skills needs to be reconsidered.  相似文献   

17.
The two primary objectives of this study were: to identify the preferred teaching styles of secondary‐school students and to compare these preferences with those of university students from past research; and to examine the contributions of students’ preferred teaching styles to their academic achievement. A sample of 298 students from a Catholic boys’ school completed the Preferred Thinking Styles in Teaching Inventory and the Self‐rated Ability Scale. Participants’ achievements in 12 school subjects were obtained. Results indicated great similarities between the preferred teaching styles of the present sample and those of university students in previous studies. Achievement scores in all 12 subjects were predicted by students’ preferred teaching styles beyond their self‐rated abilities. Some of these predictive relationships were domain‐specific, while others were not. The findings’ scientific and practical implications are discussed.  相似文献   

18.
Learning to be an artist or designer is a complex process of becoming. Much of the early phase of ‘learning to be’ occurs during the time emerging artists and designers are students in university art/design programmes, both undergraduate and postgraduate. Recent research reveals that a critical role in assisting students in their maturing identities as artists and designers is played by artist/designer‐academics teaching in university art and design programmes. By maintaining active art/design practices and drawing from these in their teaching, artist/designer‐academics model professional practice to students. Witnessing and interacting with such modelling is part of the process of students learning the shared discourses, views and practices of the art or design worlds to which they aspire to belong. The modelling of professional practice is critical to an artist or designer's ‘learning to be’ experience because it enables students to access the tacit and nuanced behaviours, languages and cultures that constitute contemporary art or design practice. This article outlines findings from a recent Australian study revealing the role of professional practice modelling in university art/design teaching. It highlights the centrality of professional practice modelling to artist/designer‐academics in their beliefs and approaches to teaching their academic disciplines. In critically exploring the research data and findings this article describes the role that modelling of practice plays and how it comprises a core part of the value that artist/designer‐academic participants contribute to the teaching of art/design education.  相似文献   

19.
In this project, 28 6‐year‐olds were taught skills involved in artistic claywork using principles of social modelling and cognitive learning in a classroom situation, over a series of six lessons. A further 28 students, serving as controls, were taught according to the normal art curriculum. The students’ clay models were photographed on pre‐test and post‐test, and rated by three expert judges (professional artists familiar with children's artwork) blind to treatment conditions. The cognitive social learning group evidenced strong gains on measures of creativity as defined by approximation to a three‐dimensional form, technical competency, decorative competency and aesthetic appeal. The control group students failed to evidence any significant change in rated creativity.  相似文献   

20.
This article explores the deep‐rooted ‘night owl’ image of art practitioners and calls for attention on a consideration of the time for learning in art. It has been recognised that the human body has its own internal timings and knowing the ‘time’ pattern is important for better productivity in conducting creativity‐related activities. This study surveyed 230 art students and 251 management students in a university and examined if there existed any cross‐disciplinary differences in terms of self‐confidence of creative ability, preferences of a particular time for creativity tasks, and routine patterns for daily activities such as getting up, going to bed and working. The results reveal that the art students have more confidence in their creative ability than the management students; about 58 per cent of the art students feel more creative after 10 p.m., as opposed to 29.2 per cent of the management students; and there exist significant differences between the two groups in terms of what time they get up, go to sleep and prefer to work.  相似文献   

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