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Abstract 1. Introduction In May 2002, the instructor began planning an online Art Appreciation course (ART1300 online) to be offered in fall semester 2003. As a university course, the ART1300 online section needed to present content that was as rigorous and pedagogically sound as the face-to-face class, which enrolls over 600 students per year. The instructor found existing online Art Appreciation courses wanting in their pedagogy; most simply required students to read a text, search the web and write an essay. The interaction with images that the instructor considered key to art history pedagogy was missing. At the same time, neither the instructional materials provided by the university's Center for Distributed Learning nor existing manuals of online course preparation and instruction addressed art history's unique needs. The instructor consequently looked to other sources, including museum websites, for models of how to engage the work of art in an online environment. The result was a series of interactive animations that accompany html course content. |
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![]() The second model, and the type tested here for its ability to teach concepts, is motion graphics, in which a digitized work of art is made interactive. The simplest examples use "hot zones," whereby a detail view and/or accompanying text emerges from the digital reproduction as the student passes his/her mouse over the target area. Animated lines, arrows, or other instructional devices can be superimposed to direct learning. This model also works with comparative examples, in which two images with hot zones are paired and examined against each other. Hence the student sees the image first, has the opportunity to look without interference, then proceeds to the information at his/her own pace. And when text appears, it is superimposed over the image or located beside it, much like a spoken lecture, so that visual and verbal information appear to the student simultaneously. Finally, highlighting portions of the image directs the student's attention akin to the stick or laser pointer touching relevant passages of a projected image in a face-to-face lecture. The performative triangle in this model gives both the instructor and students an asynchronous active role. Can an online art history course based on a performative triangle model, yield learning equal to or better than that of the face-to-face model? Of what pedagogical value are the interactive components? Do students learn to perceive from them? These and other questions were the guiding factors for the following experiments. |
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![]() Table 1. Distribution of scores for each question. |
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![]() The second analysis, which focused more on the quality of the correct answers, indicates that all of the groups were able to use appropriate terminology; however, the two experimental groups showed a higher use of appropriate terminology than the control group. For example, the two experimental groups, face-to-face/online and totally online, scored about the same 72% and 70% respectively on the mastery of terminology. In the control group only 59% of the answers indicated a mastery of vocabulary. The distribution of scores indicates that the second question concerning the plan of the mosque was the easiest one to answer (see Table 2). |
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![]() Table 2. Distribution of scores for mastery of terminology. |
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