Technology in Art Education and Learning Theories Employed
Molli Brown
Boise State University
EDTECH 504
Abstract
This paper focuses on ways in which technology can be used in the art room to enhance
student learning and the theoretical underpinnings of those methods. These learning theories
include constructivism, connectivism, constructionism, experiential and situated learning. It is an
attempt to compile ways in which other art teachers have already incorporated these methods
into their art room and share what works and what challenges to expect. Within the resources for
this paper various learning theories were employed. This is done through things like Wikis,
TappedIn, rss feeds, social bookmarking, YouTube, flickr, webquests, Weblogs, Scratch,
iMovie, iPhoto, and Photobooth. This paper is divided into sections based on those learning
theories as they are explained along with the proper embedding of technology into the art room.
Every scenario mentioned, regardless of the theory, is situated in a student-centered learning
environment where the teacher takes on the role as a facilitator. Open-ended assignments with a
mixture of traditional and contemporary art making practices are explored to offer various ways
in which pre-service and practicing art educators could find something that would work in their
classroom. Typically when first introducing technology into the art room or teaching in any new
type of learning environment there will be challenges. However, the increase in student
motivation and ownership of their work and overall better performance is worth the effort.
Introduction
Research has shown that teachers are ill prepared to incorporate technology into the
classroom although there is no doubt that doing so correctly will have positive benefits on
student learning. TPCK or extensive technological pedagogical content knowledge is what seems
to be missing from most teacher education programs. However, there is lack of concrete
examples of current content-specific methods taught to pre-service teachers in their
undergraduate studies or to practicing teachers through professional development opportunities
(Angeli, 2009). One of the reasons for this problem is that these methods are still emerging.
Also, even if all art teachers and teachers in general knew the best practices for incorporating
technology into their lessons, time is an issue for using technology in the classroom and for
teachers to plan for it. Appropriate professional development to help teachers develop pedagogy
in relation to their specific subject matter is necessary (Gregory, 2009). To overcome this barrier
my inquiry focused on documented successful enhancement of learning in the art room by
incorporating technology.
To truly and authentically incorporate technology into the classroom, employment of a
variety of learning theories is necessary. One reason for this is that there is a lack of shared
theoretical vision on the topic making it difficult to find clear direction and meaning (Selfe,
1990). According to two Art Education faculty members at the University of North Texas,
“Among the cognitive learning theories available, constructivism and situated learning are most
significant to creating an active art classroom” (Kundu & Bain, 2006, p. 9). But, depending on
the specific project being done other learning theories can also be employed to varying degrees.
Possible implications of the emerging learning theory connectivism are also examined.
Various applications of technology as specifically related to the art room are explored
such as it being any of the following: an information resource into the history of an artwork or
movement (Kundu & Bain, 2006), means for inspiration or motivation (Bryant, 2010), the tool
for creation of a multi-modal artwork (Peppler, 2010), a way to record or store creations (Prater,
2001), and/or interaction with peers or teachers for reflective purposes (Overby, 2010). Most if
not all of these circumstances involve student-centered learning where the role of the teacher
shifts from authoritarian (Overby, 2010) to facilitator that is constructivist in nature.
Constructivism and Connectivism in the Art Room
According to Prater (2001), there are three key features of a constructivist approach.
First, connections the learner discovers within the content are more important than the hierarchy
of the content. Second, the learner’s natural inquiry uncovers content as they encounter it. And
third, learning objectives and tasks are determined by the learner under the guidance of the
instructor. An excellent way of bringing the constructivist approach to any classroom is with
technology. But, for teachers that don’t have experience teaching in this style, there might be a
few road bumps to overcome first. To start, the classroom should become more student-centered
before adding technology into the mix. Many art teachers already have student-centered
approaches to art making within their classrooms. But, typically when technology is used in the
art room it’s being used in a very teacher-directed manner (Gregory, 2009). “Art teachers
typically use established computer technologies as teaching or presentation tools rather than
facilitating students’ creative production and thinking, collaborative learning, problem-solving
and higher order learning” (Gregory, 2009, p. 48).
Diane Gregory, who is the Director of Undergraduate and Graduate Studies in Art
Education at Texas Woman’s University since 2004. cites an example of how she created a
constructivist style classroom based around a self-portrait project. While introducing the project
she used an overhead projector but kept the presentation student-centered by having students
brainstorm answers to the questions: “Why do artists make art?” “Where do artists get their
ideas?” “Why do artists create self-portraits? (Gregory, 2009, p. 51)” The discussion was
recorded using an online concept-mapping tool called Inspiration. The notes from the class
discussion were saved and then posted on a secure Wiki using TappedIn. The conversation
continues while students look at a variety of self-portraits, the discussion is video recorded and
also posted on the Wiki. The second step in the project asks students to create self-portraits and a
period of days is allotted for them to research a variety of sources such as the web, YouTube, and
flickr. Traditional art making inquiries are also available such as drawing, painting, collaging and
printmaking. Gregory divided her classroom into “art studio technology-based learning stations”
each station has a combination traditional and contemporary tech based media such as “drawing,
painting, social bookmarking and rss feeds” (p.52). Students were then given several weeks to
create their self-portraits and a digital presentation with a group using the materials available at
their chosen station. Gregory also notes a change in her students after creating this type of
student-centered learning environment, “…my students have become more involved,
empowered, engaged, and enthusiastic” (p. 53). This lesson is appropriate for middle to high
school level students.
While Gregory describes the self-portrait project as constructivist, one could argue that it
also carries many connectivist traits. Where students are using a class wiki to reflect and further
discuss their class brainstorming activity, they are working within a network where there are
many diverse opinions. The learning between the students is taking place within the computer, a
non-human appliance. One of the stations Gregory had available students were able to work with
social bookmarking and rss feeds. Creating these connections and identifying them while using
both tools are core skills in connectivism. Because the lesson was student-centered and students
were able to choose how their self-portrait would be created and were independent in researching
self-portraits, they were required to make a lot of decisions, which is another principle of
connectivism (Siemens, 2004).
With teacher accountability and high stakes testing in the forefront of all state run
classrooms, constructivist teaching can be a balancing act. Three high school art teachers in
Atlanta tried the approach however to see how student responsibility was affected. The teachers
each had their students working with a different medium, video, printmaking, and collage. They
asked their students to come up with their own lesson objectives and assessment strategies.
Students were asked to become ‘experts’ in a specific artistic area and become peer teachers for
the rest of the class. After each teacher’s class created their objectives and assessment criteria,
which sparked interesting conversation about specific definitions of various art terminologies,
students chose the area they would later teach their peers about. Students groups took time to
research their artistic area using books and Internet sites provided by the teacher on their topics.
After finishing their printmaking research the students completed a print with the process they
chose, a handout for the rest of the class, and did a demonstration. Neda Abghari, the educator
facilitating the printmaking inquiry, said, “Instead of them using me as a crutch for learning (by
me constantly giving them information) the students found the information themselves, and
shared it with other students…. Students began thinking of themselves as experts. They took
more ownership of their knowledge” (Milbrandt, Felts, Richards, & Abghari, 2004, p. 22).
Among the tips mentioned in the article cited in the last paragraph titled Teaching-toLearn: A Constructivist Approach to Shared Responsibility (Milbrandt, Felts, Richards, &
Abghari, 2004) a list of helpful guidelines on successful constructivist teaching is provided.
There are a few that I found noteworthy; one was to provide students with a variety of tools.
These can be technology related like Internet sites, digital cameras, or traditional tools like books
and maps. This allows students to become primary research investigators. Teachers should keep
an open mind about non-traditional artistic materials and processes. Students need to be able to
make their own decisions, which again is connectivist. Another connectivist notion is that
students should be creating real world and cross-disciplinary connections. Those that extend
beyond the classroom are also encouraged, helping to give their work personal meaning
(Siemens 2004; Milbrandt, Felts, Richards, & Abghari, 2004, p. 24).
A constructivist learning environment is not always the easiest or best way to approach
learning in the art room however. Abghari notes feeling uncomfortable at times when first
attempting this type of teaching. She also noted that not all students were as easily sold on the
process either, but that it is worth the effort (Milbrandt, Felts, Richards, & Abghari, 2004). Prater
makes note of direct demonstration for the use of certain tools to be more time efficient. Also,
students should never find their own constructed meaning when it comes to safety. Students
should instead uncover the reasoning behind specific procedures (Prater, 2001).
A common way many pre-service teachers are learning how to incorporate technology
into the art room in an authentic and meaningful way, and therefore building up their TPCK, is
through the construction of webquests. A webquest is an online open-ended inquiry based
activity that typically includes the following components on virtually any topic: introduction,
task, information resources (these narrow down information for learners and allows the creator to
check their authenticity), process (this is completed to accomplish the task), guidance, and
conclusion (Angeli, 2009).
A webquest is constructivist and involves the situation learning theory for the person that
creates the webquest itself. Not only that but when a webquest is introduced and completed by
learners it is also constructivist in nature for the learners. The reason for this is that for the
creator and the one working within it, a webquest is the “construction of a solution to an openended problem (Kundu & Bain, 2006, p.7).” The length of a webquest can vary depending on the
nature of it from one class period to a month. Learners working with one may be asked to do a
variety of different things either online, like looking for information or answering provided openended type questions to gain understanding, or offline, like creating an artwork inspired from the
direction they chose to take via the webquest. Instead of learners being passive like in many
lecture based art history classes, with a webquest they are given a chance to actively participate
with authentic resources on the Internet to acquire an inquiry based understanding (Kundu &
Bain, 2006). Many aspects of a webquest are also connectivist. For one students have to, “choose
[ing] what to learn and the meaning of incoming information to [is] see[n] through the lens of a
shifting reality” (Siemens, 2004). Art teachers may struggle with including a webquest into their
lessons because it can shift the focus away from the actual making of art. But the article
Webquests: Utilizing Technology in a Constructivist Manner to Facilitate Meaningful Preservice
Learning notes that art lessons should not always focus on art skills. They must also, “speak to
how art enables the production of knowledge in relationship to living in society” (Kundu & Bain,
2006, p. 8).
Weblogs which are referred to by Alexandera Overby (2009), a high school photography
teacher and visual art department chairperson, as experiential learning can also be useful
technological tools in the art room. Experiential learning is related to Dewey’s experiential
education, which is not to be confused with but can be linked to constructivism (Thanasoulas
n.d.). Weblogs are primarily used for reflective purposes but can add a great deal of studentcentered dialogue to any project. Overby makes note of how things like Weblogs are becoming
so intertwined into students lives outside the classroom. Blogs on various topics and Facebook
have become such a large part of students’ lives outside the classroom, so to not bring them into
the classroom is missing a huge opportunity. Incorporating weblogs into the classroom helps to
bridge the gap between the virtual lives they have outside of the classroom to the subject matter.
The dialogue created between students needs to be monitored by the teacher ensuring it stays
focused in a positive and reflective manner. This again makes the teacher’s role more of a
facilitator.
Constructionism
Constructionism is another theoretical avenue an art educator can take when
incorporating technology into an art room. Kylie A. Peppler (2010) wrote about her research on
the topic in the paper titled Media Arts: Arts Education for a Digital Age. Peppler’s research was
outside of a traditional art classroom in what was called the Computer Clubhouse. The Clubouse
was open to underprivileged youth to give them an opportunity to develop skills with technology
beyond browsing the web that involve higher order thinking like design and critique. The
location of the Clubhouse was in South Los Angeles, California in a storefront. This area has
sparse access to arts classes, computer science classes, and computers. The students who came to
the Clubhouse ranged from 10-14 years of age and all of them were African American or Latino.
The Computer Clubhouse offered use of various new media software but this study focused on
the use of the most popular program there called Scratch. The reason it was selected because
“Scratch enables the use of computer programming, or ‘creative coding’ as termed here, one of
the fundamentals of media art (Peppler, 2010, p. 2127).” Scratch allows users to creatively code,
which is a simplified computer coding without all of the restrictions of writing regular code, but
also allows users to create visual images in a variety of ways, to layer video, audio, and
interactive modalities with its interface. Scratch with its creative code writing draws strong
connections with the founder of constructionism’s, Seymour Papert (1999), computerprogramming language LOGO (Papert, 1999). This along with the three broad concepts or
principles that are important to the creation of media art would be why Peppler (2010) refers to
the application of Scratch as being constructionist in nature. Those three principles, originally
mentioned by Papert (1999) are: 1) the continuity principle, where the youth have a personal
connection to their work, 2) the power principle, where the learner has an active engagement in
the learning process which empowers the learner, and 3) the principle of cultural resonance,
where students are working on projects that are of benefit to a larger community (Jahnke, 1983;
Peppler, 2010).
Courtney Bryant (2010), a high school Animation Instructor, used the programs
Photobooth, iPhoto, and iMovie, in a constructionist manner. Bryant felt that she was always
taught in teacher-directed classrooms in school and was therefore teaching in the same manner
but knew there was a better way. While working on her master’s degree, Bryant had to complete
a case study and decided to dig deeper to find out whether her “students could acquire necessary
techniques while expressing creativity in their own voices. (p. 43)” Bryant knew she wanted to
stop ‘barking’ at her students all throughout class and see if she could ‘explore[d] possibilities of
combining technical instruction with creative problem-solving strategies (p. 43)” using things
like “open-ended instructional problems, brainstorming and storyboarding, peer checks, utilizing
symbolism and metaphor, and critique (p. 43)” In her Introduction to Animation class she had
her students create a stop-motion film using the previously mentioned Apple programs. The stopmotion film assignment was open-ended because Bryant gave asked students the task of showing
a period of personal transformation in their lives. This assignment allowed students to bring
something very personal to their projects, which gave them a sense of freedom and acted as a
huge motivator. At first her students were reluctant to take part planning for their films. They
instead wanted to just dive right in. But once they saw the results of their extensive planning
working to their benefit they changed their outlook (Bryant, 2010). This open-ended stop-motion
film project also possesses the three constructionist principles described by Peppler (2010).
Conclusion
There are many options available for art teachers to incorporate technology into the art
room. Staying current with what options are available can be quite tricky as the playing field is
constantly changing. Some of the articles cited in this paper that have excellent points about why
the use of technology in the classroom can be beneficial. In relation to educational theories, those
cited in this paper, at times in combination with each other are: constructivism, constructionism,
experiential learning, and situated learning. The two major theoretical realms that most articles
seem to focus on with technology and art are constructivism and constructionism. Again, in
many of the examples cited there were strong ties to connectivism as well, there is just a lack of
shared theoretical vision presently. The shift to more a student-centered classroom where the
teacher acts as a facilitator seems to be the first step towards creating an art room with increased
motivation and greater technical understanding and personal meaning in its projects. These shifts
need to start happening at the undergraduate level with pre-service teachers and in professional
development arenas for current teachers.
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