We cannot know what feedback and which comments make the student work in the right direction.
But experience learns (but she is not infallible) positive feedback often is better than no critique or negative remarks.
Here is a cultural difference in giving positive comments. Some people do use strong words in their positive remarks. (love it, and great, amazing) We like that very much. Some people are less exaltic. We need to know who says what to know this.
Some feedback does show much attention and interest for the work “The leaves and berries make for a nice composition, with great colours.”
It is difficult to give positive comments and make someone’s work of art better.
“this would be still better if you did that..” That takes courage. (Mvdfunes and johnjohnston on ds106radio 12oct2014, I do not know an archive of that, do you know that archive?)
I like to tie together teaching and art. I like to speak of The art of teaching because an art has no absolute rules. Art is always changing.
To think about the language in online teaching we must remember teaching is an art.
No rules for the right use of language in teaching, because:
Students are from different cultures and teachers are from different cultural origins. Language style and language register are different between students and between teachers.
So no universal rules for language and communication in online courses.
Humor, jokes and the unexpected could help to make a course attractive. Layout and pictures, sounds could help too.
You need to know your audience.
Ask for feedback.
Do reflect on your teaching.
And remember, the contact is the connection from student to the course and from teacher to the course (and to each other). For contact and connection in a course two parties are required.
Je kunt een ding aanwijzen en zeggen:
A. “dit is steen”
B. “dit is kunst”
Over uitspreek A. kunnen we het vrij snel eens worden. Het object is steen of het is geen steen.
Over uitspraak B. kunnen we heel lang praten en het is niet uit te sluiten dat we het nooit eens worden.
I could point at an object and say:
A. ‘this is stone’
B. ‘this is art’
On A. we could agree very soon. It is stone or it is not.
On B. we could discuss all our lives and maybe never agree on it.
Street art in Padborg (Danemark) No name, no title.
Gelden in de discussie over het label “kunst” de meeste stemmen?
Maar kunnen we het misschien eens worden over wat dan echt geen label “kunst” kan krijgen?
“Art” is a label. Is it open to voting if an object is art or not?
Deze foto heb ik gemaakt van een object in de beeldentuin van Kasteel Nijenhuis, Museum de Fundatie in Heino (Overijssel)
De beeldentuin is mooi aangelegd in verschillende tuin stijlen. Dit object staat in een formele strakke tuin.
(Johan van Velsen, 1949, Twee witte stoelen, metaal hout)
I took this picture in Museum de Fundatie in Heino (Overijssel). The sculpture garden has different garden styles. This object is in the part with a formal style in squares.
(Johan van Velsen, 1949, Two white chairs, metal wood)
Bij dit object dringt de vraag zich op wat de status is van het werk. Is het kunst?
Kennelijk maakt het verschil of de twee witte stoelen in een museumtuin staan (daar zijn ze kunst) of ergens op een dorpsterrasje (daar zouden ze meubel zijn).
Is this Art?
The place where the objects are viewed seems to make a difference. Here in the museum garden the object could be Art. And the object would just be furniture in the village sidewalk café
These blogposts are about art. Alan Levine shouts “make art damnit” http://cogdogblog.com/2012/02/17/make-art-damnit/ but what does he want? I want to make art that is why I want to know what is art.
Deze blog posts gaan over kunst. Alan Levine blaft “make art damnit” Maar wat bedoelt hij daarmee? Ik wil kunst maken, daarom wil ik weten wat kunst is.
Moet je weten wat kunst is om kunst te maken? In zekere zin moet je dat weten, maar de filosofie van de kunst zal je daarbij niet helpen.
Theory of art is not a guide to making art. But should one know what is art to make art? In some sense you want to know what Art is.
(Johan van Velsen is een pseudoniem / a pseudonym)
Once upon a time an apple got into a story. (Some say it was some fruit, we do not fight about that) This apple is in paintings and fresco’s and book illustration. Quit some apple that one.
But the apple in the picture is just an apple. Grown on a tree and fallen in the grass.
The picture could be art, but the apple is it art? De appel is geen kunst, die is zo van de boom gevallen. (niet gemaakt door iemand, is dat een reden om iets “geen kunst” te noemen?)
De foto zou wel kunst kunnen zijn? Maar hier bedoel ik niet de foto maar de appel zelf.
Is een “origineel” geen kunst maar de afbeelding wel?
Some apples in art:
(Rotterdam, Kees Franse 1924-1982, Appels)
(Schiphol airport Amsterdam NL)
These blogposts are about art. Alan Levine shouts make art damnit” but what does he want? I want to make art that is why I want to know what is art. Deze blog posts gaan over kunst. Alan Levine blaft “make art damnit” Maar wat bedoelt hij daarmee? Ik wil kunst maken, daarom wil ik weten wat kunst is.
” … I think that in the hierarchy of knowledge and learning a change has taken place. Or that it is possible to detect one. My point of departure is that there was once a time when philosophy for instance was a sort of mother of all forms of knowledge, was the source where everything came from, all knowledge and learning. In my opinion this is in itself not mistaken. It is however at any rate true that this is no longer the case. The situation now is that economics, which in my opinion is not a science, but a way of thinking that admittedly employs scientific methods, plays a more decisive role than does one’s grasp of a subject or any other specific quality. …”
Connect this economical world view to education.
In an economic system goal-orrientednes and purposefulness is a basic believe. In an economic world people act to earn some profit.
In an economic system students and learning results are commodities.
“The labor theories of value are heterodox economic theories of value which argue that the value of a commodity is related to the labor needed to produce or obtain that commodity.”
“Commodity fetishism denotes the mystification of human relations said to arise out of the growth of market trade, when social relationships between people are expressed as, mediated by and transformed into, objectified relationships between things (commodities and money).”
Gardner Campbell argued that we are engaging in a factory model of student education, rather than one that reflects the complexity inherent in actual learning. In my favorite section, he uses analogies such as a daily pill box and cows feeding at a trough to convey his points. (Liza M. Lane).
Seen from this angle schools first are economic institutions.
In an nonprofit world people act because the act is rewarding in itself. An amateur loves to do or play or study and that is why he is doing it.
In those factories good teachers try to keep up humanity. Schools are closed systems. Teachers try to connect students to the real world outside, but that is not easy. Individuals are secondary to the system. The system is a safe haven for student who fit into the system, but when students do not fit in the system they are expelled. A MOOC is an open system. Students are autonomous and that is not safe at all.
Educational industry will copy MOOC and change it into part of the closed system.