Artículos de revistas sobre el tema "Education, Technology. Education, Adult and Continuing. Gerontology"

The number of older adults residing in assisted living facilities (ALF) and utilizing adult day care services is expanding with the increasing population of older adults. Currently, there are no standardized requirements for continuing education for assisted living and adult day care service staff at a national level. Given that 62% of states within the United States require continuing education for ALF staff and/or administrators, a more formalized system is needed that provides evidence-based gerontological training to enhance the quality of care and services provided to older adults. This article describes the challenges and lessons learned from conducting a program evaluation of a Statewide Training and Continuing Education Program for Assisted Living Facility and Adult Day Care Service staff in Virginia. Survey evaluation data from a 6-year period was examined and a formative program evaluation was conducted. The findings from the survey evaluation and formative evaluation are discussed as are the lessons learned.

Although many reports have evaluated interactive technology in distance learning, there is a lack of reports focused on utilizing interactive television to meet adult continuing education needs of professionals. This study describes the evaluation of live two-way interactive television (ITV) continuing education programs for health-care professionals. The programs were evaluated using adult learning characteristics as the evaluative framework. Data collection consisted of surveys, interviews, and participant observation. Results indicate that these continuing education programs delivered through interactive television technology met the adult learning requirements of the healthcare professionals who participated. The overwhelming majority of those in the sample indicated the interactivity of the system enhanced their learning and they would be likely to attend future professional education programs offered via ITV.

Mandatory continuing professional education is accepted across many professions as a re-credentialing mechanism to maintain professional competency. Self-directed learning is a widely recognized type of learning to meet mandatory continuing professional education requirements. The nature and characteristics of self-directed learning has been transformed with the growth in digital and mobile technologies, however there is minimal understanding of the role of these technologies in the self-directed learning habits of adult learners. This study sought to explore the perspectives of adult learners around the effect of digital and mobile technologies on continuing professional education activities. Semi-structured interviews were conducted with 55 adult learners from four professional groups (9 physicians; 20 nurses; 4 pharmacists; 22 social workers). Key thematic categories included perceptions of self-directed learning, self-directed learning resources, key triggers, and barriers to undertaking self-directed learning. Digital and mobile technologies emerged as important resources supporting the self-directed learning of health and human services professionals. Increasing usage and dependency on these technologies has important implications for organizational and workplace policies that can support effective self-directed learning processes in a digital age. A conceptual model is introduced to characterize the key factors defining the self-directed learning patterns and practices of adult learners in a digital age.

Introduction. Development of the economy via the introduction of new technologies stimulates the transfer of competencies through the expansion of exports of educational services in various professional sectors. The study of current skills and competences in the agricultural complex was carried out to identify the most competitive educational programs for adults’/continuing education on regional labor markets, which could be successfully exported by Russia to other countries. We also identified innovative educational products required by the agricultural sector in Russia. The purpose of this article is to study the process of implementation of adult/continuing education and training in Russian agricultural universities in international educational markets. Materials and Methods. Results of a questionnaire survey of higher education institutions under the Ministry of Agriculture of the Russian Federation concerning the implementation of short-term continuing educational programs exported to other countries were used here. Content analysis of popular skills was carried out to determine the most competitive strategies of exports to international educational markets (the case of Kazakhstan, Russia, and USA). The study was conducted on regional job search databases. The sampling scope involved above 3,000 current vacancies. Results. Theoretical and empirical results showed that countries purchase more complex skills if there is a demand for them in the country, and their own continuing education programs are not available. The acquisition of such skills is in demand in countries using a similar model of development of this industry. The increase in exports of Russian life-long education programs to international markets can be achieved by the transfer of high technologies in the agro-industrial sector. Potential countries for the export of continuing/ life-long education include those building cultural, political and socio-economical relationships with the Russian Federation. Discussion and Conclusion. This article is useful for heads of adult education departments of universities to determine the most perspective strategies for exporting continuing education services to international markets.

As recent debates about the role of social media in election outcomes suggest, understanding the association between information processing skills and political efficacy in the U.S. is a significant inquiry for adult and continuing education. Data from the Programme for the International Assessment of Adult Competencies were used to explore relationships between U.S. participants’ information processing skills and political efficacy. Given the impact of certain demographic characteristics on political efficacy, the study also analyzed whether the relationship between information processing skills and self-reported political efficacy varied across levels of cultural engagement, formal educational attainment, or immigrant status. The results illustrate that higher levels of literacy, numeracy, and problem solving in technology-rich environments are associated with higher political efficacy for U.S. participants. Our research is framed in both cognitive and critical lenses, and we provide implications for practice in adult and continuing education settings.

ABSTRACT Continuing medical education (CME), by definition, should contribute to the professional growth and development of the participating healthcare providers. The purpose of this review is to put CME in a historical perspective and discuss its role in contemporary ultrasound practice in the USA. Ultrasound is continuously enhancing and improving the practice of obstetrics and gynecology. As ultrasound technology becomes more sophisticated, medical training must evolve and CME should play an important role in keeping the practitioner current. The medical educators’ responsibility is to ensure that new technology is used properly to improve and maintain the health of patients. Applying contemporary educational techniques and adhering to established adult-learning principles will lead to effective and efficient learning environments, thus contributing to improved patient care. How to cite this article Aeby TC, Wong S, Zalud I. Current Trends in Obstetrics and Gynecology Ultrasound Continuing Medical Education. Donald School J Ultrasound Obstet Gynecol 2014;8(1):60-64.

Introduction. Continuing professional education (CPE) is a strategic resource of cardinal transformations, which are currently taking place in education. The essence of such transformations generally consists in necessary rejection of a subject-information learning model and transition to designing the model of vocational self-development and self-determination.The aim of this research was to reveal the essence of teachers’ professional development as the process of positional self-determination and formation of managerial position. The hypothesis of the study consists in the assumption that the technology of self-determined learning is the institutional form of mastering and implementing the practice of CPE for teachers as a practice of human potential development in the professional and anthropological self-determination of an adult learner.Methodology and research methods. The methodological basis of the study was the comparative educational strategy of CPE, which is embodied in the model of self-determined adult education, focused on the formation of the human ability to manage their own development in an unstable world through the development of new types of cultural thinking and behaviour. The methods of research of teachers’ management position included the system of the following initiatives: interviews, results of group reflections, content-analysis, methods of included observation using video recording of training sessions and educational products.Results and scientific novelty. The complex of diagnostic technologies allowed the authors to establish management positions of teachers (implementer, leader or strategist) and their ability to design the paths of own development and to organise the system of managerial challenges. As the most adequate technological scheme of self-determined learning, the authors tested the mechanism of projectresource management, which regulates the learner’s movement in the educational space from actions carried out in a particular situation in accordance with the circumstances to an activity determined by a local goal, then to the reflection of own activity elevating to the status of a new norm, and, finally, to the reflection of changes in their own position. It was established that the developmental trajectory of human potential in professiogenesis starts from mastering the subject and means of activity (implementer) and passes through building up funds in transforming a special subject of activity (leader) towards designing new standards of means and subject of activity (strategist).The authors introduce the concept of “anthropological self-determination of an adult in the educational process” as the process and the result of formation of own managerial position and development of a new identity in changing life circumstances.Practical significance of the present research is determined by the possibility of designing educational programmes, which ensure co-organisation of adult students in a single event-activity space based on the mechanisms of project-resource management through the system of managerial challenges.

The shift to online forensic nursing education is growing in professional development and continuing education required for certification. Students and instructors are attracted by the ease of use and personalization inherent to asynchronous online instruction. Online education can provide a mechanism for timely and supplemental training to address personnel shortages in certain professional roles, such as forensic nursing. Since all students will necessarily be adult learners, and already possessing professional licensure, they will bring with them a wide array of experience from the forensic arena, ranging from entrée into the field to havingyears in the trenches. It is imperative that all students, from novice to expert, establish a sense of comfort to safely demonstrate their current level of expertise and knowledge. Based on the virtual exponential explosion of advances in technology for educational settings, the path to learning will be ever changing. As this occurs, educational strategies from forensic nursing instructors must be pedagogically translated for the learner who must simultaneously navigate the responsibilities of home, work and school, and will necessarily need to continue to facilitate not only flexibility of learning, but simultaneously maximize immediate utilization in thereal worldof forensic nursing practice.

The article considers the technology of formal and non-formal education as a factor of improving the quality, efficiency and effectiveness of lifelong learning of adults, their continuous personal and professional self-development and self-realization in accordance with an individual educational trajectory. In the study, the following methods were used: expert survey, interview, questionnaire, testing, observation, analysis of documents. The content, essence, principles of application of interactive, acmeological, andragogical and digital technologies are described, which ensure the effective functioning of the content of adult learning, meet the interests, requests and needs of customers of educational services, employers and key stakeholders. On the basis of comprehensive permanent monitoring, the effectiveness of the use of continuing education technologies for the training of a modern specialist has been experimentally tested. The results of the research can be used in the process of modernizing the system of continuing education, the organization of adult lifelong learning.

The results of a pilot study evaluating a technology-enhanced distance learning module to impart environmental health core concepts to nurses are presented in this article. The internet-based module was developed for continuing professional education and imparts principles of adult education through interactive features including simulated clinical vignettes, an environmental justice case study, and hyperlinks to websites related to environmental protection and health regulation. Mean gains between pre- and post-tests; participant identification of adult learning principles as advanced by Knowles, Holton, and Swanson (1998); and satisfaction were measured among participating RNs (N = 34). A 6% mean gain in learning occurred between pre- and post-tests (95% CI .51 to 1.37, p < .0001). No significant differences in learning occurred for those who prefer face-to-face instruction and those who tend to procrastinate. Ninety-four percent of respondents indicated they were satisfied or very satisfied with the module. A strong association was found between recognition of adult learning principles as enhancing the assimilation of knowledge and competencies of environmental health and high satisfaction with the module. Distance learning via the Internet shows promise as a format to promote environmental health education for nurses.

We examine Internet use and eHealth literacy among older adults (aged 55+ years) who were patients at clinics serving low-income populations. Participants included 200 minority and White adults who completed interviews based on a technology acceptance conceptual model. A total of 106 participants (53.0%) used the Internet; utilization was associated with personal characteristics (age, ethnicity, education, poverty), computer characteristics (number of e-devices, computer stress), social support (marital status), and health knowledge and attitudes (health literacy, medical decision making, health information sources), but not health status. Of the 106 participants who used the Internet, 52 (49.1%) had high eHealth literacy; eHealth literacy was associated with computer characteristics (number of e-devices, computer stress), and health knowledge and attitudes (medical decision making, health information sources). In multivariate analysis, computer stress maintained a significant inverse association with eHealth literacy. Educational interventions to help older adults successfully use technology and improve eHealth literacy must be identified.

Abstract The intergenerational reflective service-learning program titled Mentor Up is intentionally integrated within gerontology education. Mentor Up, a series of one-on-one technology training workshops, connects younger with older learners in the community while building on course content. Groups of students are paired with the Academy of Senior Professionals at Eckerd College (ASPEC) members, a continuing education organization whose 300+ members are committed to lifelong learning. Members are fully integrated into the course, serving as mentors for students. These class sessions support students in planning for Mentor Up service at a local CCRC and promote positive contact between students and retired community members. ASPEC members also participate with students in a significant reflective component concluding the course – in which students and older learners work together to write a script, record, and present a video essay addressing aging stereotypes. Considerations for planning, classroom integration, community connection, and project reflections will be discussed.

ABSTRACT As technology continues evolving, ultrasonography has become increasingly the imaging modality of choice in many different clinical settings including hospital, clinic and point of care. Similarly, the expansion of internet has revolutionized the medical curriculum and training of the entire medical education continuum: undergraduate medical education, graduate medical education and continuing medical education. More importantly, technology and internet have transformed the traditional teacher-dependent classroom-based teaching into the learneroriented web-based learning. To empower the presentation, whether classroom-based or web-based, it's essential that faculty members apply principles of adult learning throughout the session. Newer version of PowerPoint (PPT) is powerful and user-friendly. However, faculty members should be familiar with fundamental guidelines for appropriate selection of fonts, character sizes, background colors, charts, graphs, animation and multimedia. In general, PowerPoint presentations prepared on Windowsbased computers can be run on Mac computers; however, presenters should be aware of compatibility issues across platform such as fonts or multimedia formats. Faculty can also easily turn the PowerPoint presentation into a powerful and interactive teaching tool of ultrasonography for unlimited number of learners by following simple guidelines of using PowerPoint and having minimum resources and technical support for software of voice over presentation, such as Camtasia or Captivate. How to cite this article Cardwell MS, Aranda JH, Hernandez R, Ho H. Empowering Your Presentation Skills. Donald School J Ultrasound Obstet Gynecol 2014;8(1):100-104.

In this paper authors are aiming to explore the level of perception on the topic of trainings from employees’ perspective, as well as learning and development of employees after they reached the labor market and their impact in human capital. To stay competitive and survive in job market it is suggested to acquire higher and broader skills and competencies. To achieve this, it is necessary to use training and development as a function of Human Resources Management. Therefore, the main purpose of this paper is to identify the impact of training and development and the concept of lifelong learning. For this research 450 questionnaires were used with the public and private institutions regarding the level of trainings they have participated. The importance of trainings increases with technological changes and information technology, globalization and a lot of other factors have their impact in importance of continuing adult education and lifelong learning. In this paper will be explored also what training practices represent as a key component in human resource management. Where from our findings we can say that most of the trainings in Kosovo are on job trainings, with highest level of participants in the age from 21- 35, this age group uses trainings for learning, age group of 36 -50 years use trainings mostly for sharing information’s, while age group 51-65 years, use mostly trainings for learning and sharing information, they also have the highest level of using trainings for development. Most of the employees find trainings as compulsory for achieving better skills, compulsory trainings are positively correlated with on job training Pearson Correlation 0.83 which is significant .000 at the 0.01 level (2-tailed) from the descriptive data we can find that depending on the age group and education level Information technology trainings have different results. Employees with higher education have less interest in Information Technology trainings compared to employees with lower levels of education. So, in general, this research aims to give a clear description of employees’ perspective regarding trainings as on job trainings, IT trainings, and their transfer of trainings to the job market some of employees use it for learning, some employees for sharing information and some for further professional development.

Abstract Background As population age increases (CSO, 2016), the CAPTAIN project aims to prevent premature or unnecessary transfer to long-term residential care by offering a safe environment where older adults can retain their autonomy, dignity and independence. CAPTAIN (Coach Assistant via Projected and Tangible Interface) will develop a virtual eCoaching assistant to facilitate independence in the home using augmented reality projections, voice and speech recognition, artificial intelligence and a user interface designed by older adults with their peers in mind. Methods Using Design Thinking and participatory research principles, older adults (n=10), caregivers (n=3) and healthcare professionals (HCPs) (n=2) co-create the CAPTAIN system with the research team. Co-creation occurs in cycles. Two co-design cycles use participatory workshops to identify older adults’ needs through discussion of typical older adult ‘personas’, examine how technology can support these needs and translate these outputs into system requirements. Four co-production cycles will evaluate CAPTAIN prototypes (hardware and software) to determine the effectiveness of personalised recommendations, usability and acceptability. The evaluation (involves additional caregivers, HCPs and stakeholder groups) combines observed CAPTAIN use, system-generated data, self-report measures, participatory group workshops and one-to-one interviews. Results Participants found the personas helpful in terms of generating conversation in the co-design sessions. They confidently described older adult needs, suggested where technology could provide useful support, and features they thought CAPTAIN should offer. Requirements across seven thematic areas (health, nutrition, physical and cognitive activity, accessibility, social interaction, education and safety) have now been sent to technical developers. Data from each cycle will continue to inform the development of CAPTAIN until system completion. Conclusion Participant contributions have ensured the continued development of an accessible, easy-to-use assistive technology system that will facilitate independent living and support older adults “…to do the things they want to do, when they want to do them”.

Este artigo investiga a percepção de que as Tecnologias da Informação e da Comunicação trazem uma contribuição para o fazer pedagógico no contexto de Educação de Jovens e Adultos. Queremos saber em que medida o uso das TIC favorece ou não a prática docente da EJA, na rede de ensino do município de Gandu-BA. O objetivo central pretende analisar como as TIC contribuem ou não na formação docente na prática pedagógica da EJA na rede de ensino de Gandu. Pretendemos identificar quais TIC fazem parte da prática pedagógica docente em sala de aula da EJA e elencar as dificuldades encontradas no trabalho do professor da EJA para incorporar as TIC na sua prática pedagógica. A metodologia teve uma abordagem qualitativa, adotando a pesquisa participante enquanto processo procedimental e o questionário para a coleta de informações. Os resultados apontam que o estudo possibilita um suporte teórico necessário ao docente que deseja fortalecer a sua prática educativa em sala de aula. Acreditamos que o uso da tecnologia em sala de aula só terá sentido se ela for utilizada como mediação pedagógica, melhorando o aprendizado dos alunos. Palavras-chave: Formação docente. Tecnologias da informação e comunicação. Prática pedagógica. EJA.EXPERIENCES OF TEACHER TRAINING IN ADULT AND YOUTH EDUCATION, THROUGH THE USE OF INFORMATION AND COMMUNICATION TECHNOLOGIES Abstract: This article investigate the perception that the Information and Communication Technologies (ICT) bring a contribution to the pedagogical doing in the context of Youth and Adult Education (YAE). The general objective was to analyze how ICT contribute or not to the teacher training in the pedagogical practice of the EJA in the educational network of the municipality of Gandu. The specific objectives are: to identify which ICT is part of the pedagogical teaching practice in the classroom of the YAE; tô highlight the difficulties encountered in the YAE teacher's praxis in order to incorporate ICT in their pedagogical practice. The problem: to what extent does the use of ICT favor the pedagogical teaching practice of YAE in the teaching network in the municipality of Gandu, Bahia? The methodology had a qualitative approach, adopting the field research regarding the procedural processes and questionnaire for the information collection. The results indicate that the study on technology and pedagogical practice when encouraged in the actions of continuing education of teachers of the YAE. We conclude that the use of technology in the classroom will only make sense if it is used as pedagogical mediation, improving learning.Keywords: Teacher education. Information and communication technologies. Pedagogical practice. EJA.EXPERIENCIAS DE FORMACIÓN DEL PROFESORADO EN EDUCACIÓN DE ADULTOS Y JÓVENES, MEDIANTE EL USO DE TECNOLOGÍAS DE INFORMACIÓN Y COMUNICACIÓN Resumen: Este trabajo investiga la percepción de que las tecnologías de información y comunicación traen una contribución que hacer en el contexto de la enseñanza de adultos y Educación de la juventud. Queremos saber en qué medida el uso de las TIC promueve o no la práctica de la enseñanza de la educación de adultos y jóvenes, la red de educación del municipio de Gandu-Ba. El objetivo central analiza cómo las TIC que contribuyen o no en la formación docente en práctica pedagógica de adultos y Educación de la juventud en la enseñanza de Gandu. Tenemos la intención de identificar que las TIC son parte de la práctica pedagógica en la enseñanza en el aula de Educación de adultos y jóvenes; lista de las dificultades encontradas en el maestro de la Praxis de la EJA para incorporar las TIC en su práctica pedagógica. La metodología fue un enfoque cualitativo, la adopción del investigación participante con respecto a los procesos procesales y cuestionario para la recolección de información. Los resultados muestran que el estudio permite un sustento teórico necesario para el profesor, que desea fortalecer su práctica educativa en el aula. El uso de la tecnología en el aula sólo tendrá sentido si se utiliza como mediación pedagógica, aprendizaje de los estudiantes mejora. Palabras clave: Formación docente. Tecnologías de la información y comunicación. Práctica pedagógica. Educación de adultos y jóvenes.

Introduction: Females are born with a set number of ovarian follicles. Ovarian reserve, defined by the number of primordial follicles, decreases with age. Diminished ovarian reserve (DOR) is a risk factor for shortened reproductive lifespan, infertility and poor assisted reproductive technology outcomes. Young women with sickle cell anemia (SCA) are at risk for DOR1,2. Whether hydroxyurea (HU) use contributes to this risk is not established. Antimullerian hormone (AMH), a biomarker of the ovarian follicle pool, is used with antral follicle count (AFC) and follicle stimulating hormone (FSH), to estimate ovarian reserve. The extent to which AMH corresponds with visualized AFC in SCA, and thus serves as a reasonable surrogate biomarker, is unknown. The purpose of this study was to test the hypothesis that young women with SCA have lower AMH than age and race matched controls and that HU exposure is a risk for DOR. Methods: Subjects from our Adult Sickle Cell Center had ovarian reserve measured on day 3-5 of the menstrual cycle or at any time if on menses-suppressing contraception. We measured serum AMH, FSH, estradiol and AFC by ultrasound. Subjects' demographic, reproductive and SCA treatment history were obtained. HU exposure variables included (1) age at first exposure, (2) use at time of study visit, (3) markers of adherence (MCV and ANC), and (4) refill data. Ferritin was used to assess iron overload. We compared AMH levels in subjects ages 19-25 and 26-31 years to AMH levels in age-matched African American women controls with tubal factor infertility and no chemotherapy exposure, and age-matched levels from the historic Multicenter Study of Hydroxyurea (MSH) cohort2. We then compared subject characteristics by the presence of DOR (AMH &lt;1.1ng/mL ± FSH &gt; 10 - 40IU) or primary ovarian insufficiency (POI), (AMH &lt; 1.1ng/mL and FSH ≧ 40IU). The chi-squared and Mann Whitney U test was used for categorical and continuous variables, respectively, to determine associations with DOR. Results: Sixteen women with SCA participated with a median age of 25.5 years (IQR 21,29), hemoglobin 8.8g/dL (IQR 8,9.2), MCV 96.9fL (IQR 88.6, 101.1), ANC 5.7K/mcl (IQR 3.4, 8.4), and ferritin 857ng/mL (IQR 246, 1957). All had prior HU exposure. The median age at first HU exposure was 17.5 years (IQR 14.5, 21), median months of HU exposure was 23 (IQR 2.8, 38.5). Twelve subjects were taking HU at the study visit and, by refills, 7 took continuous HU in the previous 6-months, median dose 1715mg (IQR 1000, 2000). Lower AMH and AFC was observed in older subjects as expected. AMH was lower in study subjects compared to controls in both age groups: 19 - 25 years [2.48ng/mL (IQR 1.7, 3.4) vs 7.45ng/mL (IQR 6.5, 10.7), p&lt;.001], 26- 31 years [1.34ng/mL (IQR 0.87,2.2) vs 2.04ng/mL (IQR 1.7,3.2), p=0.08]. The JHU and MSH cohorts had no difference in AMH (p&gt;0.05)1. Younger women (19-25yo) had higher median AFC than older women (26-31yo), a difference that was not statistically significant (14(IQR 8, 35) vs 9(IQR 7,12) follicles). Four of 16 subjects had DOR; all four were taking HU and &gt;25yo. In those with or without DOR, there was no difference in median BMI (21.1(20.7, 22.4) vs 24.7 (IQR 20.8, 26.2), hemoglobin (8.7 (IQR 8.4, 8.9) vs 8.8 (7.9, 9.8) g/dL), or ferritin (602 (IQR 131, 1529) vs 875 (IQR 303, 1975). DOR was associated with a lower median AFC (5.5(IQR 4, 7) vs 12 (IQR 9,24) oocytes p=0.04) and higher MCV (112 vs 92fL, p=0.02). Table 1 compares DOR and HU exposure our cohort, the MSH2 and a pediatric cohort1. In all cohorts, some young women exposed to HU have DOR. Conclusions In this pilot study of ovarian reserve in young adult women with SCA, AMH is significantly lower in age- and race-matched controls and levels are similar to an historic SCA cohort. AMH and AFC were both lower in older subjects, suggesting that AMH is a reasonable ovarian reserve marker in SCA. No women had POI. DOR was associated with lower AFC and higher MCV. In young adult women of reproductive age with SCA, taking HU may be a risk for DOR. This data forms the basis for ongoing research on the pathobiological mechanisms and clinical significance of DOR in women with SCA. References 1Pecker, LH et al. Hydroxycarbamide and ovarian reserve in the Multicenter Study of Hydroxycarbamide. British Journal of Haematology. 2020. 2Elchuri, SV et al. The effects of hydroxyurea and bone marrow transplant on AMH levels in females with SCA. Blood Cells Mol Dis. 2015. Disclosures Pecker: Forma Therapeutics: Consultancy. Lanzkron:GBT: Research Funding; HRSA: Research Funding; Ironwood: Research Funding; NHLBI: Research Funding; PCORI: Research Funding; Pfizer: Research Funding; Pharmacy Times Continuing Education: Honoraria; Prolong: Research Funding.

With the increasing importance of adult and continuing education, the present study aimed to examine the factors that influence continuing web-based learning at work. Three questionnaires were utilised to investigate the association of the job characteristics from Karasek et al.’s (1998) job demand-control-support model and the self-regulated learning with web-based continuing learning; exploratory factor analyses indicate their adequate reliability and validity. A sample of 203 employees of an airline company completed three questionnaires. The path analysis reveals that job demands did not have any significant correlation with any other variables. However, job control, social support and self-regulated learning constituted significant predictors of attitudes towards web-based continuing learning. Furthermore, self-regulated learning mediated job characteristics and attitudes. In conclusion, this is one of the few studies to consider perceptions of both personal online learning (i.e., self-regulated learning and attitudes towards web-based continuing learning) and work-related variables (i.e., job characteristics). The study advances interdisciplinary perspectives on education, information and communications technology and psychology, which has implications for continuing adult education and successful implementation of online workplace learning.

Persons with dementia (PWD) benefit from participating in meaningful activities. This study’s objective was to learn the characteristics of successful meaningful activities from community-based service providers who work with PWD. Six group interviews were performed with 15 unique professionals from an adult day service or community-based coordinated care program. These were supplemented by 100 hr of researcher immersion through weekly volunteering. Data were analyzed by a team, using qualitative content analysis. Participants reported successful activity content incorporated personalization; continuity and incremental challenges; and social engagement. Successful delivery of activities required managing necessary resources; involving informal (family/friend) caregivers; having a backup plan; monitoring time of day and energy levels; facilitating a domino effect; and ensuring safety. Outcomes of successful activities were experiencing fulfillment and purpose; overcoming challenges; and unexpected triggers. Research and practice recommendations include testing innovative, dynamic, and technology-enabled approaches to providing such activities.

Resumo: Este artigo é fruto da análise de uma experiência de formação continuada de professores da Educação de Jovens e Adultos (EJA) no âmbito do uso das Tecnologias Digitais de Informação e Comunicação (TDIC) como estratégia para ensinar e aprender. Visando abordar a questão das tecnologias na EJA pelo viés da formação docente, foi elaborado e desenvolvido um curso em formato bimodal, no qual os professores fizeram uso de Ambiente Virtual de Aprendizagem (AVA) para o desenvolvimento das atividades à distância. O curso foi ofertado aos docentes da EJA da Rede Municipal de Ensino (RME) de Curitiba-PR e foi elaborado a partir de uma consulta feita junto aos professores dessa modalidade de ensino, a fim de verificar quais eram seus anseios e suas necessidades acerca da formação continuada para uso e apropriação dos recursos tecnológicos digitais disponíveis nas escolas (laboratório de informática, netbook educacional, lousa digital, internet, entre outros). Para fins de escrita deste artigo, nos centramos na percepção dos professores acerca da utilização do AVA em seu processo de formação continuada. Neste processo, coletamos os dados por meio de questionário online e fizemos a análise das respostas obtidas fundamentados nos princípios da análise de conteúdo (BARDIN, 2010). Com a realização do estudo, constatamos que os docentes evidenciam o uso do Ambiente Virtual de Aprendizagem como algo positivo, mas exploram-no ainda apenas como visitantes (SCHERER, 2005). Palavras-chave: Formação de Professores. Ambiente Virtual de Aprendizagem. Educação de Jovens e Adultos. TEACHERS OF YOUTH AND ADULT EDUCATION: A CONTINUING EDUCATION EXPERIENCE IN VIRTUAL LEARNING ENVIRONMENT Abstract: This article is the result of analysis of an ongoing training experience of teachers from the Youth and Adult Education (EJA) in the use of Digital Technologies of Information and Communication (TDIC) as a strategy for teaching and learning. Aiming to address the issue of technology in adult education from the angle of teacher training, it has been designed and developed a course in bimodal format, in which teachers made use of Virtual Learning Environment (AVA) for the development of activities at a distance. The course was offered to adult education teachers of Municipal Education Network (RME) of Curitiba, PR and has been prepared from a consultation held with the teachers of this type of education in order to verify what their desires and their needs on the continuing education for use and appropriation of digital technology resources available in schools (computer lab, educational netbook, digital whiteboard, internet, etc.). For the purpose of writing this article, let us focus on the perception of teachers on using the AVA in their continuing education process. In this process, the data collected through online questionnaire and made the analysis of the responses based on the principles of content analysis (BARDIN, 2010). With the study, we found that teachers show the use of Virtual Learning Environment as a positive thing, but exploiting it still just as visitors (SCHERER, 2005). Keyword: Teacher Training. Virtual Learning Environment. Youth and Adult Education.

Formal education is provided for a segment (children and adolescents) of the society. While workers in the formal sector enjoy professional and continuing education; those in the informal and non-formal sectors of the economy do not have any opportunity of taking part in any form of adult education. Many artisans, professionals and artists display dexterity in their various callings. This act of display may sometimes refer to as tacit knowledge, that is, knowledge that may be difficult to codify except through training of adult learners. If this group of people is not catered for in terms of adult learning, it may be difficult for them to make contributions to economic growth in the society. Therefore, the study entitled “Framework for Codification of Informal and Non-Formal Knowledge and Skills in the Formal Education System in Nigeria” is embarked upon. The purpose of the study is to identify and discuss framework for codification of knowledge and skills in the informal and non-formal sector; and to establish the probable benefit that may be derived from codification of knowledge and skills of informal and non-formal learners. The study was carried out using qualitative and quantitative approaches. Some artisans, professionals and artists were interviewed, using focus group discussion. Respondents were enthusiastic on codification of their knowledge and skills and award of appropriate certificates. Some of the framework identified in the study include: organising literacy competence to complement the tacit knowledge of the recipients; sensitisation of members of the public by the NNCAE; and collaborative efforts between NUC and departments of adult education in universities.

Abstract While life expectancy increases in developed countries and there is evidence that demonstrates the potential of the internet to optimise or compensate for the losses associated with ageing, there is a high proportion of older people who continue to be disconnected from the digital world. In this scenario, the technological support offered by public institutions has the potential to be an accessible source for the digital literacy of older people. This study, using the model of digital inequality, had the aim of analysing the ability of these institutional supports to determine and predict the digital inclusion of older people. The sample was retired adults (over 54 years) residing in Spain who are users of technological support services in four organisational contexts: nursing homes, senior community centres, University Programs for Seniors and adult education programmes. Through binary logistic regression analysis, we found that the ability of the availability of literacy support to determine and predict access, autonomy, skills and use of the internet for social connectivity depends on the social and organisational context of the technology support service. These findings support empirically the situated nature of technological support for the digital inclusion of older people and provide a useful comparative vision for the design of accessible support services adapted to the needs of its users.

What began as a simple request for a book by one of my former students, at times, has not been so simple. The student, whom I refer to as Carla (name changed), hoped to read about characters similar to herself and her friends. As a teacher, I have often tried to hook my students on reading by presenting books with characters to which they can relate. These books can help increase their overall knowledge of the world, open their minds to multiple realities and variations of the human experience and provide scenarios in which they can live vicariously. Carla’s request was a bit more complicated than I had imagined. As a “Deaf” student who attended a state school for the Deaf and who viewed herself as a member of a linguistic cultural minority, she expected to read a book with characters who used American Sign Language and who participated as members within the Deaf Community. She did not want to read didactic books about deafness but wanted books with unpredictable plots and believable characters. Having graduated from a teacher-preparation program in Deaf Education, I had read numerous books about deafness. While memoirs and biographical selections had been relatively easy to acquire and were on my bookshelf, I had not once read any fictional books for adolescents that included a deaf character. (I refer to ‘Deaf’ as representing individuals who identify in a linguistic, cultural minority group. The term ‘deaf’ is used as a more generic term given to individuals with some degree of hearing loss. In other articles, ‘deaf’ has been used pejoratively or in connection to a view by those who believe one without the sense of hearing is inferior or lacking. I do not believe or wish to imply that. ) As a High School teacher with so many additional work responsibilities outside of classroom teaching, finding fictional books with deaf characters was somewhat of a challenge. Nevertheless, after some research I was able to recommend a book that I thought would be a good summer read. Nancy Butts’ Cheshire Moon (1992) is charming book about thirteen-year-old Miranda who is saddened by her cousin’s death and furious at her parents' insistence that she speak rather than sign. The plot turns slightly mystical when the teens begin having similar dreams under the “Cheshire moon”. Yet, the story is about Miranda, a deaf girl, who struggles with communication. Without her cousin, the only member of her family who was fluent in sign language, communication is difficult and embarrassing. Miranda feels isolated, alienated, and unsure of herself. Because of the main character’s age, the book was not the best recommendation for a high school student; however, when Carla finished Cheshire Moon, she asked for another book with Deaf characters. Problem & Purpose Historically, authors have used deafness as a literary device to relay various messages about the struggles of humankind and elicit sympathy from readers (Batson & Bergman; Bergman; Burns; Krentz; Panara; Taylor, "Deaf Characters" I, II, III; Schwartz; Wilding-Diaz). In recent decades, however, the general public’s awareness of and perhaps interest in deaf people has risen along with that of our increasingly multicultural world. Educational legislation has increased awareness of the deaf as has news coverage of Gallaudet University protests. In addition, Deaf people have benefited from advances in communicative technology, such as Video Relay (VRS) and instant messaging pagers, more coordinated interpreting services and an increase in awareness of American Sign Language. Authors are incorporating more deaf characters than they did in the past. However, this increase does not necessarily translate to an increase in understanding of the deaf, nor does it translate to the most accurate, respectably, well-rounded characterization of the deaf (Pajka-West, "Perceptions"). Acquiring fictional books that include deaf characters can be time-consuming and challenging for teachers and librarians. The research examining deaf characters in fiction is extremely limited (Burns; Guella; Krentz; Wilding-Diaz). The most recent articles predominately focus on children’s literature — specifically picture books (Bailes; Brittain). Despite decades of research affirming culturally authentic children’s literature and the merits of multicultural literature, a coexisting body of research reveals the lack of culturally authentic texts (Applebee; Campbell & Wirtenberg; Ernest; Larrick; Sherriff; Taxel). Moreover, children’s books with deaf characters are used as informational depictions of deaf individuals (Bockmiller, 1980). Readers of such resource books, typically parents, teachers and their students, gain information about deafness and individuals with “disabilities” (Bockmiller, 1980; Civiletto & Schirmer, 2000). If an important purpose for deaf characters in fiction is educational and informational, then there is a need for the characters to be presented as realistic models of deaf people. If not, the readers of such fiction gain inaccurate information about deafness including reinforced negative stereotypes, as can occur in any other literature portraying cultural minorities (Pajka-West, "Perceptions"). Similar to authors’ informational depictions, writers also reveal societal understanding of groups of people through their fiction (Banfield & Wilson; Panara; Rudman). Literature has often stigmatized minority culture individuals based upon race, ethnicity, disability, gender and/or sexual orientation. While readers might recognize the negative depictions and dismiss them as harmless stereotypes, these portrayals could become a part of the unconscious of members of our society. If books continually reinforce stereotypical depictions of deaf people, individuals belonging to the group might be typecast and discouraged into a limited way of being. As an educator, I want all of my students to have unlimited opportunities for the future, not disadvantaged by stereotypes. The Study For my doctoral dissertation, I examined six contemporary adolescent literature books with deaf characters. The research methodology for this study required book selection, reader sample selection, instrument creation, book analysis, questionnaire creation, and data analysis. My research questions included: 1) Are deaf characters being presented as culturally Deaf characters or as pathologically deaf and disabled; 2) Do these readers favor deaf authors over hearing ones? If so, why; and, 3) How do deaf and hearing adult readers perceive deaf characters in adolescent literature? The Sample The book sample included 102 possible books for the study ranging from adolescent to adult selections. I selected books that were recognized as suitable for middle school or high school readers based upon the reading and interest levels established by publishers. The books also had to include main characters who are deaf and deaf characters who are human. The books selected were all realistic fiction, available to the public, and published or reissued for publication within the last fifteen years. The six books that were selected included: Nick’s Secret by C. Blatchford; A Maiden’s Grave by J. Deaver; Of Sound Mind by J. Ferris; Deaf Child Crossing by M. Matlin; Apple Is My Sign by M. Riskind; and Finding Abby by V. Scott. For the first part of my study, I analyzed these texts using the Adolescent Literature Content Analysis Check-off Form (ALCAC) which includes both pathological and cultural perspective statements derived from Deaf Studies, Disability Studies and Queer Theory. The participant sample included adult readers who fit within three categories: those who identified as deaf, those who were familiar with or had been acquaintances with deaf individuals, and those who were unfamiliar having never associated with deaf individuals. Each participant completed a Reader-Response Survey which included ten main questions derived from Deaf Studies and Schwartz’ ‘Criteria for Analyzing Books about Deafness’. The survey included both dichotomous and open-ended questions. Research Questions & Methodology Are deaf characters being presented as culturally Deaf or as pathologically deaf and disabled? In previous articles, scholars have stated that most books with deaf characters include a pathological perspective; yet, few studies actually exist to conclude this assertion. In my study, I analyzed six books to determine whether they supported the cultural or the pathological perspective of deafness. The goal was not to exclusively label a text either/or but to highlight the distinct perspectives to illuminate a discussion regarding a deaf character. As before mentioned, the ALCAC instrument incorporates relevant theories and prior research findings in reference to the portrayals of deaf characters and was developed to specifically analyze adolescent literature with deaf characters. Despite the historical research regarding deaf characters and due to the increased awareness of deaf people and American Sign Language, my initial assumption was that the authors of the six adolescent books would present their deaf characters as more culturally ‘Deaf’. This was confirmed for the majority of the books. I believed that an outsider, such as a hearing writer, could carry out an adequate portrayal of a culture other than his own. In the past, scholars did not believe this was the case; however, the results from my study demonstrated that the majority of the hearing authors presented the cultural perspective model. Initially shocking, the majority of deaf authors incorporated the pathological perspective model. I offer three possible reasons why these deaf authors included more pathological perspective statements while the hearing authors include more cultural perspective statements: First, the deaf authors have grown up deaf and perhaps experienced more scenarios similar to those presented from the pathological perspective model. Even if the deaf authors live more culturally Deaf lifestyles today, authors include their experiences growing up in their writing. Second, there are less deaf characters in the books written by deaf authors and more characters and more character variety in the books written by the hearing authors. When there are fewer deaf characters interacting with other deaf characters, these characters tend to interact with more hearing characters who are less likely to be aware of the cultural perspective. And third, with decreased populations of culturally Deaf born to culturally Deaf individuals, it seems consistent that it may be more difficult to obtain a book from a Deaf of Deaf author. Similarly, if we consider the Deaf person’s first language is American Sign Language, Deaf authors may be spending more time composing stories and poetry in American Sign Language and less time focusing upon English. This possible lack of interest may make the number of ‘Deaf of Deaf’ authors, or culturally Deaf individuals raised by culturally Deaf parents, who pursue and are successful publishing a book in adolescent literature low. At least in adolescent literature, deaf characters, as many other minority group characters, are being included in texts to show young people our increasingly multicultural world. Adolescent literature readers can now become aware of a range of deaf characters, including characters who use American Sign Language, who attend residential schools for the Deaf, and even who have Deaf families. Do the readers favor deaf authors over hearing ones? A significant part of my research was based upon the perceptions of adult readers of adolescent literature with deaf characters. I selected participants from a criterion sampling and divided them into three groups: 1. Adults who had attended either a special program for the deaf or a residential school for the deaf, used American Sign Language, and identified themselves as deaf were considered for the deaf category of the study; 2. Adults who were friends, family members, co-workers or professionals in fields connected with individuals who identify themselves as deaf were considered for the familiar category of the study; and, 3. hearing adults who were not aware of the everyday experiences of deaf people and who had not taken a sign language class, worked with or lived with a deaf person were considered for the unfamiliar category of the study. Nine participants were selected for each group totaling 27 participants (one participant from each of the groups withdrew before completion, leaving eight participants from each of the groups to complete the study). To elicit the perspectives of the participants, I developed a Reader Response survey which was modeled after Schwartz’s ‘Criteria for Analyzing Books about Deafness’. I assumed that the participants from Deaf and Familiar groups would prefer the books written by the deaf authors while the unfamiliar participants would act more as a control group. This was not confirmed through the data. In fact, the Deaf participants along with the participants as a whole preferred the books written by the hearing authors as better describing their perceptions of realistic deaf people, for presenting deaf characters adequately and realistically, and for the hearing authors’ portrayals of deaf characters matching with their perceptions of deaf people. In general, the Deaf participants were more critical of the deaf authors while the familiar participants, although as a group preferred the books by the hearing authors, were more critical of the hearing authors. Participants throughout all three groups mentioned their preference for a spectrum of deaf characters. The books used in this study that were written by hearing authors included a variety of characters. For example, Riskind’s Apple Is My Sign includes numerous deaf students at a school for the deaf and the main character living within a deaf family; Deaver’s A Maiden’s Grave includes deaf characters from a variety of backgrounds attending a residential school for the deaf and only a few hearing characters; and Ferris’ Of Sound Mind includes two deaf families with two CODA or hearing teens. The books written by the deaf authors in this study include only a few deaf characters. For example, Matlin’s Deaf Child Crossing includes two deaf girls surrounded by hearing characters; Scott’s Finding Abby includes more minor deaf characters but readers learn about these characters from the hearing character’s perspective. For instance, the character Jared uses sign language and attends a residential school for the deaf but readers learn this information from his hearing mother talking about him, not from the deaf character’s words. Readers know that he communicates through sign language because we are told that he does; however, the only communication readers are shown is a wave from the child; and, Blatchford’s Nick’s Secret includes only one deaf character. With the fewer deaf characters it is nearly impossible for the various ways of being deaf to be included in the book. Thus, the preference for the books by the hearing authors is more likely connected to the preference for a variety of deaf people represented. How do readers perceive deaf characters? Participants commented on fourteen main and secondary characters. Their perceptions of these characters fall into six categories: the “normal” curious kid such as the characters Harry (Apple Is My Sign), Jeremy (Of Sound Mind) and Jared (Finding Abby); the egocentric spoiled brat such as Palma (Of Sound Mind) and Megan (Deaf Child Crossing); the advocate such as Harry’s mother (Apple Is My Sign) and Susan (A Maiden’s Grave); those dependent upon the majority culture such as Palma (Of Sound Mind) and Lizzie (Deaf Child Crossing); those isolated such as Melissa (Finding Abby), Ben (Of Sound Mind), Nick (Nick’s Secret) and Thomas (Of Sound Mind); and, those searching for their identities such as Melanie (A Maiden’s Grave) and Abby (Finding Abby). Overall, participants commented more frequently about the deaf characters in the books by the hearing authors (A Maiden’s Grave; Of Sound Mind; Apple Is My Sign) and made more positive comments about the culturally Deaf male characters, particularly Ben Roper, Jeremy and Thomas of Of Sound Mind, and Harry of Apple Is My Sign. Themes such as the characters being dependent and isolated from others did arise. For example, Palma in Of Sound Mind insists that her hearing son act as her personal interpreter so that she can avoid other hearing people. Examples to demonstrate the isolation some of the deaf characters experience include Nick of Nick’s Secret being the only deaf character in his story and Ben Roper of Of Sound Mind being the only deaf employee in his workplace. While these can certainly be read as negative situations the characters experience, isolation is a reality that resonates in some deaf people’s experiences. With communicative technology and more individuals fluent in American Sign Language, some deaf individuals may decide to associate more with individuals in the larger culture. One must interpret purposeful isolation such as Ben Roper’s (Of Sound Mind) case, working in a location that provides him with the best employment opportunities, differently than Melissa Black’s (Finding Abby) isolating feelings of being left out of family dinner discussions. Similarly, variations in characterization including the egocentric, spoiled brat and those searching for their identities are common themes in adolescent literature with or without deaf characters being included. Positive examples of deaf characters including the roles of the advocate such as Susan (A Maiden’s Grave) and Harry’s mother (Apple Is My Sign), along with descriptions of regular everyday deaf kids increases the varieties of deaf characters. As previously stated, my study included an analysis based on literary theory and prior research. At that time, unless the author explicitly told readers in a foreword or a letter to readers, I had no way of truly knowing why the deaf character was included and why the author made such decisions. This uncertainty of the author’s decisions changed for me in 2007 with the establishment of my educational blog. Beginning to Blog When I started my educational blog Deaf Characters in Adolescent Literature in February 2007, I did not plan to become a blogger nor did I have any plans for my blog. I simply opened a Blogger account and added a list of 106 books with deaf characters that was connected to my research. Once I started blogging on a regular basis, I discovered an active audience who not only read what I wrote but who truly cared about my research. Blogging had become a way for me to keep my research current; since my blog was about deaf characters in adolescent literature, it became an advocacy tool that called attention to authors and books that were not widely publicized; and, it enabled me to become part of a cyber community made up of other bloggers and readers. After a few months of blogging on a weekly basis, I began to feel a sense of obligation to research and post my findings. While continuing to post to my blog, I have acquired more information about my research topic and even received advance reader copies prior to the books’ publication dates. This enables me to discuss the most current books. It also enables my readers to learn about such books. My blog acts as free advertisement for the publishing companies and authors. I currently have 195 contemporary books with deaf characters and over 36 author and professional interviews. While the most rewarding aspect of blogging is connecting with readers, there have been some major highlights in the process. As I stated, I had no way of knowing why the deaf character was included in the books until I began interviewing the authors. I had hoped that the hearing authors of books with deaf characters would portray their characters realistically but I had not realized the authors’ personal connections to actual deaf people. For instance, Delia Ray, Singing Hands, wrote about a Deaf preacher and his family. Her book was based on her grandfather who was a Deaf preacher and leading pioneer in the Deaf Community. Ray is not the only hearing author who has a personal connection to deaf people. Other examples include: Jean Ferris, Of Sound Mind, who earned a degree in Speech Pathology and Audiology. Ferris’ book includes only two hearing characters, the majority are Deaf. All of her characters are also fluent in American Sign Language; Jodi Cutler Del Dottore, Rally Caps, who includes a deaf character named Luca who uses a cochlear implant. Luca is based on Cutler Del Dottore’s son, Jordan, who also has a cochlear implant; finally, Jacqueline Woodson, Feathers, grew up in a community that included deaf people who did not use sign language. As an adult, she met members of the Deaf Community and began learning American Sign Language herself. Woodson introduces readers to Sean who is attractive, funny, and intelligent. In my study, I noted that all of the deaf characters where not diverse based upon race, ethnicity, and socio-economic status (Pajka-West, "Perceptions"). Sean is the first Deaf American-African character in adolescent literature who uses sign language to communicate. Another main highlight is finding Deaf authors who do not receive the mainstream press that other authors might receive. For example, Ann Clare LeZotte, T4, introduces readers to main character Paula Becker, a thirteen year old deaf girl who uses sign language and lipreading to communicate. Through verse, we learn of Paula’s life in Germany during Hitler’s time as she goes into hiding since individuals with physical and mental disabilities were being executed under the orders of Hitler’s Tiergartenstrasse 4 (T4). One additional highlight is that I learn about insider tips and am then able to share this information with my blog readers. In one instance I began corresponding with Marvel Comic’s David Mack, the creator of Echo, a multilingual, biracial, Deaf comic book character who debuted in Daredevil and later The New Avengers. In comics, it is Marvel who owns the character; while Echo was created for Daredevil by Mack, she later appears in The New Avengers. In March 2008, discussion boards were buzzing since issue #39 would include original creator, Mack, among other artists. To make it less complicated for those who do not follow comics, the issue was about whether or not Echo had become a skrull, an alien who takes over the body of the character. This was frightening news since potentially Echo could become a hearing skrull. I just did not believe that Mack would let that happen. My students and I held numerous discussions about the implications of Marvel’s decisions and finally I sent Mack an email. While he could not reveal the details of the issue, he did assure me that my students and I would be pleased. I’m sure there was a collective sigh from readers once his email was published on the blog. Final Thoughts While there have been pejorative depictions of the deaf in literature, the portrayals of deaf characters in adolescent literature have become much more realistic in the last decade. Authors have personal connections with actual deaf individuals which lend to the descriptions of their deaf characters; they are conducting more detailed research to develop their deaf characters; and, they appear to be much more aware of the Deaf Community than they were in the past. A unique benefit of the genre is that authors of adolescent literature often give the impression of being more available to the readers of their books. Authors often participate in open dialogues with their fans through social networking sites or discussion boards on their own websites. After posting interviews with the authors on my blog, I refer readers to the author’s on site whether it through personal blogs, websites, Facebook or Twitter pages. While hearing authors’ portrayals now include a spectrum of deaf characters, we must encourage Deaf and Hard of Hearing writers to include more deaf characters in their works. Consider again my student Carla and her longing to find books with deaf characters. Deaf characters in fiction act as role models for young adults. A positive portrayal of deaf characters benefits deaf adolescents whether or not they see themselves as biologically deaf or culturally deaf. Only through on-going publishing, more realistic and positive representations of the deaf will occur. References Bailes, C.N. "Mandy: A Critical Look at the Portrayal of a Deaf Character in Children’s Literature." Multicultural Perspectives 4.4 (2002): 3-9. Batson, T. "The Deaf Person in Fiction: From Sainthood to Rorschach Blot." Interracial Books for Children Bulletin 11.1-2 (1980): 16-18. Batson, T., and E. Bergman. Angels and Outcasts: An Anthology of Deaf Characters in Literature. Washington, D.C.: Gallaudet University Press (1985). Bergman, E. "Literature, Fictional characters in." In J.V. Van Cleve (ed.), Gallaudet Encyclopedia of Deaf People & Deafness. Vol. 2. Washington, D.C.: McGraw Hill, 1987. 172-176. Brittain, I. "An Examination into the Portrayal of Deaf Characters and Deaf Issues in Picture Books for Children." Disability Studies Quarterly 24.1 (Winter 2004). 24 Apr. 2005 < http://www.dsq-sds.org >. Burns, D.J. An Annotated Checklist of Fictional Works Which Contain Deaf Characters. Unpublished master’s thesis. Washington, D.C.: Gallaudet University,1950. Campbell, P., and J. Wirtenberg. How Books Influence Children: What the Research Shows. Interracial Books for Children Bulletin 11.6 (1980): 3-6. Civiletto, C.L., and B.R. Schirmer. "Literature with Characters Who Are Deaf." The Dragon Lode 19.1 (Fall 2000): 46-49. Guella, B. "Short Stories with Deaf Fictional Characters." American Annals of the Deaf 128.1 (1983): 25-33. Krentz, C. "Exploring the 'Hearing Line': Deafness, Laughter, and Mark Twain." In S. L. Snyder, B. J. Brueggemann, and R. Garland-Thomson, eds., Disability Studies: Enabling the Humanities. New York: Modern Language Association of America, 2002. 234-247. Larrick, N. "The All-White World of Children's Books. Saturday Review 11 (1965): 63-85. Pajka-West, S. “The Perceptions of Deaf Characters in Adolescent Literature”. The ALAN Review 34.3 (Summer 2007): 39-45. ———. "The Portrayals and Perceptions of Deaf Characters in Adolescent Literature." Ph.D. dissertation. University of Virginia, 2007. ———. "Interview with Deaf Author Ann Clare LeZotte about T4, Her Forthcoming Book Told in Verse." Deaf Characters in Adolescent Literature, 5 Aug. 2008. < http://pajka.blogspot.com/ 2008/08/interview-with-deaf-author-ann-clare.html >.———. "Interview with Delia Ray, Author of Singing Hands." Deaf Characters in Adolescent Literature, 23 Aug. 2007. < http://pajka.blogspot.com/ 2007/08/interview-with-delia-ray-author-of.html >.———. "Interview with Jacqueline Woodson, author of Feathers." Deaf Characters in Adolescent Literature, 29 Sep. 2007. < http://pajka.blogspot.com/ 2007/09/interview-with-jacqueline-woodson.html >. ———. "Interview with Jodi Cutler Del Dottore, author of Rally Caps." Deaf Characters in Adolescent Literature, 13 Aug. 2007. < http://pajka.blogspot.com/ 2007/08/interview-with-jodi-cutler-del-dottore.html >. Panara, R. "Deaf Characters in Fiction and Drama." The Deaf American 24.5 (1972): 3-8. Schwartz, A.V. "Books Mirror Society: A Study of Children’s Materials." Interracial Books for Children Bulletin 11.1-2 (1980): 19-24. Sherriff, A. The Portrayal of Mexican American Females in Realistic Picture Books (1998-2004). University of North Carolina, Chapel Hill: 2005. Taxel, J. "The Black Experience in Children's Fiction: Controversies Surrounding Award Winning Books." Curriculum Inquiry 16 (1986): 245-281. Taylor, G.M. "Deaf Characters in Short Stories: A Selective Bibliography. The Deaf American 26.9 (1974): 6-8. ———. "Deaf Characters in Short Stories: A Selective Bibliography II." The Deaf American 28.11 (1976): 13-16.———. "Deaf Characters in Short Stories: A Selective Bibliography III." The Deaf American 29.2 (1976): 27-28. Wilding-Diaz, M.M. Deaf Characters in Children’s Books: How Are They Portrayed? Unpublished master’s thesis. Provo, Utah: Brigham Young University, 1993.———. "Deaf Characters in Children’s Books: How Are They Perceived?" In Gallaudet University College for Continuing Education and B.D. Snider (eds.), Journal: Post Milan ASL & English Literacy: Issues, Trends & Research Conference Proceedings, 20-22 Oct. 1993.Adolescent Fiction Books Blatchford, C. Nick’s Secret. Minneapolis, MN: Lerner, 2000. Deaver, J. A Maiden’s Grave. New York: Signet, 1996. Ferris, J. Of Sound Mind. New York: Sunburst, 2004. Matlin, M. Deaf Child Crossing. New York: Aladdin Paperbacks, 2004. Riskind, M. Apple Is My Sign. Boston, MA: Houghton Mifflin, 1981. Scott, V. Finding Abby. Hillsboro, OR: Butte, 2000.

While the term “visual literacy” has grown in popularity in the last 50 years, its meaning remains nebulous. It is described variously as: a vehicle for aesthetic appreciation, a means of defence against visual manipulation, a sorting mechanism for an increasingly data-saturated age, and a prerequisite to civic inclusion (Fransecky 23; Messaris 181; McTigue and Flowers 580). Scholars have written extensively about the first three subjects but there has been less research on how visual literacy frames civic life and how it might help the public as a tool to address disadvantage and assist in removing social and cultural barriers. This article examines a forerunner to visual literacy in the push to create an international symbol language born out of popular education movements, a project that fell short of its goals but still left a considerable impression on graphic media. This article, then, presents an analysis of visual literacy campaigns in the early postwar era. These campaigns did not attempt to invent a symbolic language but posited that images themselves served as a universal language in which students could receive training. Of particular interest is how the concept of visual literacy has been mobilised as a pedagogical tool in design, digital humanities and in broader civic education initiatives promoted by Third Space institutions. Behind the creation of new visual literacy curricula is the idea that images can help anchor a world community, supplementing textual communication. Figure 1: Visual Literacy Yearbook. Montebello Unified School District, USA, 1973. Shedding Light: Origins of the Visual Literacy Frame The term “visual literacy” came to the fore in the early 1970s on the heels of mass literacy campaigns. The educators, creatives and media theorists who first advocated for visual learning linked this aim to literacy, an unassailable goal, to promote a more radical curricular overhaul. They challenged a system that had hitherto only acknowledged a very limited pathway towards academic success; pushing “language and mathematics”, courses “referred to as solids (something substantial) as contrasted with liquids or gases (courses with little or no substance)” (Eisner 92). This was deemed “a parochial view of both human ability and the possibilities of education” that did not acknowledge multiple forms of intelligence (Gardner). This change not only integrated elements of mass culture that had been rejected in education, notably film and graphic arts, but also encouraged the critique of images as a form of good citizenship, assuming that visually literate arbiters could call out media misrepresentations and manipulative political advertising (Messaris, “Visual Test”). This movement was, in many ways, reactive to new forms of mass media that began to replace newspapers as key forms of civic participation. Unlike simple literacy (being able to decipher letters as a mnemonic system), visual literacy involves imputing meanings to images where meanings are less fixed, yet still with embedded cultural signifiers. Visual literacy promised to extend enlightenment metaphors of sight (as in the German Aufklärung) and illumination (as in the French Lumières) to help citizens understand an increasingly complex marketplace of images. The move towards visual literacy was not so much a shift towards images (and away from books and oration) but an affirmation of the need to critically investigate the visual sphere. It introduced doubt to previously upheld hierarchies of perception. Sight, to Kant the “noblest of the senses” (158), was no longer the sense “least affected” by the surrounding world but an input centre that was equally manipulable. In Kant’s view of societal development, the “cosmopolitan” held the key to pacifying bellicose states and ensuring global prosperity and tranquillity. The process of developing a cosmopolitan ideology rests, according to Kant, on the gradual elimination of war and “the education of young people in intellectual and moral culture” (188-89). Transforming disparate societies into “a universal cosmopolitan existence” that would “at last be realised as the matrix within which all the original capacities of the human race may develop” and would take well-funded educational institutions and, potentially, a new framework for imparting knowledge (Kant 51). To some, the world of the visual presented a baseline for shared experience. Figure 2: Exhibition by the Gesellschafts- und Wirtschaftsmuseum in Vienna, photograph c. 1927. An International Picture Language The quest to find a mutually intelligible language that could “bridge worlds” and solder together all of humankind goes back to the late nineteenth century and the Esperanto movement of Ludwig Zamenhof (Schor 59). The expression of this ideal in the world of the visual picked up steam in the interwar years with designers and editors like Fritz Kahn, Gerd Arntz, and Otto and Marie Neurath. Their work transposing complex ideas into graphic form has been rediscovered as an antecedent to modern infographics, but the symbols they deployed were not to merely explain, but also help education and build international fellowship unbounded by spoken language. The Neuraths in particular are celebrated for their international picture language or Isotypes. These pictograms (sometimes viewed as proto-emojis) can be used to represent data without text. Taken together they are an “intemporal, hieroglyphic language” that Neutrath hoped would unite working-class people the world over (Lee 159). The Neuraths’ work was done in the explicit service of visual education with a popular socialist agenda and incubated in the social sphere of Red Vienna at the Gesellschafts- und Wirtschaftsmuseum (Social and Economic Museum) where Otto served as Director. The Wirtschaftsmuseum was an experiment in popular education, with multiple branches and late opening hours to accommodate the “the working man [who] has time to see a museum only at night” (Neurath 72-73). The Isotype contained universalist aspirations for the “making of a world language, or a helping picture language—[that] will give support to international developments generally” and “educate by the eye” (Neurath 13). Figure 3: Gerd Arntz Isotype Images. (Source: University of Reading.) The Isotype was widely adopted in the postwar era in pre-packaged sets of symbols used in graphic design and wayfinding systems for buildings and transportation networks, but with the socialism of the Neuraths’ peeled away, leaving only the system of logos that we are familiar with from airport washrooms, charts, and public transport maps. Much of the uptake in this symbol language could be traced to increased mobility and tourism, particularly in countries that did not make use of a Roman alphabet. The 1964 Olympics in Tokyo helped pave the way when organisers, fearful of jumbling too many scripts together, opted instead for black and white icons to represent the program of sports that summer. The new focus on the visual was both technologically mediated—cheaper printing and broadcast technologies made the diffusion of image increasingly possible—but also ideologically supported by a growing emphasis on projects that transcended linguistic, ethnic, and national borders. The Olympic symbols gradually morphed into Letraset icons, and, later, symbols in the Unicode Standard, which are the basis for today’s emojis. Wordless signs helped facilitate interconnectedness, but only in the most literal sense; their application was limited primarily to sports mega-events, highway maps, and “brand building”, and they never fulfilled their role as an educational language “to give the different nations a common outlook” (Neurath 18). Universally understood icons, particularly in the form of emojis, point to a rise in visual communication but they have fallen short as a cosmopolitan project, supporting neither the globalisation of Kantian ethics nor the transnational socialism of the Neuraths. Figure 4: Symbols in use. Women's bathroom. 1964 Tokyo Olympics. (Source: The official report of the Organizing Committee.) Counter Education By mid-century, the optimism of a universal symbol language seemed dated, and focus shifted from distillation to discernment. New educational programs presented ways to study images, increasingly reproducible with new technologies, as a language in and of themselves. These methods had their roots in the fin-de-siècle educational reforms of John Dewey, Helen Parkhurst, and Maria Montessori. As early as the 1920s, progressive educators were using highly visual magazines, like National Geographic, as the basis for lesson planning, with the hopes that they would “expose students to edifying and culturally enriching reading” and “develop a more catholic taste or sensibility, representing an important cosmopolitan value” (Hawkins 45). The rise in imagery from previously inaccessible regions helped pupils to see themselves in relation to the larger world (although this connection always came with the presumed superiority of the reader). “Pictorial education in public schools” taught readers—through images—to accept a broader world but, too often, they saw photographs as a “straightforward transcription of the real world” (Hawkins 57). The images of cultures and events presented in Life and National Geographic for the purposes of education and enrichment were now the subject of greater analysis in the classroom, not just as “windows into new worlds” but as cultural products in and of themselves. The emerging visual curriculum aimed to do more than just teach with previously excluded modes (photography, film and comics); it would investigate how images presented and mediated the world. This gained wider appeal with new analytical writing on film, like Raymond Spottiswoode's Grammar of the Film (1950) which sought to formulate the grammatical rules of visual communication (Messaris 181), influenced by semiotics and structural linguistics; the emphasis on grammar can also be seen in far earlier writings on design systems such as Owen Jones’s 1856 The Grammar of Ornament, which also advocated for new, universalising methods in design education (Sloboda 228). The inventorying impulse is on display in books like Donis A. Dondis’s A Primer of Visual Literacy (1973), a text that meditates on visual perception but also functions as an introduction to line and form in the applied arts, picking up where the Bauhaus left off. Dondis enumerates the “syntactical guidelines” of the applied arts with illustrations that are in keeping with 1920s books by Kandinsky and Klee and analyse pictorial elements. However, at the end of the book she shifts focus with two chapters that examine “messaging” and visual literacy explicitly. Dondis predicts that “an intellectual, trained ability to make and understand visual messages is becoming a vital necessity to involvement with communication. It is quite likely that visual literacy will be one of the fundamental measures of education in the last third of our century” (33) and she presses for more programs that incorporate the exploration and analysis of images in tertiary education. Figure 5: Ideal spatial environment for the Blueprint charts, 1970. (Image: Inventory Press.) Visual literacy in education arrived in earnest with a wave of publications in the mid-1970s. They offered ways for students to understand media processes and for teachers to use visual culture as an entry point into complex social and scientific subject matter, tapping into the “visual consciousness of the ‘television generation’” (Fransecky 5). Visual culture was often seen as inherently democratising, a break from stuffiness, the “artificialities of civilisation”, and the “archaic structures” that set sensorial perception apart from scholarship (Dworkin 131-132). Many radical university projects and community education initiatives of the 1960s made use of new media in novel ways: from Maurice Stein and Larry Miller’s fold-out posters accompanying Blueprint for Counter Education (1970) to Emory Douglas’s graphics for The Black Panther newspaper. Blueprint’s text- and image-dense wall charts were made via assemblage and they were imagined less as charts and more as a “matrix of resources” that could be used—and added to—by youth to undertake their own counter education (Cronin 53). These experiments in visual learning helped to break down old hierarchies in education, but their aim was influenced more by countercultural notions of disruption than the universal ideals of cosmopolitanism. From Image as Text to City as Text For a brief period in the 1970s, thinkers like Marshall McLuhan (McLuhan et al., Massage) and artists like Bruno Munari (Tanchis and Munari) collaborated fruitfully with graphic designers to create books that mixed text and image in novel ways. Using new compositional methods, they broke apart traditional printing lock-ups to superimpose photographs, twist text, and bend narrative frames. The most famous work from this era is, undoubtedly, The Medium Is the Massage (1967), McLuhan’s team-up with graphic designer Quentin Fiore, but it was followed by dozens of other books intended to communicate theory and scientific ideas with popularising graphics. Following in the footsteps of McLuhan, many of these texts sought not just to explain an issue but to self-consciously reference their own method of information delivery. These works set the precedent for visual aids (and, to a lesser extent, audio) that launched a diverse, non-hierarchical discourse that was nonetheless bound to tactile artefacts. In 1977, McLuhan helped develop a media textbook for secondary school students called City as Classroom: Understanding Language and Media. It is notable for its direct address style and its focus on investigating spaces outside of the classroom (provocatively, a section on the third page begins with “Should all schools be closed?”). The book follows with a fine-grained analysis of advertising forms in which students are asked to first bring advertisements into class for analysis and later to go out into the city to explore “a man-made environment, a huge warehouse of information, a vast resource to be mined free of charge” (McLuhan et al., City 149). As a document City as Classroom is critical of existing teaching methods, in line with the radical “in the streets” pedagogy of its day. McLuhan’s theories proved particularly salient for the counter education movement, in part because they tapped into a healthy scepticism of advertisers and other image-makers. They also dovetailed with growing discontent with the ad-strew visual environment of cities in the 1970s. Budgets for advertising had mushroomed in the1960s and outdoor advertising “cluttered” cities with billboards and neon, generating “fierce intensities and new hybrid energies” that threatened to throw off the visual equilibrium (McLuhan 74). Visual literacy curricula brought in experiential learning focussed on the legibility of the cities, mapping, and the visualisation of urban issues with social justice implications. The Detroit Geographical Expedition and Institute (DGEI), a “collective endeavour of community research and education” that arose in the aftermath of the 1967 uprisings, is the most storied of the groups that suffused the collection of spatial data with community engagement and organising (Warren et al. 61). The following decades would see a tamed approach to visual literacy that, while still pressing for critical reading, did not upend traditional methods of educational delivery. Figure 6: Beginning a College Program-Assisting Teachers to Develop Visual Literacy Approaches in Public School Classrooms. 1977. ERIC. Searching for Civic Education The visual literacy initiatives formed in the early 1970s both affirmed existing civil society institutions while also asserting the need to better inform the public. Most of the campaigns were sponsored by universities, major libraries, and international groups such as UNESCO, which published its “Declaration on Media Education” in 1982. They noted that “participation” was “essential to the working of a pluralistic and representative democracy” and the “public—users, citizens, individuals, groups ... were too systematically overlooked”. Here, the public is conceived as both “targets of the information and communication process” and users who “should have the last word”. To that end their “continuing education” should be ensured (Study 18). Programs consisted primarily of cognitive “see-scan-analyse” techniques (Little et al.) for younger students but some also sought to bring visual analysis to adult learners via continuing education (often through museums eager to engage more diverse audiences) and more radical popular education programs sponsored by community groups. By the mid-80s, scores of modules had been built around the comprehension of visual media and had become standard educational fare across North America, Australasia, and to a lesser extent, Europe. There was an increasing awareness of the role of data and image presentation in decision-making, as evidenced by the surprising commercial success of Edward Tufte’s 1982 book, The Visual Display of Quantitative Information. Visual literacy—or at least image analysis—was now enmeshed in teaching practice and needed little active advocacy. Scholarly interest in the subject went into a brief period of hibernation in the 1980s and early 1990s, only to be reborn with the arrival of new media distribution technologies (CD-ROMs and then the internet) in classrooms and the widespread availability of digital imaging technology starting in the late 1990s; companies like Adobe distributed free and reduced-fee licences to schools and launched extensive teacher training programs. Visual literacy was reanimated but primarily within a circumscribed academic field of education and data visualisation. Figure 7: Visual Literacy; What Research Says to the Teacher, 1975. National Education Association. USA. Part of the shifting frame of visual literacy has to do with institutional imperatives, particularly in places where austerity measures forced strange alliances between disciplines. What had been a project in alternative education morphed into an uncontested part of the curriculum and a dependable budget line. This shift was already forecasted in 1972 by Harun Farocki who, writing in Filmkritik, noted that funding for new film schools would be difficult to obtain but money might be found for “training in media education … a discipline that could persuade ministers of education, that would at the same time turn the budget restrictions into an advantage, and that would match the functions of art schools” (98). Nearly 50 years later educators are still using media education (rebranded as visual or media literacy) to make the case for fine arts and humanities education. While earlier iterations of visual literacy education were often too reliant on the idea of cracking the “code” of images, they did promote ways of learning that were a deep departure from the rote methods of previous generations. Next-gen curricula frame visual literacy as largely supplemental—a resource, but not a program. By the end of the 20th century, visual literacy had changed from a scholarly interest to a standard resource in the “teacher’s toolkit”, entering into school programs and influencing museum education, corporate training, and the development of public-oriented media (Literacy). An appreciation of image culture was seen as key to creating empathetic global citizens, but its scope was increasingly limited. With rising austerity in the education sector (a shift that preceded the 2008 recession by decades in some countries), art educators, museum enrichment staff, and design researchers need to make a case for why their disciplines were relevant in pedagogical models that are increasingly aimed at “skills-based” and “job ready” teaching. Arts educators worked hard to insert their fields into learning goals for secondary students as visual literacy, with the hope that “literacy” would carry the weight of an educational imperative and not a supplementary field of study. Conclusion For nearly a century, educational initiatives have sought to inculcate a cosmopolitan perspective with a variety of teaching materials and pedagogical reference points. Symbolic languages, like the Isotype, looked to unite disparate people with shared visual forms; while educational initiatives aimed to train the eyes of students to make them more discerning citizens. The term ‘visual literacy’ emerged in the 1960s and has since been deployed in programs with a wide variety of goals. Countercultural initiatives saw it as a prerequisite for popular education from the ground up, but, in the years since, it has been formalised and brought into more staid curricula, often as a sort of shorthand for learning from media and pictures. The grand cosmopolitan vision of a complete ‘visual language’ has been scaled back considerably, but still exists in trace amounts. Processes of globalisation require images to universalise experiences, commodities, and more for people without shared languages. Emoji alphabets and globalese (brands and consumer messaging that are “visual-linguistic” amalgams “increasingly detached from any specific ethnolinguistic group or locality”) are a testament to a mediatised banal cosmopolitanism (Jaworski 231). In this sense, becoming “fluent” in global design vernacular means familiarity with firms and products, an understanding that is aesthetic, not critical. It is very much the beneficiaries of globalisation—both state and commercial actors—who have been able to harness increasingly image-based technologies for their benefit. To take a humorous but nonetheless consequential example, Spanish culinary boosters were able to successfully lobby for a paella emoji (Miller) rather than having a food symbol from a less wealthy country such as a Senegalese jollof or a Morrocan tagine. This trend has gone even further as new forms of visual communication are increasingly streamlined and managed by for-profit media platforms. The ubiquity of these forms of communication and their global reach has made visual literacy more important than ever but it has also fundamentally shifted the endeavour from a graphic sorting practice to a critical piece of social infrastructure that has tremendous political ramifications. Visual literacy campaigns hold out the promise of educating students in an image-based system with the potential to transcend linguistic and cultural boundaries. This cosmopolitan political project has not yet been realised, as the visual literacy frame has drifted into specialised silos of art, design, and digital humanities education. It can help bridge the “incomplete connections” of an increasingly globalised world (Calhoun 112), but it does not have a program in and of itself. Rather, an evolving visual literacy curriculum might be seen as a litmus test for how we imagine the role of images in the world. References Brown, Neil. “The Myth of Visual Literacy.” Australian Art Education 13.2 (1989): 28-32. Calhoun, Craig. “Cosmopolitanism in the Modern Social Imaginary.” Daedalus 137.3 (2008): 105–114. Cronin, Paul. “Recovering and Rendering Vital Blueprint for Counter Education at the California Institute for the Arts.” Blueprint for Counter Education. Inventory Press, 2016. 36-58. Dondis, Donis A. A Primer of Visual Literacy. MIT P, 1973. Dworkin, M.S. “Toward an Image Curriculum: Some Questions and Cautions.” Journal of Aesthetic Education 4.2 (1970): 129–132. Eisner, Elliot. Cognition and Curriculum: A Basis for Deciding What to Teach. Longmans, 1982. Farocki, Harun. “Film Courses in Art Schools.” Trans. Ted Fendt. Grey Room 79 (Apr. 2020): 96–99. Fransecky, Roger B. Visual Literacy: A Way to Learn—A Way to Teach. Association for Educational Communications and Technology, 1972. Gardner, Howard. Frames Of Mind. Basic Books, 1983. Hawkins, Stephanie L. “Training the ‘I’ to See: Progressive Education, Visual Literacy, and National Geographic Membership.” American Iconographic. U of Virginia P, 2010. 28–61. Jaworski, Adam. “Globalese: A New Visual-Linguistic Register.” Social Semiotics 25.2 (2015): 217-35. Kant, Immanuel. Anthropology from a Pragmatic Point of View. Cambridge UP, 2006. Kant, Immanuel. “Perpetual Peace.” Political Writings. Ed. H. Reiss. Cambridge UP, 1991 [1795]. 116–130. Kress, G., and T. van Leeuwen. Reading images: The Grammar of Visual Design. Routledge, 1996. Literacy Teaching Toolkit: Visual Literacy. Department of Education and Training (DET), State of Victoria. 29 Aug. 2018. 30 Sep. 2020 <https://www.education.vic.gov.au:443/school/teachers/teachingresources/discipline/english/literacy/ readingviewing/Pages/litfocusvisual.aspx>. Lee, Jae Young. “Otto Neurath's Isotype and the Rhetoric of Neutrality.” Visible Language 42.2: 159-180. Little, D., et al. Looking and Learning: Visual Literacy across the Disciplines. Wiley, 2015. Messaris, Paul. “Visual Literacy vs. Visual Manipulation.” Critical Studies in Mass Communication 11.2: 181-203. DOI: 10.1080/15295039409366894 ———. “A Visual Test for Visual ‘Literacy.’” The Annual Meeting of the Speech Communication Association. 31 Oct. to 3 Nov. 1991. Atlanta, GA. <https://files.eric.ed.gov/fulltext/ED347604.pdf>. McLuhan, Marshall. Understanding Media: The Extensions of Man. McGraw-Hill, 1964. McLuhan, Marshall, Quentin Fiore, and Jerome Agel. The Medium Is the Massage, Bantam Books, 1967. McLuhan, Marshall, Kathryn Hutchon, and Eric McLuhan. City as Classroom: Understanding Language and Media. Agincourt, Ontario: Book Society of Canada, 1977. McTigue, Erin, and Amanda Flowers. “Science Visual Literacy: Learners' Perceptions and Knowledge of Diagrams.” Reading Teacher 64.8: 578-89. Miller, Sarah. “The Secret History of the Paella Emoji.” Food & Wine, 20 June 2017. <https://www.foodandwine.com/news/true-story-paella-emoji>. Munari, Bruno. Square, Circle, Triangle. Princeton Architectural Press, 2016. Newfield, Denise. “From Visual Literacy to Critical Visual Literacy: An Analysis of Educational Materials.” English Teaching-Practice and Critique 10 (2011): 81-94. Neurath, Otto. International Picture Language: The First Rules of Isotype. K. Paul, Trench, Trubner, 1936. Schor, Esther. Bridge of Words: Esperanto and the Dream of a Universal Language. Henry Holt and Company, 2016. Sloboda, Stacey. “‘The Grammar of Ornament’: Cosmopolitanism and Reform in British Design.” Journal of Design History 21.3 (2008): 223-36. Study of Communication Problems: Implementation of Resolutions 4/19 and 4/20 Adopted by the General Conference at Its Twenty-First Session; Report by the Director-General. UNESCO, 1983. Tanchis, Aldo, and Bruno Munari. Bruno Munari: Design as Art. MIT P, 1987. Warren, Gwendolyn, Cindi Katz, and Nik Heynen. “Myths, Cults, Memories, and Revisions in Radical Geographic History: Revisiting the Detroit Geographical Expedition and Institute.” Spatial Histories of Radical Geography: North America and Beyond. Wiley, 2019. 59-86.

In Australian universities, many courses provide lecture notes as a standard learning resource; however, captions and transcripts of these lectures are not usually provided unless requested by a student through dedicated disability support officers (Worthington). As a result, to date their use has been limited. However, while the requirement for—and benefits of—captioned online lectures for students with disabilities is widely recognised, these captions or transcripts might also represent further opportunity for a personalised approach to learning for the mainstream student population (Podszebka et al.; Griffin). This article reports findings of research assessing the usefulness of captioned recorded lectures as a mainstream learning tool to determine their usefulness in enhancing inclusivity and learning outcomes for the disabled, international, and broader student population.Literature ReviewCaptions have been found to be of benefit for a number of different groups considered at-risk. These include people who are D/deaf or hard of hearing, those with other learning difficulties, and those from a non-English speaking background (NESB).For students who are D/deaf or hard of hearing, captions play a vital role in providing access to otherwise inaccessible audio content. Captions have been found to be superior to sign language interpreters, note takers, and lip reading (Stinson et al.; Maiorana-Basas and Pagliaro; Marschark et al.).The use of captions for students with a range of cognitive disabilities has also been shown to help with student comprehension of video-based instruction in a higher education context (Evmenova; Evmenova and Behrmann). This includes students with autism spectrum disorder (ASD) (Knight et al.; Reagon et al.) and students with dyslexia (Alty et al.; Beacham and Alty). While, anecdotally, captions are also seen as of benefit for students with attention deficit hyperactivity disorder (ADHD) (Kent et al.), studies have proved inconclusive (Lewis and Brown).The third group of at-risk students identified as benefiting from captioning recorded lecture content are those from a NESB. The use of captions has been shown to increase vocabulary learning (Montero Perez, Peters, Clarebout, and Desmet; Montero Perez, Van Den Noortgate, and Desmet) and to assist with comprehension of presenters with accents or rapid speech (Borgaonkar, 2013).In addition to these three main groups of at-risk students, captions have also been demonstrated to increase the learning outcomes for older students (Pachman and Ke, 2012; Schmidt and Haydu, 1992). Captions also have demonstrable benefits for the broader student cohort beyond these at-risk groups (Podszebka et al.; Griffin). For example, a recent study found that the broader student population utilised lecture captions and transcripts in order to focus, retain information, and overcome poor audio quality (Linder). However, the same study revealed that students were largely unaware about the availability of captions and transcripts, nor how to access them.MethodologyIn 2016 students in the Curtin University unit Web Communications (an introductory unit for the Internet Communications major) and its complementary first year unit, Internet and Everyday Life, along with a second year unit, Web Media, were provided with access to closed captions for their online recorded lectures. The latter unit was added to the study serendipitously when its lectures were required to be captioned through a request from the Curtin Disability Office during the study period. Recordings and captions were created using the existing captioning system available through Curtin’s lecture recording platform—Echo360. As well as providing a written caption of what is being said during the lectures, this system also offers a sophisticated search functionality, as well as access to a total transcript of the lecture. The students were provided access to an online training module, developed specifically for this study, to explain the use of this system.Enrolled Curtin students, both on-campus and online, Open Universities Australia (OUA) students studying through Curtin online, teaching staff, and disability officers were then invited to participate in a survey and interviews. The study sought to gain insights into students’ use of both recorded lectures and captioned video at the time of the survey, and their anticipated future usage of these services (see Kent et al.).A total of 50 students—of 539 enrolled across the different instances of the three units—completed the survey. In addition, five follow-up interviews with students, teaching staff, and disability support staff were conducted once the surveys had been completed. Staff interviewed included tutors and unit coordinators who taught and supervised units in which the lecture captions were provided. The interviews assessed the awareness, use, and perceived validity of the captions system in the context of both learning and teaching.ResultsA number of different questions were asked regarding students’ demographics, their engagement with online unit materials, including recorded lectures, their awareness of Echo360’s lecture captions, as well as its additional features, their perceived value of online captions for their studies, and the future significance of captions in a university context.Of the 50 participants in the survey, only six identified themselves as a person with a disability—almost 90 per cent did not identify as disabled. Additionally, 45 of the 50 participants identified English as their primary language. Only one student identified as a person with both a disability and coming from a NESB.Engagement with Online Unit Materials and Recorded LecturesThe survey results provide insight into the ways in which participants interact with the Echo360 lecture system. Over 90 per cent of students had accessed the recorded lectures via the Echo360 system. While this might not seem notable at first, given such materials are essential elements of the units surveyed, the level of repeated engagement seen in these results is important because it indicates the extent to which students are revising the same material multiple times—a practice that captions are designed to facilitate and assist. For instance, one lecture was recorded per week for each unit surveyed, and most respondents (70 per cent) were viewing these lectures at least once or twice a week, while 10 per cent were viewing the lectures multiple times a week. Over half of the students surveyed reported viewing the same lecture more than once. Out these participants, 19 (or 73 per cent) had viewed a lecture twice and 23 per cent had viewed it three times or more. This illustrates that frequent revision is taking place, as students watch the same lecture repeatedly to absorb and clarify its contents. This frequency of repeated engagement with recorded unit materials—lectures in particular—indicates that students were making online engagement and revision a key element of their learning process.Awareness of the Echo360 Lecture Captions and Additional FeaturesHowever, while students were highly engaged with both the online learning material and the recorded lectures, there was less awareness of the availability of the captioning system—only 34 per cent of students indicated they were aware of having access to captions. The survey also asked students whether or not they had used additional features of the Echo360 captioning system such as the search function and downloadable lecture transcripts. Survey results confirm that these features were being used; however, responses indicated that only a minority of students using the captions system used these features, with 28 per cent using the search function and 33 per cent making use of the transcripts. These results can be seen as an indication that additional features were useful for revision, albeit for the minority of students who used them. A Curtin disability advisor noted in their interview that:transcripts are particularly useful in addition to captions as they allow the user to quickly skim the material rather than sit through a whole lecture. Transcripts also allow translation into other languages, highlighting text and other features that make the content more accessible.Teaching staff were positive about these features and suggested that providing transcripts saved time for tutors who are often approached to provide these to individual students:I typically receive requests for lecture transcripts at the commencement of each study period. In SP3 [during this study] I did not receive any requests.I feel that lecture transcripts would be particularly useful as this is the most common request I receive from students, especially those with disabilities.I think transcripts and keyword searching would likely be useful to many students who access lectures through recordings (or who access recordings even after attending the lecture in person).However, the one student who was interviewed preferred the keyword search feature, although they expressed interest in transcripts as well:I used the captions keyword search. I think I would like to use the lecture transcript as well but I did not use that in this unit.In summary, while not all students made use of Echo360’s additional features for captions, those who did access them did so frequently, indicating that these are potentially useful learning tools.Value of CaptionsOf the students who were aware of the captions, 63 per cent found them useful for engaging with the lecture material. According to one of the students:[captions] made a big difference to me in terms on understanding and retaining what was said in the lectures. I am not sure that many students would realise this unless they actually used the captions…I found it much easier to follow what was being said in the recorded lectures and I also found that they helped stay focussed and not become distracted from the lecture.It is notable that the improvements described above do not involve assistance with hearing or language issues, but the extent to which captions improve a more general learning experience. This participant identified themselves as a native English speaker with no disabilities, yet the captions still made a “big difference” in their ability to follow, understand, focus on, and retain information drawn from the lectures.However, while over 60 per cent of students who used the captions reported they found them useful, it was difficult to get more detailed feedback on precisely how and why. Only 52.6 per cent reported actually using them when accessing the lectures, and a relatively small number reported taking advantage of the search and transcripts features available through the Echo360 system. Exactly how they were being used and what role they play in student learning is therefore an area to pursue in future research, as it will assist in breaking down the benefits of captions for all learners.Teaching staff also reported the difficulty in assessing the full value of captions—one teacher interviewed explained that the impact of captions was hard to monitor quantitatively during regular teaching:it is difficult enough to track who listens to lectures at all, let alone who might be using the captions, or have found these helpful. I would like to think that not only those with hearing impairments, but also ESL students and even people who find listening to and taking in the recording difficult for other reasons, might have benefitted.Some teaching staff, however, did note positive feedback from students:one student has given me positive feedback via comments on the [discussion board].one has reported that it helps with retention and with times when speech is soft or garbled. I suspect it helps mediate my accent and pitch!While 60 per cent claiming captions were useful is a solid majority, it is notable that some participants skipped this question. As discussed above, survey answers indicate that this was because these 37 students did not think they had access to captions in their units.Future SignificanceOverall, these results indicate that while captions can provide a benefit to students’ engagement with online lecture learning material, there is a need for more direct and ongoing information sharing to ensure both students and teaching staff are fully aware of captions and how to use them. Technical issues—such as the time delay in captions being uploaded—potentially dissuade students from using this facility, so improving the speed and reliability of this tool could increase the number of learners keen to use it. All staff interviewed agreed that implementing captions for all lectures would be beneficial for everyone:any technology that can assist in making lectures more accessible is useful, particularly in OUA [online] courses.it would be a good example of Universal Design as it would make the lecture content more accessible for students with disabilities as well as students with other equity needs.YES—it benefits all students. I personally find that I understand and my attention is held more by captioned content.it certainly makes my role easier as it allows effective access to recorded lectures. Captioning allows full access as every word is accessible as opposed to note taking which is not verbatim.DiscussionThe results of this research indicate that captions—and their additional features—available through the Echo360 captions system are an aid to student learning. However, there are significant challenges to be addressed to make students aware of these features and their potential benefits.This study has shown that in a cohort of primarily English speaking students without disabilities, over 60 per cent found captions a useful addition to recorded lectures. This suggests that the implementation of captions for all recorded lectures would have widespread benefits for all learners, not only those with hearing or language difficulties. However, at present, only “eligible” students who approach the disability office would be considered for this service, usually students who are D/deaf or hard of hearing. Yet it can be argued that these benefits—and challenges—could also extend to other groups that are might traditionally have been seen to benefit from the use of captions such as students with other disabilities or those from a NESB.However, again, a lack of awareness of the training module meant that this potential cohort did not benefit from this trial. In this study, none of the students who identified as having a disability or coming from a NESB indicated that they had access to the training module. Further, five of the six students with disabilities reported that they did not have access to the captions system and, similarly, only two of the five NESB students. Despite these low numbers, all the students who were part of these two groups and who did access the captions system did find it useful.It can therefore be seen that the main challenge for teaching staff is to ensure all students are aware of captions and can access them easily. One option for reducing the need for training or further instructions might be having captions always ON by default. This means students could incorporate them into their study experience without having to take direct action or, equally, could simply choose to switch them off.There are also a few potential teething issues with implementing captions universally that need to be noted, as staff expressed some concerns regarding how this might alter the teaching and learning experience. For example:because the captioning is once-off, it means I can’t re-record the lectures where there was a failure in technology as the new versions would not be captioned.a bit cautious about the transcript as there may be problems with students copying that content and also with not viewing the lectures thinking the transcripts are sufficient.Despite these concerns, the survey results and interviews support the previous findings showing that lecture captions have the potential to benefit all learners, enhancing each student’s existing capabilities. As one staff member put it:in the main I just feel [captions are] important for accessibility and equity in general. Why should people have to request captions? Recorded lecture content should be available to all students, in whatever way they find it most easy (or possible) to engage.Follow-up from students at the end of the study further supported this. As one student noted in an email at the start of 2017:hi all, in one of my units last semester we were lucky enough to have captions on the recorded lectures. They were immensely helpful for a number of reasons. I really hope they might become available to us in this unit.ConclusionsWhen this project set out to investigate the ways diverse groups of students could utilise captioned lectures if they were offered it as a mainstream learning tool rather than a feature only disabled students could request, existing research suggested that many accommodations designed to assist students with disabilities actually benefit the entire cohort. The results of the survey confirmed this was also the case for captioning.However, currently, lecture captions are typically utilised in Australian higher education settings—including Curtin—only as an assistive technology for students with disabilities, particularly students who are D/deaf or hard of hearing. In these circumstances, the student must undertake a lengthy process months in advance to ensure timely access to essential captioned material. Mainstreaming the provision of captions and transcripts for online lectures would greatly increase the accessibility of online learning—removing these barriers allows education providers to harness the broad potential of captioning technology. Indeed, ensuring that captions were available “by default” would benefit the educational outcomes and self-determination of the wide range of students who could benefit from this technology.Lecture captioning and transcription is increasingly cost-effective, given technological developments in speech-to-text or automatic speech recognition software, and the increasing re-use of content across different iterations of a unit in online higher education courses. At the same time, international trends in online education—not least the rapidly evolving interpretations of international legislation—provide new incentives for educational providers to begin addressing accessibility shortcomings by incorporating captions and transcripts into the basic materials of a course.Finally, an understanding of the diverse benefits of lecture captions and transcripts needs to be shared widely amongst higher education providers, researchers, teaching staff, and students to ensure the potential of this technology is accessed and used effectively. Understanding who can benefit from captions, and how they benefit, is a necessary step in encouraging greater use of such technology, and thereby enhancing students’ learning opportunities.AcknowledgementsThis research was funded by the Curtin University Teaching Excellence Development Fund. Natalie Latter and Kai-ti Kao provided vital research assistance. 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IntroductionAs the teaching staff working in a university postgraduate program—the Graduate Certificate of Creative Industries (Creative Practice) at Central Queensland University, Australia—an ongoing concern has been to ensure our students engage with the digital course content (delivered via the Moodle learning management system). This is an issue shared across the sector (La Pointe and Reisetter; Dargusch et al.) and, in our case, specifically in the area of students understanding how this online course content and tasks could benefit them in a program that is based around individual projects. As such, we are invested in enhancing student engagement both within the framework of this individual program and at an institution level. Like many institutions which now offer degrees which are either partially or fully online, the program in question offers a blended learning environment, with internal students also expected to engage with online materials (Rovai and Jordan; Colis and Moonen). The program was developed in 2011, first offered in 2012, and conducted two and sometimes three terms a year since then.Within the first year of delivery, low levels of student participation in online learning were identified as problematic. This issue was addressed using strategies that made use of characteristic strengths among our creative industries students, by developing and linking a peer-to-peer mentoring approach to our blended learning course design. Our challenge in this (as project facilitators and as teachers) has been to devise strategies to shift the students from reluctant to engaged online content users. A key strategy has evolved around introducing peer-mentoring as an intrinsic behaviour in the courses in the program. While not using a full case study approach, we do offer this singular instance for consideration as “much can be learned from a particular case” (Merriam 51). The below is based on our own observations, together with formal and informal student feedback gathered since 2012.Mentors and MentoringThe term mentor can have different meanings depending on the context in which the phrase is used. Ambrosetti and Dekkers note that “it is evident from the literature that there is no single definition for mentoring” (42). Drawing on an array of literature from a number of disciplines to qualify the definition of the term mentoring, Ambrosetti and Dekkers have identified a series of theorists whose definitions demonstrate the wide-ranging interpretation of what this act might be. Interestingly, they found that, even within the relatively narrow context of pre-service teacher research, words used to identify the term mentor varied from relatively collegial descriptors for the established teacher such as supporter, friend, collaborator, role model, and protector, to more formalised roles including trainer, teacher, assessor, and evaluator. The role to be played by a mentor—and how it is described—can also vary according to parameters around, and the purpose of, the mentoring relationship. That is, even though “mentoring, as described in literature, generally involves supporting and providing feedback to the mentee without judgment or criteria” (43), the dynamics of the mentor-mentee relationship may influence the perception and the nature of these roles. For example, the mentoring relationship between a teacher and pre-service teacher may be perceived as hierarchical whereby knowledge and feedback is “passed down” from mentor to mentee, that is, from a more authoritative, experienced figure to a less knowledgeable recipient. As such, this configuration implies a power imbalance between the roles.The relationships involved in peer-to-peer mentoring can be similarly defined. In fact, Colvin and Ashman describe the act of peer-mentoring as “a more experienced student helping a less experienced student improve overall academic performance”, and a relationship that “provides advice, support, and knowledge to the mentee” (122). Colvin and Ashman’s research also suggests that “if mentors and mentees do not have a clear sense of their roles and responsibilities, mentors will find it difficult to maintain any sort of self‐efficacy” (122)—a view that is held by others researchers in this field (see Hall et al.; Reid; Storrs, Putsche and Taylor). However, this collective view of peer-to-peer mentorship was not what we aimed to foster. Instead, we wanted our courses and program to both exhibit and inculcate practices and processes which we felt are more in line with our understanding of the creative industries, including a more organic, voluntary and non-hierarchical approach to peer-to-peer mentorship. This could use Ambrosetti and Dekker’s less hierarchical descriptors of supporter, friend, and collaborator listed above.Student CohortThe student cohort in this program regularly includes on-campus and distance education students in approximately equal ratios, with those studying by distance often geographically very widely dispersed across Australia, and sometimes internationally. The students in this program come from a diverse spectrum of creative industries’ art forms, including creative writing, digital media, film, music, and visual arts. Most enter the program with advanced skills, undergraduate or equivalent qualifications and/or considerable professional experience in their individual areas of creative practice and are seeking to add a postgraduate-level of understanding and scholarly extension to this practice (Kroll and Brien; Webb and Brien). Students also utilise a wide range of learning styles and approaches when developing and completing the creative works and research-informed reflective reports which comprise their assessment. All the students in the program’s courses utilise, and contribute to, a single online Moodle site each term. Some also wish to progress to research higher degree study in creative practice-led research projects (Barrett and Bolt) after completing the program.Applying Peer-to-Peer Mentoring in a Project-Based ProgramThe student cohort in this program is diverse, both geographically and in terms of the area of individual creative industries’ specialisation and the actual project that each student is working on. This diversity was a significant factor in the complexity of the challenge of how to make the course online site and its contents and tasks (required and optional) relevant and engaging for all students. We attempted to achieve this, in part, by always focusing on content and tasks directly related to the course learning outcomes and assessment tasks, so that their usefulness and authenticity in terms of the student learning journey was, we hoped, obvious to students. While this is a common practice in line with foundational conceptions of effective learning and teaching in higher education, we also proposed that we might be able to insure that course content was accessed and engaged with, and tasks completed, by linking the content and tasks in Moodle to the action of mentoring. In this, students were encouraged to discuss their projects in the online discussion forum throughout the term. This began with students offering brief descriptions of their projects as they worked through the project development stage, to reports on progress including challenges and problems as well as achievements. Staff input to these discussions offered guidance—both through example and (at times) gentle direction—on how students could also give collegial advice to other students on their projects. This was in terms of student knowledge and experience gained from previous work plus that learned during the program. In this, students reported on their own activities and how learning gained could potentially be used in other professional fields, as for example: “I specifically enjoyed the black out activity and found the online videos exceptional, inspiring and innovating. I really enjoyed this activity and it was something that I can take away and use within the classroom when educating” (‘Student 1’, week 8, Term 1 2015). Students also gave advice for others to follow: “I understand that this may not have been the original intended goal of Free Writing—but it is something I would highly recommend … students to try and see if it works for you” (‘Student 2’, week 5, Term 1 2015). As each term progressed, and trust built up—a key aspect of online collaboration (Holton) as well as a fruitful mentoring relationship (Allen and Poteet)—joint problem solving also began to take place in these discussions.As most of the students never interact face-to-face during the term, the relative impersonality of the online discussions in Moodle, although certainly not anonymous, seemed to provide a safe platform for peer-to-peer mentoring, even when this was offered by those who were also interacting in class as well. As facilitators of this process, we also sought to model best-practice interaction in this communication and ensure that any posts were responded to in an encouraging and timely manner (Aragon). As a result, the traffic within these forums generally increased each week so that, by the end of the term, every student (both external and internal) had contributed significantly to online discussions—even those who appeared to be more reluctant participants in the beginning weeks of the term. Strategies to Facilitate Peer-to-Peer MentoringSeeking to facilitate this process, we identified discrete points within the term’s course delivery at which we would encourage a greater level of engagement with the online resources and, through this, also encourage more discussion in the online discussion forum. One of the strategies we employed was to introduce specific interactions as compulsory components of the course but, at the same time, always ensuring that these mandated interactions related directly to assessment items. For example, a key assessment task requires students to write reflectively about their creative work and processes. We duly included information and examples of reflective writing as resources online. In order to further develop this skill for both internal and external students, we adopted an active and iterative learning approach to this task by asking students to write reflectively, each week, about the online resources provided to them. In asking students to do this, we reiterated that, at the end of term, a core part of the assessment item was that each student would be asked to describe, analyse and reflect on how they used these resources to facilitate their creative practice. At the end of the term, therefore, each student could collate his or her weekly responses, and use these as part of this assessment task. However, before this final reflection needed to be completed, these reflective musings were already being refined and extended as a result of the commentaries offered by other students responding to these weekly reflections. In this, these commenting students were, in fact, playing the role of peer-to-peer mentors, assisting each other to enhance their abilities in reflective thinking and writing.It should be stated that neither formal mentoring roles nor expectations of the process or its outcomes were pre-determined, defined or outlined to students by the teaching staff or communicated directly to them in any way (such as via the course materials). Instead, internal and distance students were encouraged to communicate with each other and offer guidance, help and support to each other (but which was never described as peer-to-peer mentorship) via their use of the Moodle learning managements system as both a group communication tool and a collaborative learning resource (Dixon, Dixon and Axmann). It is common for creative practitioners to collect data in the form of objects, resources, tools, and memories in order to progress their work and this habit has been termed that of the “bowerbird” (Brady). Knowing that it likely that many of our students are already proficient bowerbirds with many resources in their personal collections, we also facilitated a peer-to-peer mentoring activity in the form of an online competition. This competition asked students to post their favourite interactive resource onto the Moodle site, accompanied by a commentary explaining why and how it could be used. Many students engaged with these peer-posted resources and then, in turn, posted reflections on their usefulness, or not, for their own personal practice and learning. This, in turn, engendered more resources to be posted, shared, and discussed in terms of project problem-solving and, thus, became another ongoing activity that encouraged students to act as increasingly valued peer-mentors to each other.The Practical Application of Peer-to-Peer MentoringEach term, it is a course requirement that the student cohort, both internal and external, combine to create a group outcome—an exhibition of their creative work (Sturm, Beckton and Brien). For some students, the work exhibited is completed; for others, particularly part-time students, the work shown is frequently still in progress. Given that the work in the student exhibition regularly includes music and creative writing as well as visual art, this activity forces students to engage with their peers in ways that most of them have not previously encountered. This interaction includes communication across the internal and distance members of the cohort to determine what work will be included in the exhibition, and how work will be sent for display by external students, as well as liaising in relation to range of related considerations including: curatorial (what the exhibition will be named, and how work is to be displayed), cataloguing (how the works, and their contributors, are to be described), and the overall design of the catalogue and invitation (Sturm, Beckton and Brien). Students make these decisions, as a group, with guidance from staff mainly being offered in terms of practical information (such as what days and times the exhibition space can be accessed) and any limitations due to on-site health and safety considerations and other university-wide regulations.Student feedback has been very positive in relation to this aspect of the course (Sturm, Beckton and Brien), and its collective nature is often remarked on in both formal and informal feedback. We are also finding that some prospective students are applying to the program with a knowledge of this group exhibition and some information about how it is achieved. After graduation, students have reported that this experience of peer-to-peer working across the spectrum of creative industries’ art forms has given them a confidence that they were able to apply in real work situations and has, moreover been a factor that directly led to relevant employment. One student offered in unsolicited feedback: “It was a brilliant course that I gained a lot from. One year on, I have since released another single and work as an artist manager, independently running campaigns for other artists. The course also helped make me more employable as well, and I now work … as a casual admin and projects officer” (Student 3, 2015).Issues Arising from Peer-to-Peer MentoringAn intrinsic aspect of facilitating and encouraging this peer-to-peer mentoring was to allow a degree of latitude in relation to student online communication. The week-to-week reflection on the online resources was, for instance, the only mandated activity. Other participation was modeled and encouraged, but left to students as to how often and when they participated, as well as the length of their posts. In each term, we have found student involvement in discussions increased throughout the term, and tended to exceed our expectations in both quantity and quality of posts.We have also found that the level of intimate detail offered, and intimacy developed, in the communications was far greater than we had initially anticipated, and that there were occasions when students raised personal issues. Initially, we were apprehensive about this, particularly when one student discussed past mental health challenges. At the time, we discussed that the creative arts – whether in terms of its creation or appreciation – are highly personal practices (Sternberg), and that the tone taken by many of the creative individuals, theorists, and researchers whose materials we use as resources was often personally revealing (see, for example, Brien and Brady). By not interfering, other than ensuring that the tone students used with each other was always respectful and focused on the professional aspects of what was being discussed, we observed that this personal revelation translated into high levels of engagement in the discussions, and indeed, encouraged peer support and understanding. Thus, in terms of the student who revealed information about past health issues and who at one stage had considered withdrawing from the course, this student later related to staff—in an unsolicited communication—that these discussions led to him feeling well supported. This student has, moreover, continued to work on related creative practice projects after completing the program and, indeed, is now considering continuing onto Masters level studies.ConclusionIn relation to much of the literature of mentoring, this experience of student interaction with others through an online discussion board appears to offer a point of difference. While that literature reports on other examples of peer-to-peer mentoring, most of these follow the seemingly more usual vertical mentoring model (that is, one which is hierarchical), rather than what developed organically in our case as a more horizontal mode. This is, moreover, a mode which has many synergies with the community of practice and collaborative problem solving models which are central to the creative industries (Brien and Bruns).Collings, Swanson, and Watkins have reported on the positive impact of peer mentoring on student wellbeing, integration, and retention. In terms of effects and student outcomes, although we have not yet collected data on these aspects of this activity, our observations together with informal and University-solicited feedback suggests that this peer-to-peer mentoring was useful (in terms of their project work) and affirming and confidence-building (personally and professionally) for students who are both mentors and mentees. These peer-to-peer mentoring activities assisted in developing, and was encouraged by, an atmosphere in which students felt it was appropriate and safe to both offer support and critique of each others’ work and ideas, as well as encouragement when students felt discouraged or creatively blocked. Students, indeed, reported in class and online that this input assisted them in moving through their projects and, as program staff, we saw that that this online space created a place where collaborative problem-solving could be engaged in as the need arose—rather than in a more forced manner. As teachers, we also found these students became our post-graduate colleagues in the way more usually experienced in the doctoral supervisor-student relationship (Dibble and Loon).The above reports on a responsive learning and teaching strategy that grew out of our understanding of our students’ needs that was, moreover, in line with our institution’s imperatives. 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