Covid-19: Disadvantages Of Online Learning Towards Visual Arts Practiced-based Nature
Main Article Content
Abstract
Purpose: This paper discusses the disadvantages of online learning in the context of studio practice -based that focuses on practical skills. Discussions are made by looking at various angles of teaching and learning toward the online method and its implications for the field of Visual Arts. Among the aspects discussed are social isolation, limited feedback, focus on theory rather on practice, lack of flexibility, and lack of transformational power. In general, online learning can only serve as a supporting method to the field of Visual Arts that focuses on the construction of practical skills, where conventional learning method which is characterized by practice-based learning is more appropriate and effective.
Design/methodology/approach: Review approach.
Findings: The best practices for online learning courses are still evolving and are much more difficult to implement especially in terms of learning methods that would be suitable and effective for all areas. Direct training, standard methods, approaches and processes through practice-based are the best practices and are much more established, well understood and more effective for teaching and learning in Visual Arts.
Practical implications: Developing a truly effective online learning course requires time, money, and a huge amount of expertise. Good online learning courses involve multimedia, specialized web development, technical support, and strong user interaction design. If done incorrectly, it will disrupt and negatively impact the learning process because of the lack of time concentrations and space limitations.
Originality/value: This paper is original.
Paper type: This paper can be categorized as a viewpoint
Downloads
Article Details
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
References
Braund, M. & Reiss, M. J. (2019). The ‘Great Divide’: How the Arts Contribute to Science and Science Education, Canadian Journal of Science, Mathematics and Technology Education, 19, 219-236.
Brocato, K. (2009). Studio Based Learning: Proposing, Critiquing, Iterating Our Way to Person-Centeredness for Better Classroom Management, Theory Into Practice, 48, 138–146.
Lu, T. & Yang, X. (2018). Effects of the Visual/Verbal Learning Style on Concentration and Achievement in Mobile Learning, EURASIA Journal of Mathematics, Science and Technology Education, 14(5), 1719-1729
NCCA Curriculum (n.d). Visual Art and Key Skills. Retrieved on April, 17, 2020 from https://www.curriculumonline.ie/Junior-cycle/Junior-Cycle-Subjects/Visual-Art/Visual-Art-and-Key-Skills/
Pringle, E. (2002). The role of artists in sites for learning, The Arts Council of England. Retrieved on April, 16, 2020 from https://www.kultur-vermittlung.ch/zeit-fuer-vermittlung/download/materialpool/MFV0401.pdf
Rovai, A. P., Wighting, M. J., & Liu, J. (2005). SCHOOL CLIMATE: Sense of classroom and school communities in online and on-campus higher education courses. Quarterly Review of Distance Education, 6(4), 361-374.
Sharp, C. & Dust, K. (1990). Artists in schools. A handbook for teachers and artists. London: Bedford Square Press.
Sjöholm, J. (2013). The role of the art studio in contemporary artistic production. Research Paper. Centre for Research on Innovation and Industrial Dynamic. Retrieved on April, 16, 2020 from http://www.diva-portal.org/smash/get/diva2:608916/FULLTEXT01.pdf
Tyler, C. W. & Likova, L. T. (2012). The role of visual arts in enhancing the learning process, Frontiers in Human Neuroscience, 6 (8), 1-7.
Utaberta, N., Hassanpour, B., Che Ani, A. I., & Surat, M. (2010). Reconstructing the Idea of Critique Session in Architecture Studio, Procedia Social and Behavioral Science, 18, 94-102.