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This paper aims to present a novel pedagogical model that aims at bridging creativity with computational thinking (CT) and new media literacy skills at low-technology, information-rich learning environments. As creativity, problem solving and collaboration are among the targeted skills in twenty-first century, this model promotes the acquisition of these skills towards a holistic development of students in primary and secondary school settings. In this direction, teaching students to think like a computer scientist, an economist, a physicist or an artist can be achieved through CT practices, as well as media arts practices. The interface between these practices is imagination, a fundamental concept in the model. Imaginative teaching methods, computer science unplugged approach and low-technology prototyping method are used to develop creativity, CT, collaboration and new media literacy skills in students. Furthermore, cognitive, emotional, physical and social abilities are fostered. Principles and guidelines for the implementation of the model in classrooms are provided by following the design thinking process as a methodological tool, and a real example implemented in a primary school classroom is described. The added value of this paper is that it proposes a pedagogical model that can serve as a pool of pedagogical approaches implemented in various disciplines and grades, as CT curriculum frameworks for K-6 are still in their infancy. Further research is needed to define the point at which unplugged approach should be replaced or even combined with plugged-in approach and how this proposed model can be enriched.

This paper presents a pedagogical model that aims at bridging creativity with CT, collaboration and new media literacy skills.

The proposed model follows a pedagogy-driven approach rather a technology-driven one as the authors suggest its implementation in low-tech, information-rich learning environments without computers. The added value of this paper is that it proposes a novel pedagogical model that can serve as a pool of pedagogical approaches and as a framework implemented in various disciplines and grades. A CT curriculum framework for K-6 is an area of research that is still in its infancy (Angeli et al., 2016), so this model is intended to provide a holistic perspective over this area by focusing how to approach the convergence among CT, collaboration and creativity skills in practice rather than what to teach. Based on literature, the authors explained how multiple moments impact on CT, creativity and collaboration development and presented the linkages among them. Successful implementation of CT requires not only computer science and mathematics but also imaginative capacities involving innovation and curiosity (The College Board, 2012). It is necessary to understand the CT implications for teaching and learning beyond the traditional applications on computer science and mathematics (Kotsopoulos et al., 2017) and start paying more attention to CT implications on social sciences and non-cognitive skills. Though the presented example (case study) seems to exploit the proposed multiple moments model at optimal level, empirical evidence is needed to show its practical applicability in a variety of contexts and not only in primary school settings. Future studies can extend, enrich or even alter some of its elements through experimental applications on how all these macro/micromoments work in practice in terms of easiness in implementation, flexibility, social orientation and skills improvement.

The added value of this paper is that it joins learning theories, pedagogical methods and necessary skills acquisition in an integrated manner by proposing a pedagogical model that can orient activities and educational scenarios by giving principles and guidelines for teaching practice.

Empathy is part of what makes us human and humane, and it has become a core component of the Social Awareness competency of Social and Emotional Learning (SEL) (CASEL, 2019). SEL fosters the understanding of others’ emotions, is the basis of Theory of Mind skills and frames the development of empathy. The purpose of this paper is to trace the links between empathy development and social and emotional learning when using real versus virtual environments. Empathy is a uniquely human emotion facilitated by abstract thinking and language. Virtual play is a teaching tool for acquiring prosocial behaviors. And finally, human-mediated (traditional and virtual) play is most favorable for SEL growth. Recognition of emotions such as empathy and other socio-communication skills have been taught to children with Autism Spectrum Disorders (ASD). Therefore, technology can be a venue for acquiring empathy.

This paper uses a qualitative interpretive methodology to advocate for the use of technology with human mediation to teach Social and Emotional Learning skills, based on the premise that cognitive and social-emotional development occurs synergistically and mediated by speech and interaction with the environment.

Technology is best seen as an instrument of assessing and teaching socio-emotional skills, but not as the only means to an end, because what makes us human can only be taught within an ecology of human interaction in real-life situations.

This paper reviews previous research works (both empirical and theoretical) that bring to light the connection between socio-emotional development, specifically empathy development, and virtual environments.

This study aims to propose a novel concept of choreography as a way of understanding co-creation of value and thus develops the spatial analytical dimensions of co-creation theorising.

This conceptual paper contemplates the meanings and possibilities of leveraging the theoretical underpinnings of value co-creation, from the viewpoint of value-in-experience.

The concept of choreography opens up a way to read knowledge as movement. It enables a way to elaborate on both the phenomenological and non-representational aspects of co-creation processes. Conceptualising co-creation through such a lens, where knowing is seen as an on-going, spatio-temporal and affective process formed in movement, posits opportunities to further understand the value co-creation practices of experiences. Choreography gives access to the kinaesthetic and affective nature of knowing gained in and through different spatio-temporal contexts and can, in turn, be mobilised in others.

Only a few studies have conceptualised co-creation in relation to a spatio-temporal phenomenon. Notably, this study connects co-creation with mobilities and thus constructs a novel view of knowledge and value creation.

In March 2020 the United Nations published an open brief for the creative community to propose interventions to the unfolding COVID-19 pandemic. However, when faced with unprecedented wicked problems such as these, the rigour of design and creative processes can tested. COVID-19 has demonstrated how important human centred design responses are in understanding the worldviews and ecosystems of users. Ad hoc design responses or design hacks have demonstrated that they have a role to play in how we create our future individual, community and societal ecosystems.

In terms of age friendly design, this pandemic makes us envision what should be, furthermore, how we could create better products and services through technology. For our ageing communities “Cocooning” and other social restriction measures have exposed technological deficiencies for the needs of older people and opens up questions of our future preparedness for a growing ageing society. Now more than ever, designers need to understand the behavioural mind-set of older people in their own ecosystem and understand existing mental models.

In this opinion piece we posit what acts of design hacking can lead us to greater understanding of users mental models and therefore better understanding of technology needs for both older and younger adults. While presenting various examples of how design hacking is conducted by citizens and participants alike, it shows that it offers designers differing perspectives, experiences and inspiration for technology.

There is a lack of clarity about what constitutes Science, Technology, Engineering, Arts and Mathematics (STEAM) education and what the arts contribute. In this paper the authors discuss a distinct model, theorised from a five-year study of a particular, innovative STEAM education project (The Imagineerium), and developed by the researchers through working with primary school teachers in England within a second project (Teach-Make). The paper examines how teachers implemented this model, the Trowsdale art-making model for education (the TAME), and reflected on its value and positive impact on their planning and pedagogy.

The paper draws on two studies: firstly, a five-year, mixed methods, participative study of The Imagineerium and secondly a participative and collaborative qualitative study of Teach-Make.

Study of The Imagineerium showed strong positive educational outcomes for pupils and an appetite from teachers to translate the approach to the classroom. The Teach-Make project showed that with a clear curriculum model (the TAME) and professional development to improve teachers' planning and active pedagogical skills, they could design and deliver “imagineerium-like” schemes of work in their classrooms. Teachers reported a positive impact on both their own approach to supporting learning, as well as pupil progression and enjoyment.

The paper argues that the TAME, a consolidation of research evidence from The Imagineerium and developed through Teach-Make, offers both a distinctive and effective model for STEAM and broader education, one that is accessible to, valued by and manageable for teachers.

The purpose of this paper is to describe an online faculty development pilot course on how to engage students online. A framework was used, referred to as the Trifecta of Student Engagement, for the design of the course. The Trifecta of Student Engagement proposes that students, in order to be fully engaged in a course, need to be engaged with their course content, with their peers and with their instructor. The course has three units of content that each correspond to the Trifecta of Student Engagement. This course has gone through one pilot with faculty and has impacted students and faculty positively.

An online faculty development course was piloted with eight faculty members across a range of disciplines who participated in the program. After taking the course, they had to apply the Trifecta of Student Engagement framework to a course they taught and share what they did via written report, webinar, or web presentation. This study summarized the faculty participants’ written reports and presentations as well as provided a qualitative evaluation on the impact this course had on students and faculty.

After faculty applied the Trifecta of Student Engagement framework to courses taught, faculty saw an improvement in student engagement, satisfaction, learning and achievement. Three faculty surveyed students to determine their engagement and satisfaction and found students to respond positively to the use of tools and activities for student-to-content engagement, student-to-student engagement and student-to-instructor engagement. Two faculty examined student grades to determine if there were changes in student outcomes. One professor saw average grades increase by 11 percent. Another professor saw grades improve by 8 percent. She also found that student assessment of learning increased by 0.57. Both faculty attributed the improvement to the effectiveness of the teaching strategies employed.

This research is limited to the eight faculty who participated in the pilot. Some faculty used methods to attempt to measure the impacts of their teaching practices by surveying students and looking at student performance data. A second pilot is needed for additional faculty to take the course and apply the Trifecta of Engagement framework to generate more data for impact.

Institutions looking to create an online teaching professional development course for faculty can utilize the Trifecta of Student Engagement framework for their course design. Additionally, faculty can read about tools and strategies that they can immediately apply to create more student-to-content engagement, student-to-student engagement and student-to-instructor engagement.

Faculty can be more intentional in how they engage students in their online course experience.

This paper adds to the literature on faculty development regarding student-centered teaching practices. Other institutions looking to create a faculty development course or program that utilizes a student-centered framework may find aspects of this paper useful for their own online teaching professional development initiatives.

In exploring the impact of reflective and work applied approaches, the authors are curious how vivid new insights and collective “Eureka” momentums occur. These momentums can be forces for work communities to gain competitive advantages. However, the authors know little of how learning is actively involved in the processing of creating new insights and how such a turning to learning mode (Pässilä and Owens, 2016) can be facilitated. In the light of cultural studies and art education, the purpose of this paper is to explore how the method of dramatising characters (DC) in a specific innovation culture can be facilitated. In this viewpoint, the authors are suggesting one approach for this type of turning to learning which the authors call Beyond Text, outlining its theoretical underpinnings, its co-creative development and its application.

In this Beyond Text context, the authors are introducing the method of DC and the method of iStory both of which are the authors’ own design based on the theory of the four existing categories of a research-based theatre.

The findings of this viewpoint paper are that both iStory as well as DC methods are useful and practical learning facilitation processes and platforms that can be adopted for use in organisations for promoting reflexivity. Especially they can act as a bridge between various forms of knowing and consummate the other knowledge types (experiential, practical and propositional) in a way that advances practice-based innovation.

The originality and value of iStory and DC is that they can be utilised as dialogical evaluation methods when traditional evaluation strategies and pre-determined indicators are unusable.