By Emily Kotecki and Jill Taylor, North Carolina Museum of Art
Over the last year, the North Carolina Museum of Art has been documenting the design process we’ve been using in our IMLS planning grant on the role of museums in next-generation learning. On Saturday, January 30, 2016 (after a week’s delay due to weather), we held a Thought Partner Summit for our two advisory panels and a Future of Learning panel discussion for the public to reflect on the work we’ve done so far and prepare for the final stretch of our grant.
In the morning, our collaborative planning team of P-16 educators from across the state met with three out of the nine thought partners (the other six were not able to attend the rescheduled event). These thought partners are national leaders in the fields of education, museums, and technology. Working in affinity groups, they shared ideas about teacher professional development, experiences for students that happen online and onsite, and participatory gallery spaces. Thought Partners helped groups become aware of potential models for programs, recognize gaps in our planning, and find connections between prototype ideas.
We then invited the public to join the discourse in a lively panel discussion that afternoon (#NCMAfuturelearn) investigating the future of learning and the role of the art museum in shaping and supporting that future. Sylvea Hollis, from the Center for Future of Museums, moderated a panel featuring Corey Madden, executive director of the Thomas S. Kenan Institute for the Arts; Matthew Rascoff, Vice President of Learning Technology and Innovation at the University of North Carolina; and Dr. Keith Sawyer, Morgan Professor of Educational Innovation at UNC-Chapel Hill. The full panel discussion recording is linked here through Livestream.
Here are three (of many) big takeaways from the panel that help us take a closer look at what the future of learning might look like and what role museums might play in that future.
1. How to maximize the learning space
The environment in which people learn can have a huge effect on how they learn, what they learn, the questions they ask, the ideas they generate and so on. Corey Madden used her combined experience as a leader at Kenan Institute for the Arts and a practicing artist to think about how spaces can help shape a learner’s perspective and develop new ideas.
“The key idea of education and art is the creation of perspective. What I’m most interested in, is to give that experience to the audience…It’s not me imposing [my] perspective on them…it’s an invitation, a provocation…to use their curiosity to find themselves in a place where that new perspective is created and that generates more and more ideas.”
But what if that space is virtual? Physical? A hybrid? What are opportunities in person that are not possible online, and vice versa?
For all the technology we have access to, the “social cultural needs of human beings haven’t changed,” says Corey. We can watch a lecture online and then use that to catapult us into a lively discussion with peers when we get to class or the museum. Technology can free up learners to engage with the human part of themselves. She continues:
“If you combine the portal of technology, the reality of the actual space, and the incredible imaginative capacity of students, you can imagine that you can use place and space to transform how people learn.”
2. Imagining jazz-inspired learning frameworks
If you listen to improvisational jazz, it’s not completely improv. That smooth melody is guided by some sort of structure, whether it’s a genre, chord, or song form. Similarly, Dr. Keith Sawyer, a jazz pianist, sees effective creative learning as “a process of discovery, a process of experimentation, a process of making failures, and switching gears. I think of it as an improvisational process that is necessary to … becoming an effective creator.”
But the paradox he sees for educators is to: (A) engage in “an improvisational dialogue where the teacher is the one that provides the guidance,” and then (B) balance the top down constraints that come from institutional budgets, state testing, and curricula with the necessary need for “bottom up improvisational creativity that is driven by the learner.”
During the Q&A portion of the panel, a student in the audience who is also a member of the NCMA Teen Arts Council, shared her experience with a teacher who made learning AP Calculus engaging, creative, and relevant to her.
“I’m bad at math, that’s why I love art so much, but I’m in an AP Calculus BC course and I’m doing well in it because my teacher knows how to create an environment where I can learn the way that’s best for me. For example, I made a music video about calculus. Instead of ‘Take me to Church’ by Hozier, [we created a video called] ‘Take me to Calc.’”
Sawyer added that creative learning is not and should not be isolated to the arts, but creative learning should be happening in all fields. “We need creative scientists, we need creative writers, we need creative historians, and we need creative mathematicians.”
3. Technology: Enabler of Human Connections
Matthew Rascoff predicts two categories of technology that will have the biggest impact on the future of education. The first, that he believes is “years off,” is incorporating adaptive learning into education. In this scenario, computers understand the learner’s patterns, make sense of those patterns, and then tailor the experience to exactly what the learner needs at that time.
The second category of edtech which is not years off, but in fact happening right now and will continue to do so, is “using technology as an enabler of better connections among and between people.” It can foster communities of learning so anyone can access and benefit from knowledge about a topic. For example, the Brooklyn ASK app connects curators to the general public in real time. As visitors have questions about an object, they can connect with an expert to share insight and answer their questions.
Shelley Bernstein, Brooklyn Museum’s Vice Director of Digital Engagement & Technology, speaks to this exact point in an interview with Nina Simon:
“The pilots showed us visitors were looking for a personal connection with our staff, wanted to talk about the art on view, and wanted that dialogue to be dynamic and speak to their needs directly.”
Echoing Corey’s point earlier – learners can use technology to enhance the human experience and desire for learning.
This discussion was interesting because it focused on themes, ideas, and projections for education as a whole and never got stuck in talking about one ‘type’ of education. In the quotes above and throughout the event, the panelists use the terms ‘educators’ and ‘learners’ interchangeably with ‘student’ and ‘teacher.’ This change in language is one step in the right direction to breaking down silos between educational institutions and organizations. The takeaways are applicable to myriad learning spaces, whether they’re on a college campus, in a museum, community center, or even senior center.
Please share your feedback, comments, or responses on how museums are integral to the future of learning.