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European Journal of Open, Distance and E-Learning, 2011-12-22

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Cloud computing and creativity : learning on a massive open online

course

Kop, Rita; Carroll, Fiona

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R ita Kop [Frederik a.Kop@n rc-cn rc.gc.ca] Fion a Carroll [fcarroll@glam .ac.uk ]

N ation al R esearch Coun cil of Can ada, In stitute for In form ation Techn ology , Learn in g an d Collaborativ e Techn ologies Group, 10 0 , rue des Aboiteaux, suite 1113, M on cton , N ew Brun sw ick , E1A 7R 1, Can ada,

[http:/ / w w w .n rc-cn rc.gc.ca/ en g/ in dex.htm l]

Ab st r a ct

Th is paper explores clou d com pu tin g an d h ow it m igh t advan ce learn in g an d teach in g, particu larly in term s of social creativity an d collaborative learn in g. We presen t a stu dy of a Massive Open On lin e Cou rse (MOOC) – a sem i-au ton om ou s learn in g en viron m en t m ain ly distribu ted on th e clou d – in wh ich Open Edu cation al Resou rces were produ ced, research ed an d sh ared by participan ts worldwide. Th e objective of th is research was to explore th e level of im portan ce of creativity for learn in g an d th en to closely in vestigate h ow th is creativity m igh t be fostered in su ch a ‘vast’ edu cation al settin g an d wh at factors m igh t be of im portan ce to en h an ce creativity in open n etworked learn in g. Th rou gh th e participan ts’ experien ces, we discu ss th e variou s dyn am ics an d profiles of th e participan ts as th ey m ove from bein g con su m ers on th e en viron m en t to becom in g ‘produ cers’ an d take creative steps in th eir learn in g. More im portan tly, we iden tify th e elem en ts of th e cou rse th at n eed to be in place to en cou rage an d su pport th is m ove towards m ore effective creativity an d learn in g. Fin ally fu rth er discu ssion s an d con clu sion s are presen ted.

Ke y w o rd s: Clou d com pu tin g, creativity, MOOC, n etworked learn in g, con n ectivism .

List of Top ics

In trodu ction

Wh at is clou d com pu tin g? Creativity an d social creativity Reseach in g Creativity in a MOOC Th e settin g

Research m eth odology

Wh o were th e participan ts? Agen cy an d active participation Discu ssion an d con clu sion s

I n t r od u ct ion

Clou d com pu tin g is on e of th e latest ph en om en a to be discu ssed in th e on lin e edu cation world. It h as been su ggested th at Clou d com pu tin g h as n u m erou s advan tages for ou r everyday lives, edu cation in clu ded (Miller, 20 0 8 ). Bu t, wh at exactly is Clou d com pu tin g? H ow will it sh ape th e fu tu re of learn in g an d teach in g?

In sim ple term s, clou d com pu tin g is a state-of-th e-art in tern et-based tech n ology th at provides access to services, storage space, an d resou rces on dem an d with ou t th e worry of down loadin g or in stallin g an yth in g on you r com pu ter. In effect, m illion s of people from all arou n d th e world can gain access to data an d services, in clu din g th eir own data an d docu m en ts, with ou t th e n eed for large local data cen tres, from an y device th at con n ects to th e in tern et. With ou t a dou bt, th ere are econ om ic ben efits to th is, bu t wh at wou ld be th e edu cation al ben efits to m illion s of people arou n d th e world gain in g access (if perm itted) to on e an oth er th rou gh distribu ted services? Th e first idea com in g to m in d wh en assessin g su ch a clou d space for learn in g, wou ld be th e creative poten tials th at cou ld be n u rtu red i.e. th e en dless ideas, th ou gh ts an d kn owledge th at cou ld be sh ared, created an d in spired. In deed, th is exten sive facility for m u ltiple ten an cy open s u p ou r existin g experien ce an d u n derstan din g of th e term 'collaboration '. In doin g so it provides u s with a variety of aven u es for creative growth . It is th is creative growth poten tial wh ich we believe cou ld h old th e key to n ew an d excitin g ways of learn in g an d teach in g. Th is paper explores a clou d-based learn in g en viron m en t an d h ow it advan ces learn in g an d teach in g, particu larly in term s of social creativity an d collaborative learn in g.

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Geelan (20 0 9) su ggests th e clou d h as as m an y defin ition s as th ere are squ ares on a ch ess-board ran gin g from “Everyth in g you can u se over th e in tern et” to specific defin ition s of “virtu al servers available over th e in tern et”. Th e term Clou d origin s from a m etaph or for th e In tern et an d its com bin ation with com pu tin g – access to n etworks, storage elem en ts, software services (Kn orr & Gru m an , 20 0 9). H owever, Clou d com pu tin g is n ot an en tirely n ew con cept bu t m ore a con cept th at h as evolved from well kn own an d m atu re tech n ologies, su ch as grid com pu tin g or th e classical h igh perform an ce com pu tin g. After an alysin g over twen ty-two differen t defin ition s, Vaqu ero et al (20 0 9) su m s it u p:

‘Clouds are a large pool of easily usable an d accessible v irtualised resources (such as hardw are, dev elopm en t platform s an d/ or serv ice)’, these resources allow for ‘an optim um resources utilisation ’ an d adopt a ‘pay -per-use m odel in w hich guaran tees are offered by the in frastructure prov ider by m ean s of custom ised Serv ice Lev el agreem en ts (SLAs)’.

Th is paper is in terested in lookin g at th e clou d as an accessible, scalable yet flexible on -dem an d form of com pu tin g, for an y u ser with a n etwork con n ection . It does th is by defin in g th e clou d with n ew perspectives on h u m an clou d in teraction , su ch as th e poin t of con tact wh ere h u m an s an d clou ds m eet in order for exch an ge to take place, m ean s th at ease of u se an d accessibility are som e of th e key featu res to gain th e attraction of a large n u m ber of u sers. Scalability is also a m u st, wh en dealin g with a h igh n u m ber of u sers wh o m igh t wan t to u se a h igh n u m ber of resou rces. Fin ally, flexibility en ables th e adaptation of clou d solu tion s to all u sers to en su re th at th ey get exactly wh at th ey wan t an d n eed. By th at, Clou d com pu tin g n ot on ly in trodu ces a n ew way of h ow to perform com pu tation s over th e In tern et, bu t som e observers also posit th at it h olds th e poten tial to solve a ran ge of ICT problem s iden tified with in disparate areas su ch as edu cation , h ealth care, clim ate ch an ge, terrorism , econ om ics etc. (Sch u bert, 20 10 ; Sclater, 20 10 ; Bristow et al, 20 10 ). Clou d application s h ave been associated with prom isin g ou tcom es for edu cation an d learn in g as th ey facilitate sh arin g, n etworkin g, an d com m u n ication ; th e produ ction an d pu blish in g of artifacts; an d th e cu ration an d aggregation of in form ation . Sh arpe, Beeth am , de Freitas (20 10 , book cover) posit th at cu rren t learn ers operate as ‘creative actors an d n etworkers in th eir own righ t, wh o m ake strategic ch oices abou t th eir u se of digital application s an d learn in g approach es’. Th is wou ld su ggest th at th e level of con trol th at Clou d-based learn in g afford wou ld be ben eficial to th e learn in g en deavou r.

In fact, Clou d com pu tin g h as th e poten tial for n ew in teraction m etaph ors an d n ew ways of th in kin g abou t learn in g design an d learn in g experien ces. Th e con cept of th e respon sive experien ce – th e adaptation of clou d en viron m en ts to u ser n eeds – open s u p th e poten tial to deliver en gagin g experien ces th at will m otivate n ew kin ds of u ser requ irem en ts an d u ser activities. Th e in terestin g qu estion to ask h ere wou ld be: Wh at will th e Clou d m ean for th e everyday u ser in relation to h is or h er edu cation an d learn in g? As th e presen ce of th e Clou d h eigh ten s, as it cu rren tly is (Nelson , 20 11), th e ch allen ge will be to address th e vast ran ge of edu cation al con texts th at Clou d application s cou ld be u sed in . For exam ple, th e Clou d m igh t h ave th e poten tial to give th e con trol of learn in g to learn ers or to person alise th e learn in g experien ce, by providin g flexibility in adaptin g to th e specific u ser’s edu cation al requ irem en ts an d h er or h is con dition s of u se (Kop & Fou rn ier, 20 11). It cou ld h old opportu n ities for adaptable in terface gen eration based on specific edu cation al con texts, varied u ser locality wh en con siderin g m obile devices etc., an d versatility on wh eth er th e Clou d application wou ld be u sed as a stan dalon e application to su pport person al learn in g, or as part of an orch estration of collaborative edu cation al en viron m en ts. Th e Clou d h as th e facility to su pport m u lti-ten an cy an d th is paper will explore if th is will h old an y polti-ten tial for edu cation . Clou d com pu tin g an d its flexibility h ave been iden tified as possibly powerfu l com pon en ts to provide people with th e opportu n ities to au th or an d distribu te con ten t an d in doin g so to develop skills to work with an d be creative. It h as th e m ean s to in clu de opportu n ities con du cive of creativity in cu rren t teach in g an d learn in g processes, in clu din g en cou ragin g in telligen t con ten t in real tim e, m u ltiple an d collaborative social in teraction s, social reflection s an d social problem solvin g.

Cr e a t ivit y a n d socia l cr e a t ivit y

Articu latin g n ew an d n ovel ideas, th ou gh ts, feelin gs, bein g playfu l, experim en tin g, pu sh in g bou n daries, expressin g, addin g valu e, are all words th at are associated with th e term creativity. Bu t wh at exactly does th is term m ean ? Wh at does it m ean for edu cation an d learn in g in ou r rapidly ch an gin g an d in creasin gly global world? Like th e term Clou d com pu tin g, th ere are several variation s an d categories of creativity defin ition s; h owever, Warr (20 0 7) brin gs th ese categories of creativity defin ition s togeth er to form on e m ore u n ified defin ition :

‘Creativ ity in design is the gen eration of ideas, w hich are a com bin ation of tw o or m ore existin g bun dles of k n ow ledge to produce a n ew k n ow ledge structure. For this n ew gen erated idea to be con sidered creativ e it should be: n ov el – un usual or n ew to the m in d in w hich it arose; an d appropriate – con form to the characteristics of a desired/ accepted solution . Such creativ e ideas m ay then be im plem en ted an d em bodied in a creativ e product’ (W arr, 20 0 7).

Creativity is th e ability to com e u p with ideas or artifacts th at are origin al, su rprisin g, an d valu able It h as also been associated with a form of self-expression , wh ich m igh t be problem atic in form al edu cation as Ru n co, explain s:

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to express. That assum es that the in div idual him - or herself first con structs an origin al idea. Otherw ise it is n ot self-expression but the expression of som eon e else’s thin k in g. This is n ot as easy as it soun ds. Educators ten d to hav e groups of studen ts in the classroom , an d there is a curriculum – a plan , if y ou w ill. Origin al ideas an d self-expression s are often con trary to that plan . (R un co, 20 0 8 , p. 99.)

Th is m ean s th at th e edu cation al stru ctu res th em selves cou ld be detrim en tal to creativity, bu t we will retu rn to th is later. In addition , Ru n co (20 0 8 ) em ph asised th at m ore th an origin ality is at stake to creativity. A secon d im portan t com pon en t wou ld be ‘effectiven ess’, wh ich wou ld m ake creativity, a form of origin al self-expression , bu t with a particu lar pu rpose. H e gave as an exam ple of som eth in g th at is n ot creative, th e origin al ideas of a psych otic. H is ideas m igh t be origin al, bu t th e lack of focu s wou ld disbar it from bein g creative. Bu t h ow do we set in place/ in itiate th e em ergen ce of th ese creative ideas?

Fisch er et al. (20 0 5) believe th at creative activity grows ou t of th e relation sh ip between in dividu als an d th eir work, as well as from th e in teraction s between in dividu als. In fact, Warr & O'Neill (20 0 5) sh ow h ow social creativity h as th e poten tial to su pport greater idea gen eration th an in dividu al creativity, i.e. real grou ps h ave th e poten tial to gen erate m ore creative ideas th an n om in al grou ps by takin g advan tage of sh ared dom ain s of kn owledge. Mu ch of ou r in telligen ce an d creativity resu lts from in teraction an d collaboration with oth er in dividu als as Csikszen tm ih alyi (1996) poin ts ou t. Fisch er et al. (20 0 5) take it a little fu rth er wh en th ey state th at in dividu al creativity an d social creativity do n ot represen t a bin ary ch oice; th ey can an d n eed to be in tegrated to for in stan ce develop in n ovative solu tion s to com plex design problem s, su ch as h ow th e differen t kn owledge, expertise, an d perspectives th at exist am on g in dividu als provide opportu n ities to collaborate toward m ore creative an d su stain able solu tion s.

It h as been su ggested th at th e perfect settin g to develop creativity wou ld be an edu cation al on e. Am abile (1996, p20 3) n otes th at of all th e social an d en viron m en tal factors th at m igh t in flu en ce creativity, m ost can be fou n d in th e classroom . In h er book Creativ ity in Con text, Am abile (p229/ 331) su m s u p th e en viron m en tal stim u lan ts for creativity, th ese in clu de: freedom , good project m an agem en t, su fficien t resou rces, en cou ragem en t, variou s organ isation al ch aracteristics, recogn ition , su fficien t tim e, ch allen ge, an d pressu re. Sh e su ggests th at open classroom s with m ore person alised in stru ction an d less em ph asis on teach er con trol, m igh t possibly be m ore con du cive to creativity th an tradition al classroom s. Likewise, College en viron m en ts th at in clu de teach ers wh o give person alised atten tion to stu den ts ou tside th e class serve as m odels of creativity activity an d en cou rage stu den ts to be in depen den t. Sh e h igh ligh ts th at wh en stu den ts h ave th e freedom to decide wh at to do or h ow to accom plish th e task, a sen se of con trol over th eir own work an d ideas also can be con du cive to creativity. Fin ally, sh e also n otes th at en gagin g in playfu l activities can in crease su bsequ en t creativity, in th at it gives stu den ts th e opportu n ity to explore n ew properties of objects bu t also becau se play can stim u late fan tasy wh ich in tu rn can m ake creativity m ore likely.. H orwitz (1979) fou n d in h is research th at a style of teach in g in volvin g flexibility of space, stu den t ch oice of activity, rich n ess of learn in g m aterials, in tegration of cu rricu lu m areas an d m ore in dividu al or sm all – grou p th an large grou p in stru ction in flu en ced th e level of creativity in th e classroom .

Moreover, Sah lberg (20 0 9) believes th at in edu cation th e ch allen ge often is to h elp stu den ts fin d th eir own creative passion to learn an d do th in gs. H e breaks it down in to a n u m ber of steps: to work in an in n ovation -rich en viron m en t on e h as to develop m in dsets able to iden tify an d u n derstan d n on -lin ear, system ic processes th at are con du cive to in n ovation . Secon d, th ere n eeds to be m ore of a focu s on ‘learn in g to learn togeth er’ an d workin g produ ctively with oth er people, for in stan ce th rou gh co-operative learn in g. Th ird, teach in g an d learn in g in sch ools sh ou ld be viewed as system ic processes th at rely on prin ciples of active participation , social in teraction , dialogu e an d reflection . It is abou t u sin g tech n ology to set u p spaces/ en viron m en ts th at attract, an d h old th e atten tion of an d in spire th e learn ers; in n ovation -rich en viron m en ts th at draw th e learn er in to learn in g an d in volve h im or h er with oth ers in m akin g sen se of som eth in g. Creativity can occu r wh en learn ers are con fron ted with ch allen ges in wh ich th ey n eed to sh are kn owledge an d experien ce with oth ers in order to figu re ou t an d m ake sen se of th ese in n ew an d in n ovative ways. Of cou rse, as th e referen ces from th e literatu re above h ave sh own , if th e edu cation al settin gs are too stru ctu red, creativity will be killed, rath er th an fostered. It is su ggested th en , th at th e active participation of learn ers in th e learn in g en deavou r in an open en viron m en t, su ch as th e Clou d, an d in collaboration with oth ers are th e im portan t factors for creativity to m aterialize. Bu t are th ey really?

Re se a r ch in g Cr e a t ivit y in a M OOC

To in vestigate deeper h ow creativity m igh t be fostered in an edu cation al con text an d wh at factors m igh t be of im portan ce, th e research ers ch ose to stu dy a Massive Open On lin e Cou rse (MOOC) as a settin g. MOOC is described h ere as a Clou d Learn in g En viron m en t in th at it u ses clou d services/ application s to im plem en t th e core featu res of th e cou rse. It is a web-based open learn in g en viron m en t m ade u p of variou s clou d based application s, in wh ich Open Edu cation al Resou rces were produ ced, research ed an d sh ared by participan ts. Th e stru ctu re was lim ited.

Th e se t t in g

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in Person al Learn in g En viron m en ts, an d took place in cooperation with Ath abasca Un iversity an d th e Un iversity of Prin ce Edwards Islan d. Th e su bject u n der scru tin y was Person al Learn in g En viron m en ts, Networks an d Kn owledge (PLENK). It was a free cou rse wh ich lasted 10 weeks an d on wh ich 1641 participan ts were registered. PLENK20 10 did n ot con sist of a body of con ten t an d was n ot con du cted in a sin gle place or en viron m en t. Th e learn in g en viron m en t was distribu ted across th e Web th rou gh Clou d-based application s.

Two of th e facilitators on th e cou rse were th e fou n ders of ‘Con n ectivism ’ th at h as been earm arked by som e as th e learn in g th eory for th e 21st cen tu ry (Siem en s & Down es, 20 0 8 , 20 0 9). Down es an d Siem en s h ave h igh ligh ted th e im portan ce of h u m an agen cy on n u m erou s occasion s, in addition to th e n ecessity of active participation in con n ectivist learn in g. Th ey stress th e im portan ce of fou r types of activity for su ccessfu l n etworked learn in g an d th ese were in corporated as follows in th e learn in g even t:

Aggregation : Th e collection of a wide variety of resou rces to read, watch or play. On e of th e aggregators was u sin g gRSSh opper tech n ology to collect cou rse-related resou rces, an d distribu ted th ese to participan ts as a daily n ewsletter called ‘Th e Daily’.

1.

R em ixin g: after readin g, watch in g or listen in g to som e con ten t, it wou ld be im portan t to keep track of th ese som ewh ere-i.e., by creatin g a blog, an accou n t with del.icio.u s or by creatin g a n ew en try, takin g part in a Moodle discu ssion , or u sin g an y service on th e in tern et – Flickr, Secon d Life, Google Grou ps, Facebook, You Tu be, NetVibes an d reflect on wh at h ad been collected an d m ake con n ection s between differen t resou rces;

2.

Creatin g: participan ts wou ld th en be en cou raged to create som eth in g of th eir own . In th e PLENK20 10 MOOC th e facilitators su ggested an d described tools th at participan ts cou ld u se to create th eir own con ten t. Th e job of th e participan ts was to u se th e tools an d ju st practice with th em . Facilitators dem on strated, gave exam ples, u sed th e tools th em selves, an d talked abou t th em in depth . It was en visaged th at with practice participan ts wou ld becom e accom plish ed creators an d critics of ideas an d kn owledge;

3.

Feed Forw ard: participan ts were en cou raged to sh are th eir work with oth er people on th e cou rse an d with th e world at large. H owever, participan ts were able to work com pletely in private, n ot sh owin g an yth in g to an ybody if th ey wish ed to do so. Facilitators em ph asized th at sh arin g wou ld always be th e participan t’s ch oice.

4.

Especially th e 3rd stage was a creative produ ction ph ase an d qu ite a few exam ples of creative produ ction on th e cou rse were apparen t. A tag wou ld be u sed to iden tify an yth in g th at was created in relation to th e cou rse, also ou tside th e cou rse stru ctu re on th e Clou d, on sites su ch as blogs, social n etworkin g, ph oto-sh arin g an d bookm arkin g sites. A h aoto-sh tag was u sed as cou rse iden tifier on m icro-bloggin g tools su ch as Twitter, u sin g th e cou rse tag # PLENK20 10 . Th is is h ow con ten t related to th e cou rse was recogn ized, aggregated, an d displayed in ‘Th e Daily’ n ewsletter for th e cou rse. Th is Daily was th e cen tral resou rce th at participan ts cou ld su bscribe to if th ey wish ed to do so, an d it displayed aggregated resou rces an d artifacts produ ced by participan ts related to th e cou rse. In addition a Moodle Learn in g Man agem en t System with wiki was u sed to h old discu ssion s an d display cou rse resou rces, sch edu le an d speakers. Th is was th e stru ctu re provided by fou r facilitators, wh o also provided learn er su pport in th e form of videos, slidesh ows an d discu ssion posts in addition to blog posts, feedback to blogs an d Moodle discu ssion posts. Th eir presen ce was also felt du rin g th e syn ch ron ou s Ellu m in ate session s, on ce a week to in trodu ce a gu est speaker, an d on ce a week for a syn ch ron ou s discu ssion an d ch at session with participan ts related to th at week’s su bject. Th rou gh ou t th e cou rse Twitter an d participan ts’ an d facilitators’ blogs developed arou n d th e cou rse su bject, an d Facebook Grou ps, Secon d Life an d oth er Clou d-based social n etwork en viron m en ts were developed by participan ts.

Re se a r ch m e t h od olog y

If people are en cou raged to m ove in to th e clou d an d away from th e in stitu tion for th eir learn in g, it is im portan t to fin d ou t th e relevan ce to th e learn in g experien ce of th e in form al (on lin e) n etworks in wh ich th ey fin d th eir in form ation an d wh ere th ey m igh t develop an d produ ce digital artifacts. A n etwork in th e con text of th is paper wou ld be an open on lin e ‘space’ wh ere people m eet, as n odes on n etworks, wh ile com m u n icatin g with oth ers an d wh ile u sin g blogs, wikis, au dio-visu als an d oth er in form ation stream s an d resou rces. De Laat (20 0 6) h igh ligh ted th e com plexity of research in g n etworked learn in g an d em ph asized as key problem s th e issu es of h u m an agen cy an d th e m u ltitu de of issu es in volved, su ch as th e dyn am ics of th e n etwork, power-relation s on th e n etwork, an d th e am ou n t of con ten t gen erated. Th e research ch allen ge was to in vestigate th e clou d learn in g en viron m en t in relation to creativity an d open learn in g. Th is m ean s th at th e learn in g en viron m en t u n der in vestigation cou ld n ot be con trolled too m u ch as th is wou ld restrict its flexibility an d open n ess, th e ch oices m ade by learn ers an d th e in terrelatedn ess of tools u sed by learn ers. Th is in tu rn , cou ld poten tially in flu en ce th e creativity displayed by learn ers. Su bsequ en tly, effective research wou ld requ ire a m u lti-m eth od approach in volvin g data-an alysis of th e traces of activity an d com m u n ication left by learn ers on m u ltiple Clou d-based application s.Wh at was in vestigated was th e level an d n atu re of en gagem en t with tools an d people, th e produ ction of digital artifacts, an d th e factors in flu en cin g creativity related to th ese.

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an alysis tools to captu re th e diverse activities an d th e learn in g experien ces of participan ts on PLENK20 10 . Learn in g an alytics tools were u sed as a qu an titative form of Social Network An alysis to clarify activity an d relation sh ips between n odes on th e PLENK n etwork (Fou rn ier et al. 20 11). Th ree su rveys were carried ou t at th e en d of th e cou rse an d after it h ad fin ish ed to captu re learn in g experien ces du rin g th e cou rse: En d su rvey (N= 62); ‘Active produ cers’ su rvey (N= 31); ‘Lu rkers’ su rvey (N= 74)

In addition , qu alitative m eth ods in th e form of virtu al eth n ograph y h ave been u sed. A research er was an observer du rin g th e cou rse an d also carried ou t a focu s grou p in th e fin al week of th e cou rse to gain a deeper u n derstan din g of particu lar issu es related to th e active participation of learn ers. A large am ou n t of discu rsive data was also collected an d an alysed. Th e research ers were in terested in th e processes takin g place, th e perspectives an d u n derstan din gs of th e people in th e settin g, as H am m ersley (20 0 1, p.55) calls it: th e “details, con text, em otion an d th e webs of social relation sh ips th at join person s to on e an oth er”. In Web based research th e tech n ology itself an d th e artifacts it produ ces sh ou ld be taken in to con sideration in th e ‘on lin e’ eth n ograph y, as th ese are part of th e research settin g an d m igh t in flu en ce th e h u m an in teraction s research ed (H in es, 20 0 5). Su bsequ en tly, th e in flu en ce of clou d tech n ologies on creativity an d learn in g was taken in to con sideration in th is research . As vast am ou n ts of discu rsive data were gen erated in th is form of n etworked learn in g in an open en viron m en t, com pu tation al tools, su ch as n Vivo, h ave been u sed for th e codin g, an alysis an d in terpretation of th e qu alitative research data. Th e # PLENK20 10 tag was u sed to iden tify cou rse related writin g ou tside th e cou rse en viron m en t an d in form ed con sen t was asked from participan ts to u se th ese for th e research .

Th e Moodle data m in in g fu n ction ality was u sed as com pon en t in th e data an alysis an d provided participan t details, th eir level of u se an d access of resou rces, in form ation on cou rse activities, an d discu ssion s takin g place in th e cou rse foru m s. Th e gRSSh opper aggregator statistics fu n ction ality provided details on cou rse-related u se of blogs, social book m arkin g an d m icro-bloggin g tools su ch as Twitter. Som e an alytics an d visu alization tools, su ch as th e Social Networks Adaptin g Pedagogical Practice (SNAPP) tool, were also u sed to deliver real-tim e social n etwork visu alization s of Moodle discu ssion foru m activity, wh ile th e visu alization tool NetDraw was u sed to create an ego n etwork to provide an u n derstan din g of th e role of a particu lar actor in a discu ssion .

Becau se of th e volu m e of data gen erated by th e 1641 participan ts an d facilitators an d th e restriction s on tim e to produ ce th is paper, qu an titative an alysis of blog posts, Twitter an d Moodle participation h as been u sed, bu t th e qu alitative an alysis of data for th is paper h as been restricted to th e Moodle en viron m en t an d som e blogs th at were represen tative of all th e blogs produ ced by participan ts.

W h o w e r e t h e pa r t icip a n t s?

Th e profession al backgrou n d of participan ts on th e PLENK cou rse, were m ain ly em ployed in edu cation , research an d design an d developm en t of learn in g opportu n ities an d en viron m en ts. Th ey were teach ers, research ers, m an agers, m en tors, en gin eers, facilitators, train ers, u n iversity professors. Ch art 1 sh ows PLENK participan ts’ age distribu tion an d figu re 1 sh ows a Google Map represen tin g participan ts’ residen ce, wh ich is available on lin e as a two-page in teractive m ap, an d was in stigated by on e of th e PLENK participan ts.

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Figure 1. PLENK part icipant place of residence

Age ncy a nd a ct iv e p a r t icipa t ion

Som e people, experien ced in learn in g on MOOCs, were very in volved in u sin g th e Clou d-based tools on th e cou rse an d were creative in th eir participation . On e participan t for in stan ce produ ced a Google Map (see Figu re 1) th at h as received 24558 views so far an d a blog th at h as been read in 69 cou n tries. An oth er produ ced a creative con cept m ap of a Person al Learn in g Network as sh own in Figu re 2. Oth er participan ts u sed Pearltrees to cu rate, visu alize an d sh are resou rces on th e Clou d with oth er participan ts as sh own in Figu re 3.

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Figure 3. Exam ple of Pearlt rees of PLENK20 10 resources (ht t p:/ / bit .ly / v w G4CH)

Not all participan ts con tribu ted in a visibly active way. Th ere was a h igh n u m ber of people wh o accessed resou rces, bu t wh o were n ot en gaged in produ cin g blog posts, videos or oth er digital artifacts. Th ey seem ed to be con su m ers, rath er th an creative produ cers on th e cou rse.

Th e basis of MOOCs h as always been fou r activities: 1. Actively aggregatin g, 2. Actively relatin g th ese aggregated resou rces to earlier experien ces an d kn owledge, 3. Actively repu rposin g; produ cin g a digital artifact with th is m ix of th ou gh ts, an d 4. An actively sh arin g stage.

Between 40 an d 60 were active produ cers, th e oth er 158 0 were n ot active in th is way. Th is was u n expected to th e cou rse organ izers as before th e start th ey saw th e produ ction ph ase as vital to th e learn in g on a n etworked en viron m en t. Of cou rse, as som e participan ts m en tion ed in th e discu ssion , if n obody is an active produ cer, it lim its th e resou rces th at all participan ts can u se to develop th eir ideas, discu ssion , th in kin g, in spiration an d learn in g on , in sh ort, it lim its th e creativity an d in n ovation poten tial of th e cou rse. It is, h owever, in lin e with th e level of ‘lu rkin g’ th at takes place on th e In tern et in gen eral (Nielsen , 20 0 6, Bu gh in , 20 0 7).

Th e learn ers an d facilitators on th e cou rse were very in terested in th is discrepan cy between ‘con su m in g’ an d ‘produ cin g’ .Th e cou rse su bject was related to th e u se of tech n ology in edu cation al settin gs, an d as th e m ajority of participan ts were edu cators, research ers an d developers of learn in g en viron m en ts, exten sive discu ssion s took place on th e su bject. Th e research ers also h eld a focu s grou p an d carried ou t su rveys am on gst ‘lu rkers’ an d ‘produ cers’ to get to th e essen ce of (creative) produ ction or con su m ption for th e learn in g experien ce.

In th e words of on e of th e cou rse facilitators in th e Moodle en viron m en t:

Creatin g som ethin g is an im portan t activ ity . W hen y ou create a blog post, podcast, or con cept m ap, y ou're sharin g y our sen se m ak in g activ ities w ith others. Others, w ho are at a sim ilar poin t in the course, m ay fin d reson an ce w ith y our artefact. Your sen se m ak in g activ ity becom es a n ode that others can con n ect to an d en gage w ith. M ultiple sen se m ak in g artefacts offer m ore div ersity than on ly cen terin g activ ities aroun d readin gs an d resources that the in structor has prov ided.

Th e active participan ts on th e cou rse in dicated in th eir respon ses in th e su rvey th at th eir active produ ction an d in teraction with oth ers en h an ced th eir learn in g; it h elped th em to reflect, in volved th em in a creative process an d th ey liked to give som eth in g back to th e grou p. Th ey also believed th at th e m ore people wou ld be actively produ cin g, th e m ore en gagin g th e cou rse wou ld be for all participan ts in volved.

If it is seen to be im portan t to be creative produ cers on a cou rse of th is n atu re, based an d distribu ted in th e Clou d, it is also essen tial to fin d ou t wh at wou ld tem pt people in to creatin g som eth in g. In th e active participan t su rvey it becam e clear th at differen t people h ave differen t ideas on th is. 64% of respon den ts in dicated th at th e con ten t of a discu ssion post by som eon e else an d 56% a blog post from som eon e else were triggers for people to produ ce som eth in g th em selves. It wou ld also spu r people in to action wh en oth ers wou ld con n ect differen t con cepts (52%), or sh ared a particu lar Clou d-based tool (40 %) as sh own in ch art 2. In addition respon den ts h igh ligh ted issu es su ch as th e n eed for self reflection on wh at was bein g learn t from th e variou s sou rces, in spiration from th e con n ection s th e in dividu al was m akin g an d th e u rge to sh are wh at was bein g learn t, in addition al to exam ples of creative work by oth ers.

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Chart 2. Learner m ot iv at ion t o produce a digit al art ifact in PLENK20 10

It was clear th at th e dyn am ics of th e cou rse n etwork, an d th e social in teraction on th e learn in g n etwork stim u lated creative produ ction . People m oved back an d forth between m icrobloggin g tool Twitter, participan t blogs an d th e Moodle discu ssion foru m for com m u n ication , collaboration an d sh arin g of resou rces an d artifacts. Figu re 4 an d 5 sh ow som e of th e dyn am ics on th e cou rse n etworks. Figu re 4 sh ows th at it is n ot on ly th e facilitator (th e red dot) wh o was im portan t in th e social in teraction , th ere was a rich tapestry of con n ection s an d in teraction s between participan ts as well. Figu re 5 sh ows th at som e participan ts were m ore im portan t an d in volved in th e Twitter discu ssion s an d sh arin g activities th an oth ers, th ey becam e h u bs; distribu tors of resou rces an d in form ation .

Figure 4. T he com plex net w ork t hat a facilit at or's post generat ed

Figure 5. T he PLENK20 10 T w it t er net w ork

It was h igh ligh ted by n u m erou s participan ts th at th ere is a tran sition al process for people to m ove from bein g a ‘lu rker’ to becom in g a ‘creator’. Novices to MOOCs expressed th eir in secu rity in th e learn in g com m u n ity an d th eir lack of con fiden ce an d tru st th at im paired th eir ability to produ ce in su ch a learn in g en viron m en t;

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. . I’m learn in g an d con tributin g as I go. . . I’m gettin g m ore an d m ore in v olv ed as I go on an d as m y com fort lev el in creases. . . . PLN s, despite best in ten tion s can be quite cliquey (sp?) an d as a n ew com er, that can be quite in tim idatin g. W ill I get m ore com fortable sharin g an d experim en tin g? You bet! (A participan t )

On th e oth er side of th e con fiden ce spectru m , people in dicated th at th ey were au ton om ou s, self-directed learn ers with lim ited tim e on th eir h an ds an d th at creatin g an d participatin g in discu ssion was n ot n ecessarily n ecessary to advan ce th eir learn in g. 54.5% of respon den ts to th e lu rkers’ su rvey in dicated th at th ey h ave always been self-directed learn ers an d do n ot feel th ey h ave to actively sh are an d reply to discu ssion foru m s an d blogs to learn . In addition , 50 .9% h igh ligh ted th at th ey are tactical lu rkers wh o u se particu lar strategies th at are especially u sefu l in th eir learn in g. Th e m ost im portan t restrictin g factor to th eir participation in PLENK were issu es ou tside th e cou rse, related to people’s everyday life, su ch as tim e, job, fam ily an d oth er com m itm en ts, wh ich were given by 8 0 .6% of respon den ts to th e lu rkers’ su rvey. Oth er factors h igh ligh ted as im portan t to lu rkers were: bein g a listen er an d reflector, so n ot bein g active was th e n atu ral th in g to do (34.3%) an d th e perception th at lu rkin g is a legitim ate learn in g strategy (29.9%).

Moreover, th ere were in dication s in th e en d su rvey th at com m u n ication , qu estion s an d feedback from oth ers, especially ‘kn owledgeable oth ers’ wou ld m ove forward people’s learn in g. Th e creation an d discu ssion of digital artifacts in stigated reflection on th e learn in g process an d clearly advan ced th e learn in g of som e participan ts (63.3% of respon den ts). Th ese artifacts m igh t be blog posts, videos, pearltrees, an im ation s, or in n ovative con cept m aps, su ch as in figu re 2. an d wou ld fly arou n d th e PLENK20 10 n etwork an d clearly in spire oth ers to in vestigate tools an d to produ ce artifacts th em selves.

D iscu ssion a n d con clu sion s

Agen cy an d activity are requ ired to th rive in a sem i-au ton om ou s learn in g en viron m en t m ain ly distribu ted on th e Clou d, ou tside th e scope of in stitu tion al edu cation al su pport. It was clear from th e research th at learn ers h ave th eir own ideas on wh at type of activities wou ld su it th em , th eir life styles an d th eir con fiden ce levels, an d th e m ajority ch ose to be in volved in aggregatin g, ‘rem ixin g’ an d sh arin g of in form ation , with ou t gettin g in volved in th e creative produ ction stage. H owever, th e m ajority of participan ts believed th at th e creative produ ction of digital artifacts by som e learn ers, an d th e discu ssion s th at followed on th e n etwork, in spired th em in th e developm en t of ideas an d in th eir learn in g. It seem s th at to brin g ou t th e creative poten tial in people an d to in spire th em in to th e produ ction of digital artifacts, th ey m u st feel com fortable in th eir learn in g en viron m en t an d h ave a certain level of tru st in fellow-participan ts. Th is in addition to feelin g com fortable an d con fiden t in u sin g th e n ew tools th at are available to th em . Th ere sh ou ld be an atm osph ere th at n u rtu res an in n er con fiden ce in th e learn er to en gage in playfu l activities, to experim en t with n ew an d differen t ways of articu latin g th eir th ou gh ts, feelin gs an d ideas, to pu sh bou n daries for creative expression an d th en sh are th ese with oth ers.

Th e Moodle cou rse site, an d especially th e Daily n ewsletter, wh ich was based on gRRSh opper software (Down es, 20 0 8 ) an d aggregated cou rse resou rces an d artifacts created by participan ts, proved to be an an ch or in th e vast Clou d en viron m en t. It provided an in form al sen se of stru ctu re to th e seem in gly vast clou d space an d it gave people th e su pport th ey n eeded to feel com fortable an d con n ected to oth er participan ts. Alth ou gh , n ovices to learn in g on th e MOOC still felt overwh elm ed, in itially, by th e experien ce of th e h igh volu m e of resou rces an d in form ation , n ew con tacts, application s an d tools th at n eeded to be m an aged, learn ers h ad th e space (n ew yet vast) to explore som eth in g n ovel an d allow th eir learn in g an d creativity to flow in a way th at worked best for th em .

Given th e h igh n u m ber of n on -active participan ts on th e cou rse, in th e sen se of n ot produ cin g digital artifacts, a valid qu estion to ask wou ld be if an d h ow we m igh t tailor th e Clou d an d its sh ared an d sh arable application s to en su re th at learn in g an d creativity is en cou raged an d th at people m ake th e tran sition from bein g a con su m er to bein g an active creator? At th e m om en t th e dau n tin g, yet very excitin g aspect of th e Clou d is its vastn ess. It is essen tially a h u ge open space with tools an d application s, poten tially fu ll of ideas, kn owledge, an d experien ces th at people can tap in to if th ey are con fiden t en ou gh an d n ot too risk-averse. As n oted, people take risk wh en th ey produ ce an d sh are som eth in g on th e Web. Th e in teraction with oth ers an d th e reaction to oth er’s creative produ ction h as been a factor in people en gagin g in su ch activities th em selves. It h as becom e clear from th is research th at it does give people pleasu re to express th em selves an d play with Clou d based tools an d application s. We h ave docu m en ted learn er satisfaction from produ cin g som eth in g m ean in gfu l th at can be sh ared in stan tly wh ilst also givin g som eth in g back to oth er learn ers an d possibly sparkin g ideas in oth ers to advan ce th eir learn in g.

Th e research sh owed th at it takes tim e for people to bu ild con fiden ce an d to experien ce th e spark th at drives people towards takin g th at creative produ ction step. It was also eviden t th at th e artifacts th at oth ers produ ced an d th e social in teraction with in th e cou rse n etwork, by u sin g m icro-bloggin g tools an d discu ssion foru m s, in spired an d m otivated people in to creatin g.

Th e m ain differen ce in settin g between th e case stu died in th is paper an d a tradition al (distan ce) edu cation on e is th e em ph asis on a Clou d-based an d dispersed learn in g en viron m en t. It is m ain ly con trolled by learn ers, rath er th an edu cators an d edu cation al in stitu tion s an d as was h igh ligh ted by Sh arpe, Beeth am , de

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Freitas & Con ole (20 10 ), th e tech n ological realities of learn ers are ch an gin g, wh ich im pacts on th eir learn in g expectation s an d learn in g experien ces. Th ey m ake th eir own ch oices of wh om to com m u n icate with , an d wh at resou rces an d tools to u se for th eir learn in g. In th is research , th e u se of th e Daily dem on strated th at som e stru ctu re, provided in a very in form al way, cou ld an ch or an d focu s people’s learn in g jou rn ey with in th e vast Clou d-based learn in g space wh ilst it also seem ed to allow learn ers to reap th e ben efits of its vastn ess. In variou s differen t degrees, it was seen to provide th e n ecessary su pport for th e m an y differen t learn in g con texts on th e cou rse, for differen tiation an d diversity, for collaboration an d u ltim ately em powerin g learn ers to be creative an d take con trol.

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from h ttp:/ / bit.ly/ 358 Wm s [Accessed 22n d Febru ary 20 11].

Vaqu ero, L M., Lin dn er, L M., Rodero-Merin o, L., & Caceres, J . (20 0 9) A break in th e clou ds: towards a clou d defin ition , Com puter Com m un ication R ev iew , v39 i1 pp50 -55, available from :

http://bit.ly/sm2N1V

[Accessed 24/ 10 / 20 10 ]. 26.

Warr, A. (20 0 7) Un derstan din g an d Supportin g Creativ ity in Design , Ph D Th esis, Un iversity of Bath , UK, Un iversity of Bath Tech n ical Report CSBU-20 0 7-0 9.

27.

Warr, A. & O'Neill, E. (20 0 5) Un derstan din g Design as a Social Creativ e Process, Proceedin gs of th e 5th Con feren ce on Creativity an d Cogn ition , Lon don , UK, April 20 0 5, pp118 – 127, Available from : h ttp:/ / bit.ly/ u RoZzY [Accessed 24/ 10 / 20 10 ].

Figure

Figure 2. Exam ple of learner concept  m ap ht t p:/ / bit .ly / hRBM S R)
Figure 3. Exam ple of Pearlt rees of PLENK20 10  resources (ht t p:/ / bit .ly / v w G4CH)
Figure 4. T he com plex net w ork  t hat  a facilit at or's post  generat ed

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