Creativity is socially constructed and is not an objective fact at all. How do teachers perceive students’ creativity and how can they foster students’ creative learning? From two case studies, one... Show More

Creativity is socially constructed and is not an objective fact at all. How do teachers perceive students’ creativity and how can they foster students’ creative learning? From two case studies, one in higher education and a second on iPad-classrooms in schools, the paper reflects on didactical concepts for creativity using mobile devices. Interviews, classroom observations and qualitative data were analyzed. The results reveal that the most creativity has been observed when the teacher designed such activities for mobile learning where no correct solution is available. When there is a shift from traditionally separating ICT and education to new co-located settings where mobile devices and education merged into new learning expeditions, then there is a need to rethink traditional Didactics towards Digital Didactical Designs bridging ‘learning what is known’ (curriculum-driven learning) and ‘learning when the answer is not known’.

This paper investigates the potential of mobile learning for creativity in and out of school with a focus on media production. In doing so it attempts to move beyond binary choices around the nature... Show More

This paper investigates the potential of mobile learning for creativity in and out of school with a focus on media production. In doing so it attempts to move beyond binary choices around the nature of creativity (e.g., individual vs social) and the role of technologies for creative learning. To this end, it presents the literature on how creativity has been conceptualized, especially in education, and provides the theoretical underpinnings that supported the study by referring to the Vygotskyan perspective of creativity as a transformative process of culture and the self. It then moves to a description of three experiences addressing young people and entailing the creation of digital artifacts through mobile devices. It also presents some results, exploring learners’ and teachers’ perspectives and showing how mobile devices serve as cultural resources that young people use for meaning making and transforming themselves. The paper concludes with some recommendations for future research.

In this paper, the authors explore the ideas of mobility and creativity through the use of LingoBee, a mobile app for situated language learning. LingoBee is based on ideas from crowd-sourcing and... Show More

In this paper, the authors explore the ideas of mobility and creativity through the use of LingoBee, a mobile app for situated language learning. LingoBee is based on ideas from crowd-sourcing and social networking to support language learners. Learners are able to create their own content and share it with other learners through a repository. The authors have analysed the language content created by second language learners in several European countries to identify creativity in mobile language learning. Three perspectives of creativity could be found: creativity spurred by the situated context or what the authors call “LingoBee moments”, collaborative creative construction of content and creative use of language. Examples of each are presented and discussed. This work has been conducted within the EU LLP project SIMOLA, Situated Mobile Language Learning.

This paper presents a case-study of an individual engaged in the practice of craft brewing and the ways in which his use of a mobile device has supported the informal learning underpinning his... Show More

This paper presents a case-study of an individual engaged in the practice of craft brewing and the ways in which his use of a mobile device has supported the informal learning underpinning his transition from novice towards mastery. Through participant observation, online ethnographic methods and interview data the authors present a description of how the mobile device is used. The authors argue for the importance of considering the role of constraint in the creative process, and the place of expert assessment in evaluating a product as creative. These arguments are contrasted with theorisation of assessment as absent in informal learning or inappropriate for evaluating creativity.

This paper addresses perspectives of creative teaching and learning strategies in the new learning context of mobile technology, particularly for novice learners. The discussion presented here is... Show More

This paper addresses perspectives of creative teaching and learning strategies in the new learning context of mobile technology, particularly for novice learners. The discussion presented here is framed by two case studies and uses an ethnographical approach, informed by participant observation to consider the experiences of users of mobile devices who do not have prior experience with information and communication technologies. Although the lack of prior understanding of the novice user initially presented a hurdle for working with mobile technology tools, it was noted that an ‘innocence of perceiving and behaving’ (Maslow, 1971) could advantage these learners to work in new and creative ways that may not be considered by more experienced users. It was also identified that the creative learning could be facilitated by intentional support and both innovative teaching strategies and imaginative teaching scenarios are important components of this framework.