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Massive Open Online Courses (MOOCs) have left their mark on the face of education during the recent years. At the Hasso Plattner Institute (HPI) in Potsdam, Germany, we are actively developing a MOOC platform, which provides our research with a plethora of e-learning topics, such as learning analytics, automated assessment, peer assessment, team-work, online proctoring, and gamification. We run several instances of this platform. On openHPI, we provide our own courses from within the HPI context. Further instances are openSAP, openWHO, and mooc.HOUSE, which is the smallest of these platforms, targeting customers with a less extensive course portfolio. In 2013, we started to work on the gamification of our platform. By now, we have implemented about two thirds of the features that we initially have evaluated as useful for our purposes. About a year ago we activated the implemented gamification features on mooc.HOUSE. Before activating the features on openHPI as well, we examined, and re-evaluated our initial considerations based on the data we collected so far and the changes in other contexts of our platforms.
In an effort to describe and produce different formats for video instruction, the research community in technology-enhanced learning, and MOOC scholars in particular, have focused on the general style of video production: whether it is a digitally scripted “talk-and-chalk” or a “talking head” version of a learning unit. Since these production styles include various sub-elements, this paper deconstructs the inherited elements of video production in the context of educational live-streams. Using over 700 videos – both from synchronous and asynchronous modalities of large video-based platforms (YouTube and Twitch), 92 features were found in eight categories of video production. These include commonly analyzed features such as the use of green screen and a visible instructor, but also less studied features such as social media connections and changing camera perspective depending on the topic being covered. Overall, the research results enable an analysis of common video production styles and a toolbox for categorizing new formats – independent of their final (a)synchronous use in MOOCs. Keywords: video production, MOOC video styles, live-streaming.
In response to the impending spread of COVID-19, universities worldwide abruptly stopped face-to-face teaching and switched to technology-mediated teaching. As a result, the use of technology in the learning processes of students of different disciplines became essential and the only way to teach, communicate and collaborate for months. In this crisis context, we conducted a longitudinal study in four German universities, in which we collected a total of 875 responses from students of information systems and music and arts at four points in time during the spring–summer 2020 semester. Our study focused on (1) the students’ acceptance of technology-mediated learning, (2) any change in this acceptance during the semester and (3) the differences in acceptance between the two disciplines. We applied the Technology Acceptance Model and were able to validate it for the extreme situation of the COVID-19 pandemic. We extended the model with three new variables (time flexibility, learning flexibility and social isolation) that influenced the construct of perceived usefulness. Furthermore, we detected differences between the disciplines and over time. In this paper, we present and discuss our study’s results and derive short- and long-term implications for science and practice.
In response to the impending spread of COVID-19, universities worldwide abruptly stopped face-to-face teaching and switched to technology-mediated teaching. As a result, the use of technology in the learning processes of students of different disciplines became essential and the only way to teach, communicate and collaborate for months. In this crisis context, we conducted a longitudinal study in four German universities, in which we collected a total of 875 responses from students of information systems and music and arts at four points in time during the spring–summer 2020 semester. Our study focused on (1) the students’ acceptance of technology-mediated learning, (2) any change in this acceptance during the semester and (3) the differences in acceptance between the two disciplines. We applied the Technology Acceptance Model and were able to validate it for the extreme situation of the COVID-19 pandemic. We extended the model with three new variables (time flexibility, learning flexibility and social isolation) that influenced the construct of perceived usefulness. Furthermore, we detected differences between the disciplines and over time. In this paper, we present and discuss our study’s results and derive short- and long-term implications for science and practice.
Students beginning their studies at university face manifold problems such as orientation in a new environment and organizing their courses. This article presents the implementation and successful empirical evaluation of the pervasive browser-based educational game "FreshUP", which aims at helping to overcome the initial difficulties of freshmen. In contrast to a conventional scavenger hunt, mobile pervasive games like FreshUP, bridging in-game and real world activities, have the potential to provide help in a motivating manner using new technology which is currently becoming more and more common. (C) 2013 Elsevier B.V. All rights reserved.