=Paper=
{{Paper
|id=Vol-2740/20200232
|storemode=property
|title=Pedagogical Design of Digital Learning for Future Art Teachers in a
Virtual Classroom
|pdfUrl=https://ceur-ws.org/Vol-2740/20200232.pdf
|volume=Vol-2740
|authors=Liudmyla Kondratska,Ivan Tsidylo,Mykola Kurach
|dblpUrl=https://dblp.org/rec/conf/icteri/KondratskaTK20
}}
==Pedagogical Design of Digital Learning for Future Art Teachers in a
Virtual Classroom==
https://ceur-ws.org/Vol-2740/20200232.pdf
Pedagogical Design of Digital Learning of Future Art
Teachers in a Virtual Classroom
Kondratska Liudmyla Anatoliivna1[0000-0002-2885-138X] and Tsidylo Ivan Mykolaio-
vych1[0000-0002-0202-348X] and Kurach Mykola Stanislavovych 2[0000-0002-7694-9007]
1
Ternopil Volodymyr Hnatiuk National Pedagogical University, 2 M. Kryvonosa str.,
46027 Ternopil, Ukraine
2
Taras Shevchenko Regional Humanitarian-Pedagogical Academy of Kremenets,
1 Litseyna str., 47003 Kremenets, Ukraine
luda.kondratska@gmail.com, tsidylo@tnpu.edu.ua,
kurachnick@meta.ua
Abstract. The pedagogical design of digital learning of future art teachers
in a virtual classroom have been presented in this article. The development of
the learning process of professional training of future art teachers of is guided
through the creation of a multimedia and interactive path with instructions, ref-
erences, activities and tasks both on computers connected to the Internet and on
a variety of digital devices, such as mobile phones, tablet and laptop. In the first
stage of study learners are gradually introduced into the digital didactics world,
as they are required to deal with a set of digital tools and products. Additionally,
they have to create some specific didactic products leading up to the second stage,
where they will create their digital didactics project in a Mistakes Laboratory.
The advantage of the proposed approach is that, what at the beginning of each
session the digital expert uploads and shares chunks of the course of art history
on the digital didactic platform. Then, learners autonomously explore the content,
select and experience the activities they prefer. From time to time the digital ac-
tivity is interrupted and students have share their ideas and discuss their doubts.
Each session ends with the introduction of a short new chunk of blended and
flipped learning path to be explored as homework on the platform. It will partially
reveal the content of the following meeting. In this way the teachers are induc-
tively engaged as much in the flipped lesson instructional strategy as in real sam-
ples of digital artistic didactics.
Keywords: Digital Artistic Didactics, TEDD educational model, Virtual Art-
classroom, Mistakes Laboratory, blended and flipped learning.
1 Introduction
Over the last decades, there have been a number of research centers and educational
institutions that have linked their activities to the development of digital direction in
arts education. Among them are: Audiovisual Institute, Pompeu Fabra University, Bar-
celona, Spain; California Institute of the Arts, USA; Center For Research in Electronic
Copyright © 2020 for this paper by its authors. Use permitted under Creative Commons License Attribution 4.0 International (CC BY 4.0).
Art Technology, University of California, Santa Barbara, USA; Institut du Multimedia
& Architecture de la Communication, Université Paris II, France; Institute for Electro-
acoustics and Experimental Music, University of Music and Performing Arts, Vienna,
Austria; Media Lab, Massachusetts Institute of Technology, USA;Royal Conservatory
of Music and Dance, The Hague, Holland; Technology in Music and Related Arts, Con-
servatory of Music, Oberlin College, USA; Utrecht School of the Arts, Holland.
However, the paradox of the situation is that the proposed performative concept fo-
cuses only on the egocentrism of the transformer, who once again seeks to open the
“limits of being” in a new way, ignoring the person's gifted ability to transform his/her
conscience and heart for personal disclosure. After all, "all the hardships of time can fit
in the soul of the artist and be overcome not simply by creativeness, but only by creative
innocence, because it leads to the light-truths" [1, p.136].
1.1 Setting of a problem
The widespread use and increasing dependence on Internet resources has put the re-
search landscape of the discipline "Art History" at the epicenter of the dramatic trans-
formations. Initially, this problem was perceived by experts as a success of the new
paradigm of project artistic pedagogy, the essence of which is not the teaching of biog-
raphies of geniuses and the review of brilliant texts, but self-edification of the very
process of their complex formation. The subject of the discussion was thus the creative
practice of tracking the emulative dialogue of tradition and innovation, and conse-
quently the preparation of new majors for the modern globalized art industry of rhi-
zomatic precariousness (C. Bailey&M. E. Graham [2]; H. Ballon&M. Westermann [3];
J. Beaudoin [4]; R. Trish [5]).
Later, the causal spectrum of reflections on the subject expanded to the level of meta-
oscillation. This is evidenced by the results of the 2011 poll initiated by the Samuel H.
Kress Foundation and The Roy Rosenzweig Center for History and New Media at
George Mason University) [6].
The grounds for a critical look at the dialogue between digits and art were the pro-
jects of new media theorist L. Manovich [7], the mathematician K. Bender [8], and the
philosophers J. de la Rosa and J.-L. Suárez [9], whose purpose was to reduce the epis-
temological analysis of the essential meaning of the artistic text to the statistical calcu-
lation of its formal versions (for example, determining the coefficients of visual simi-
larity among six thousand paintings of impressionists; collaboration among 1,840 im-
ages of the figure of Aphrodite-Venus in the art, sculpture and graphics of the XX cen-
tury; the study of the dynamics of changing the "canon of human beauty" on the mate-
rial of 120,000 portraits created during the XIII-XX centuries). In justifying this state
of affairs, digital humanist Alan Liu proposes "a tabula rasa interpretation - the initia-
tion of interpretation through the hypothesis-free discovery of phenomena" [10, p. 30].
In this model, the computer reads texts / images algorithmically, with minimal human
intervention. According to British art historian Professor Claire Bishop, these projects
indicate that their authors have a limited awareness of critical debates within art history
(such as the long-standing, and some would say long-dead, question of 'beauty'), but
also limited grasp on how to frame a meaningful research question [11].
The reason for this disappointing trend, according to Jonathan Patkowski, Ph.D., and
Nicole Reiner, Ph.D., is that, as a result of digital cartography, modern art is being
transcoded into online tutoring and might well reveal empirical findings never before
highlighted in art history, but this method also perpetuates uncritical assumptions about
the intrinsic value of statistics, whose importance, is now gauged in terms of number
of social connections (i.e., documentable acquaintances) rather than artistic innovations
(12). Moreover, in his monograph 'Undoing the Demos', Wendy Brown argues that
digitally-induced neoliberalism should be seen as a new system of governance in which
"all spheres of existence are framed and measured by economic terms and metrics, even
when those spheres are not directly monetized" [13, p. 10], and the liberal arts univer-
sities "toward a model of the student as self-investing human capital" [13, p. 23].
1.2 Analysis of recent publications
These examples signal a fundamental change in the nature of knowledge and learning,
particularly in the arts. To what extent does the new "digital history of art" help to
prepare future art critics and educators? Will students become better critics, researchers
in the arts? Will the question of presence in the artistic text (actions, installations, hap-
penings) of absolute truth be lost? These issues were addressed by F. Cassim [14];
M. Gasper-Hulvat [15]; J. Martikainen [16]; J. Parker [17]; J. Rintoul and J. David
[18]; J. Sienkewicz [19]; D. I. Vanada [20]; S. E. Wilson and L. Zamberlan [21];
J. A. Yavelberg [22]. Judging by Liora Bresler's review [23], they were to be explored
by members of Art Historians Interested in Pedagogy and Technology (AHPT) at the
February 2016 College Art Association conference in Washington, DC.
In the context of the described situation, the need has arisen for maximum humani-
zation of the process of digitization of artistic didactics, in particular the study of the
course of art history. An interesting analysis of the discussions regarding this issue is
presented in the collective monograph 'Teaching Art History with NewTechnologies'.
Reflections and Case Studies' (ed. By Art Scientists at Santa Clara University, KellyDo-
nahue-Wallace and Geoffrey Simmins) [24]. One of the co-authors, Laetitia A. La Fol-
lette, Ph.D. Artand Archeology of Harvard-Radcliffe and Princeton University, [24,
p. 44-57], summarizing ten years of teaching history of the arts, presents examples of
intriguing anthropological tasks designed to be digitally executed.
The art historian Eva R. Hoffman also offers interesting variants of the implementa-
tion of an online art history survey course, explaining how she reconciles art history
with traditional pedagogy with the potential of a computer-based course management
system. This, in her opinion, promotes the interaction of alternative ideas to help stu-
dents understand complex intercultural relationships [24, p. 79-98].
Eva J. Allen, Honorary Art Board Member in UMUC's Arts Program for Twelve
Years, in the article Tradition and Innovation: Using New Technology in Online Art
History Surveys, describes her own experience in developing a media center and digital
implementation of the 'Creativity-Integrated Art History' concept [24, p. 98-109].
Case studies of the art historians Kelly Donahue-Wallace and Geoffrey Simmins are
devoted to a causal analysis of the successes and failures of activating the motivating
participation in Online Art History Courses [24, pp. 109-119; 119-130].
Duke University professor Caroline Bruzelius and multimedia analyst Hannah Ja-
cobs in their report "Neatline: Syllabus as interactive visualization” examine the impact
of Neatline – a visualization plug-in for the content management system Omeka which
spatial, textual and other media forms for students to master artistic and historical ma-
terial (that highlight spatial and temporal relationships across art historical narratives)
[25].
In 2014, Carey Watson, professor of art history, and Anastasia Salter, professor of
digital media and game design, collaborated to create a special computer game for use
in a 20th-century art history course at the University of Central Florida. The course was
designed for blended learning technology, where once a week for fifteen minutes, stu-
dents meet for lectures and the rest of the material is transmitted online through Web-
courses, a virtual-game-based learning management system. This, according to the au-
thors of the project, provides the process of learning with the nature of design activities
[26, p. 100-111].
1.3 Purpose
Taking into account what was mentioned above, the purpose of our study was to sub-
stantiate and experimentally test the effectiveness of the proposed pedagogical design
of digital learning of future art teachers in a virtual classroom. We're talking about an
experience of teaching a digital course of brief history of arts (DCHA) for bachelors in
the specialty 014 ‘Secondary Education’ (Culture and Art) at Ternopil National Peda-
gogical University named after Volodymyr Hnatyuk, Faculty of Arts [27]. The structure
of our project aims to meet students needs through the combination of three basic com-
ponents: metacognition, critical thinking and collaboration. The course involves stu-
dents in various digital projects related to a wide range of genres and styles of academic
and generative art.
2 Research results
2.1 Methodology
The idea behind the proposed Digital Course in Brief History of Arts (DCHA) is the
Creativity-Integrated Art History. That is to say about the history of art as a practical
course of mastering the various of art technologies and their semasiological inter-
pretation for future using in the professional live. This process will involve a change
in the paradigm through which art history explains products of creative achievement.
The proposed educational approach aims to meet the need of students in the design
process by combining its three main components: metacognition, the iterative divergent
and convergent thinking and collaboration. It draws on a plural coexistence of diverse
learning theories, such as connectivism, experiential learning and performative project-
based learning.
The learning process is guided by the creation of a multimedia and interactive path
with instructions, references, actions and tasks. Participants interact on computers con-
nected to the Internet and on various digital devices such as mobile phones, tablets and
laptops.
The course structure is open and flexible. At the beginning of each lesson, the digital
expert offers a fragment of the content of art history on a didactic platform. Then stu-
dents independently explore the content: interpret and even try to virtually create their
own samples of genre and style phenomena of the era. The digital expert sets time lim-
its, manages technical needs and provides individual support to participants, in the
classroom and online. Every twenty minutes, digital activity is interrupted to implement
active coaching strategies. Each session ends with the staging of a new performative
project.
So, the methodology of digital pedagogy of creatively integrated art history is based
on the following laws:
enhancing the role of learning as a design activity (requiring a system of organizing
the learning environment and the use of a set of digital tools for managing learning
motivation);
increasing the degree of intelligence and creative structuring of artistic activity;
functional and meaningful reorientation of learning technologies and methods;
the dominance of infographics, which, unlike narrative, better reflects the essence of
an interdisciplinary, integrated approach to learning in the face of complex, non-
linear logic;
reducing the length of training courses.
The virtual nature and interactivity of studying the history of art as a history of artistic
creativity are determined by the following principles:
substantive synergies (honoring each individual encounter with the culture, style and
genre of creativity in the context of a holistic vision of an era that unites students in
research teams);
enrichment of expressive means of educational artistic and creative activity;
multimedia training;
the growth of the interactive role of the computer program user in the process of
artistic and creative learning;
autonomy of the learning environment;
inclusive evaluation.
In the situation of post-truth crisis caused by the process of digitization of the student's
educational behavior, we have chosen to focus on changing the role and content of
didactics: from providing to formation. The author's concept confidently implements
the idea of “Learn in order to be!” (note: to be not just a person, and not a subject of the
social process, but an identified personality). This ascent can be done only by an indi-
vidual knowing love and loving knowledge, since to love means to be constantly will-
ing to contemplate the Light of Truth (in every sphere of activity).
However, we must the teacher is not only a didactic, design engineer, information
resources manager, capable of transmitting as much as possible actual and accessible
information for the modern student with the purpose of its successful practical imple-
mentation. He/she seeks to be an artist, inspiring students to learn as creativity, and
most importantly, through the incorporation of ICT resources, contributes to the mod-
eling of pious digital citizenship. It is not about copying the affective but doomed rift
of the main character of the movie "Sphere" (Dave Eggers, 2017) to make the transpar-
ent and controlled net-world "live for love". It is meant to be unobtrusive to create an
environment not just of secure internet users, but of compassionate, inquisitive, respon-
sible and respectful people and other online citizens. In the VUCA world, this encour-
ages continuous learning to know, learning to do, and learning to be together, and with
others in friendly communication with others. Otherwise, we will educate ironic artist
educators, architects-nominalists of their own and other people's lives, who are guided
by the motto "I want it my way".
2.2 Pedagogical design of the course
In this section, we wish to propose a framework to integrate creativity into the pedagogy
of art history. This integration suppose the guiding of the learning process to the crea-
tion of a multimedia and interactive path with instructions, references, actions and
tasks. Participants interact on computers connected to the Internet and on various digital
devices such as mobile phones, tablets and laptops.
The course structure is open and flexible. At the beginning of each lesson, the digital
expert offers a fragment of the content of art history on a didactic platform. Then stu-
dents independently explore the content: interpret and even try to virtually create their
own samples of genre and style phenomena of the era. The digital expert sets time lim-
its, manages technical needs and provides individual support to participants, in the
classroom and online. Every twenty minutes, digital activity is interrupted to implement
active coaching strategies. Each session ends with the staging of a new performative
project.The question of the artist and his/her work is solved mainly by us in connection
with the three problems of the metaphysical order. First, the essence and ultimate pur-
pose of artistic activity, whether free or servile, has always been considered in relation
to the highest good and the highest perfection. Secondly, the activity of the artist, the
man of action is regarded as a primum analogatum logice sumptum before contempla-
tion of the Truth. Finally, the third question that raises the issue of the artist's creativity
is the problem of beauty and freedom in interpreting it as possible factors in the path to
Salvation.
The learning process is guided by the creation of a multimedia and interactive path
with instructions, references, actions and tasks. Participants interact on computers con-
nected to the Internet and on various digital devices such as mobile phones, tablets and
laptops.
Each module of course contents consist of short videolectures (8 to 15 minutes) with
a wealth of illustrative material (e-bank course includts samples of different styles and
genres of the art of Ideas or Genesis and a series of tasks involving both theoretical
research and practical project content fulfillment). That is, students are offered a new-
generation electronic guide using computer programs to study the features of interpre-
tation and the creation of texts that allow to improve the design activities in order to
gain artistic competence. Presentation of educational content is provided by future art-
ists-teachers in audio-video conferencing, -action, -performance formats, as well as us-
ing instant messaging and participation control tools, an online whiteboard for real-time
mutual cooperation.
The pedagogical design of the course involves a sequence of traditional 5 steps:
analysis (needs and competences of the target audience, goals and expected learning
outcomes, methods and forms of their implementation, interactive training course
tools);
designing (selection and evaluation of a pre-test of the course and the audiovisual
scenario of the course, tools and methods for supporting new versions of training);
development (structuring of content, feedback forms, tools for summarizing practi-
cal work);
implementation (peer-to-peer culture, adaptability and personalization of learning,
uploading the course to the Learning Management System (LMS), facilitation of the
chance of error);
evaluation of efficiency (individual blocks and updated version of the whole course).
Fig. 1. Stages of pedagogical design of the course.
Effective realization of this stages proven that it logically combines the results of adap-
tive, flipped learning, micro-learning, gamification and new formats of full-time learn-
ing (meetup, learning journey) with VR-technologies and algorithms of artificial intel-
ligence (chat bot). In order to efficiently use the benefits and reduce or compensate the
disadvantages of each approach, the following principles of blended learning should be
taken into account:
organizing an environment of high achievements (the conscious movement towards
the goals by the defined route that encourages learning activity);
personalization of learning (the student him/herself determines (to varying degrees)
where, how and why he/she will learn);
full assimilation of the learning material (before moving on to the new material, the
student seeks to fully master the necessary information from the previous sections);
the sequence of learning (students’ preliminary familiarizing with the material →
understanding theoretical knowledge obtained from the teacher → practical appro-
bation);
audio and video formation of the methodological base (virtual seminars, content
blocks of the course);
practical implementation of the acquired professional competence;
continuous micro-learning;
tutor online support.
In order to provide each student with favorable conditions for the development of epis-
temological reflection, the designer should listen to wise advice: technology only sets
the rhythm and creates music, and movements in dance are determined by pedagogy.
With this in mind, we created students are specifically involved in a Mistakes Labora-
tory or MLab. It is an inspirational learning space, where they create, develop and share
a didactics projects (according to their teaching goals and needs), supported by the dig-
ital expert. n the Mistakes Lab we active created Technology of the Educational Digital
Devices (TEDD), which includes such installations as:
Edmodo,www.edmodo.com;
Doodle, www.doodle.com;
Google Modules, www.google.com;
Padlet, www.padlet.com;
Coogle, www.coogle.it;
Tes-Teach, www.tes.com;
Survey Monkey, www.surveymonkey.com.
Below we present the functional-structural model of the proposed technology (tables
1, 2, 3):
Table 1. The structure of studying for each module of the course.
Session Activities Digital tools
1. Working to- Collaborateon a digital plat- Edmodo;
gether form; define user profile; interact, google modules;
comment, upload pictures, videos doodle.
and texts; create a digital class-
room; create, answer and share a
digital calendar.
2. Digital Tools Brainstorm ideas; collaborate Edmodo; Padlet;
Kit and share; create a digital ques- google drive; google
tionnaire; select, collect and or- modules; tes teach;
ganize resources; create a mind coogle.
map.
3. Mistakes Lab Project-based work; Digital tools kit;
Intermediate Digital Survey. survey monkey.
4. Mistakes Lab Project-based work Digital tools kit
5. Mistakes Lab Sharing Gallery Final test Digital tools kit
Table 2. Classification of e-resources (platforms, modules, websites, programs) for pedagogcal
design.
e-resources Pedagogical goal Student project
Edmodo, Setting creative coopera- Organization of perfor-
Google Drive tion mances, happenings, actions,
(Google Slides, meetups, videoconferences
Google Docs)
Doodle Activation of initiative and Creating a digital schedule
entrepreneurship of events and meetings in vir-
tual art class
Google Mod- Collection and epistemo- Conducting digital ques-
ules logical analysis of art history tionnaires
information
Padlet Prezi Generation of the process Realization of technolo-
of allegorical, tropological and gies of organization of art-re-
eschatological contemplation flexive action and anthro-
of artifacts pokinetic workshop
Coggle Selection, classification Creating an interactive
and organization of resources web map
Tes-Teach Selection and analysis of Application during semi-
information resources nars, practical classes, in the
Mistakes Lab
Survey Mon- Assessment and analysis Application for intermedi-
key, Plickers, Ka- ate digital survey
hoot, Quizizz,
Google Forms
Table 3. Implementation tools of this technological model.
Type of educa- Forms of training Technological means
tional interaction
“Student → independent work; an interactive illustrations bank;
Electronic self-control; electronic tests;
Means of Edu- 'off-line' testing; portfolio;
cation” electronic dictionaries and ency-
clopedias;
“student ↔ stu- mutual evaluation; wiki-page;
dent” discussion of the mailing list;
task; e-mail;
“teacher↔ stu- individual off-line wiki-pages
dent” consultations; guest books;
differentiated con- bulletin boards;
trol; mental maps;
mailing lists;
a text forum;
e-mail;
“teacher ↔ multimedia lecture; "white boards";
group” tutorials; blogs;
virtual off-line semi- guest books;
nars; bulletin boards;
electronic testing; mental maps;
video off-line lec- e-mail;
tures;
off-line laboratory
work;
“student ↔ individual off-line a text forum;
group” project presentations; newsgroups;
off-line defense of
the abstract;
“group ↔ webinar in on-line chats;
group” mode; videoconference;
virtual creative work audio conferencing;
in 'online' mode; web forums;
intermediate lecture. wiki-systems.
2.3 Virtual Art Class Functions
This makes it advisable to create a virtual art class, a psychologically comfortable
online learning environment that provides live interaction between students and the
moderator, who guides the learning process and supports group activities and discus-
sions. High interactivity of the virtual art class, instant synchronous communication
directly in artistic activity and various forms of art practice (especially in combination
with self-study platforms, positive and constructive feedback) contribute to the for-
mation of a sense of community. A large selection of DCHA software for web design,
interaction design, graphic design, document publishing, 3D modeling and animation,
sound production and application development is available in the art class for DCHA
students. In addition, the art class has a four-screen immersive projection system that is
coupled with a nine-channel audio system. The AMax 8 patch can be downloaded as a
template for outputting video / 3D environments to the four-channel projection screens,
and can be downloaded as a template for outputting audio to the nine-channel surround
sound system which includes a five-channel patch as well. This software is used by
students in the classroom and during open laboratory hours. If the student is late or
absent from the class, ADDIE's digital interface allows him/her to watch video demon-
strations created with technologies such as a Chromebook or iPad. Thus, the virtual art
class has created the conditions for the implementation of various forms of multimedia
presentation of educational information. This helps to achieve the variability, flexibility
and adaptability of its comprehension.
At the beginning of the course, a series of guided and semi-organized activities en-
courages students to become familiar with the use of a digital toolkit on the learning
platform. Afterwards, students are specifically involved in the so-called Mistakes Lab,
where they create and share didactic projects according to the set learning goals and
needs with the support of a digital expert. The Mistakes Lab acts as a learning space
where students and faculty can meet and collaborate, build their own "audiovisual
bank", share new experiences and insights in a vibrant community of inspirational dig-
ital practices.
One of such practices of generative art was exemplified by the project “Mona Lisa:
Beyond the Glass” created by Vive Arts using eleven HTC Vive Cosmos VR Headset
(https://www.admiddleeast.com/art-design/art/the-louvre-has-re-created-the-mona-
lisa-in-3d-with-incredible-detail).
Fig. 2. Mona Lisa: Beyond the Glass/ viveport.com.
Students online, along with other Louvre visitors, spent seven minutes alone with Gio-
conda and were able to learn more about Lisa Gerardini, as well as the artistic methods
and history of the painting. In particular, Using X-rays, infrared imaging, and refractive
data, the VR program digitizes the Mona Lisa in an exquisite level of detail, revealing
aspects of Leonardo da Vinci’s masterwork that would otherwise be invisible to the
naked eye.
Below we present the Virtual Art Classroom available Tools of digital learning of
future art teachers (see fig.3).
Fig. 3. Digital Tools of Virtual Art Class.
3 Results
3.1 Research Design
At the beginning of the study we developed a theoretical model of implementation of
the pedagogical design of digital learning of future art teachers in a virtual classroom
(see Figure 4).
Fig. 4. The theoretical model of implementation of the pedagogical design of digital learning of
future art teachers in a virtual classroom.
The research design of digital learning for future art teachers in a virtual classroom
includes such elements:
defined the universe of research of digital learning of future art teachers in a virtual
classroom;
selected research base;
organized target group or respondents;
variables in the context of the research problem;
direction of research;
framework of research construction.
3.2 Pilot Study
Pilot Study I
A pilot study was undertaken. Structured questionnaires with relevant questions on
the prioritized themes was identified. Three instruments were used:
Stanford – Binet Intelligence test;
Emotional Quotient test and finally the;
Volition Quotient test.
Four analyses have been done – Reliability Analysis, ANOVA Analysis and Factor
Analysis & Correlation Analysis. The Results arrived at are optimistic and as given in
Results I - IV.
Result 1: The reliability co-efficient is very high indicating high quality data cap-
tured fromthe group of respondents.
Result 2: The curvi-linear behavior of respondents is evident under the ANOVA
analysis.
Result 3: The Correlation analysis results are indicative of Volition being associated
with Emotion. Many values of correlation coefficients are significant, suggesting a
strong association between Emotions and Volition.
Result 4: On the basis of values of the component matrix statements which have a
factor loading of 0.5 or more will be retained in the final questionnaire as per Factor
Analysis.
Fig. 5. Levels of formation of criteria for artistic and creative competence.
Pilot Study II
Final testing of future art teachers after studying the DCHA course revealed the level
of gaining of their artistic and creative competence by the following criteria:
ability for self-organization and self-education;
ability to epistemologically comprehend and use basic information on art history,
theory and methodology;
ability to critically perceive concepts of different schools of art in methodology and
historiography;
the ability to apply specific artistic and pedagogical knowledge to create original
creative projects.
The visualization below illustrates the level of artistic competence of the bachelors (35
people) by each of the criteria defined before and after the pedagogical interaction dur-
ing the academic years of 2017-2019.
Thus, at the start of the DCHA course, nearly 44% of respondents found a lack of
artistic and creative competence, which prevented them from properly pursuing their
design initiative. In 36% of respondents, readiness for design activity was medium.
20% of respondents demonstrated superficial knowledge of art history, theory and
methodology. Unfortunately, none of the students showed the highest level of readi-
ness.
Fig. 6. Levels of formation of artistic and creative competence before and after pedagogical de-
sign.
After the pedagogical interaction, the respondents became more active in displaying the
ability to organize themselves in the application of special artistic and pedagogical
knowledge for the creation of original creative projects. As a result, 16% of respondents
"rose" to the average, 10% - to a higher level, and 12% of respondents showed the
highest level of readiness for artistic, creative and spiritual-educational activities.
4 Conclusion
The proposed methodology for the digital teaching of art history as a history of artistic
creativity has a broad prospect of introduction into the process of professional training
of teacher-artist for the school of generation Y. It provides students with a flexible
knowledge transfer tool that allows the recipient to be immediately and fervently inter-
ested in the novelty of the material. Moreover, it is about folklore, academic art and
modern art practice of highly artistic samples - digitized in special audio formats
(WAVIAIFF) and on video files (using a gigapixel camera). They are structured in the
light of the continuity and methodological expediency in view of the process of con-
templation of the 'deep invisibility of the visible' [1, p. 238] in the process of spiritual
and educational activity.
Two priority areas for digital arts education are envisaged in the future:
methodological, to extend the experience of the virtual art class, on the basis of
which it is possible to continue the process of creating master's programs, bachelor's,
advanced training courses and programs of professional retraining of teacher-artists;
creative, which implies the creation of an effective educational environment for the
introduction of a model of learning as a design activity of a person with metamodern
psychology.
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