Digitally Enhanced Blended Learning report

This week I was on a panel hosted at the House of Lords to discuss the launch of the Digitally Enhanced Blended Learning report. The research is from the Higher Education Commission, written by Alyson Hwang.

Close up of red and green wallpaper with an heraldic pattern
Very House of Lords wallpaper

The report’s research heritage has its roots in scrutiny of online learning during Covid lockdowns but things have come a long way since then. The Office for Students commissioned a review of blended learning, led by Professor Susan Orr which was published in October 2022 which forms a basis for this new research. The key finding from that 2022 work was that teaching quality is not relative to mode:

“The review panel took the view that the balance of face-to-face, online and blended delivery is not the key determinate of teaching quality. The examples of high quality teaching that were identified in this review would be viewed as high quality across on campus and online modes of delivery. This also applies to examples of poor teaching quality.”

Blended learning review,  Report of the OfS-appointed Blended Learning Review Panel, October 2022

It seemed that everything moving online during Covid had caused a culture shock and certain voices in Westminster decided that learning online couldn’t possibly as good as learning in buildings. Plus, some students were making the case that they were paying the same fees for an inferior experience.

This was more about university as a cultural-rite-of-passage than as an educational journey, but it largely got framed as being about ‘learning’. A valid question here would be ‘which students are we taking about?’ and ‘on what basis?’. See this recent piece from the Guardian by Roise Anfilogoff, who points our that for many students university became significantly more accessible during lockdowns.

The new report

The Commission found that blended learning has the transformative potential to widen participation and access to higher education for all, improve equality of opportunities, and enhance learning outcomes.

Digitally Enhanced Blended Learning Report, pg 20

The Digitally Enhanced Blended Learning report builds on the Review of Blended Learning, adding information from evidence sessions, interviews and written submissions to support a rangy set of recommendations. The case studies root the research in current, successful, practice.

It’s notable in how positive it is about blended learning and while there are many caveats, all the case studies and stats are upbeat. I’m sure this is an effect of asking institutions to share stories, rather than a taking a detective work approach. However, given the Covid heritage of this line of reporting it’s interesting that nowhere is blended learning portrayed as a bolt-on or fundamentally ‘not as good as’ being in physical rooms. I sense we are heading towards post, post-Covid times in quite a helpful way.

The report covers a lot of ground, ranging from the need for leadership to the state of the ed tech market. All-in-all it’s a useful body of work to support institutional strategy and to make the case for investing in Digital Education in the broadest sense.

Year zero

Much of what is covered and recommended are things which those of us in Digital Education have spent many years arguing for. In this sense the report is largely describing the current start-of-play rather than presenting possible futures. Covid is taken as a kind of year-zero for blended learning which doesn’t change the value of what is being said but always feels strange for those of us who have been working in the space since the 90s.  

The following recommendations in the report are ‘classics’ and well underway in many places:

  • The need for senior leadership roles that own and promote blended learning.
  • The need for more staff development and time to be made available in workload planning for this.
  • The need to incorporate digital literacy/capability into all curriculum to equip students for the workplace (and, I’d add, life…)
  • The need for commercial ed tech development and procurement to be more agile, and possibly collective (Open Source doesn’t get much of a look-in).

Certainly the Association for Learning Technology community have been extremely active in these areas and are well placed to contribute to any cross-sector work.

Asynch

The aspects of the report which open up the most interesting areas for me are around how we might develop more nuanced models of ‘blended’ as a practice and how ‘Quality’ might then be defined. The report proposes the following model:

Time, pace and timingSynchronous and Asynchronous
Space Place and Platform
MaterialsTools, facilities, learning media and other resources (digital, print-based or material)
GroupsRoles and relationships (teacher-led and peer-learning, varieties of learning groups)
Digitally Enhanced Blended Learning Report, pg 7

This is a useful and useable set of categories and it’s heartening to see the concepts of space and place in there. The report goes onto suggest how quality might be overseen, or measured, in recomendation12:

The Office for Students should establish a single, coherent approach for assessing the quality of online and blended learning as the designated quality body, ensuring that metrics do not impose additional bureaucratic burdens on the HE sector.

Digitally Enhanced Blended Learning Report, pg 6

This is complex and problematic because, as the report mentions, all provision is blended to a degree and so any coherent approach for assessing the quality of online and blended learning will actually be assessing all provision. Moreover, if we believe that this is about the quality of teaching (and design of provision) rather than the mode then why would we want to focus on mode? Not to mention that we already have a significant burden of regulation which the report alludes to as potentially distracting.

The HE sector is facing a significant challenge due to the regulatory landscape’s lack of consistency and stability. This diverts resources from developing teaching practices, investing in digital infrastructure, and improving students’ experiences.

Digitally Enhanced Blended Learning Report, pg 33

Teaching beyond mode

This all comes back to a knotty point that, in regulatory terms, we don’t have a workable definition of teaching that operates super to mode and can be applied across face-to-face and digital. For example, when you sift through the OfS Conditions of Registration the examples given which relate to teaching have their roots in face-to-face, ‘synchronous’ practices. There are refences to the need to use ‘current’ pedagogies in digital delivery but these are not described. As in this ‘possible cause for concern’:

The pedagogy of a course is not representative of current thinking and practices. For example, a course delivered wholly or in part online that does not use pedagogy appropriate to digital delivery, would likely be of concern.

OfS Conditions: B1: ‘Academic Quality’, B1.3
High Quality Academic Experience, Cause for concern 332H (b.)

It’s reasonable pedagogic specifics are not described given that ‘current thinking’ is a moving target. However, the side effect of this is that teaching is frequently refenced but never described, which means we fall back into a ‘contact hours’, teaching is the live stuff, way of thinking. Ultimately, most of our measures of teaching quality are proxies via student experience. There is plenty of merit in that but it contributes to the problem that our shared understanding of what teaching is (and what it isn’t) is always implied, or assumed, and never made explicit.

The asynchronous unicorn

Although the regulatory body provided some practical guiding principles, the metrics for assessing the quality of blended provision could be clarified to guarantee quality education rather than penalise innovative practices.

Digitally Enhanced Blended Learning Report, pg 32

This is important because until asynchronous forms of teaching are actually understood as teaching we won’t be able to describe the value of blended, or fully online, learning. Until ‘non-live’ pedagogies are mapped into our understanding of quality we won’t, as a sector, be able to see our own provision clearly.

The effect being that the way in which the digital can support truly student-centred flexible provision will not be acknowledged and much progress in access and inclusion will remain ‘invisible’ to quality frameworks. This extends to the way we design contracts, manage workloads, increase student numbers and widen access. The latter being a key hope attached to the hypothetical flexibility of online and blended provision, especially for those already in work:

Contributors to the inquiry voiced how student needs and demands are changing in line with the economy – more than ever, students are benefitting from flexible, personalised, and accessible delivery of their courses.

Digitally Enhanced Blended Learning Report, pg 4

As mentioned, the key here is to describe and communicate-the-value-of ‘non-live’ teaching in a mode agnostic manner. This isn’t about Digital, it’s about teaching and flexibility– it just so happens that Digital allows us to undertake many forms of ‘non-live’ teaching (whereas non-digital forms of asynchronous largely rely on a postal service).

(aside) What do we think of when we think of teaching?

I’d like to undertake a research project where we ask a cross section of staff and students to describe what they understand by the term ‘teaching’. I suspect views will vary wildly and worry that many of them will be quite narrow.

What can we take from the Digitally Enhanced Blended Learning report?

There is plenty of useful stuff here and I’m sure it will be quoted in many strategies and budget asks. It’s a useful step forward, not least of which because it reflects the reality of the majority of the sector and not some kind of Oxbridge cultural romanticism, projected out from, bricks and mortar.

Overall, I’d ask where the investment and capacity might come from during nervous times and I’m wary of a narrative which is based on the White Heat of Technology as it’s never really about the tech, it’s about the business model. Certainly, in a sector where we are generating an ever growing staff precariat, introducing technology to make things ‘more efficient’ is likely to contribute to instability. I say this not entirely from a Marxist perspective but because I believe that meaningful teaching will always involve confident, highly capable, professionals.

To give the report it’s due, at no point does it suggest that we should do everything with AI or something along those lines, it’s driving more of an access than efficiency agenda, but it’s focus on mode, rather than the practice of teaching could lead people the wrong way. My hope is that the constructive and measured character of this report will provide a basis for us to develop more sophisticated models of practice and quality which are not tied to mode and therefore don’t segregate digital.

Creative Education Online (CEO)

A conversational seminar series exploring the future of creative art and design education in digital spaces.

The material in the digital.

Digital spaces and practices are evident in almost all creative and learning journeys. This is reflected in students’ experience of Higher Education and in the Creative Industries’ increasing emphasis on online collaboration.

However, fully online creative education remains difficult to imagine as it appears to contradict key characteristics inherent in ‘residential’ provision in various ways, for example:

  1. The ‘desituating’ of material practices, embodiment and notions of co-presence.
  2. An assumed lack of ‘togetherness’ and group cohesion through increased flexibility of provision.

In conversation with experts this series will explore the challenges and opportunities for fully online and digital creative education, the implications for the identity of our subjects and institutions.

To what extent does online provision amplify and reflect current tensions around access, scale, and creativity? What aspects of subject tradition should be questioned in the attempt to be more inclusive and what should be protected?



Context and call

I’ve been working with Chris Rowell and Ruth Powell in the Teaching and Learning Exchange to put together a seminar series with a focus on fully online creative education. The format will be similar to Chris’ excellent ‘AI conversations’ from which he produced a digital book: ‘AI Conversations: Critical Discussions about AI, Art and Education’.

Each seminar will be a 30-minute informal interview, or conversation, with an expert on the relevant theme followed by 15 minutes of Q&A. They will take place on the 1st and 3rd Friday of each month, hopefully starting in May 2024. Below is a brief description of the series and a selection of draft themes.

If you are interested in being the ‘expert’ half of a conversation on one of the themes below, or if you’d like to suggest your own theme within the framing of the series, then let me know on david.white@arts.ac.uk. The questions for each conversation can be agreed in advance, with a focus on fully online but with space to go wider if relevant as almost all themes will have implications well beyond any single mode of ‘delivery’.

Suggested themes

Not all of these themes are my ideas, some came from Chris Rowell and Ruth Powell. I did draft them all, so they are written from my perspective. You might like the look of a theme but want to rework it so it comes from a slightly different perspective. Some of the themes are quite well thought through, while others are just the sketch of an idea. You might also notice that a similar theme has been expressed in more than one form.

Hopefully they give a sense of some of the ground we’d like to cover.


Desituated curriculum

What does it mean to teach creative subjects with little or no shared access to buildings?

Or

What are the implications of teaching and learning having no clear ‘situation’? Everyone involved is embodied in different locations, potentially with no geographical or spatial resonance?

The ‘virtual’ crit

The crit is central to Art School teaching, a practice with a heritage in Fine Art which carries through to many creative subjects and is commonly viewed as a signature pedagogy. Inherent in the crit dialogue in a communal situation. How does this play out online where a sense of togetherness is perhaps more ephemeral and the artefact under consideration will be digital or will have been translated into the digital.

What does an authentic crit look like in online spaces? What is gained and what is lost as we transpose a revered teaching practice into a new context?

Anti-oppressive online

Beyond notions of inclusion, we can ask what it means to be anti-oppressive online. What pedagogic practices “…legitimate students’ epistemologies, foster reflection and discussion, establish expectations of critical awareness, and democratize educator and student roles.”* 

How does the principle of anti-oppression operate in digital spaces and places? How do we successfully navigate the ‘built-in’ power assumptions our online platforms and our own institutional cultures?

*Migueliz Valcarlos, M., Wolgemuth, J.R., Haraf, S. and Fisk, N., 2020. Anti-oppressive pedagogies in online learning: A critical review. Distance Education41(3), pp.345-360.

AI and creativity

Does AI make us more, or less, creative? How is It being incorporated into creative processes? Where is it redefining, or erasing, practices? Where has it morphed esteemed practices into ‘skills’? What are the implications for creative subjects and identities if we consider AI as a technology of cultural production?

AI literacy, AI use

What literacies and uses are emerging in creative education. Exploring day-to-day practices and implications (staff and students). What aspects of AI literacy should we be focusing on as creative educators?

Translate to engage?

Instantaneous text-based language translation was an early, widely available, use of Large Language Model AIs. Now the same process can work in real time with text or audio.

In UK Higher Education there is anecdotal evidence that some students who have English as an additional language habitually translate teaching into their primary language to engage.

Is this a technology of decolonisation and inclusion or a twisty example of cultural homogenisation by Silicon Valley? What does this mean in terms of belonging and the intercultural in an education system which is resolutely ‘taught and assessed in English*’?

Can we imagine the 100% translated course?

*If we are speaking from a UK perspective.

Assessment, feedback and tech

To what extent has a move into the digital environment modified our assessment and feedback practices? Are we replicating or reimagining?

For fully online provision, what does it mean to be assessing a digital simulacrum of material work? Is a shift in emphasis from ‘realisation’ to ‘process’ in assessment a radical turn or simply a reflection of ‘good practice’?

Dispersed materiality

How do we reconceptualise ‘Studio’ as a concept (a shared space, a set of practices and dispositions) when making is dispersed, distributed across time and geography?

A lack of object-ivity?

How does/should object based learning work in the immaterial digital environment?

The tantalising prospect of digital ‘immersion’ – placemaking with VR/XR.

One response to the immaterial nature of the digital environment is to simulate the ‘real’. To what extent is the use of VR/XR a legitimate method of ‘uploading’ art and design practices into the digital? Does spatial tech draw us together by providing new places of co-presence or does it exclude and isolate?

Being and belonging

Creative arts demand a pedagogy of becoming – being through doing. Given the flexible and dispersed nature of online education how do we ensure we are creating the conditions for this?

Digital mess

The spaces of online education are commonly designed in the context of a corporate philosophy of efficiency and task management – they are spaces as imagined by Silicon Valley. Add to this the inorganic nature of computing and the creative possibilities inherent in the massy and the unpredictable become attenuated. To what extent can we co-opt these environments towards mess and chaos-within-bounds which so often inspires the creative process?

Digital and climate emergency

To what extent is moving creative education online an effective response to climate emergency. What are the factors in designing a low carbon digital curriculum? Are we simply dispersing our responsibilities across a myriad of physical locations or does a reduction in travel immediately make fully online education the most climate-ethical mode of education available?

Lumpy stuff and digital

The plastic arts, getting your hands dirty, materiality etc. Where do we handle the ‘lumpy stuff’ in online creative education? What happens when the tactile, the visceral, cannot be sensed or shared through physical co-presence. Is it possible to meaningfully ‘make’ when dispersed across many localities. Additionally, how might we transpose the lumpy work into the digital without losing its essence. What does it mean when all work ends up as a digital image?

Creativity in corporate spaces: i.e., “Microsoft is the location of your college”

Similar to the Digital Mess theme but with more focus on the implications of relinquishing our spaces to Silicon Valley. There is something here about the corporate ownership of communal spaces and notions of the ‘safe space’ online.

Flexibility vs communality

Fully online education is a pragmatic option for people will full lives. It can be offered flexibly to account for the ebb and flow of work, caring responsibilities and ‘life happening’. However, this flexibility erodes the notion of the cohort and the shared experience of a group going on a journey which is ingrained in creative education. To what extent is flexibility the enemy of communality and belonging? What are the possible design responses which create the potential for communality without always mandating that students ‘build their lives around the course’?

Immaterial making

A Fine Art educator once commented that during an online Fine Art MA the students central practice became the art of making PDFs.

How do we ensure that the screen does not dominate in making subjects? What might be effective and enjoyable methods of sharing and communicating the material via the immaterial?

Access vs supervision

Creative arts education is centred on the development of individual and collective creative practice. This lends itself to a ‘pedagogy of supervision’ which supports individualised dialogue and questioning. While this is likely to be meaningful and inspiring for the few who can access it as a form of education it is inherently expensive, demanding significant amounts of academic/teaching time.

To what extent does a financially viable and accessible approach to online education negate a supervision approach? Is it possible that accessible online education unpicks the very nature of creative subjects, or perhaps demands that they be reimagined?

Structure vs reflection

All creative processes require moments of reflection, space to think, space to forget and then reconnect etc. In contract, good practice in online education tends towards structure, and the granular quantification of attention and focus. Given this, how might we design creative online education which scaffolds but does not suffocate, which provides space-to-think but not an absence of purpose? What does it mean when the most intense moments of learning and creativity are often those times that cannot be measured or entirely predicted?