Over the past few decades, education systems, especially in higher education, have been redefined. Such reforms inevitably require reconsideration of operational notions and definitions of quality, along with a number of related concepts. This reconsideration aligns with the core of higher education reforms: improving efficacy and compatibility with emerging social demands while adapting to competitiveness and accountability trends. As primary players in the teaching and learning process, online tutors have a protagonistic role and, therefore, must be equipped with a suitable set of competencies and attributes in addition to content knowledge. This quantitative research aims to analyze the perceptions of 250 online tutors working in European higher education institutions, distributed in 5 knowledge areas: Business, Education, Humanities, Sciences and Health. This descriptive and exploratory nonexperimental study reveals the technological and pedagogical skills and competencies that online tutors consider fundamental for effective online teaching and proposes professional development actions to ensure quality online teaching.
Following the conference Fear and Loathing of the Online Self and the publication of Culture of the Selfie: Self-Representation in Contemporary Visual Culture in May 2017, this episode of INC’s Zero Infinite podcast zooms in on the online self and selfies, with Ana Peraica, Wendy Chun and Rebecca Stein. In the studio, Inte Gloerich, Leonieke van Dipten and Miriam Rasch discuss algorithmic identity, the importance of the background in selfies and the phenomenon of the ‘drelfie’.
MULTIFILE
Culture of the Selfie is an in-depth art-historical overview of self-portraiture, using a set of theories from visual studies, narratology, media studies, psychotherapy, and political principles. Collecting information from various fields, juxtaposing them on the historical time-line of artworks, the book focuses on space in self-portraits, shared between the person self-portraying and the viewer. What is the missing information of the transparent relationship to the self and what kind of world appears behind each selfie? As the ‘world behind one’s back’ is gradually taking larger place in the visual field, the book dwells on a capacity of selfies to master reality, the inter-mediate way and, in a measure, oneself.
The Academy for Leisure & Events has always been one of the frontrunners when it comes to the development, design and implementation of cultural tourism and creative industry business models as well as lifelong learning programmes.These programmes are attended by a variety of leisure and tourism professionals, including public authorities in leisure, culture and nature fields.The CULTURWB project addresses the need for strengthening the development of the cultural tourism industry.The experts from BUas together with the other project partners have utilised diverse research methodologies (marketing and branding, strategy business planning, digital tourism, sustainable development, strategy and action plan implementation, etc.) to develop and pilot a toolkit for Lifelong Learning courses in the field of cultural tourism and heritage. They have also designed and implemented a master’s programme in the WB countries and created an online platform for communication between stakeholders, industry leaders, managers, workforce, and academia.PartnersHochschule Heibronn, FH Joanneum Gesellschaft, World University Service - Österreichisches Komitee (WUS Austria), Dzemal Bijedic University of Mostar (UNMO), University of East Sarajevo (UES), The University of Banja Luka (UBL), University of NIS (UNI), University of Montenegro (UoM), Sarajevo Meeting of Cultures (SMOC), rovincial Institute for the Protection of Cultural Monuments (PZZZSK), Tourism Organisation of Kotor Municipality (TO Kotor)
De Nederlandse dienstenexport neemt al jaren toe en is daarmee een belangrijke pijler voor de Nederlandse economie. De productiviteit van de Nederlandse dienstenexport zou toe kunnen nemen als deze structureler van aard zou zijn. Helaas is maar 29% van de dienstenexporteurs in staat structureel op een internationale markt stand te houden (Internationaliseringsmonitor CBS, 2019). Het ontbreken van een fysiek product maakt het lastig vertrouwen en daarmee een duurzame relatie te creëren. De COVID19-pandemie heeft ervoor gezorgd dat het zo belangrijke fysieke contact vrijwel niet meer mogelijk is met als gevolg een sterke toename van digitalisering van deze processen. Dit heeft grote impact gehad op het internationaal opererende mkb in de dienstensector. Uit zowel (diepte)interviews als een survey is gebleken dat deze digitalisering de grootste impact heeft op het creëren van vertrouwen en daarmee het op kunnen bouwen van een structurele relatie. Zeker gezien het feit dat men in een internationale setting te maken heeft met verschillende culturen. Zowel de geïnterviewden als 91% van de respondenten van onze survey geven aan dat deze digitalisering van blijvende aard is. De bedrijven zullen hierop moeten acteren. Generieke modellen ten aanzien van het internationaliseren van diensten en relatiemanagement zijn vanuit de wetenschap gegeven maar in het bijzonder is er voor mkb-ondernemingen geen model en/of KSF/KPI-tool beschikbaar die praktische hulp kan bieden bij het, vanuit een digitale setting, toetreden tot een internationale markt en structureel op deze markt te blijven opereren. Dit project moet leiden tot kennis en inzicht rondom de toegenomen digitalisering van het dienstverlenend mkb en de wijze waarop relatiemanagement hierin vorm krijgt in een internationale setting. Het eindproduct van het onderzoek is een toolbox die het mkb met internationale aspiraties inzicht en handvatten geeft in het proces en de samenstelling van een samenhangende strategie bij de internationalisering van diensten.
Fashion has become inextricably linked with digital culture. Digital media have opened up new spaces of fashion consumption that are unprecedented in their levels of ubiquity, immersion, fluidity, and interactivity. The virtual realm continuously needs us to design and communicate our identity online. Unfortunately, the current landscape of digitised fashion practices seems to lack the type of self-governing attitude and urgency that is needed to move beyond commercially mandated platforms and systems that effectively diminish our digital agency. As transformative power seems to be the promise of the virtual, there is an inherent need to critically assess how digital representation of fashion manifests online, especially when these representations become key mediators within our collective and individual public construction of self. A number of collectives and practitioners that actively shape a counter movement, organized bottom up rather than through capital, are questioning this interdependence, applying inverted thinking and experimenting with alternative modes of engagement. Starting from the research question ‘How can critical fashion practitioners introduce and amplify digital agency within fashion’s virtual landscape through new strategies of aesthetic engagement?’, this project investigates the implications of fashion’s increasing shift towards the virtual realm and the ramifications created for digital agency. It centers on how identity is understood in the digital era, whether subjects have full agency while expected to construct multiple selves, and how online environments that enact as playgrounds for our identities might attribute to a distorted sense of self. By using the field of critical fashion as its site, and the rapidly expanding frontier of digital counter practices as a lens, the aim of this project is to contribute to larger changes within an increasingly global and digital society, such as new modes of consumerism, capital and cultural value.
