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Using Educational Learning Models to Inform and Guide the Design of a Virtual Using Educational Learning Models to Inform and Guide the Design of a Virtual Learning Environment A Thesis Submitted to the Faculty of Drexel University by Monique Woodard in partial fulfillment of the requirements for the degree of Master of Science in Digital Media August 2018 c Copyright 2018 Monique Woodard. All Rights Reserved. ii Dedications This thesis is dedicated to my grandmother, Dorothy Woodard, whose advice, support, and encouragement has lead me to places farther than I ever imagined. iii Acknowledgments I would like to thank my advisor Glen Muschio, and my committee members, Aroutis Foster and Delia Solomons, for their constructive feedback and guidance throughout this project. I would also like to give special thanks to my friends and family for their endless support and encouragement. iv Table of Contents List of Figures .......................................... v Abstract .............................................. vi 1. Introduction .......................................... 1 1.1 Introduction.......................................... 1 1.2 Pop Art, Women, Sex, and Domesticity .......................... 5 1.3 Research Statement ..................................... 6 2. Gallery Labels and Literature Review ......................... 7 2.1 Gallery Labels ........................................ 7 2.2 Learning Environments ................................... 15 2.3 Literature Review ...................................... 16 3. Methodology .......................................... 18 3.1 Design............................................. 18 3.2 Procedure........................................... 19 4. Discussion ............................................ 21 4.1 Discussion........................................... 21 4.2 Reflection........................................... 22 4.3 Summary ........................................... 23 4.4 Limitations & Future Work................................. 24 Bibliography ............................................ 26 v List of Figures 1.1 Martha Rosler, Vacuuming Pop Art Pop Art, 1966-1972.................. 4 1.2 Richard Hamilton, Just what is it that makes today’s homes so different, so appealing, 19565 1.3 Axell and Ramos........................................ 6 2.1 Kiki Kogelnik, Woman’s Lib, 1971.............................. 7 2.2 Kiki Kogelnik, Fly Me to the Moon, 1963.......................... 8 2.3 Marisol, Hand and Purse, 1965................................ 9 2.4 Marisol, Paris Review, 1967.................................. 10 2.5 Martha Rosler, Vacuuming Pop Art Pop Art, 1966-1972.................. 11 2.6 Idelle Weber, Bride and Groom, 1963............................. 12 2.7 Idelle Weber, Munchkins I, II, & III, 1964.......................... 13 2.8 Idelle Weber, Woman with Jump Rope, 1964-5 ....................... 14 vi Abstract Using Educational Learning Models to Inform and Guide the Design of a Virtual Learning Environment Monique Woodard Advisor: Glen Muschio, Ph.D. This MS thesis project sets out to explore the implementation of learning models in the design and construction of an interactive 3D virtual reality (VR) learning environment. The intent of the environment is to introduce visitors to women pop artists who have long been overlooked and ignored in the history of the pop art movement and to provide information about the importance of their participation. For the purpose of this project, Martha Rosler’s Vacuuming Pop Art (Woman with a Vacuum) (1966-1972) is recreated as the interactive 3D (VR) learning environment, based on the learning models of Fowler, Chen, and Mishra et al. The visitor will perform tasks, such as collecting objects and manipulating pieces, as (s)he navigates through the environment. The project demonstrates and discusses the feasibility of implementing learning theories in the design and construction of an interactive 3D VR learning environment. 1 Chapter 1: Introduction 1.1 Introduction Women artists, as far back as the Renaissance, have been largely overlooked despite their artistic contributions. In the 17th and 18th centuries, artists such as Judith Leyster and Marie Denise Villers sometimes remained anonymous while male artists were given credit for their works [1;2]. Those two artists are rare cases due to the restricted formal training and art education during that time period [3]. In more recent times, women began to be recognized for craft works such as quilt- making and painting, which were deemed appropriate for their domestic roles [3]. In the 1840s, quilts were displayed and sold in art galleries. Contrarily, men, such as painter Joseph Foxcroft, were regarded as artistic geniuses while women’s practices were demoted to “mere craft [3].” In the 1960s - 70s, women began to reclaim and revalue this practice of utilizing domestic forms in their works. This MS thesis project focuses on women artists connected to the Pop Art Movement of the mid and late 20th century. The Pop Art Movement was a reaction to consumer culture, which was produced by corporate entities following the Second World War. During this period there are distinct differences between the perspectives of male and female pop artists. While many male artists focused on consumerism; female artists went beyond mere consumerism to examine and critique the depiction of women in the emerging consumer society. Even with this unique perspective, female artists continued to be given short shrift, if not totally ignored [4]. While there is a growing awareness about women pop artists, their works had been initially undervalued by feminist and pop scholars since the style was associated with mechanical reproduction and consumer objects [5]. Women pop artists, however, created their works by hand and focused on the human figure, rather than consumer objects. Pop artist, Jann Harworth, uses latex, cloth, sequins, and other craft materials to reclaim the aforementioned “mere craft [4].” Her works engage with and call attention to the marginalization she experiences as a woman artist. Harworth asserts that her choice of materials constitutes “a female language” to which her contemporary male artists 2 did not have access [4]. There has been a recent surge of exhibitions on women pop artists - Seductive Subversion, Power Up, and Pop Impact [4;5]. This surge is a valuable influence for audiences to be exposed to women pop artists in physical museum environments. This project is a contribution to the raising awareness as it offers an accessible and affordable method for audiences to view their works. At the time of this writing there are a small number of major museums that have begun to place the works of women pop artists on in their collection galleries (ex: Marisol’s Love at MoMA). However, most works by important women pop artists rest in storage, unable to be seen by the public. This project displays works such as Paris Review (MoMa), Hand and Purse (Art Institute of Chicago), Munchkin I, II, III (Chrysler Museum of Art) and Woman with a Jump Rope (Los Angeles County Museum of Art) in order to bring together these works and others in one VR learning environment that is easily accessible to a wider audience. It must be noted that VR does not seek to take the place of the original works. However, it provides an opportunity for the artworks to reach a wider audience which may not have physical access to them. Virtually reality also allows for the works to be altered in ways which is not possible in reality. In this project, for example, the original hallway from Martha Rosler’s Vacuuming Pop Art is extended, enabling for the user to view additional works by the artists. Furthermore, three of the works are transformed from static images to animations, thus encouraging the audience to actively engage with the artists and seek out her works. This thesis project features the works of three women pop artists embedded within Martha Rosler’s piece, Vacuuming Pop Art (Woman with a Vacuum), as an interactive 3D VR learning environment. Her photomontage is an effective piece for this project because it purposely critiques the depiction of women as ideal housewives in American consumer society, which was a role she rejected as a working artist. This piece is ideal for this project because it includes artworks within an artwork, and it provides enough space for a user to comfortably navigate in. Her piece asks the audience to examine the stereotypical depiction of women in advertisements including being domestic and docile while simultaneously sexual and objectified [6]. Rosler’s body of work is not limited to pop art and includes photography, video installation, photomontage, and performance [7]. Chapter 1: Introduction 1.1 Introduction 3 Rosler’s photomontage is chosen because she deliberately causes the viewers to “consider the con- tradiction found in stereotypes of women, such as being domestic and docile . [6].” In Vacuuming Pop Art, the woman is smiling as she vacuums a hallway whose walls are covered with works by mostly male artists, including Marcel Duchamp. In her works, Rosler combined images from Life and House Beautiful magazines [6]. By combining images from household magazines and advertise- ments, Rosler creates a different meaning which causes the viewer to closely study the piece. In Vacuuming Pop Art, the woman with a vacuum has a smile on her face as if she is thrilled with her tasks. Her smile is ironic because she is cleaning a hallway filled with works by male artists. She is showing the “mysterious fulfillment” of vacuuming the hallway floor—her work
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