The objective of Working Group 4 of the COST Action NET4Age-Friendly is to examine existing policies, advocacy, and funding opportunities and to build up relations with policy makers and funding organisations. Also, to synthesize and improve existing knowledge and models to develop from effective business and evaluation models, as well as to guarantee quality and education, proper dissemination and ensure the future of the Action. The Working Group further aims to enable capacity building to improve interdisciplinary participation, to promote knowledge (...) exchange and to foster a cross-European interdisciplinary research capacity, to improve cooperation and co-creation with cross-sectors stakeholders and to introduce and educate students SHAFE implementation and sustainability. To enable the achievement of the objectives of Working Group 4, the Leader of the Working Group, the Chair and Vice-Chair, in close cooperation with the Science Communication Coordinator, developed a template to map the current state of SHAFE policies, funding opportunities and networking in the COST member countries of the Action. On invitation, the Working Group lead received contributions from 37 countries, in a total of 85 Action members. The contributions provide an overview of the diversity of SHAFE policies and opportunities in Europe and beyond. These were not edited or revised and are a result of the main areas of expertise and knowledge of the contributors; thus, gaps in areas or content are possible and these shall be further explored in the following works and reports of this WG. But this preliminary mapping is of huge importance to proceed with the WG activities. In the following chapters, an introduction on the need of SHAFE policies is presented, followed by a summary of the main approaches to be pursued for the next period of work. The deliverable finishes with the opportunities of capacity building, networking and funding that will be relevant to undertake within the frame of Working Group 4 and the total COST Action. The total of country contributions is presented in the annex of this deliverable. (shrink)

Modern technology plays an important role in our daily lives. Many people use technology for their works, interactions, and special interests such as art. Art as a discipline, which expresses human emotion and creative side, takes a new form for its contextualization with the help of information technology. A neologism for this discipline is “digital art.” Some experts who employ a traditional value in their aesthetical perspective consider this new approach unlikely. Walter Benjamin, an eminent figure from this group, stated (...) that art must have an aura in its production as is the case in paintings. With this aura, the work of art and not artwork has uniqueness of value. However, the problem arises when information technology becomes a predominant tool for the work of art. Digital art does not consider the aura as the core value in defining something as a work of art. Furthermore, digital artists think that art can exist within a digital object and maintain its uniqueness. Parallel with the latter, this article will describe the dispute and make a clear statement that a work of art in the digital age does not require aura. (shrink)

This participatory study, conducted in an introductory psychology class, recounts self-reflections of 22 undergraduate students and their instructor engaging in an GenAI-mediated storyboard generation process. It relies on Gordon Pask’s conversation theory, structuring out the nature of interactions between students, instructor, and GenAI, and then uses a qualitative narrative to describe these conversational feedback loops constituting the creation of draft and final storyboards. Results suggest students engaged in cyclical feedback driven processes to master their creations, used elements of photography related (...) to the relationships between objects in frame, image processing, and cultural objects/themes to generate narratives. Issues were faced with generating text on images, and the consistency and style of generated frames as they interacted with GenAI tools. This study provides guidelines to university teaching professionals to design effective activities mediated by text-to-image GenAI. (shrink)

This participatory study recounts conversational practices occurring between three teachers, a head of school, and a researcher during a month-long curriculum design workshop mediated by the MagicSchool AI technology to create social studies, language arts, science, and mathematics lessons for a virtual special education program. A social paradigm of AI-mediated educational practices is presented, wherein teachers interact with AI tools by embodying co-agency and a spirit of inquiry. Collective practices are interpreted using Gordon Pask’s conversation theory framework, showcasing how to (...) design systems of human-AI feedback loops devoted towards curriculum design. Meeting transcriptions, AI-prompt data, AI-mediated lesson plans, teacher feedback, and final products are shared using narrative inquiry to illustrate how collaborative co-agency culminated in lesson plans that co-observers felt confident in deploying. (shrink)

This mixed methods case study employed Vygotsky’s theory to show how peer and teacher contingent support created individualized zones of proximal development for three students with learning differences in a high school makerspace class at a special education institution. Our results expand extant literature by highlighting the intra- and interpsychological potential of makerspace curricula, specifically for students with learning differences. We employ mixed methods analyses of self-reported responses related to emergent problem navigation, a narrative of class fieldnotes, and visuals of (...) whole class projects to describe full class and individual project-based learning activities. Aggregated results from three students showcase stability in design thinking perceptions through the course of weekly whole class design challenges involving TinkerCAD, Homestyler, and material fabrication techniques. A single student example articulates how similar self-reported perceptions were observed in the non-linear development of an individual project for an end-semester Arts Festival. (shrink)