Mark Osterman

Florida International University, Curriculum and Instruction, Graduate Student

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Mark Osterman has a Doctor of Education with a research focus in arts, literacy and technology. Mr. Osterman has taught at Miami Dade College, facilitated specialized workshops in art educational theory and practice for the University of Miami, The Lowe Art Museum and The Wolfsonian-FIU. He has presented nationally on technology in museums and art educational theory and research studies and has published work in the Journal of Museum Education and the Journal of Educational Multimedia and Hypermedia among others. Mr. Osterman has worked for The Brooklyn Museum of Art, The Museum of Art and Design, The Wolfsonian-FIU, Vizcaya Museum and Gardens and currently at the Lowe Art Museum University of Miami. His museum work has focused on strategic thinking, interpretive technology initiatives, curriculum development, and developing evaluation and assessment tools related to museum practice.

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Museums and Twitter: An Exploratory Qualitative Study of How Museums Use Twitter for Audience Development and Engagement

Journal of Educational Multimedia and Hypermedia, 2012

Museums are competing with a vast variety of Internet-based information delivery sites to keep th... more Museums are competing with a vast variety of Internet-based information delivery sites to keep the public interested in their institutions. To keep pace Museums are increasingly turning to the use of Web 2.0 tools to draw in the public and maintain a standing as cultural and educational leaders. Several museums have started using Twitter. This research paper explores the different ways that the Hirshhorn Museum and Sculpture Garden and the Smithsonian National Air and Space Museum use Twitter to develop and engage audiences. In this six-month qualitative study, tweets used for audience development and engagement were codified. Analyzing Twitter data suggests that the two institutions use Twitter in a consistent manner concentrating on: linking resources, creatively engaging the public to utilize new social media tools, and attempting to create an active two-way form of communication. As social media becomes more pervasive and museums adopt it for audience development and engagement, careful understanding of the advantages and disadvantages of this media need to be considered.

Digital Literacy: Definition, Theoretical Framework, and Competencies

COERC 2012, 2012

This paper offers an overview of existing definitions and theoretical frameworks for digital lite... more This paper offers an overview of existing definitions and theoretical frameworks for digital literacy. The researcher makes recommendations for an agreed upon definition and theoretical framework and discusses implications for a relationship between digital and visual literacy skills. For some time now, new perspectives on literacy, and the learning processes through which literacy is acquired, has been emerging (Herbert, 1991). While there is agreement that a new set of 21st-century skills involving technologies are needed for literacy, there is little consensus about precisely what knowledge and abilities are necessary for people to be digitally literate (Ba, Tally, & Tsikalas, 2002). To obtain a consensus, there must be an agreed upon definition for digital literacy and an identification of its particular competencies. For this to happen, two initial steps must be taken: (a) Begin the development of an instrument designed to identify the major dimensions of digital literacy, and (b) conduct an initial validation study of this instrument. This paper offers an overview of existing digital literacy definitions, frameworks, and competencies; makes recommendations for the refinement of a digital literacy model that includes visual literacy as a core skill; and discusses implications for a relationship between digital and visual literacy skills. Purpose As technology pervades every aspect of our lives, the ability to navigate and successfully accomplish tasks through technology grows. Whether you are in primary, secondary, or postsecondary school, and whether you are employed or entering retirement, it is now necessary to have some technology skills both to communicate with the outside world and to perform administrative, creative, and educative tasks. The continued increase and use of online media content for information gathering also challenges the learner to organize and compose information in a nonlinear fashion while often integrating visual media to synthesize that information. This skill set is commonly called digital literacy. Digital literacy refers to the assortment of cognitive-thinking strategies that consumers of digital information utilize (Eshet, 2004). Other terms used alongside or sometimes synonymously with digital literacy include: 21 st-century literacies, Internet literacies, multiliteracies, information literacy, information communication technologies (ICT) literacies, computer literacy, and online reading comprehension (ORC). Each term has particular definitions, but common assumptions bring them together under the same theoretical umbrella of new literacies. Leu, Zawilinski, Castek, Banerjee, Housand, Liu, and O'Neil (2007) conclude that most new literacies, including digital literacy, share four assumptions: (a) new literacies include the new skills, strategies, dispositions, and social practices that are required by new technologies for information and communication; (b) new literacies are central to full participation in a global community; (c) new literacies regularly change as their defining technologies change; and (d) new literacies are multifaceted and our understanding of them benefits from multiple points of view. Leu, O'Byrne, Zawilinski, McVerry, and Everett-Cacopardo (2009) describe how new

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