Public Defence: Ingrid Holmboe Høibo

Ingrid Holmboe Høibo is defending her thesis for the degree philosophiae doctor (PhD) at the University of South-Eastern Norway. 

The doctoral work has been carried out at the Faculty of Humanities, Sports and Educational Science.

You are invited to follow the trial lecture and the public defence.

• Link to dissertation will be updated.

Summary

Rapid technological development has led to major and central societal changes, trends and currents that are reflected in schools and subjects. Since touchscreens were launched in 2010, a massive introduction of these has characterized the digitalization of Norwegian schools. In recent years, this unilaterally form of digitalization has been challenged by politicians as well as grassroot movements. Among these are makerspaces, a worldwide range of people who engage in digitalization and creative work, both in and outside educational institutions.

In Norway, makerspaces are appearing in an increasing number of schools, as an interdisciplinary learning arena with the introduction of programming, new technology and fabrication tools. The makerspaces are initiated by teachers and enthusiasts but clearly lack overall management and anchoring. Internationally, the movement is closely followed by research. In the Norwegian context, there is currently little knowledge about what these new workshops contribute, as well as how they are used and work in everyday school life. In addition, Norwegian schools have the subject of Arts and Crafts (KOH), which already has established workshops and learning cultures for practical creative work.

In her doctoral research, Ingrid Holmboe Høibo studies makerspaces from an arts and crafts perspective. Through a comprehensive methodology that includes literature review and ethnographic studies with interviews and observations, she has highlighted makerspaces as an important contribution to Norwegian schools.

The maker movement is about physical interaction with materials and technology, where humans are active co-creators and producers, rather than consumers of digital solutions. The maker movement thus meets the latest political trends with the goal of a more active, practical creative school. In addition, the movement is in the process of translating several of the contemporary and future-oriented intentions in the curricula, as well as national and international goals of digital education in the 21st century competences.

Høibo's thesis makes visible the characteristics of makerspaces that, through non-traditional working methods with new materials and tools, both add to and challenge established learning cultures. Here, learning views and practices emerge that can point to positive results and solutions for contemporary practical learning. Creative work in workshops is central in makerspaces, together with a holistic view of the student. They share this with KOH, which nevertheless proves to be conspicuous by its absence in makerspaces, both in the form of teachers and content.

With her KOH-professional perspective on makerspaces, Høibo's thesis provides an opportunity to reflect on and assess qualities in established and new learning cultures for creative work. Digitalization is not a quality in itself; if introduced unreflected in an educational setting. The same applies to creative work where form and content determine what the student learns. Høibo's thesis thus contributes to expanding the knowledge base for further development and digitalization of education, especially relevant for decision-makers and practitioners in subjects and schools who are now challenged by artificial intelligence knocking on the school door.