With the rise of camera phones and now smartphones to almost ubiquitous ownership, the novelty of mobile phone filmmaking has entered mainstream cultural practice. The iPhone became the dominant camera used for Flickr photo uploads in 2010, and smartphones have virtually replaced compact digital cameras for the majority of casual users. Exploring the unique affordances of smartphones for movie production, editing and sharing have become very popular. Smartphones have been used to record music videos, advertising campaigns and even full-length movies. Recently, a new wave of short format mobile video Apps have become widely popular such as Vine and Instagram videos. The collaborative potential of mobile filmmaking is leveraged in Apps such as Vyclone and MixBit. Innovative mobile film editing is facilitated by Apps such as Magisto. However, the predominant usage of mobile movies in education is still focused upon distribution of lecture capture via PODcasts and iTunesU.

Mobile augmented reality ranges from using the built-in camera of mobile devices to trigger interactive 3D models and multimedia via scannable markers, through to overlaying the real world in real time with digital information triggered by geolocation data through a smartphone's GPS. The educational affordances of mobile geolocation and mobile augmented reality have been flagged for several years (Alexander et al. 2006; Cook 2010; Johnson, Levine, and Smith 2009), but have yet to become mainstream educational technologies. This is partly due to the complexity involved in 3D modelling and the skills required for the development of mobile applications, and partly the cost of AR capable smartphones. The application of mobile augmented reality has also been predominantly in the form of content delivery to student devices, rather than in the facilitation of student-generated content (Butchart 2011; Cook 2010; FitzGerald et al. 2013). Fitzgerald et al. (2012) categorise the predominant mode of mobile augmented reality educational projects as passive/assimilative whereby students are viewers of pre-packaged AR content. In general, the uptake of mobile AR in education has been ‘very modest’ (Butchart 2011), with a focus upon content delivery via: ‘training, discovery based learning, educational games, 3D models, and augmented books’ (Butchart 2011, p. 36). In contrast to the passive/assimilative use of AR, Butchart highlighted the potential of smartphone AR browsers as accessible tools for authoring and hosting AR content. However, he found no educational examples of student-generated content for smartphone AR browsers. This is the gap in current educational practice that we explored with the MARMWorkshop (Mobile Augmented Reality Movie Workshop), building upon our first mobile AR explorations in the context of Architecture education (Cochrane and Rhodes 2013). We then extrapolated this process into wider and longer-term curriculum contexts.

Our creative pedagogical curriculum design framework is essentially a blend of several interrelated learning frameworks. The frameworks include: the PAH continuum (Luckin et al. 2010), Puentedura's (2006) SAMR model (Substitution, Augmentation, Modification, Redefinition) of educational technology transformation and Sternberg, Kaufman, and Pretz's (2002) view of creativity involving incrementation (or modification of a current idea) followed by reinitiation (or redefinition). The premise of the PAH continuum is that student-determined learning (heutagogy) need not be the solo domain of post graduate education, but has degrees of relevance at all levels of education, and we can scaffold the introduction of student-determined learning environments. The SAMR framework argues that technology adoption in education can move beyond the substitution of existing educational activities and assessment practices to create new experiences previously impossible or difficult with prior technology. Aligning these frameworks with the unique affordances of mobile social media provides a simple framework (Table 2) for designing new course activities and assessments that leverage new pedagogies. Table 2 applies the columns of the PAH continuum aligned with the levels of the SAMR framework and three levels of creativity to example affordances of mobile social media, providing a curriculum design rubric.

The framework represents a continuum of pedagogical approaches that can be scaffolded across the length of a course or project, building upon students’ and lecturers’ previous educational experience as we explore new pedagogical strategies that move towards heutagogy. Other new learning metaphors that have been developed to support new modes of global learning communities (for example cMMOCs) include connectivism (Siemens 2004) and rhizomatic learning (Cormier 2008; McAuley et al. 2010). Two of the key elements of Table 2 include the change in cognition and the ontological shifts that result as lecturers and students reconceptualise learning and the role of technology from information delivery towards enabling a transformative conception of the role of both the learner and the teacher as collaborators in this process.

We have argued that implementing an effective framework for creative pedagogies must meet three goals (Cochrane, Narayan, and Oldfield 2014): it must model a community of practice (COP), focus upon redefining pedagogy and provide an appropriate technology support infrastructure. Mobile social media leverages the ubiquity of mobile device ownership and enables the formation of professional networks and serendipitous learning. Mobile learning provides powerful tools for enabling the nurturing of learning communities across varied contexts that previously would have been impossible. Focusing upon student-generated eportfolios created from a blend of best-in-class mobile social media platforms enables student creativity and collaboration that is in stark contrast to the typical ‘digital myopia’ enforced by the reliance upon institutional learning management systems. Mobile social media is inherently collaborative but requires a significant rethink of assessment design, using collaborative user-content generation tools such as Vyclone for collaborative video.

Second, lecturers must engage with and model the educational use of mobile social media within the curriculum. This requires reconceptualising mobile social media from a purely social domain to an academic and professional domain of use. Assessment activities need to leverage the unique affordances of mobile social media. Mobile social media can use a variety of collaborative presentation and interaction tools, such as Prezi, and wireless screen mirroring via an AppleTV connected to a large screen display. For example, Google Maps or Google Earth can be used as a collaborative platform to collate/curate student projects from around the world, where student teams link their geotagged content within a shared Google Map. This adds the dimension of authentic context to student projects, with the ability for students around the world to share in the experience of learning of others within the original context.

Linking geotagged content from a variety of new and emerging mobile Apps enables a relatively simple yet dynamic and collaborative experience. Example Apps include Vyclone for collaborative video recording; the online YouTube video editor for collaborative video editing and annotation; Flickr, Instagram and Picasa for collaborative photo sharing/curation; Junaio for embedding QR tags within augmented reality. Academic rigour can be achieved by requiring students to annotate their content using accepted referencing styles, yet turning this into a collaborative curation activity via creating shared Mendeley or Zotero libraries for example. Specific activities will depend upon each students’ context, and should be student negotiable; however, the collaborative element of such projects needs to be clearly defined, as student experience of being active members within an authentic professional global COP is one of the goals of such projects.

In the first implementation of our framework, we formed an international (New Zealand, UK and France) COP comprising two mobile learning experts and two mobile film making lecturers to design a week long workshop for lecturers at Auckland University of Technology to explore the potential of mobile augmented reality in their own teaching. The workshop was structured to model a COP of the participants that they could then transfer to their own teaching practice. This workshop aimed to give participants an experience of creating innovative mashups of three of the unique affordances of today's smartphones, tablets and phablets:

Augmented Reality (locating) Using geotagging via smartphones’ in-built GPS enables mobile movies to be located within a geographical context, linked to collaborative Google Maps and viewed in Google Earth. This adds a rich layer of contextual information to mobile movies, effectively augmenting a mobile movie with geographical data.

The workshop explored scenarios for innovative and collaborative team projects using these tools. The participants were expected to create an augmented mobile movie in a collaborative team and explore the application of augmented mobile movie projects within their discipline context. This was supported by the discussion and critique of examples of collaborative mobile movie production and mobile augmented reality, an introduction to the body of literature surrounding mobile learning, mobile movie production and mobile augmented reality in higher education.

The workshop involved the participants forming production teams of up to four members to create an authentic augmented mobile movie project using a mashup of YouTube/Vimeo/Vyclone/Vine and Google Maps, and then creating a Wikitude world from this content. These projects were then presented to and critiqued by the entire workshop participants, and shared for feedback from global experts via live Google Plus Hangouts. A common hashtag was used to collate the social media throughout the workshop (#marmw2013). The participants were required to bring their own iOS or Android smartphone or tablet device, and a laptop.

Table 3 outlines the core mobile social media (msm) tools used throughout the workshop.

The workshop began by introducing a few short projects that were curated via a shared Google Map (http://goo.gl/maps/pkldm) and then participants formed teams to create their own projects. Participant projects produced throughout the workshop ranged from a mobile-mentary of the massively multiplayer geolocation mobile app game Ingress (http://youtu.be/-SP16YVXs_A) to a selection of mobile films linked into a Wikitude world layer (http://youtu.be/C4dwvdp8vTo).

Participant feedback after the workshop indicated significant impact on their conceptions of mobile social media within their own curriculum contexts, for example:

The #marmw2013 workshop has been a great exercise in exploring new ideas and discovering different approaches to filmmaking, sound recording and the relevance location can have on this content. It has given me the opportunity to try out new ways of working and to test some of my knowledge of mobile geo-spatial and augmented reality. Most of all, the workshop has put me in contact with some extremely switched on people who have opened up a huge body of ideas to pursue with my students and hopefully through further collaborative projects in the coming year. (Participant G+ post 2013)

The second implementation of our framework involved an international project titled MoCo360. MoCo360 is a non-funded international group of like-minded educators exploring the potential of mobile social media – and in particular mobile film making, for collaborative design of transformative student learning experiences. MoCo360 was established by inviting several mobile learning researchers and practitioners across the globe to form a COP focused upon exploring new forms of student collaborative projects, giving their students an authentic experience of collaborating on mobile film production. This COP was formed out of a re-envisioning of a prior collaborative project (Cochrane, Antonczak, and Wagner 2013) and was based upon our newly developed framework for creative pedagogies. Currently participants are drawn from New Zealand, Columbia, France and the United Kingdom (http://goo.gl/maps/mlXEV). A Google Plus Community (http://bit.ly/1fZPnUd) is used as a hub to coordinate the activity and resources of the participating lecturers, who meet weekly via a Google Plus Hangout to brainstorm ideas and curriculum activities. A public face to the project is maintained via a WordPress blog with all of the lecturers as authors and editors (http://moco360.wordpress.com). Twitter is used extensively for asynchronous communication and sharing across the different geographic timezones, and activity and mobile social media resources are collated via a common hashtag (#moco360).

Using a common hashtag enables automatic visual analysis of communication and collaboration via Hawksey's TAGSExplorer Twitter analysis tools: http://bit.ly/1bwBNog, and is then exported to a Google Map providing a geographic view of the collaboration at http://bit.ly/1nfFhE2. Another tool used for curation and community building includes tagboard which collates Twitter, Vine, Google Plus, Instagram and WhatsApp activity (https://tagboard.com/moco360/155769).

The MoCo360 project began with the lecturers participating in the COP collaborating on designing several shared activities and assessments for their students (outlined on a Google Docs spreadsheet) and then developed into brokering student-generated collaborative projects between the participating student groups using a project Facebook page (https://www.facebook.com/groups/MoCo360/). The MoCo360 lecturers also collaborated with mobile social media App developers Vyclone to enable their App to collate video clips using the #moco360 hashtag. Examples of student collaborative mobile social media activity include: an international Vyclone movie megamix (http://youtu.be/JhSUzTY_ezE), and a student-initiated project illustrating forced perspective (http://theforcedperspectiveproject.wordpress.com/).

Using Google Plus Communities has provided a visually powerful way of farming the various groups of participants’ interactions as a COP, and provides a simple way of brokering this concept to students.

Figure 1 is a screen shot of the MARMWorkshop Google Plus Community that provided a model for the participants to later explore with their own student cohorts.

Comparing snapshots of TAGSExplorer visual Twitter analysis between the start of the #moco360 project (Figure 2) and after the project has developed (Figure 3) illustrates how the communities around a project develop initially around the core participants and widen to include the movement of peripheral participants into active participation within the community. This is brokered by the modelling of the appropriate use of these tools by the participating lecturers to their student cohorts, and also between these cohorts.

Figure 2 illustrates that initially the activity of the moco360 project was predominantly around the core group of lecturers, while Figure 3 shows several students becoming significant nodes of conversation as the project progressed.

Adding a geographical context to COP mobile social media participation via Google Maps provides another powerful visual model for students to conceptualise virtual participation within a global COP (Figure 4).

The two example framework implementations focus upon redefining teaching and learning activities and assessment practices around the unique affordances of mobile social media. This has been a collaborative exercise, supported by the establishment of lecturer COPs around each project. As Cormier (2008) notes, redefining pedagogy around learning communities represents a significantly new role for most lecturers, involving the creation of an ecology for community interaction and brokering student participation within wider networks beyond the confines of a single class. Blaschke (2013) also identifies design strategies for redefining pedagogy towards heutagogy (student-determined learning). These strategies are similar to those that we have embedded within our mobile social media framework, including a focus upon learner negotiation, reflective practice and collaborative learning.

Implementing the framework is predicated upon a robust institutional WiFi network empowering connectivity and enabling lecturer and student small screen mobile devices to become collaborative tools via wireless screen mirroring. This requires working with an institution's IT department to enable wireless screen mirroring via the institutions’ WiFi networks using Apple Airplay, Google Chromecast and Microsoft's WiDi mobile protocols. As part of our framework development we have designed and built low-cost Mobile Airplay Screens (MOAs) that facilitate student teamwork via their personal mobile devices (Cochrane, Munn, and Antonczak 2013; Cochrane and Withell 2013). These MOAs can be wheeled into any space that has wireless network coverage and a power point for students to turn into a collaborative space (Figure 5).

We have also worked with our IT department to enable classroom presentation systems to provide wireless mirroring access from lecture and student mobile devices. As we partner with other institutions in developing our mobile social media framework for BYOD we also share how we have enabled infrastructure changes to support the implementation of this framework, including the custom designed MOAs.

Space has limited us to the inclusion of only two examples of how we are implementing our framework for creative pedagogies within wider contexts. Both the #marmw2013 and the #MoCo360 communities of practice are on-going and in the early stages of development, but we can already see evidence of a significant impact on the multiple curriculum contexts involved as they apply our framework for creative pedagogies using mobile social media. Driven by our two research questions, an in-depth evaluation of these two projects will be undertaken at the end of 2014, and this will inform the development of a set of design principles for implementing a framework for creative pedagogies using mobile social media and student-owned devices.