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1. Instructions
1.1. Background
Prensky (2001) claims that people who were born after 1980 lived most of their lifetimes in the virtual, and
digital world. Though young, they were carried into the digital world, and named “digital natives”. On the other
hand, those who were born before 1980 are “digital immigrants” to the digital world. Unlike digital immigrants,
digital natives are accustomed to digital media, including smart phones, mobile apps, and social networks instead of
traditional communication, mechanical products, or community centres. Rising up in such an environment, they do
not see technology as innovation, simply a piece of nature. Consequently, they often exhibit viewpoints and
activities that defy traditional values.
For digital natives, everyone owns an instant camera - for instance, the smart phone - capable of instant shooting,
viewing, and sharing. Taking photographs has become not just simple but also intuitive. Worthington (2014) points
out that the number of all photographs taken in the world annually has reached 809.8 billion in 2014 and the number
was expected to reach one trillion in 2015. Compared with the year 1930, one century after the invention of
photography, the number has grown 800 times (Good, 2011). Nonetheless, as photography becomes increasingly
accessible and affordable, its sacredness and seriousness diminishes. Among digital natives, few understood the
money, time, and risks involved in traditional film photography or the burden of a failed shoot. The convenience of
technology also brings hazards. Tsai (2014) indicates that in Taiwan, discarded cell phone accessories including
chargers, cords, and batteries, have reached six million units. Electronics manufacturers often sell their devices with
accessories included despite the fact that most consumers own unified chargers. Therefore, many of the discarded
accessories are first-hand, unused products. Studies showed that global production of solid waste is 3.5 million tons
daily, 12 times that of 1900. By 2025, daily production is anticipated to hit 6 million. Without countermeasure, it
will reach 11 million daily by 2100 (Hoornweg, D.; Bhada-Tata, P.; Kennedy, C., 2013). This scope of waste
production would envelope the globe. When artificial products fill our lives and replacing greenery, what will our
Earth to be?
In this study, interviews with instructors, observation of the original course, observation of the incorporation of art
education, and focused interviews were used as parts of the experiment to obtain data. The step of research is shown
as the following figure (


Original text


  1. Instructions
    1.1. Background
    Prensky (2001) claims that people who were born after 1980 lived most of their lifetimes in the virtual, and
    digital world. Though young, they were carried into the digital world, and named “digital natives”. On the other
    hand, those who were born before 1980 are “digital immigrants” to the digital world. Unlike digital immigrants,
    digital natives are accustomed to digital media, including smart phones, mobile apps, and social networks instead of
    traditional communication, mechanical products, or community centres. Rising up in such an environment, they do
    not see technology as innovation, simply a piece of nature. Consequently, they often exhibit viewpoints and
    activities that defy traditional values.
    For digital natives, everyone owns an instant camera - for instance, the smart phone - capable of instant shooting,
    viewing, and sharing. Taking photographs has become not just simple but also intuitive. Worthington (2014) points
    out that the number of all photographs taken in the world annually has reached 809.8 billion in 2014 and the number
    was expected to reach one trillion in 2015. Compared with the year 1930, one century after the invention of
    photography, the number has grown 800 times (Good, 2011). Nonetheless, as photography becomes increasingly
    accessible and affordable, its sacredness and seriousness diminishes. Among digital natives, few understood the
    money, time, and risks involved in traditional film photography or the burden of a failed shoot. The convenience of
    technology also brings hazards. Tsai (2014) indicates that in Taiwan, discarded cell phone accessories including
    chargers, cords, and batteries, have reached six million units. Electronics manufacturers often sell their devices with
    accessories included despite the fact that most consumers own unified chargers. Therefore, many of the discarded
    accessories are first-hand, unused products. Studies showed that global production of solid waste is 3.5 million tons
    daily, 12 times that of 1900. By 2025, daily production is anticipated to hit 6 million. Without countermeasure, it
    will reach 11 million daily by 2100 (Hoornweg, D.; Bhada-Tata, P.; Kennedy, C., 2013). This scope of waste
    production would envelope the globe. When artificial products fill our lives and replacing greenery, what will our
    Earth to be?
    In this study, interviews with instructors, observation of the original course, observation of the incorporation of art
    education, and focused interviews were used as parts of the experiment to obtain data. The step of research is shown
    as the following figure (

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