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IDEA Paper #54 Reflective Ethical Inquiry: Preparing Students for Life

Image

Allegory with a portrait of a Venetian senator (Allegory of the morality of earthly things), attributed to Tintoretto, 1585. Courtesy of Creative Commons. Copyright Wikipedia:CC BY-SA.

by

Donna M. Qualters • Tufts University

Melissa McDaniels • Michigan State University

Perrin Cohen • Northeastern University

Reprinted by permission from The IDEA Center. May not be reproduced or used without prior written consent by The IDEA Center.

Abstract

Although universities often teach ethics courses, they do not always teach students how to apply ethical course content to ethical dilemmas they encounter on a day-to-day basis. The Awareness-Investigation-Responding (AIR) model of ethical inquiry bridges this gap by scaffolding the reflective process and empowering students to make more caring, compassionate, ethical choices in their disciplines and in life. AIR can be adapted to any discipline and any learning environment.

During a class assignment to interview a former teacher, Jerry observes his friend making up the dialogue the night before the assignment is due. When Jerry inquires why his friend is doing this, his friend replies that life is too busy and the assignment is only worth 10 points, so no harm is done. While Jerry is uncomfortable with knowing this, he doesn’t say anything as he doesn’t want to confront his friend. In another instance, Amanda is student teaching and notices teachers and staff routinely taking school supplies home. She is uneasy knowing this but is afraid to talk to her supervisor for fear that it might affect her placement and any future references. These hypothetical situations are based on real occurrences that the authors have encountered as educators. A quick reaction for our students is often to ignore, disengage, or avoid dealing with these situations, leading to increased stress and sometimes costly mistakes.

Higher education institutions typically depend on specific disciplines to provide students with ethical grounding. There are courses in moral philosophy, religion, professional ethics, character education, and values clarification—all of which provide students with important content and critical thinking skills in a classroom environment. But, as in the examples above, this approach is often inadequate to help students face real-life ethical dilemmas that arise in their day-to-day lives. In fact, a study by Peppas and Diskin (2001) found no difference in ethical values between students who had taken an ethics course and those who had not. Although this finding is not surprising, it should be troubling. We all experience similar cases where our students encounter complex and ambiguous ethical challenges and often react uncritically. Their responses emerge from interactions with strong external influences in their lives such as peers, the media, family, or religious traditions.

Immanuel Kant, portrait. Unknown.

Immanuel Kant, portrait. Unknown.

Concurrently, there is also a misguided reluctance by discipline faculty to discuss ethical challenges in class. Sisola (2005) provides evidence of faculty feeling unqualified to respond to issues or not feeling that the issues are important. We have found in our own work that our colleagues are uncomfortable having these discussions for similar reasons

(Cohen, McDaniels, & Qualters, 2005). Faculty members are often torn because they struggle with advocacy and feel that their personal views should be kept out of the course (Hanson, 1996). Other reasons given include: (1) the belief that values are formed in childhood, and changing behavior or beliefs is impossible; (2) the assertion that faculty cannot themselves agree on what is “ethical,” and (3) the belief that no one has the “right” to tell anyone else what is ethical or not ethical (Mathieson & Tyler, 2008). Hanson warns that the methodologically neutral teacher can often create the opposite effect by making the material so boring as to not engage students, leaving them with no new tools and forcing them to solve issues through their current uncritical lens.

As educators, we struggle with how to address this delicate area with students. Do we leave our students adrift in dealing with ethical issues? Do we hope they will “do the right thing” when faced with ethical quandaries in our fields and in life? How do we prevent students from becoming desensitized to ethical issues and thus avoid them? If we do take action, how do we address students’ perceptions that they have the responsibility to address ethical concerns but not the knowledge, resources, and support to do so? We suggest faculty incorporate reflective ethical thinking into their course, using the Awareness, Investigation, and Responding (AIR) model of ethical inquiry. This approach encourages students to address authentic ethical issues that exist in the discipline or are encountered in real-world situations within and outside the university context.

Neoptolemos kills Priam. Courtesy of Creative Commons, Wikipedia WP:CC BY-SA.

Neoptolemos kills Priam. Courtesy of Creative Commons, Wikipedia WP:CC BY-SA.

AIR: Teaching Awareness (A), Investigation (I), and Responding (R)

As in the examples given, students who experience pressure to succeed often avoid dealing with everyday ethical concerns, particularly gray areas related to cheating, harassment, privacy, and injustice. Although this disengagement with ethical concerns allows students to meet short-term goals and deadlines, it comes with long-term costs that often go unnoticed. Examples include increased mistrust, damage to reputations and careers, inefficient use of time and resources, and increased “mistakes.” The AIR model of reflective ethical inquiry (Cohen et al., 2005) is an antidote for this ethical disengagement and for minimizing its costs. The model provides students with three types of reflective ethical activities—Awareness, Investigation, and Responding—that they can learn to incorporate into their everyday lives. When these AIR reflections are put into practice, they keep students ethically curious, empathic, and ethically engaged in an ongoing way. This reflective process empowers an ethical “mindfulness” that sustains trust and goodwill and that maintains students’ ethical bearings in the face of daily pressures.

Implementing AIR

The first step in implementing AIR is to prepare students for the type of conversation that will occur. According to Perry (1970), college-age students are often in the duality mode, looking for either a right or wrong answer. The goal of AIR is not to determine the “right” answers but to provide a framework for considering resources and options for making the “right” decisions. AIR prepares students for the richness and diversity of the discussion that often leads to multiple solutions.

In order to effectively implement the AIR model, faculty need to create a learning environment where students are able to access their own visceral and emotional experiences. Students need to resist the urge to immediately “respond” or “fix” ethical situations they encounter. They must embrace ethical inquiry PRIOR to ethical action and respond to ethical situations in compassionate and sensitive ways.

Prior to developing AIR, we repeatedly heard students describe moments in their cooperative education placements and lives where they had a “gut” feeling that something was not quite right. Students often discounted these visceral reactions because they did not yet intellectually understand the situation that prompted this feeling of unease. Implementation of the AIR model requires faculty to support students in engaging in “embodied or somatic learning” (Merriam, Caffarella, & Baumgartner, 2007). This approach embraces the idea of the body as a place for learning or source of knowledge in its own right. While this is counter to western approaches to learning that favor the mind as the primary place for learning and source of knowledge, acknowledging the emotional components of learning allows for subject matter content to become more meaningful for students (Dirkx, 2001).

Because this type of learning may be threatening to both students and faculty members, it is important for the instructor to create a safe space in the classroom, characterized by four general principles:

(1)  Establish clear ground rules regarding confidentiality and group interactions: Instructors should engage students in defining what makes a safe environment for discussing complex and uncomfortable topics. Faculty can help students to discern what and how to share experiences they find confusing or troubling.

(2)  Provide an overview of the characteristics and aims of reflective discussion: Some students have never been given the tools to engage in active listening and reflective response. Instructors can ask students how they hope others would listen and respond. In keeping with the embodied approach, we introduced students to the concepts of active and generative listening. Active listening requires you to reflect back what was heard, while generative listening requires reflecting what you have felt as well as heard as the conversation advances.

(3)  Model and heighten awareness of the ground rules: As soon as students observe an instructor interrupting or breaking confidentiality, they will be less inclined to uphold these principles themselves. We have found that posting the guidelines during discussions reminds and reinforces them for everyone.

(4)  Serve a facilitative teaching role: Instructors must empower students to think about ethical issues in creative and empowered ways. By acting as a facilitator rather than an authority, the teacher validates student feelings and concerns, challenges them to think more systematically about the issue they are examining, and guides them to critically assess all aspects of possible solutions. The AIR model was specifically designed to guide teachers in this type of practice.

Employing the Pedagogical Tool Kit

A faculty member can draw upon a variety of pedagogical tools designed to cultivate questioning and inquiry and to prevent students from reacting to an ethical situation. We have guided students through the following prompts to help them gain clarity (building upon their “gut” responses) about the dilemma they are facing.

In general, these tools involve asking students to describe an ethical dilemma/concern in-depth. We do this by probing students for a description of the full context of the dilemma, their affective reaction and feeling at the time (and later), and the reactions/feelings of others present. Next, we ask students to create a stakeholder map—identifying who is impacted by this dilemma and which stakeholders are involved. Similar to a concept map, this type of mapping puts those who are directly involved in the situation in the middle, but then continues to probe students to think about who else not directly involved in the situation might be affected by how the student proceeds. For example, in the hypothetical school case mentioned in the opening, families of those who have been taking supplies are added to the map, as is the school principal, as both may be affected if this issue comes to a public forum like the school committee. We follow by asking students what they perceive are the specific underlying ethical issues. Then—and this is the most challenging component—we ask students to reflect on the assumptions/beliefs that trigger their reactions to and feelings about the situation. Raising tacit beliefs is never easy, but we have found through practicing this model that students become more facile at identifying their own belief systems. This progression naturally leads to asking what steps can be taken to investigate these assumptions and beliefs.

The instructor can support the students in continuing to be in a reflective space, moving on to investigate other perspectives, beliefs, and assumptions about the situation. There are many interdisciplinary resources and tools available for investigation. We often direct students to professional guidelines or codes of conduct within the discipline. Although some of these have mandated response protocols, we also encourage students to consult with a variety of legal and policy position papers, scholarly resources such as journals or reports, family members, and spiritual sources, if appropriate, to clarify and refine their thinking.

Once students have investigated an ethical dilemma and are aware of its impact on stakeholders and their own beliefs and assumptions, faculty members can model how AIR can prepare them for practical action. Too often, students only identify two options: non-response or formally reporting incidents within a bureaucratic structure. Although these are two equally valid responses, reflective learning occurs when students and faculty are aware that a much wider variety of responses are possible and that practical action can take many forms. We call this identifying the “third” option, including self-care, sharing and conversing with a trusted family member or peers, learning more about an issue, re-evaluating career plans, removing oneself from a situation, or reporting an incident.

Applying AIR

The following exemplifies how the three reflective elements have been incorporated into a course for psychology and behavioral neuroscience majors, Ethics and Psychology: Maintaining Ethical Bearings (Cohen, 2013), offered in the Psychology Department at Northeastern University.

Reflective Awareness

Teaching Example: The instructor introduces reflective ethical awareness by telling the class: “For the next class, identify one or two ethical concerns/issues related to research, teaching, or another professional activity. It should be something that is of particular interest to you and that you are uncertain or unclear how to address. The issue(s) should be something that is fairly specific and has personal meaning. As part of this written exercise, include a brief description of a possible scenario of the conditions under which you are likely to experience such a concern; bodily sensations, assumptions, thoughts and feelings that are likely to arise in that moment; and the possible short- and long-term impact of the experience on you and others. During our next class, everyone will have a chance to reflectively discuss their issue(s) so we can use them as a starting point for reflectively understanding and responding to ethical concerns that you experience on and off campus.”

Teaching Guideposts: Instructors help students to agree on ground rules that support reflective ethical awareness and discussion. This includes “active and generative listening” mentioned above, respect for confidentiality, and use of “I” statements. For example, instead of students saying “your example is biased” to a classmate, a student would say “I feel uncomfortable with your example and wonder if we can explore it more.” Instructors also help students to acknowledge everyday ethical uncertainties and confusions in their lives by pausing and reflectively “befriending” concerns. In this way, students learn to step back and identify, accept, talk about, and rest with the concern before judging oneself or others or doing anything about it (see Figure 1).

Reflective Investigation

Teaching Example: Habermas’s (1984) three “domains of knowledge” are used as a framework for helping students empathically explore what is knowable about a particular issue in technical (e.g., scientific and analytic approaches/information), social (e.g., social/cultural values, spiritual/religious teachings), and emancipatory ways (self-understanding, including personal biases and aspirations). Consider, for example, the hypothetical situation of witnessing cheating which was presented at the beginning of the paper. A student exploring what to do would be encouraged to: (a) look at the university or class codes of conduct, student handbooks, and research on the consequences of cheating; (b) have discussions with trustworthy sources such as family or clergy, or consult academic pieces on society values around cheating; and (c) examine their own assumptions and beliefs about the role of cheating in education. Students culminate their investigations with a scholarly research paper that concludes with their “best” ethical thinking at that time.

Teaching Guideposts: Students reflect on what is knowable about their issue and what would allow them to empathically explore it in an interdisciplinary way. They use tools and resources to help explore their concern from different angles; they do so in a way that cultivates trust and goodwill and honors their individual strengths and interests.

Reflective Responding

Teaching Example: Students are asked to use their “best ethical thinking at this time” to develop a detailed, skillful response to their ethical concern (e.g., social networking, social action plan, a practical alternative, artistic communication, self-care). They are also asked to describe how that response evolved from their reflective investigation, why they think it is a good first step in addressing the issue, and how the response might be used in a practical way.

Teaching Guideposts: Students consider how their “best ethical thinking at the time” might be converted into a skillful action that is as harmless, honest, fair, and respectful as possible. Given the context, they reflect on possible responses and how they draw upon personal strengths and interests (e.g., creative, social, analytical, spiritual). Students are reminded that self-care (e.g., stress reduction, yoga, meditation, and talking with friends) is also a legitimate response.

Faculty can apply AIR to provide students experience in analyzing authentic ethical issues and dilemmas within a discipline. For example, in teacher education we created cases that ranged in seriousness from teacher gossip to potential child abuse. In engineering, faculty created situations that had students grapple with the ethics of creating products that could potentially cause hearing damage or might not meet code specifications. Using the AIR tool kit, faculty walked students through the case, asking the reflective questions listed above and creating a stakeholder map. For the investigation or “I” component, students were asked to find as many sources as possible to assist the potential teacher or engineer in making the decision. The next day the class discussed what they found and then worked together to generate as many possible ways to handle the situation that reflected their beliefs, respected those involved, and provided a caring, compassionate response. Additionally, AIR has been used successfully by discipline faculty in a hybrid model class. In this format, students were able to engage collaboratively in reflective ethical thinking while still in the field (Cohen, 2010).

Conclusion

While discipline faculty are not ethicists, they do have the pedagogical tools necessary to guide students in translating the theories and practices of ethics courses to real-life situations. Awareness, Investigation, and Response (AIR) is a practical and simple three-step process that provides students with a lifelong tool and framework to think through challenging ethical dilemmas. AIR is not about ethics but is about ethical inquiry, and it serves as a means to transfer ethical knowledge from course work, family, and experience to life situations. By having students think deeply about authentic or simulated situations, faculty provide a concrete method for students to respond to their “gut” feelings of unease and to prevent them from ethical disengagement or a quick ethical fix, especially when they encounter situations directly related to the discipline. Helping students to understand the ethical challenge they face (Awareness), demonstrate the many resources available to process the dilemma (Investigation), and review the pros and cons of the possible outcome give students the ability to make the most caring and compassionate choices of the difficult situations they will face in their careers and in life.

Donna Qualters is Associate Professor and Director of the Center for the Enhancement of Learning and Teaching at Tufts University; Melissa McDaniels is Assistant Dean, The Graduate School, and Director, Teaching Assistant Programs, at Michigan State University; and Perrin Cohen is Associate Professor of Psychology and founder and past director of the Northeastern University Ethics Education Center (NUCASE). They began working together on ethical inquiry while at Northeastern University and as members of NUCASE when the issues discussed in the paper were arising with more frequency for students on their cooperative education placements. The model received its name of AIR when a student in one of the first cohorts using this reflective inquiry tool told us that, after using this model to understand issues in his workplace, he felt like he had “come up for air.”

© 2013 IDEA Center

References

Cohen, P. (2010). Empowering reflective ethical engagement in field settings. In D. M. Qualters (Ed.), Experiential education: Making the most of learning outside the classroom (pp. 47-54). San Francisco: Jossey-Bass.

Cohen, P. (2012). Ethics in psychology syllabus (PSYC4652). Retrieved from http://www.northeastern.edu/psychology/wp-content/uploads/4652-Cohen.pdf

Cohen, P., McDaniels, M., & Qualters, D. M. (2005). AIR model: A teaching tool for cultivating reflective ethical inquiry. College Teaching, 53(3), 120-127.

Dirkx, J. M. (2001). The power of feeling: Emotion, imagination, and the construction of meaning in adult learning. In S. B. Merriam (Ed.), The new update on adult learning theory (pp. 63-72). San Francisco: Jossey-Bass.

Habermas, J. (1984). The theory of communicative action, Vol. 1: Reason and rationalization of society (T. McCarthy, Trans.). Boston: Beacon Press.

Hanson, K. (1996). Between apathy and advocacy: Teaching and modeling ethical reflection. New Directions for Teaching and Learning, 66, 33-36.

Mathieson, K., & Tyler, C. (2008). We don’t need no stinking ethics: The struggle continues. Journal of College and Character, IX(4), 1-12.

Merriam, S. B., Caffarella, R. S., & Baumgartner, L. M. (2007). Learning in adulthood: A comprehensive guide (3rd ed.). San Francisco: Jossey-Bass.

Peppas, S. C., & Diskin, B. A. (2001). College courses in ethics: Do they really make a difference? The International Journal of Educational Management, 15(6/7), 347-353.

Perry, W. G. (1970). Forms of intellectual and ethical development in the college years: A scheme. New York: Holt, Rinehart, and Winston.

Sisola, S. W. (2005). Integrating theories and practice of adult teaching and learning: Implications for ethics education. In R. B. Putilo, F. M. Jensen, & C. B. Royeen (Eds.), Educating for moral action: A source book in health and rehabilitation ethics. Philadelphia: F. A. Davis.

The Future of Higher Education is in Our Intention and Actions Today

Copyright 2012 Favim.com - courtesy of Creative Commons.org/Google Images.

Copyright 2012 Favim.com – courtesy of Creative Commons.org/Google Images.

Part I (an opening)

Go, go, go, said the bird: human kind
Cannot bear very much reality.
Time past and time future
What might have been and what has been
Point to one end, which is always present.

T.S. Eliot, “Burnt Norton,” Four Quartets

In systems that exhibit little to no change, prognostication is rather straightforward: a living-out of Newton’s first law of motion. Unless poked somehow, stuff does as it does. However, in systems moving very quickly with larger and more chaotic changes, what comes along next is increasingly difficult to predict. As environments and questions become so complex, all we have is our own current stance: the guidance of our intention.

No one, not even Ray Kurzweil himself, knows what the platforms available to higher education will be, what job markets will look like, or what the implications of global change will be to learning, teaching, and living. No one. Whatever claim is made about the “future of higher education,” we must face this realization.

However, we do not need to know the future. Attending to and challenging our current intention guides our response to change and, moreover, provides the means to foster what arises next. Our actions have planet-wide consequences. If we only develop and teach techniques and do not cultivate an active inquiry into their implications, how can we ever expect to produce outcomes that foster systemic flourishing? As we think about the future of education, we must keep our focus on questions of “why” rather than simply “how.”

Our intention is the anchor we develop, the ground from which we respond, no matter what comes along. It is not merely reactive: since we are cultivating an ongoing inquiry into what is meaningful, challenging and deepening our intention is a living process which develops as we see what is created and fostered in this world. This process requires the support of a contemplative practice that sustains our courageous willingness to act in accordance with our beliefs.

Our intention is vibrant and alive, yet grounding and guiding. It is from this stance, here and now in the present, informed by our actions, that we must confront and create the future of higher education. This is what we must be cultivating in ourselves and in our institutions if we want to transform education and society.

Change is guided by intention and vision. In articulating and examining our mission, we will have a perspective to address questions like, “Should we use MOOCs?” Of course, the real question is: “What should we use MOOCs for?” For certain goals, MOOCs are just peachy; for others, rancid compost. And let’s face it: MOOCs are the first baby steps toward the radical changes coming for education transmission. What’s coming soon will be beyond our current imagination but can, and should, be formed and framed by our values and beliefs. It is our obligation to articulate our vision clearly and strongly, to act in accordance with our vision, and to foster this process of ongoing inquiry in our educational institutions.

Without this foundation, we will lurch in reaction to changes brought about by those with the most market and political power.

When students, teachers, staff and administration join together to articulate a vision for higher education in a united effort to create meaning and direction, every act becomes curricular:  an opportunity for learning through questioning, “does this act cultivate a world consistent with my true intention?”

Our educational institutions should be environments which foster the realization that our actions shape the world into a reflection of what is most deeply meaningful to us. Information, theory, and innovation then become grounded in a process of living out meaning–no longer simply unleashed for any purpose. In this regard, higher education can lead the process of societal change and transformation.

It is only through a process of cultivating awareness and discernment that we can develop this sense of engaged meaning and action. This process must form the core of education, affecting political and social policies, technological development, and global awareness. It is essential for a vibrant society. Let’s all work together to create these environments and forge the future of higher education together–without succumbing to calls for narrow training and social control.

The future of higher education is in our intentions and actions today.


In part II, I will suggest ways to implement this inquiry and develop our intentions and actions.

Dr. Daniel Barbezat, Professor of Economics, Amherst; Executive Director, the Center for the Contemplative Mind in Society.

Dr. Daniel Barbezat, Professor of Economics, Amherst; Executive Director, the Center for the Contemplative Mind in Society.

Daniel P. Barbezat is Professor of Economics at Amherst College. He has been a visiting professor at Northwestern University and Yale University and has taught in the summer program at Harvard University. In 2004, he won the J. T. Hughes Prize for Excellence in Teaching Economic History from the Economic History Association.

Over the past decade, he has become interested in how self-awareness and introspection can be used in post-secondary education, economic decision-making and creating and sustaining well-being. With the support of a Contemplative Practice Fellowship in 2008, he has developed courses that integrate contemplative exercises designed to enable students to gain deeper understanding and insight. His approach to these economic classes has been featured in the Boston Globe, the U.S. News & World Report, as well as on the NPR program “Here & Now.”

Dr. Barbezat has worked with the Center for Contemplative Mind in Society–the national hub for contemplative teaching and learning, committed to the positive transformation of the higher education system by supporting the use of contemplative/introspective practices to create engaged learning environments–as a Board Member, Treasurer and Associate Director of the Academic Program since 2009. In 2012, he became the Executive Director of the Center. He has lectured and led workshops on contemplative learning and pedagogy throughout the United States and Canada and is actively working to expand and deepen the Center’s programs, making its work more accessible and transformative for all.

Along with his experimental research on choice and awareness, he is currently editing a group of papers on examples of contemplative pedagogy across the disciplines with Arthur Zajonc to be published by Routledge, and writing (and thinking, thinking, thinking about…) a book entitled Wanting. His latest book (co-written with Mirabai Bush), Contemplative Practices in Higher Education: Powerful Methods to Transform Teaching and Learning, was released by Jossey-Bass in October 2013.

Reprinted by permission of the author, Spring 2014. For more articles and blogs published by the Center for the Contemplative Mind in Society, please visit:

http://www.contemplativemind.org/

To Twitter or Not to Twitter

Twitter Logo, courtesy of Creative Commons/Google Images.

Twitter Logo, courtesy of Creative Commons/Google Images.

by Reynol Junco

The following article was originally published in Leadership Exchange, Vol. 10, Summer 2011, pp. 34. Reprinted with permission by NASPA – Student Affairs Administrators in Higher Education.

Because of my research on social media, people often assume I am a cheerleader of these technologies. While I clearly see the benefit of using social technologies to connect with colleagues for professional development and for increasing student engagement, it is clear that these services are not for everyone.

As a senior student affairs officer (SSAO), no doubt you have been exposed to multiple pleas to join Twitter. The 2011 NASPA Annual Conference featured sessions designed to explain Twitter and what an SSAO can do with it, Twitter tutorials, and colleagues sporting “Tweet Me” ribbons. If that exposure to Twitter was not enough, a close friend or a col- league may be cajoling you into setting up an account.

All of these circumstances might have you thinking: “Should I be on Twitter? I am a senior leader in the field, after all.” The honest-to-goodness truth is that you might not be ready to engage on Twitter, and that’s okay. Don’t let anyone tell you otherwise. While you have heard the cheerleaders telling you why you should use Twitter, let me present some reasons why you should not:

  • It is yet another thing you have to do. You are busy with meeting after meeting, an inbox that you can barely con- trol, reports to write, and people to supervise, all of which does not leave much time in your busy schedule. Twitter has a steep learning curve and once you are comfortable with the technical aspects of the platform, it requires ongoing attention.
  • It will make you uncomfortable. Twitter is an environment very different from the world of an SSAO. From the start, the Twitter platform has democratized roles and relationships. For instance, it is not uncommon for a famous author to communicate directly with readers. Twitter blurs the boundaries of hierarchies and allows “the little people” to have as strong a voice as those in leadership positions. Generally, this is not how the workplace operates. The student affairs office has a fine delineation between the entry-level work- force, mid-level managers, senior professionals, and students. Imagine the ramifications of such a technology on cam- pus—students can have both individual and collective voices stronger than your own. Whoa!
  • You will do it wrong. Twitter is a tool better utilized to interact and engage with students, faculty, staff, and other SSAOs, not to broadcast messages. SSAOs who are currently on Twitter are less likely to engage in conversations with their followers than mid- and entry-level professionals. You do not need feedback from your “fans,” and they probably do not want to engage with you in that manner, either. Leave that side of social networking to celebrities.
  • You will be challenged to consider, and in many cases respond to, new perspectives that have very little to do with your substantive work. While that sounds like a good thing in principle, imagine the cognitive dissonance it  will create as well as extra work. I’m sure that when you were in graduate school, Sanford’s notion of challenge and support really resonated with you; however, these days, the challenges you receive are more often related to strategic planning or budget cuts. Engaging with others on Twitter might challenge you in insufferable personal and professional ways. That’s just not fun.
  • Backchannel communications are time killers. A backchannel is a running public dialogue on Twitter aggregated around a specific topic. It is called a backchannel for a reason—it is in the background and not typically noticeable. On top of all of your other responsibilities as an SSAO such as meetings, supervision, strategic planning, and possibly even fundraising, Twitter can open the flood gates for communication with students and other constituents. Most universities have a backchannel, but students rarely share any feedback that a student affairs division could use constructively.
Twitter brand page. Courtesy of Creative Commons/Google Images.

Twitter brand page. Courtesy of Creative Commons/Google Images.

My Twitter followers agree, providing the following comments when I asked them why SSAOs may want to avoid Twitter:

“All of the information sharing from other institutions and colleagues will just complicate things.”

“Why waste your time on Twitter when you can ask the same question in a meeting you attend with 20 people— who needs Twitter?”

“[Y]ou’ll find yourself wanting to consult your network for a better answer than the one you’re getting in person.”

“You may have your way of thinking challenged and be forced to consider new, previously unconsidered perspectives.”

“You won’t like getting instant feedback from students.”

So, my advice is to keep a level head and stay off of Twitter. Your e-mails are waiting.

Rey Junco is a social media scholar and an associate professor in academic development and counseling at Lock Haven University. You can try to reach Rey on Twitter, but odds are that he won’t respond.

If, after all the above admonitions, you still want to try Twitter, the following is a good starting point: momthisishowtwitterworks.com

How Teachers Are Turning to Social Media to Extend Learning

[Reblog from Education Week; original story written by Laura Heinauer Mellett on September 18, 2013 9:57 AM]

“Social media is one of the trendiest ways teachers are enhancing lessons and engaging students both in and out of the classroom.

With just a smartphone, iPad, laptop, or a home computer, social media can improve teaching and extend learning time in a way students get excited about. Through social media, students can log on any time or any place to do their work, allowing more interaction beyond the school day. It’s also something, when harnessed creatively and effectively, that students enjoy doing, which increases the chances they will spend more time engaged in their work.”

Read more…

Twitteracy: Tweeting as a New Literacy Practice

Note: Link opens as a PDF.

This new research article explores how Twitter, and other social media technologies, contributes to new and traditional literacy practices. It offers models of using Twitter as a learning tool, explores how Twitter is used by students and peers, and offers new suggestions for continuing research.

http://www.kdp.org/publications/theeducationalforum/pdf/TEF764_Greenhow_Gleason%20%282%29.pdf

Experiments in Creative Approaches to Science Education

Experiments in Creative Approaches to Science Education,

by Mika Munakata and Ashwin Vaidya

By Dr. Mika Munakata, Department of Mathematical Sciences, Montclair State University
and Dr. Ashwin Vaidya, Department of Mathematical Sciences, Montclair State University

“Newton’s second law of motion states…”

In reconsidering the effectiveness of this typical script in any beginning physics course, it strikes us that while the standard method of conveying scientific information may work for the scientifically gifted and motivated student, it leaves behind the majority of the already scientifically alienated. Presenting a discipline such as physics as something external to oneself is therefore akin to alienating oneself from nature. Our understanding and description of nature is intricately tied to our experiences and sensations of the world around us; the Descartian approach of reducing nature to a set of mental rules, while powerful, is insufficient as a pedagogical tool. Along with a recounting of the historical reconstruction of scientific laws, students would benefit from (re)creating science. The rest of this article describes some of our experiments along these lines.

Students’ perception of creativity and science

Not so long ago, we administered a survey to over 200 MSU undergraduate and master’s science and mathematics students (Munakata and Vaidya, 2012). The aim of the survey was to assess students’ perceptions of the role of creativity in the sciences. The questionnaire, using a Likert- scale measurement from 1 to 5, asked students to indicate the degree to which various disciplines encouraged creativity.

Figure 1: Creativity ratings for different disciplines by CSAM students

Figure 1: Creativity ratings for different disciplines by CSAM students

It first asked students to describe the most creative activity they have been engaged in and to compare various disciplines, events and skills against their standard of creativity. Our data (Figure 1) revealed that even among science and mathematics students, arts-related disciplines were deemed to be more creative than sciences. Further, among the science disciplines, those that were more applied (medicine, engineering, physics) were rated as being more creative than the theory-based disciplines. The somewhat favorable ratings received by these scientific disciplines may not be random or coincidental; several of the students taking the survey were aspiring medical students and enrolled in a physics course taught by one of the authors . These results were also confirmed by other sections of the survey that asked students to describe the most creative activity they have engaged in. The results clearly illustrate the perception that creativity does not play a role in scientific and mathematical endeavors.

Though the results of this survey are not surprising, they are nevertheless disturbing to the science educator and pose a challenge for those of us who encourage our students to be innovative and try to equip them with the tools necessary towards this accomplishment. If we strive to engage students in science in the same way that a scientist approaches it—that is, creatively— it is imperative that we expose students to opportunities to engage in the creative process early on during their education. This is not so easy. Unfortunately, creativity and imagination are seldom emphasized in STEM learning (NRC, 2005) with rote and dry instructional practices often leading to students dropping out of STEM fields (Goldberg, 2008). By and large, students, especially in introductory courses, are taught by lecture and their laboratory experiments are usually predetermined. This may be the case in other disciplines as well.

Some institutions have made a deliberate attempt at revamping their curricula; traditional lecture-style teaching has been replaced by inquiry-based teaching, often encouraging students to fully engage in the scientific process . Others have proposed refocusing introductory science courses to reflect two aims: promote conceptual understanding and showcase the process of scientific inquiry (Meinwald & Hildebrand, 2011). These aims can be achieved by making courses student-centered and encouraging exploration and dialogue (see DeHaan (11)). Yet another way we propose is to engage STEM students in activities that merge science with creativity.

The Art of Science experiments

The Art of Science Project: We recently initiated an experiment in our classroom with the help of a grant from the American Physical Society. The project, which began in the fall of 2012, involves undergraduate physics and arts students in the exploration and development of a hand crank camera and in the subsequent production of sustainability-themed short movies . This innovative activity, or performance, will capitalize on the public’s passion for movies. The moving image occupies an increasingly demanding place in contemporary life.

Figure 2: Students working on a simple hand crank mechanism

Figure 2: Students working on a simple hand crank mechanism

Figure 2: Students working on a simple hand crank mechanism

The amount of energy spent on both the production and consumption of media nowadays is enormous; cinema itself, however, was born of modest mechanical means. Just over a century ago, hand- cranked cameras and bioscopes harnessed human energy to present the visual illusions that still hold our attentions today. This project is a collaboration between the disciplines of physics and art at MSU and is being conducted with the collaboration of faculty and artists from across and outside the campus with the hope of bringing the playful side of science to the forefront of the student consciousness. The project is being conducted in three distinct phases:

  • Development of new technology: In the fall of 2012, physics students from an upper- level course worked together to investigate the mechanics of a working hand-crank video camera as a special project in MSU’s “Classical Mechanics” (Physics 210). The exercise involved discussions about energy generation, the conversion of mechanical to electrical energy and sustainable energy practices . In the laboratory, we took apart hand-crank units, analyzed their parts and worked on putting together one of our own (see figure 2).
  • The second part of the technical project, which is currently underway with the help of students from the physics club, involves the development of a bicycle-powered generator. Power generated by operating the bicycles will be stored in the generator for later use in projecting. With the assistance of a visiting artist, Anuj Vaidya, students from MSU’s art department will soon begin to work with the physics students to create a series of short videos that explore issues of ecology and sustainability. They will use the hand-crank cameras to record images for their work. In addition to these images, students will be able to use recycled sounds and images to complete their short pieces.
  • The culminating event for the Art of Making Science project will be an exhibition and workshop held on the campus and open to the public. The physics and art students will present their product (both the machinery and the movie) to students and faculty during a special presentation at the 4th Annual University Teaching and Learning Showcase event, sponsored by the Research Academy.
Photo credit Anthony DeStefano, 2012.

Photo credit Anthony DeStefano, 2012.

The RAUL Showcase will also feature the Physics and Art exhibition which we initiated as an experiment in informal education to have students see the ubiquity and beauty of science. The exhibition showcases students’ photographs on any theme but with an aesthetic eye.

Students from CSAM are asked to submit photographs and to identify and elaborate on the science behind the art . These are mounted on posters and showcased during the exhibition. In all, more than 100 photographs have been submitted to date. Each year, a group of faculty from CSAM and CART award prizes to three student photographers.

The idea behind the events of the day are twofold: the art exhibition which is student- oriented gives the students a chance to participate in an art-science creation and get the audience in the right frame of mind to discuss the deep connections between art and science, and to reveal the sciences as a very creative enterprise. In the true sense of creativity, these events provide the opportunity for students to shift their paradigms about the nature of science learning. More often than not, we found the students pleasantly surprised to find physics hidden in the pictures that they took.

Photo credit Ashley LaRose, 2012.

Photo credit Ashley LaRose, 2012.

Reactions to these events:

We are in the process of assessing the impact of these events on students’ perceptions of the role of creativity in the sciences. Our hope is to distinguish the effective elements of these types of activities to share with STEM colleagues.

Conversations and the general public mood during the physics and art event clearly indicated excitement over the photographs and appreciation for the theme of the day.

Students in the upper level physics class were asked for reflections on their experiences with the Art of Making Science project and their classroom experience. Students recognized that the structure of the course was different from the typical day-long science laboratory exercises. They commented that the ongoing nature of the project provided incentive to prepare between class meetings and also stated that as opposed to the question-and-answer structure that is common in other classes, this class was open-ended and allowed for the student to ask their own questions and to try to formulate answers to them. One student saw this as good preparation for science after graduation, when textbooks won’t be available to provide answers.

Students also enjoyed the teamwork aspect of the project . They learned how to work on their own piece of the project while keeping the big picture of the group project in mind. Teamwork allowed them to combine their knowledge and to share ideas . For example, some in the group were “better with their hands” while others had “deeper theoretical knowledge .” Although some alluded to different starting points within the group, groups were able to find their rhythm and learn to communicate efficiently and effectively. Students enjoyed that they got to know each other well due to the focused time they spent outside of class.

The importance of such experiments and informal events cannot be underestimated. They can be extremely beneficial in conveying essential ideas which might be difficult in the traditional classroom due to pressures associated with grades. Additionally, even the elementary mathematical treatments of topics in physics is seen by many students as being very burdensome due to previously instilled fears about mathematics and science. Our experiments have proved to be a revelation to students and faculty alike; it has allowed us to provide a forum where talking about science and creating science are both possible and equally valued . It has allowed students to see that science and in fact, even art, are not created in isolation; there is a strong tie between them that often goes unnoticed . In becoming comfortable with failure, we have given ourselves a greater chance of success. The roots of the notion of creativity lie in creation, after all, and our collective consciousness have been shaped by our students’ creation. As our project races to completion with the creation of the short film, we look forward to more shifts in our thinking of what science or art really mean. We invite you to join us for the culmination of this experience on May 3.

References:

DeHaan, R. L. (2005). The impending revolution in undergraduate science education. Journal of Sci. Educ. and Tech., 14(2), 253-269.

Meinwald, J. & Hildebrand, J. G. (2010). Introduction. In J. Meinwald & J. G. Hildebrand (Eds .), Science and the educated American: A core component of liberal education (pp. 1-8). Cambridge, MA: American Academy of Arts and Sciences.

Munakata, M. and Vaidya, A. (2012) . Encouraging Creativity in Mathematics and Science Through Photography. Teaching Mathematics and its Applications. 31(3). 121-132.

Goldberg, D. E. (2008). Last word: Bury the Cold War curriculum. ASEE PRISM, 17(8).

National Research Council. (2005). S. Donovan & J. Bransford (Eds .) . How students learn: History, mathematics, and science in the classroom. Washington, D .C .: National Academies Press.

Performing Arts as Pedagogy, by Christopher Parker

Performing Arts as Pedagogy

by Christopher Parker

Dog Days Peak Performances

Lauren Worsham in Dog Days (photo by James Matthew Daniel).

Part of my Classical Mythology course requires students to attend a live dramatic or artistic performance. Not only are my students benefitting from the rich mythology themes often present in live performance, but most theater offerings and arts performances are rich with conceptual undertones of psychology, language, literature, physics, biology, technology, history, religion, philosophy and mathematics. I think it is clear how psychology, language and literature are present in drama. It takes a deeper analysis, but one can analyze performances for the elements of physics in narrative—such as I demonstrate in some of the examples below—as well as the actual physical science used in choreography, sound and special effects . Performing arts allow for analyzing biology, not only for performances that incorporate biology in the narrative, but by scrutiny of the bodies of the dancers, musicians and actors as well as in the imagery present in scrims. Math is present in the meter of poetry (cf. Birken, M., Coon, A. C. (2008). Discovering patterns in mathematics and poetry. Amsterdam, New York: Rondopi). Religion and philosophy are there in story, imagery and conversation. Of course there are more connections . Furthermore, preparation for attending performing arts, and discussions about them, assist in developing skills for critical thinking, writing, philosophical inquiry and reasoning.

That is why each semester my syllabus includes attendance at a performing arts piece on campus, hopefully together as a class. At Montclair State, student attendance is free because it is included in the their activities fees.

To select a show and time for each course per semester, I begin by researching upcoming offerings with the staff and curators in the Office of Arts and Cultural Programming (ACP) at Montclair State. The ACP often schedules these performances in collaboration with the departments of music, and theatre and dance, and help me arrange for conversations between my students and the artists. Then, once a show is selected for its relevance to my course material and appropriate timing, we fine-tune our collective attendance at the show.

First, timing: The exam period at the end of the semester usually means reduced attendance. The day before spring break doesn’t always work well either. So experience has shown that the best time to schedule performance attendance is early in the semester. Once we pick a good week we discuss, in class, the best night to attend the performance for the majority of students. Those students who may not be able to come with the rest of the class are invited to go on their own, another night . For a few, it may be impossible to see the chosen show at all, so they are advised to attend a different show. I may make some suggestions for other options currently available, and, for those who do not meet the performance requirement, I meet with them individually to discuss any conflicts.

Event poster, Kiss of the Spider Woman. Peak Performances, Montclair State University

Event poster, Kiss of the Spider Woman. Peak Performances, Montclair State University

Students are told that they will be writing a review of the event as well as developing questions for discussion with the people responsible for the performance (directors, performing artists, producers, etc.). We also may read some of the original sources of the theater piece. The syllabus clearly articulates the expected participation in live performances, and lays out what students can expect tied to the course learning goals.

Examples of Campus Arts and Cultural Programming

Most recently, two of my Mythology classes attended On the Concept of the Face, Regarding the Son of God, from the Italian company Socìetas Raffaello Sanzio. More than 60 Mythology students from two classes were given the opportunity to meet with the director, Romeo Castellucci, earlier in the day of our chosen showtime. Then, directly before the performance, all my students and other guests were invited to a pre-show conversation with scholar Annalisa Sacchi, a Post-Doctoral Fellow in the Department of Romance Languages and Literatures, Harvard University. This helped us to pre- prepare by understanding the context of the creation of the show and a scholarly approach to analyzing its meaning. These pre-show experiences develop an entire aesthetic: intellectual, international and historical context within which students could then absorb the experience of the performance.

Other examples of performances have been:

Sweeney Todd, which features a classic tragic hero;

1001, a re-creation of One Thousand and One Nights, a collection of myths and folk legends from Arabian antiquity;

Prometheus–Landscape 2, a wild modern interpretation of the behaviors and personalities of the Greek gods;

Trojan Women, directly applicable to our course work, and performed using several languages (subtitled in English);

Kiss of the Spider Woman, linked to the myth of Arachne and the archetype of the classic Greek tragic hero;

But, while we were lucky to have such relevant performance pieces to choose from —directly tied to classical mythology—not all arts events are classic theater.

For instance, one semester a dance event coproduced by Peak Performances and Liz Lerman, called The Matter of Origins, told an interpretative story of the Manhattan Project and the development of the nuclear bomb. To connect more modern narratives with classical mythology, we explored the connections between this dance and the story of Prometheus, the end of the world and other deities of war and conflict. Act Two invited the audience on stage for conversation, inquiry, food and art at tables hosted by “provocateurs,” which was reminiscent of the Greek Chorus, representing people from the community . Insula, a dance-media-music-theater piece developed through the Department of Theatre and Dance, was conceived through collaboration with Artist-in-Residence Kari Margolis and MSU BFA students . Insula was rich with connections to Greek and Roman mythology from Odysseus to the apartment complexes of ancient Rome called “insula.”

We were able to experience Polynesian mythology through the narrative and hula presentation of Na Kinimakalehua, a Hawaiian company of hula artists. The company provided a study guide on Polynesian mythology that accompanied the hula performance. It is always useful to connect Greek mythology and its archetypes to other cultural or ethnic mythology and how they are, in fact, related by similar archetypes.

Pedagogy of Arts and Cultural Programming and the Class Subject Matter

The Review: A week before any performance I will give a workshop on how to write a play review. I am a regular reader of the arts critics of The New York Times and other newspaper’s theater critics, and over the years I have developed a basic format for how to structure a theater review. I give these format directions to the students and we read aloud a very recent theater review from a newspaper. We analyze the correlation between a recent review and our basic format . Reviews on the Internet tend to be different in style. And even though the Internet form of writing contributes a different style and format from more old-fashioned newspaper theater critiques, I find the print format works best for the objectives of this assignment: assisting in better perception of the entire performance in relation to the pre-defined objectives that writing a review calls for; understanding the creative process and how art is conceived; developing critical thinking; attentively addressing source information correctly and making knowledgeable and researched connections of the show to themes in classical mythology.

Peak Performances presents Benjamin Millepied's L.A. Dance Project performing "Quintett (1993) choreography by William Forsythe at Montclair State University, New Jersey. Credit: Stephanie Berger

Peak Performances presents Benjamin Millepied’s L.A. Dance Project performing “Quintett (1993) choreography by William Forsythe
at Montclair State University, New Jersey.
Credit: Stephanie Berger

Communities of Inquiry: Conversations with the production professionals for On the Concept of the Face were readily available during their time on campus, but this is not always the case . It takes effort to bring together actors, directors and a dramaturge to discuss meaning behind a theater piece . The ACP helps me every semester by organizing and arranging schedules so students have access to the artists. I always try to arrange these talks for students so that not only is mythology suggestively brought before them in performance by people of their time or even their peers, but that real conversations of meaning and intent can occur .

To first-year students, such conversations and the ability to develop rich inquiry may not be immediate and natural . So I prepare students in multiple ways: before meeting the production artists, we hold a workshop on how to ask good questions—that go beyond questions such as “when did you start acting?”—to get deeper answers, and we practice identifying where we find classical mythology in the modern day. We explore the Greek poets, their forms and narratives . Then, for example, when poet Tracy Smith was at Montclair State, we reach an inquiry level like this:

I read in your poem “My God, Its Filled with Stars,” what appeared to me to be strong links to mythology (however you look at that). You seem to carry the mythology from what appears to be Gaea, though you don’t use that name in the poem, to the Odyssey, which of course is in the references you make to 2001 a Space Odyssey and then the follow up story of 2010 a Space Odyssey. You must think myth still works in poetry. Do you? And why do you evoke the ancient gods, does your father’s affiliation with Hubble bring in any revelations for you from the divine, at least metaphorically?

The point here is for us to experience the presence of ancient myth, or almost any class topic, through the artists of our time. In this way concepts cease to be old stories in old books and something we live now. I ask the students to embrace this and recognize it and learn better by actually experiencing mythology in the world of successful and talented artists, including their peers.

But learning and practicing critical questioning takes some consideration and thought. We evoke these thoughts in small communities of inquiry with the goal of developing a pool of questions to ask our artists. We experiment with Socratic questioning, and its relationship to Greek mythology and other Greek philosophers and their methods of examining knowledge. Each small team then assigns one or two members to actually present their questions during our conversations with the artists.

Original Sources: In many cases, we will review the original sources from which theater has emerged, such as the short story “Dog Days” which inspired the creation of a new opera piece co-produced at Montclair State, also called Dog Days. Dog Days is apocalyptic, which is a common theme in Greek and other mythologies . The show also explores the animal in the man and the feminine power of the heroine . Reading the short story that inspired the opera helped us develop valuable questions for the librettist and director, understand the narrative of the opera, and the meaning of the musical score itself.

My more than 10 years of experience working with artists on campus has enriched my pedagogical approach to teaching and learning. Infusing my courses with live performance experiences gives students a chance to find the relevance to the classical archetypes, evokes an enthusiastic desire for philosophical inquiry and critical thinking, builds (literally) critical writing skills, gives practical useful reasons for research on mythology or any subject, fosters public inquiry and speaking, and enriches the connection of the modern aesthetic with the literature of the past.

About the Author:

Christopher Parker teaches Mythology in the Classics and General Humanities department at Montclair State University and is also a poet and poet-in-the-schools with the New Jersey State Council on the Arts and Geraldine R. Dodge Foundation. He holds a Master of Fine Arts in poetry from Columbia University and is completing an EdD in pedagogy and philosophy at Montclair State.

Using Screencasting for Teaching, by Kirk McDermid

Using Screencasting for Teaching, by Kirk McDermid

by Dr. Kirk McDermid, Department of Philosophy and Religion, Montclair State University

Courtesy Creative Commons, 2012.

Quick (boring) facts:

“Screencasting” is recording all or part of what’s happening on a computer’s display, to share with someone at a later date . It’s often used in software tutorials to give new users a visual aid to help familiarize them with the software . There are many different packages out there that can record screencasts, but I’ll be writing about a free service called “Jing” (techsmith.com/jing). Jing allows you to record a whole screen, a window, or a user-defined portion of a screen. It records up to 5 minutes of 10-frames-per-second video (so, not good for actual video, but just fine for showing mouse movements, etc.) and allows you to save them locally as swf (Flash) video files, or host them on screencast.com. (Techsmith also offers “Snagit,” which records more than 5 minutes and adds features, and Camtasia, an even more feature-filled screen-capture and video creator package.) Jing works on Windows (all contemporary versions) and Mac OS X 10 .6 .8 or later.

How I use it:

As with all teachers, I am constantly trying to find ways to improve communication with my students, and give them more effective feedback on their work—especially written work. And, of course, I’m lazy; I’d like to do it efficiently. (I’m also not the fastest typist, so I find that while typed feedback is an improvement over handwriting, it’s still very time consuming). I do use rubrics or other ‘pre-made’ commentary for general or common feedback, but that just doesn’t cut it when you find something that doesn’t fit the categories you defined before reading student work. I also find that I’m not good at conveying nuance in my comments— students find it difficult to distinguish ‘minor’ comments or asides from central, fundamental feedback about their work.

(And it gets worse when I can’t control my sarcasm or humor. For some reason, students aren’t prepared to detect those when they’re reading evaluations of their work.)

So, I screencast.

Courtesy Creative Commons, 2012.

Courtesy Creative Commons, 2012.

It’s simple: I set up a Jing window to record an area of a few lines’ worth of their paper, and I record myself reading it . (Yes, I almost entirely accept coursework in electronic form. I always have a copy; we have email records (or other means) to validate submissions, and the writing is always legible.) I skip over the dull parts (the dull parts of my reading, that is) by pressing a “pause recording” button, so it appears that I’ve read sections very fast sometimes, but then the whole screencast is full of commentary from me. (You can see times when I do that in the example screencasts, as my mouse flicks down to the left where the pause button is located outside the recording frame.) Sometimes it takes two or even three five-minute videos to read and respond to an entire paper, but if it’s one-two pages, one video does the trick . Then, just a brief typewritten summary at the end of the paper (mostly to remind myself of the evaluation I just gave in video form) and it’s returned to the student with a link to the screencast. (Total elapsed time is more than just the five-minute video that’s produced; if you screw up something or get interrupted, Jing doesn’t let you edit—you have to start over. But generally I get videos done in a single take, with only a few minutes of paused reading time, so a five-minute video might take 6-10 minutes to produce.)

Here is an example of a short essay that took me two five-minute videos to read: screencast.com/t/6rSmcB9o and screencast.com/t/qN1uIwcEjC .

But essays aren’t the only student work that visual and verbal feedback can help with. I use screencasts in a critical thinking/ informal logic course, where students have to do things like reconstruct an argument into a structured format for analysis. There are many moving parts, and it’s a nightmare to give good feedback just by typing, as your focus shifts from premise to premise as you critique their work. Another benefit: it’s easy to post screencast links as part of a discussion thread, and other students can easily follow along and benefit, too . Here’s an example: screencast.com/t/k6sdQhJ05o1S.

How do students respond? I haven’t done a formal study, so all I have are anecdotes which are generally very positive. I’ve had students describe it as having me “read their paper over their shoulder.” Yes, I thought that sounded creepy too, but they intended it as an endorsement. I find that students can understand me better, as they can hear my tone and emphasis. They can also replay the video whenever they want . (Another under-appreciated benefit, in my view, is that they have to listen to the whole thing to understand my evaluation— they can’t skip to the end or just find “the grade” to see what I thought of the paper.) Like any assignment and feedback, what you put in a Jing screencast is only as good as your feedback, and the structure of your assignment. I typically assign papers that can be revised and resubmitted; students have a good motive to listen to my feedback in that case (whether it was a Jing, or not). I also find that students have fewer misunderstandings about what I’m referring to in my feedback—some errors or problems can’t be easily located using a pen on paper (arrows, circles, everywhere!!) but with a Jing, they can see you draw or scroll to the areas you’re focused on. (See the logic screencast above for a good example of that .) I used to screencast on a convertible tablet, using a pen to scribble on documents as I read and talked (awesome); now I have a plain laptop, but I can indicate passages clearly just by moving the mouse (great, not awesome).

I do also use Jing to screencast tutorials; if you’ve ever had students complain they don’t know where to find something on Blackboard, use a screencast to answer that once, then post it somewhere you know they can find it. I also run an off-campus hosted wiki as a coursework site for students; Jing eases the learning curve, since it’s something they’ve never done before . (It’s a unique type of wiki.) Here’s an example: screencast.com/t/0yUQrYYQYvM.

About the author:

Kirk McDermid is an assistant professor of philosophy at Montclair State University. As a philosopher and physicist (BSc in physics from UBC, MSc and PhD in philosophy from the London School of Economics and the University of Western Ontario, respectively) interested in the philosophy of science and epistemology, he has published in Physics Letters A, Religious Studies and Teaching Philosophy. He is also associate faculty at Royal Roads University in Victoria, British Columbia, Canada, team teaching a course on critical thinking for Justice Studies students with a law enforcement veteran. He is always interested in exploring innovative pedagogy and instructional technology as ways to increase student engagement and make differentiated, student-driven learning manageable for instructors. His current research interests center on developing an epistemology of student plagiarism, examining the philosophical import of variational methods in physics, and implementing a semantic wiki to manage student learning and collaboration.

Playing Games to Learn – Ideas and Resources

LogicPuzzleMy 7th/8th grade math teacher, Ms. Whitney, always included logic puzzles at the end of every unit test given on each Friday. When reviewing the test answers on Monday morning, she always walked us through the solution of the puzzle. For all of us in her 7th and 8th grade math classes, those puzzles were the real reward for finishing the test, with the additional bonus of 10 extra credit points on the test if you completed a puzzle successfully. Sometimes I ran out of time and sometimes I finished them; I always loved to try. I still enjoy logic puzzles to this day, and I still feel very accomplished if I can finish one on the first try (very rare): they can be extremely hard, at times seem impossible to solve. These games were not frivolous or without real learning outcomes, despite the fact that we students didn’t know that. We had fun trying them and competing with each other to see who could finish one, and in the process, learned about strategy, elimination of facts, cross-referencing clues, referring back and anticipating forward: that is, how to think logically. The logic puzzles were contained within funny and appealing narratives (seven students tried out for the school play: figure out who got the lead role, who was understudy, who became a prop, etc. based on the clues provided).

Games are an integral part of learning. Ask any five-year old or, like me, a struggling 7th grade math student. When we play games, we fall down, get tagged out, get hit with the dodge ball, lose some/win some, take risks, try again, show up, work together, strategize, change tactics/approaches –we try. There is very little we won’t do or try  to succeed at a game – even if we don’t always win. Sometimes we walk away from a game out of frustration, disappointment, anger, boredom, hurt feelings, sour grapes; we quit, but the game stays with us, we usually come back and try again, or the sense of failing may follow us forever (despite being tall, I was never good at basketball; I’m still trying to land a layup).

Jane McGonigal believes that games can make a better world. Tom Chatfield connects gaming with brain rewards and intrinsic motivation. It’s worth your time to listen to these two TED Talks and consider how games may make your teaching and student learning explode with excitement, engagement, interactivity, and, most importantly, fun:

Jane McGonigal TED Talk: Gaming can make a better world

Tom Chatfield: 7 ways that games reward the brain

So now that we know how engaging gaming is (and this isn’t just about video games!), why aren’t we using more games in our classrooms? Or, why haven’t we found the game that will change the dynamic, light some fires, introduce fun, into our class? It’s not so easy to just think up a game that meets our content specifications, learning goals, and assessment/grading needs. Sometimes we just need to see what other people are doing out there, to be inspired and try something new for presenting or delivering conceptual material in our courses. So below you will find a whole list of examples from disciplines across the curriculum. Hopefully, you find something that appeals.

One of the foremost theorists on the connection between gaming and learning, employing what he calls “pedagogies that combine immersion with well-designed guidance” is James Paul Gee. His research article, “Game-Like Learning,” contains a wealth of examples on how to leverage video games for knowledge building, especially conceptual simulations that apply new knowledge and immerse students in environments that provide opportunities for making judgments and receiving formative feedback. Here –very condensed– are some of his examples (read the full article here: http://www.jamespaulgee.com/node/29):

  • Supercharged!

    “Kurt Squire and his colleagues (Squire et al. 2004; see also Jenkins, Squire, and Tan 2003; Squire 2003) have worked on a computer game called Supercharged! to help students learn physics. Supercharged! is an electro- magnetism simulation game developed in consultation with MIT physicist John Belcher by the Games-to-Teach project at MIT (run by Henry Jenkins; see http://www.educationarcade.org). Players use the game to explore electromag- netic mazes, placing charged particles and controlling a ship that navigates by altering its charge. The game play consists of two phases: planning and playing. Each time players encounter a new level, they are given a limited set of charges that they can place throughout the environment, enabling them to shape the trajectory of their ship.”

  • Augmented by reality: Madison 2020250px-SimCity_2013_Limited_Edition_cover

    “In their Madison 2020 project, David Shaffer and Kelly Beckett at the University of Wisconsin have developed, implemented, and assessed a game-like simulation that simulates some of the activities of professional urban planners (Beckett and Shaffer 2004; see also Shaffer et al. 2004). This game (and I will call it a game because it functions very much like a game in the learning environment in which it is used) and its learning environment incorporate many of the same deep learning principles that we have seen at play in Full Spectrum Warrior [a commercial video game Gee references earlier in the article –JD].

    Shaffer and Beckett’s game is not a stand-alone entity but is used as part of a larger learning system. Shaffer and Beckett call their approach to game- like learning “augmented by reality,” because a virtual reality – that is, the game simulation – is augmented or supplemented by real-world activities; in this case, further activities of the sort in which urban planners engage. Minority high school students in a summer enrichment program engaged with Shaffer and Beckett’s urban planning simulation game, and, as they did so, their problem-solving work in the game was guided by real-world tools and practices taken from the domain of professional urban planners.

    As in the game SimCity, in Shaffer and Beckett’s game, students make land- use decisions and consider the complex results of their decisions. However, unlike in SimCity, they use real-world data and authentic planning practices to inform those decisions.”

  • Assessing Learning Through Games

    “Why, then, would we need any assessment apart from the game itself? One reason – indeed, a reason Janie herself would – is that Janie might want to know, at a somewhat more abstract level than moment-by-moment play, how she is doing and how she can do better. She might want to know which features of her activities and strategies in the game are indicative of progress or success and which are not. Of course, the game is very complex, so this won’t be any particular score or grade. What Janie needs is a formative or developmental assessment that can let her theorize her play and change it for the better, and this is what the game gives her.

    At the end of any play session in Rise of Nations [a commercial real-time strategy game, discussed by Gee earlier in the article to provide an example of a complex, real-time, competitive game that is challenging and has built-in learning assessments –JD], the player does not just get the message “you win” or “you lose,” but rather a dozen charts and graphs detailing a myriad of aspects of her activities and strategies across the whole time span of her play (and her civilization’s life). This gives Janie a more abstract view of her play; it models her play session and gets her to see her play session as one “type” of game, one way to play the game against other ways. It gives her a meta-representation of the game and her game play in terms of which she can become a theoretician of her own play and learning. From this information, she does not learn just to be faster or “better”; she learns how to think strategically about the game in ways that allow her to transform old strategies and try out new ones. She comes to see the game as a system of interconnected relationships.”

madlibsThere are many other examples, some more or less sophisticated than the ones Gee describes, of educators using gaming to teach disciplinary concepts, or, more meta-cognitively, to teach higher-order thinking, strategy, creativity, and problem-solving using “real-life” situational simulations. In addition to my experience with logic puzzles, I know of English professors who use Mad Libs to teach linguistics, concepts of semiology, etc. I have read of professors who use the board game Clue to teach deductive vs. inductive reasoning. Here is a list of other higher education practices and programs who are successfully using games in their teaching:Clue Classic Boardgame $13.00

  • Stanford University Med School: EteRNA. Players arrange colored discs into two-dimensional chain-link shapes to create blueprints for RNA molecules. Link: http://med.stanford.edu/ism/2011/january/eterna.html
  • McGill University, Montreal, Canada: Phylo. An online game that anyone can play (try it out, it’s cool!), it is a simply puzzle format that has players shift genetic sequences to find the best possible matches for up to eight species at a time. Link: http://phylo.cs.mcgill.ca/
  • Magazine2CoverArtworkMassachusetts Institute of Technology (MIT): Education Arcade. Features The Radix Endeavor, designed to resemble World of Warcraft type game experience, a multi-player environment that is competitive, where knowledge is collected and hoarded, and problems solved using mathematical and scientific concepts.
  • CancerZap! Needs players! Opportunity for science educators to get students involved in research simulation. Read more: http://www.photonics.com/Article.aspx?AID=51398
  • RTTP Picture 2Barnard College, Dr. Mark Carnes: Reacting to the Past. Involves role playing, classic texts, historical settings, period costumes, and is currently used on over 300 campuses to teach and immerse students in history and literature. Link: http://reacting.barnard.edu/

For those of you who are already game-users or early classroom-game adopters, please share your practice or experience! I will publish each comment or email that comes in that details how to use game play (of any nature) to teach a concept or course material. I’d love to turn this post into a centralized resource to inspire educators to try out games in their course design.

References/Additional Reading:

“Games for Science” The Scientist, 1 Jan. 2013. Web <http://www.the-scientist.com/?articles.view/articleNo/33715/title/Games-for-Science/>

“Colleges Latest Thrust in Learning: Video Games,” USA Today, 29 Nov. 2011. Web. <http://usatoday30.usatoday.com/news/education/story/2011-11-29/video-games-college-learning/51478224/1>

“Where Does Gamification Fit in Higher Education?” EdTech, 30 Nov. 2012. Web. <http://www.edtechmagazine.com/higher/article/2012/11/where-does-gamification-fit-higher-education-infographic>

Virtual Video Platform Eases the Use of Debate in Teaching Critical Thinking and Perspective

Using structured debate in the classroom to teach perspective, critical thinking, review, editing, rhetoric, and application of theoretical concepts, is no new tactic, though it’s often dismissed as too difficult to implement, too time-consuming, or too intensive for students to appreciate and do well.

There are some exciting new tools available for educators to re-think using debate in their classrooms, and the tools available at the link below, especially Vbates — a virtual video platform that allows students to record, edit, and upload their rhetorical speeches, as well as vote and give feedback on each others presentation — promises to ease the implementation, assessment, and access issues associated with setting up debate formats in your courses.

http://ltlatnd.wordpress.com/2013/02/09/idea-offers-video-debate-platform/

I am actively soliciting articles, essays, or just some anecdotal commentary on how people are using debate in their courses. Please comment here or send me an email. And, if anyone does try out Vbate, please please please let me know how it worked and your review of it as an educator.

Creative videos show cultural connections

Creative videos show cultural connections.

Games for Science: The Scientist Magazine

There has been a growing interest in how teachers can leverage student’s engagement with games to enhance learning. This article summarizes some applications of games in the sciences. To go directly to the article in The Scientist Magazine, Games for Science, skip to here: http://www.the-scientist.com/?articles.view/articleNo/33715/title/Games-for-Science/

In addition to surveying, a previous blog post of mine recommends sending out an introductory email a week or more prior to the beginning of class. Read more here: https://teachingandlearningatmsu.wordpress.com/2012/09/06/communicatingwithstudents/ …The importance of establishing a positive and comfortable communication climate cannot be overstated. Thanks for the list of tips!

Teaching After a Natural Disaster – Challenges and Ideas

Gathering storm: This NOAA satellite image taken shows Hurricane Sandy off the Mid Atlantic coast. Combined with an unnamed nor’easter gaining strength as it moves from the West, the massive storm threatens to wreak havoc on the East Coast
Read more: http://www.dailymail.co.uk/news/article-2224629/Hurricane-Sandy-path-2012-How-Frankenstorm-created.html#ixzz2C7Ycnxqv
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Hurricane Sandy hit the New York/New Jersey East Coast region on Monday, October 29, 2012. In its wake, homes were destroyed, businesses ruined, miles and miles of coastline washed away, and lives disrupted, some tragically. Montclair State University closed for the full week, an unprecedented event in the University’s history. The following Wednesday, November 7, 2013, the already battered region was hit by Nor’Easter Athena. While not as devastating as Sandy, it complicated efforts to return people to their homes, to restore power and services to still struggling communities, and to allow people to get back to some semblance of normalcy.

As educators, it is always our job to promote a supportive, professional, calm demeanor in class – storm or no storm.In our Faculty Teaching Circles meeting held on November 12, we discussed concerns and ideas for returning to teaching and supporting students, while maintaining course expectations and curricular goals. As well, we acknowledged that educators in different disciplines will necessarily need to address this situation differently, according to what makes sense for their particular course goals. One of our attendees was able to fold the event into course assignments (a first-year writing course) and to have students analyze how events such as Sandy affect cultural and social behaviors in certain settings — not all educators can be that flexible or adaptive.

The following list poses some thoughts from our discussion, as well as some resources we identified as potentially helpful. Even though we can’t get back the last two weeks, or even the last three months, and anticipate the devastation we would be confronting now, if nothing else this experience teaches us that we need to think about how we can be ready for traumatic or catastrophic disruptions in the future.

Please weigh in with your ideas or stories related to this topic. Post here, on Facebook, or Twitter (#teachingthroughthestorm).

1. Being prepared: build in contingency plans into your syllabus and course design. The following advice is taken from the Santa Barbara City College on building a syllabus (adapted). It is simple in its recommendation: always plan your course expecting that somewhere, for some reason, you will miss a week (illness, bereavement, conferences, or natural disasters). Attendees yesterday confirmed that they have a “throwaway” week built into their course — this material is “what we’d love to cover, but can afford not to if we have to cancel class.” We also affirmed that, when we review our syllabi with students at the beginning of the semester, we should discuss with them the “plan” for emergencies or unanticipated course disruptions. Be sure students understand your commitment to continuing class — being understanding (and realistic) but consistent with your expectations — and that you provide clear lines of communication (see #4 below on forms of communication) for them.

2. Keep on Truckin’: Know how to emotionally and socially support your students when returning after a catastrophic event: the Huffington Post published a blog post by Professor Lori Ungemah, who helpfully parsed a government document (available as a .pdf download here) and adapted its recommendations for university/college educators. Her advice:

  • Step 1: Listen
    Teachers or adult school staff should provide students with an opportunity to share their experiences and express feelings of worry, anxiety, fear or other concerns about their safety.
  • Step 2: Protect
    Adults should try to reestablish students’ feelings of both physical and emotional safety. They can honestly inform students about events surrounding the crisis, such as sharing with them information about what is being done in the community and school to keep everyone safe.
  • Step 3: Connect Help students reestablish their normal social relationships and stay connected to others in order to experience social support. Restoring and building connections promotes stability, recovery and predictability in students’ lives. A student’s classroom and school is a safe place to begin restoring normalcy during a crisis or disaster.
  • Step 4: Model Calm and Optimistic Behavior
    In times of crisis or disaster, children and adolescents [all students, of any age! JD] watch adult reactions and receive cues on how to confront adversity. This step reminds adult staff in schools that they are role models. While teachers and other school personnel might also be affected and may not know exactly how they will navigate recovery, adults can acknowledge their distress but demonstrate a positive and optimistic approach and show students that constructive actions provide hope for the future.
  • Step 5: Teach
    During the coping process, it is important to help students understand the range of normal stress reactions. School counselors, nurses, psychologists or social workers can take on this task [for university students: point them to support services, recovery teams, and articulate your adminstration’s communiques that provide resources – JD]. These professionals can teach students, staff, parents or guardians, and volunteers about common reactions to the specific event or disaster, such as the fact that children and youths may have more difficulty with learning after the specific event.

3. (Not so) Wild ideas: Adapted from epidemic or post-9/11 sources: one syllabus I found had a built in plan in the case of an undefined “Epidemic” [it was posted in January 2011 – Swine Flu? Zombie Apocalypse?] . The professor advised that all assignments would still be due, but moved online (Blackboard). Indeed, most of our group had in some way provided digital/virtual ways to submit assignments via Blackboard or by email. Some instructors  simply crunched together assignments after missing the week, without an attempt to skip the material or try and squeeze it in later in the semester.

Another resource I tried when searching for tips on how to return to teaching after a catastrophe was to search for teaching tips that addressed the immediate aftermath of 9/11. I didn’t find much, but this sentence from a course on how to teach student-veterans returning from duty in Iraq or Afghanistan seemed to offer some helpful advice: “Not only are some student-veterans [students after a disaster]  struggling with financial pressures and dealing with physical and mental health [emotional and physical responses to the event] disabilities (including the “signature wounds” of TBI and PTSD), they also share the challenges many nontraditional students face, such as childcare, “relearning” study skills and understanding (often unspoken) academic expectations. Only a well-informed faculty can understand and address such challenges to ensure retention and degree-completion (italics mine).” From this, we can extrapolate some clear guidelines: provide clear guidelines! How have assignments, schedules, course expectations changed? How are you addressing absences, or the continued impact on students’ lives outside class? Communicate your response and any administrative guidelines clearly and as soon as you can.

Soem faculty had uploaded video lectures and/or live-streamed their classes via outlets like Ustream (free) for students who still had transportation issues or could not otherwise make it to class.

4. Communication: obviously, most of us already do this. We clearly state (in class and on our syllabus) the methods available to students for contacting us. Most faculty in our group rely strictly on email or Blackboard, with little or no preference for phone (cell or office) or social media outlets. This may be adequate, though some educators provide their cell numbers for texting purposes, or create a class Twitter (which most students will receive as a notification on their smart phones) for creating lines of communication. Some may create course pages on Facebook, or ask that students post to Blackboard. Really confident and trusting faculty could even set up a study buddy system that maintains a communication chain for all students in a particular course. Not many of us felt this was viable at the university level, but if any of our readers know of or use this method, please tell us your experience.

The point is, be sure students know how to communicate with you, in any situation.

Finally…it must be said…

One of the most frustrating aspects of events like these is balancing the very real predicament students (or you!) may be experiencing: transportation issues, lack of power, cable, Internet access, homelessness, or other effects. But we acknowledged that we also suspect that several of our students have taken advantage of this disaster to avoid work, exploit the missed time to skip class, put off turning in assignments, or otherwise excuse themselves from participating in class. “Of course, we can’t be insensitive to their experience,” said one of our group members, “but…”…But often we intuitively know when a student is BS-ing us. We didn’t have any real advice for this situation, other than to express that we all know it’s happening, and it is just another (minor) effect this storm has left in its wake.

Additional resource (not directly related to teaching, but this discussion imparts important concepts of leadership through difficult situations or conditions):

Ernest Shackleton’s Lesson’s for Leaders in Harsh Climates (NPR Interview with biographer Nancy Keohn): http://blogs.hbr.org/ideacast/2012/11/ernest-shackletons-lessons-for.html

Hey, Academic Writers, You Can Have Style and Substance

Stylish Academic Writing

Stylish Academic Writing, Helen Sword. Harvard U. Press

 

Hey, Academic Writers, You Can Have Style and Substance

Sword, Helen. Stylish Academic Writing. Cambridge, MA: Harvard U. Press, 2012.

Available from Harvard University Press; April 2, 2012; $21.95

A Book Review, by Julie Dalley

I have always been interested in the ways in which scholarly writing seems to tangle meaning with a flurry of important-sounding words. I’ve done it often in my own writing, partly because I thought it was required to establish authority and credibility, and partly because I didn’t have the training to be more creative in my academic writing. So when I came upon Maria Popova’s blog piece on the blog Brain Pickings, titled, “The Power of Simple Words,” I was intrigued. Accompanying the brief essay – composed to remind writers to keep it simple – was a two-minute TED Ed video also called, “The Power of Simple Words.” The message concerns simplifying your prose, and knowing your audience, illustrated through the comic re-arrangement of pop culture sound bites: “”No coordinates exist like one’s domicile” for “there’s no place like home” or “ambulate this direction”, for “walk this way.” Its message is important for all writers, professional or academic, student or teacher.

Students and practitioners like myself confuse big words with good writing or sound argument. The brevity of the video imparts its message forcefully: we don’t always have to “sound smart” in order to leave a huge impression. Sometimes the simplest of words or phrases, a subtle and delicate metaphor, or a brief but powerful story, can capture a broader audience.

Likewise, in Stylish Academic Writing, Helen Sword argues that academic writers don’t need to write in jargonistic hieroglyphics that require readers to decode their meaning. Instead, they should be open and willing to soften their writing to make meaning more concrete and knowledge more accessible. Sword’s central argument is that, by falling into the habit of writing rigid academic texts without concern for style, we are failing to connect to our own agency and voice. We alienate readers beyond our disciplines, and sometimes even within our field of study.

Dense academic writing – with few exceptions – is by definition that which takes a meandering path to come to a simple point. It is often exclusionary with its complex disciplinary jargon, muddling clear ideas and inhibiting authentic meaning-making. And yet, there are academic writers whose work echoes far beyond their disciplinary domains, whose writing reaches beyond their fields, beyond academia, and into the larger audience of the public, while contributing to our body of knowledge in significant ways.

Sword structures her book with a series of case-studies of these breakout authors, using “Spotlight on Style” portraits of those who have broken the mold without threat to their disciplinary expertise or authority – and who infuse their writing with style and voice that engages the reader and delivers thoughtful, insightful, authoritative, but most of all, accessible, knowledge. Examples include Nathaniel Mermin, physicist (38); Ruth Behar, anthropologist (45); Stephen Greenblatt, literary critic, author, and scholar (p. 83); and Robert J. Connors and Andrea Lunsford, English scholars and researchers, writing as “Ma and Pa Kettle” (128). Alongside these exemplars of stylish writing, Sword presents a guide to crafting stylish prose in a book that is short, concise, and replete with tips and tricks (Things to Try found at the end of each chapter – extremely useful for writing instructors). The author demonstrates with concrete examples and suggestions that “…the most engaging writers are almost invariably those who pay the closest attention to the real people – specialists and non-specialists, colleagues and strangers – in whose ears their own words will echo” (44).  We forget that our audience needn’t be limited to a select few academics; we should write as though our ideas have resonance beyond our disciplines, and as far as the layperson with a curious mind.

Stylish Academic Writing contains a list of specific and transferable skills for improving anyone’s writing and this guide will become a well-thumbed resource every time you begin crafting your own stylish writing piece. The list includes some basic advice: create catchy titles, use anecdotes and stories, begin with a strong opening sentence or paragraph, provide lots of examples (concrete over the abstract), and more. This is practical advice for those who believe they must compose to achieve membership in their disciplinary field: fling the lingo, obscure the simple, flaunt your mental prowess through the anguished manipulation of language and the doors to academia will swing open. There’s a better way.  Scholars have long been making the case for better academic writing, going back to the classic article (which Sword references on pages 6-7) by Patricia Nelson Limerick, “Dancing with Professors: the trouble with academic prose,” (New York Times Book Review, 1993). Limerick famously critiqued the academic snobbery that favors impenetrable, jargonistic papers that few understand, and that even fewer still will admit they cannot understand.

But what is good writing? And what does bad writing look like?  In addition to spotlighting accomplished academic writers, Sword peppers her chapters with snippets of badly written prose plucked from numerous (one thousand, to be precise) articles and essays from a broad swath of disciplines: science, math, history medicine, law, psychology, anthropology, philosophy, education, literary studies and more. She also takes aim at style guides, and their conflicting messages that can lead a writer to constrain or even limit personal voice at the expense of their scholarship. Sword isn’t alone is arguing for better writing. She pays tribute to authors and scholars such as Peter Elbow, William Zinsser, Strunk and White, and Howard S. Becker, who have championed the stylish writing cause (6).

Sword consulted seventy academics from across the disciplines who gave her a list of ideal characteristics of good academic writing: elegant, carefully crafted sentences, energy, intellectual commitment, passion, engaging prose, a compelling story, avoids jargon, aesthetic and intellectual pleasure, and originality, imagination, and creative flair (8).  She dismisses the mythological tenet that individual voice and personal agency should be eliminated from academic writing. Rather, she insists, it is through the use of personal pronouns that we connect more intimately with our audience and attach our expertise more closely to our work and immersion in our discipline: “Academic writers strive to convey a completely neutral perspective; as merchants of truth rather than fiction, we see it as our job to inform our readers, not to play with their expectations or their minds. Yet that neutrality, when closely examined, turns out to be something of a myth” (94).  Why do we research and write if not to establish our own authority in the field?

Sword’s strongest argument comes in Chapter 10: Jargonitis, a term often used as a pejorative to describe text that is “obscure and often pretentious language marked by circumlocutions and long words” (112). Here she sways the reader by pointing out the exclusionary nature of jargon in academic text (i.e., “I belong, you don’t”), how academese has reduced the writer to ostentation, obfuscation, and obscurity, and how jargon can become a substitute for legitimate thought, a placeholder for fully developed and creative ideas.

Struggling with meaning and difficult and complex ideas has long been considered an integral part of academic training; our style and authority is formed and informed by the literature we review and the research we build upon in our own work. Is it necessary? Mostly not, Sword says, “Sometimes, however, the line between technical precision and intellectual pretension becomes a fine one.” (117). Sword points to the invocation of Michel Foucault by numerous scholars, many who appear to never have engaged directly with his body of work.  “Foucauldian” references in humanities and social sciences scholarship are a straw man of academic writing, according to Sword: in most of the cases she reviewed for her study, the authors engaged with Foucault through the work of others. This twice-to-three-times removed jargon diminishes the scholarship, becomes exclusionary for the general public, and contributes nothing to a dialogue on Foucault. Ironically, Foucault’s work, per Sword, was “rhythmically compelling, relentlessly concrete, and almost entirely jargon-free” (119).

Sword concludes her book with two chapters that deal with the more intangible elements of good writing: passion, persuasion, playfulness, making the abstract concrete, challenging the reader, engaging the reader’s imagination, abiding in elegance; in other words, “paint a big picture on a small canvas” (Chapter 13: “The Big Picture” and Chapter 14: “The Creative Touch.” 147-172).  She shares the following advice from evolutionary biologist Richard Dawkins, which neatly packages her argument:

Do not talk down. Try to inspire everybody with the poetry of science and make your explanations as easy as honesty allows, but at the same time do not neglect the difficult. Put extra effort into explaining to those readers prepared to put matching effort into understanding. (qtd. on 157).

Noticeably lacking in this otherwise comprehensive book is any reference to the emerging trend of digital writing and the new literacies that govern those writing forms.  Some literature exists that suggests that writing online offers us a more relaxed platform, even an agency and space where voice and self become prominent, while still reflecting academic rigor (cf. Elbow, P (Nov. 2007). “Voice in Writing Again: Embracing Contraries.” College English, Vol. 70, No. 2, pp. 168-188). As our writing worlds collide with digital worlds, any guide or work on academic writing should include some discussion on this movement and where academic writers stand when confronting style and format online. Sword does discuss augmenting text with images (108), however, that is as close as she comes to addressing multimodal academic writing.

Will this book, and other movements to redefine “writing” and literacy instruction, become influential in loosening the rigid disciplinary confines of academic writing and make academic text more appealing and available to a broader public? It’s not as though ponderous academic writing is a secret or hasn’t long been thought unnecessary; academia itself suffers from a deep-seated tradition of exclusive and territorial scholarship, and there is an intrinsic fear of diminished intellectual perception or agency that comes with making academia more accessible and less lofty. In addition, academic writing, and the research that feeds it, is the merit badge of belonging to the academy.

This is the core of the resistance to change in American education. If we do move to more stylish academic writing, Sword’s work is a informative and useful place to start: it provides foundational instruction on how to write clearly, the license to write freely, and the motivation to make the leap.

Sword’s lesson comes down to courage on the part of the scholar: you must choose if you want your writing to stand out from the crowd or conform to the disciplinary academese that both confounds and confirms you. This book gives you license to take some risks with your academic writing, and provides solid evidence of other scholars who have gained world-wide acclaim, in some cases became household names, for daring to step outside the writing box and be stylish.

Helen Sword is Associate Professor in the Centre for Academic Development at the University of Auckland.

To find out how stylish your own writing is, take Sword’s WritersDiet Test: http://writersdiet.com/WT.phph

 

Action Research for Professional Development: Concise Advice for New Action Researchers (excerpted)

Action Research for Professional Development: Concise Advice for New Action Researchers (excerpted)

Copyright Jean McNiff, 2002. Reprinted by permission.

by Jean McNiff, Professor of Educational Research, York St. John University (UK)

What is Action Research?

Action research is a term that refers to a practical way of looking at your own work to check that it is as you would like it to be. Because action research is done by you, the practitioner, it is often referred to as practitioner based research; and because it involves you thinking about and reflecting on your work, it can also be called a form of self-reflective practice.

The idea of self-reflection is central. In traditional forms of research – empirical research – researchers do research on other people. In action research, researchers do research on themselves. Empirical researchers enquire into other people’s lives. Action researchers enquire into their own. Action research is an enquiry conducted by the self into the self. You, a practitioner, think about your own life and work, and this involves you asking yourself why you do the things that you do, and why you are the way that you are. When you produce your research report, it shows how you have carried out a systematic investigation into your own behaviour, and the reasons for that behaviour. The report shows the process you have gone through in order to achieve a better understanding of yourself, so that you can continue developing yourself and your work.

Action research is open ended. It does not begin with a fixed hypothesis. It begins with an idea that you develop. The research process is the developmental process of following through the idea, seeing how it goes, and continually checking whether it is in line with what you wish to happen. Seen in this way, action research is a form of self-evaluation. It is used widely in professional contexts such as appraisal, mentoring and self-assessment.

How do I do action research?

The basic steps of an action research process constitute an action plan:

  • We review our current practice,
  • identify an aspect that we want to investigate,
  • imagine a way forward,
  • try it out, and
  • take stock of what happens.
  • We modify what we are doing in the light of what we have found, and continue working in this new way (try another option if the new way of working is not right)
  • monitor what we do,
  • review and evaluate the modified action,
  • and so on …

(see also McNiff, Lomax and Whitehead, 1996, and forthcoming)

Two processes are at work: your systematic actions as you work your way through these steps, and your learning. Your actions embody your learning, and your learning is informed by your reflections on your actions. Therefore, when you come to write your report or make your research public in other ways, you should aim to show not only the actions of your research, but also the learning involved. Some researchers focus only on the actions and procedures, and this can weaken the authenticity of the research.

A number of models are available in the literature. Most of them regard practice as non-linear, appreciating that people are unpredictable, and that their actions often do not follow a straightforward trajectory. The action plan above shows action reflection as a cycle of

identify an area of practice to be investigated;

imagine a solution;

implement the solution;

evaluate the solution;

change practice in light of the evaluation …

This action research cycle can now turn into new action research cycles, as new areas of investigation emerge. It is possible to imagine a series of cycles to show the processes of developing practice. The processes can be shown as a spiral of cycles, where one issue forms the basis of another and, as one question is addressed, the answer to it generates new questions.

Remember that things do not often proceed in a neat, linear fashion. Most people experience research as a zig-zag process of continual review and re-adjustment. Research reports should communicate the seeming incoherence of the process in a coherent way.

Action planning

A number of action plans are available in the literature. The action plan that has grown in popularity around the world is the one developed by Jack Whitehead. The aim is to encourage you, a practitioner, to ask critical questions about your own practice, and find the answers for yourself. No one else can give you answers. Other people can comment and advise, but only you can say what is right for you and your situation. It could be that there are no answers to your particular issue, but the process of asking questions is as important as finding answers.

Here is a modified version of Jack’s action plan. On the next page, the plan is explained in greater detail.

  • What issue am I interested in researching?
  • Why do I want to research this issue?
  • What kind of evidence can I gather to show why I am interested in this issue?
  • What can I do? What will I do?
  • What kind of evidence can I gather to show that I am having an influence?
  • How can I explain that influence?
  • How can I ensure that any judgements I might make are reasonably fair and accurate?
  • How will I change my practice in the light of my evaluation?

There is always a dilemma between suggesting action plans and avoiding making them appear as prescriptive. In action research, everyone takes responsibility for their own practice and for asking their own questions. You do need to ensure, however, that your research is reasonably systematic and rigorous. In doing your research you are aiming to make a claim that you have improved practice, so you do need to produce validated evidence to support that claim.

The action plan in detail

In deciding to do action research, you are showing your intent to learn more about a particular issue within a particular situation. Your research is a conduit for your learning. It can take the following form:

What issue are you interested in researching?

Some researchers present the idea of a research issue as a problem. Action research is not only problem solving, though it contains elements of problem solving. It does mean problematising issues and engaging with them; questioning what is happening, and asking how it might be improved. This then involves asking questions about the conditions that are allowing the situation to be as it is, and finding ways of changing the conditions. The main point is to identify an area you wish to investigate, and be reasonably clear about why you wish to get involved.

It is important, in your first action enquiries, to be reasonably sure that you can do something about the issue you have identified. You should be practical and ask, ‘Can I actually do something about this issue? Can I influence the situation, or is it outside my scope?’ If it really is outside your scope you should be realistic and leave it. Having said that, do not give up altogether. Aim to address one small aspect of your work. While it might be true that you cannot change the world, you can certainly change your bit of it; and if everyone changed a small bit at a time, a lot of change could happen quickly.

Once you have identified a research issue, you should formulate a research question. This can be stated in terms o

How do I …?

The main ideas are:

  • I am asking a real question about something that is important to me, and I am hoping to find ways of engaging with it;
  • I am a real person;
  • I am trying to improve something; this might be my own understanding, or it might be an aspect of the social situation I am in (remember: improvement does not mean perfection. Any improvement is still improvement, no matter how small).

Why are you interested?

You need to be reasonably clear why you want to get involved. The reasons for our actions are often rooted in our values base, that is, the things we believe in and that drive our lives. If you believe that all people have equal rights, you will try to ensure that your workplace is a place in which everyone does have equal rights, and you will organise your own work so that everyone has the opportunity to exercise their rights. The trouble is, we often work in situations where it is not possible to live in a way that is congruent with what we believe in. You might believe in equal rights for all, but your workplace could well be a place where the rights of some people are denied. As your research progresses you might find that you are the one who is denying equal rights to others. You should expect surprises like this.

Action research is a way of working that helps us to identify the values that are important for our lives and to live in the direction of those values, that is, take them as the organising principles of our lives. It is unlikely that we will ever get to a situation where our work and situations are entirely congruent with our values. But we are not aiming for ‘end products’; we are aiming to find right ways of living.

What kind of evidence can you gather to show why you are interested?

If you are in a situation where things are not as you would wish them to be, how can you show that situation so that other people can relate to what you are experiencing? How can you show what the situation was like, which made you resolve to do something about it?

You need to gather data about the situation, and you can use a variety of methods for this – journals, diaries, notes, audio and videotape recordings, surveys, attitude scales, pictures, and so on. You can use different data gathering methods at different times if you wish. You will compare this first set of data with later sets of data, to see whether there is any change and whether you can say that you have influenced the situation. Aim to gather as much data as you feel is right; most people gather too much to begin with.

You need to begin identifying working criteria to help you make judgements about whether the situation might be improving. These criteria would be linked with your values. If you believe that all people should be treated fairly, a criterion will be whether you can show that people are being treated fairly. The criteria you identify might change as the research project develops. Your data will turn into evidence when you can show that it meets your nominated criteria.

What can you do about the situation? How do you act in order to influence it in an educative way?

You need to imagine ways in which you might begin taking action. You might want at this stage to consult with others about how you could move forward. These others could be your critical friend or your validation group. A validation group is a group of people you invite to look at your research from time to time, and offer critical feedback. The decisions you come to about what action to take will be your own decisions; you take responsibility for what you do. You need to consider your options carefully and decide what you can reasonably expect to achieve, given the time, energy and other resources you have.

Having decided on a possible strategy, you now need to try it out. It might work and it might not. If it does, you will probably want to continue developing it. If it does not, you will probably abandon it, or part of it, and try something else.

What kind of evidence can you gather to show your educative influence?

This is your second set of data, which will also turn into evidence by meeting your nominated criteria. You can use the same, or different, data-gathering methods that you used before. Perhaps you used surveys and interviews to gather your first set of data; now you might want to use audio and video tape recordings which will capture not only people’s words but also their expressions and body language. You should try to show, through this set of data, whether there is an improvement in the situation, even though that improvement might be very small. You might also be able to show a development in your own thinking and learning. This is an integral part of the action research process.

How do you explain your educative influence?

Remember that the focus of the enquiry is you. You are always in company with others, so what you do is bound to have an influence on them. How can you show that your influence was as you wished it to be? To gauge your impact on them, you need to get their reactions to how they perceive their relationship with you.

Remember that you are not trying to demonstrate a cause and effect relationship between you and other people’s actions. You are not saying, ‘I brought about improvement’ or ‘I made that happen’. You are saying, ‘I can show that certain changes took place as I changed my practice, particularly in myself, and different relationships evolved.’ You are aiming to show a development of influence, an unfolding of new understandings and actions from people working together in new ways, and their influence on one another, that is, how they learn with and from one another.

How do you ensure that any judgements you make are reasonably fair and accurate?

If you say, ‘I think that such and such happened’, you can expect someone to say, ‘Prove it.’ The answer is that you can’t. You can’t prove anything. The word ‘prove’ does not exist in action research. You can however produce reasonable evidence to suggest that what you feel happened really did happen, and you are not just making it up.

In saying that you believe you have influenced your situation for good, you are making a claim to knowledge. You are also producing evidence to back up the claim. Now you need other people critically to consider your claim and agree that you have good reason for making your claim. They might agree that you are justified in making your claim, and their agreement would be validation of your claim. They might suggest that you need to look at the research again and gather further data, perhaps, or tighten up the link between your data and your criteria. Once you have other people’s validation you can say in all honesty, ‘I am claiming that I have influenced this situation because I started looking at ways in which I could improve what I am doing, and I now have the endorsement of other people to show that what I say I am doing constitutes a fair and accurate claim.’

How do you modify your practice in the light of your evaluation?

You will probably carry on working in this new way because it seems to be better than the way you were working before. It is more in line with the way you wish things to be. You are living in the direction of your values (though you might still have far to go).

This does not mean closure. Although you have addressed one issue, others might have emerged which now need attention. Perhaps in addressing one issue, you have unearthed other issues that you had not expected. There is no end, and that is the nature of developmental practices, and part of the joy of doing action research. It resists closure. Each ending is a new beginning. Each event carries its own potentials for new creative forms.

This is what makes action research a powerful methodology for personal and social renewal. You are thinking and searching all the time. You are never complacent or content to leave problematic situations as they are, because you refuse to become complacent or lazy. As long as you remain aware, alert, constantly open to new beginnings, you will continue growing into all the persons you are capable of becoming.

***********

The full booklet on performing action research is available at no cost online at: http://www.jeanmcniff.com/ar-booklet.asp

Dr. McNiff is a Professor of Educational Research at York St John University, UK: and  holds Visiting Professorships at the University of Limerick, Ireland; the Nelson Mandela Metropolitan University, South Africa; and the Ningxia Teachers’ University, People’s Republic of China. She has published a new and updated resource for researchers interested in performing action research:

Action Research for Professional Development:

Concise advice for new (and experienced) action researchers, by Jean McNiff
Publication date: 14 November 2010
192 pages
Price £14.99, including post and packing

Available at: http://www.september-books.com/actionresearchforprofessionaldevelopment.asp

Further Reading:

Whitehead, Jack and Jean McNiff. Action Research: Living Theory. London, UK: Sage Publications, 2006.

McNiff, Jean. Action Research for Teachers: A Practical Guide. London, UK: David Fulton Publishing, 2005.

(available in the Research Academy Library):

McNiff, Jean. All You Need to Know About Action Research. London, UK: Sage Publications, 2005.

Cross, K. Patricia and Mimi Harris Steadman. Classroom Research: Implementing the Scholarship of Teaching. San Francisco, CA: Jossey-Bass, 1996

Angelo, Thomas A. Classroom Assessment and Research: An Update on Uses, Approaches, and Research Findings. San Francisco, CA: Jossey-Bass, 1998.

The Scientific Imagination – Where Do Ideas Come From?

This month the Creative Research Center at Montclair State University filmed a one-hour virtual webcast, The Scientific Imagination – Where Do Ideas Come From?” as part of its Second Annual CRC Symposium.

The video, available here, presents a panel discussion on creativity and imagination, discussed among scientist educators working at MSU, to foster innovation, creative learning, and adaptive expertise in research and in the classroom. The discussion is moderated by Dr. Neil Baldwin, professor in the Department of Theatre and Dance in the College of the Arts and director of the CRC. He interviews Dr. Jennifer Adams Krumins, assistant professor, Department of Biology and Molecular Biology; Dr. Cigdem Talgar, director of Research and Programs and acting director of the Research Academy for University Learning (RAUL); Dr. William Thomas, director, New Jersey School of Conservation; Dr. Ashwin Vaidya, assistant professor of Physics in the Department of Mathematical Sciences; and Dr. Meiyin Wu, associate professor, Biology and Molecular Biology and director of the Passaic River Institute.

For educators, an essential struggle in any discipline lies in exciting our students’ imagination, getting them to think creatively about a problem or concept, and asking them to adapt to new knowledge and variable information in order to think more critically and deeply. This video highlights ways in which this is being done in the classroom, what role models and sources of inspiration have served our educators, how important engaging students in world views and creative thinking is to change, innovation, and adaptability, and much more. The conversation takes us into the specific profiles of each scientist educator, leads us into their world of development and experimentation, and models how they integrate their passion into their research and teaching.

I highly recommend that you watch this video, and share with your colleagues and students. There are numerous ways to approach creative thinking and imaginative learning; here are several of them packaged into an active and informative discussion.

The Scientific Imagination – Where Do Ideas Come From?

 

Getting Students to Complete Reading Assignments – Ideas from Teachers for Teachers

The Research Academy held its first Teaching Circle meeting last Wednesday. I decided to start the semester with a topic that repeatedly comes up in teaching consultations and faculty discussion groups: getting students to do the reading and/or out-of-class work. I observed a class a year ago in which the new young instructor, finishing up the 90 minute class, asked who had done the assigned reading. Not one hand went up. She rather desperately searched her student’s faces: “No one did the reading?” she asked incredulously. No response. I knew this felt awkward for her; she was being observed (at her request) by her colleagues and she didn’t know how to handle the situation. Carry on? Cover the material anyway? Her plan had been to lead a discussion around the concepts in the reading; if no one read it, she would essentially just be teaching the material. She decided to skip the reading altogether and finish up with some group work on a different topic.

This is hardly a singular experience. Nearly every (every?) teacher has faced a class of students who are unprepared. They didn’t read, they didn’t watch the video, or do the review. Luckily, there are definite ways to handle this. First, why don’t students do the reading? Our group, squeezed into a library classroom, brainstormed the following reasons behind the student-didn’t-read phenom:

  1. There is no pay-off. Students are very strategic about their work load. When assigned readings are not tied to any evaluation (grades) or when the teacher covers the material anyway, they know that they can get away with not reading with no penalty.
  2. The reading isn’t connected to course material in an obvious way, or the teacher has not helped them make the connection. When assignments seem to be arbitrary, that is, not tied to course work in an appreciable way, students lose motivation to complete it. They do not see the reading as an extension of the course work or core to disciplinary understanding, so they shrug it off.
  3. Students don’t know how to read academic texts. This, unfortunately, prevents them from contributing to a discussion even if they did TRY to do the reading. They may not have understood what they read, did not know what was important (highlighted EVERYTHING ON THE PAGE), and are afraid to sound “dumb” if they discuss what they read. Students receive very little training on how to read academic texts. They don’t know the jargon, they don’t know how to identify what’s important, they don’t know how to summarize the text. This level of reading can be intimidating.

These are some of the primary reasons that students don’t complete assigned reading. It is important to know why they aren’t reading because this directly informs how you can make some alterations to instruction in order to address these issues.

The participants offered some ideas on what they are doing to counter the no-reading issue:

  1. Mini-quizzes on the reading at the beginning (or before the beginning) of each class. These are conducted online, through Blackboard, and take about 10 minutes. Quiz grades count towards overall course grade.
  2. Guided reading – questions to answer as they read, using Socrative, an online student response system. Socrative allows teachers to set up exercises and questions, multiple choice or open-ended, graded or not graded, that the students can answer from any connected device (phone, laptop, tablet). They can see each others responses if the teacher deems it important, or the answers can be anonymous.
  3. Model good reading strategies, especially for research-oriented or academic level text. One professor has them highlight only the portions of the text where they felt lost or began to lose track of what the text was saying. These points of confusion can guide class discussion, provide fodder for small-group work (students work together to grapple with meaning), and can let the teacher know what students struggle with the most.

As you may have guessed, there is a lot of research and expertise available that supports our group’s ideas of how to get students to read, as well as provides some additional ideas. What the experts say:

From Karl Wirth, Malacaster College (http://serc.carleton.edu/NAGTWorkshops/metacognition/activities/27560.html):

Reading Reflection

After completing the reading assignment, write brief responses (i.e., at least several sentences) to 2 out of 3 questions:

  1. What is the main point of this reading?
  2. What information did you find surprising?  Why?
  3. What did you find confusing?  Why?

Too often, when we read the words on a page we do not fully integrate that new information into our existing knowledge structure, and so we fail to gain new understanding of the world around us.  Research in cognitive science and learning tells us that “deep learning” requires that the learner reflect on new knowledge and create personal meaning from it.

To help us reflect more deeply on readings in this course, we will use reading reflections.  These reading reflections are designed to help the reader engage with the material in a deeper way, and to construct new meaning from it.  The reflections also have the advantage of providing the instructor with detailed information about your learning in the course.  This not only helps guide the daily preparation of course activities, but also helps connect us as a community of learners.

Your response need not be long, but must clearly indicate careful reading and thoughtful reflection.  You must respond to two of the questions.

What is the Main Point?
Reading assignments often contain a lot of information.  What is the main concept that the author is trying to get across?  This may, or may not, have been explicitly stated in the reading.  Why did the author choose to emphasize this point, and not some other?  Your response is not a summary of the chapter, but an analysis of it in a way that creates new meaning for you.

What is Surprising?
Your response to this question should be reflective.  Did you learn something that is in conflict with your previous notions of the world?  Did you learn something that fascinates you in a way that you didn’t expect?  How does this new knowledge connect with material in other courses, or with other parts of your life?  Responses must also clearly explain “why.”

What is Confusing?
Responses to this question require careful reading and reflection; it is only though the process of reconciling new information with our existing knowledge structure that we become aware of inconsistencies, or “gaps” in our understanding.  Responses to this question should be specific and actionable – that is they should outline a clear path to understanding.  Responses must also clearly explain “why.”

Rubric for Evaluation
10 points         Responses to both questions are labeled and clearly indicate careful reading and deep reflection.  Responses submitted before class meeting.

5 points           Responses are not specific, do not clearly indicate reflection, or are submitted soon after deadline.

0 points           No response, or response submitted more than one class period late.

From the IDEA Center, Idea Paper #40 – Getting Students to Read: 14 Tips, by Eric H. Hobson, Georgia State University (http://www.theideacenter.org/research-and-papers/idea-papers/idea-paper-no-40)

1)   Using appropriate texts:

  • Why am I using this particular text?
  • How does it help me meet my course goals/educational outcomes?
  • What do I mean by “required”? How does it contribute to students’ success in the course? “Nist and Kirby (1989) wrote that documented reading assignment compliance rates among college students (20 to 30%) “could be partly due to the fact that students quickly discovered that they did not need to read and study their texts in order to do well in the class. Perhaps attending class and studying lecture notes were sufficient for acceptable performance” (p. 327).”

2)   Rate your reading material: (e.g. absolutely essential, good supporting material, exotic, appealing to experts, or idiosyncratic choice). Only material that is essential should be labeled “required” and students will be held accountable for reading (such as graded reading assignments or readiness quizzes). Consider not using a text if no text can be categorized as essential; instead, build a course reading packet that supplements and complements the course. Any additional texts can fall under Recommended Reading.

3)   Course readings should show up as part of in-class presentations (yours or the students), factor into course projects, or appear on exams. Connections between the course and the reading should be obvious.

4)   Scaffold your reading assignments. Aim most assignments at “marginally skilled” readers, slowly build up the difficulty level of the readings, have students identify concepts or terms they struggled with for group/class discussion. Develop necessary reading skills and interpretative/inter-relational analysis skills. Preview the readings; relate them to course activities; practice reading skills in class (marking text and understanding why certain things are marked, summarizing concepts, identifying confusing or unclear ideas, forming questions).

5)   Use the syllabus as a teaching tool: “Effective syllabi do more than identify required reading materials; they provide background about the materials so that students understand why the reading assignments contribute to learning and how they relate to other course content and course activities (Grunert, 1997; Maleki & Heerman, 1992).”

Source: Turn to Your Neighbor (Peer Instruction Blog): http://blog.peerinstruction.net/2012/09/04/how-one-professor-motivated-students-to-read-before-a-flipped-class-and-measured-their-effort/

Peer Instruction (at least concerning homework and reading assignments) emphasizes effort over getting it right. So, in class, students would compare answers and work together towards a correct answer.

1)   Questions associated with the reading.

  • What did you find difficult or confusing in the reading? What attracted your attention, or you found most interesting? What questions do you have?
  • Content-specific questions where students must justify their answers.

2)   Students will be prepared to be called on to lead discussions on the reading. Assignment is random (cold-calling). Set up communication climate to establish trust and openness for ideas in the classroom.

3)   Make the reading MEAN something. Reading should ALWAYS be separate but related to the class material, else what’s the motivation to read it?

4)   Credit (grade) for Reading Assignments.

Works Cited

Grunert, Judith. The Course Syllabus: A Learning-Centered Approach. Bolton, MA: Anker, 1997. Print.

Hobson, Eric H. “Getting Students to Do the Reading: 14 Tips.” IDEA Center, Idea Paper #40, (2004), 1-10. Print.

Maleki, R.B. & Heerman, C.E. “Improving student reading.” IDEA Paper No. 26, Manhattan, KS: Kansas State University, Center for Faculty Evaluation and Development, 1992.

Nist, S.L. & Kirby, K. The text marking patterns of college students. Reading Psychology: An International Quarterly, 10 (1989), 321-338.

Schell, Julie. “How One Professor Motivated to Read Before a Flipped Class, and Measured Their Effort.” Turn to Your Neighbor, Peer Instruction Blog. 4 Sept 2012. Web. 2 Oct 2012. <http://blog.peerinstruction.net/2012/09/04/how-one-professor-motivated-students-to-read-before-a-flipped-class-and-measured-their-effort/&gt;

Wirth, Karl. “Reading Reflections.” Carlton College, Science Education Resource Center. 29 May 2012. Web. 2 Oct 2012. <http://serc.carleton.edu/NAGTWorkshops/metacognition/activities/27560.html&gt;

Fair Use – New Discussions on Copyright and Learning Materials

(Pictured: “Open Source”, Randall Munroe – via his excellent webcomic xkcd, available under a Creative Commons Attribution-NonCommercial 2.5 license)

 

Fair use – defined as the limited use of copyrighted material for purposes of parody, journalism, commentary/criticism, or education – and intellectual property/copyright laws always cause confusion (what does ‘limited’ mean? what is intellectual property? is everything copyrighted? what about stuff on the Internet?). This is especially true  in the classroom, where we must not only know what it means ourselves, we must be able to articulate it to our students and have them understand what it means to their own academic/creative work.  Lawrence Lessig has been the most vocal  advocate of loosening copyright restrictions for appropriating the work of others for one’s own creative development. His book Remix is famous for calling for the “free culture” of knowledge sharing, creative use – the remixing/sampling – of art, media, literature, music, and more. Lessig also founded Creative Commons, a copyright and free use hub for artists of all media persuasions and creative Web surfers looking to share their own work or use other people’s work.

A recent court ruling has brought the issue of Fair Use back into the news, as Oxford University Press, Sage Publishing, and Cambridge University Press sued Georgia State University’s online reserve for copyright infringement. From Harvard University’s Derek Bok’s Center blog, we highlight some key summaries of findings from the case of Cambridge University Press vs. Becker, and what it means to educators:

“The short story is that, in the face of potentially far more prohibitive measures, CUP v Becker ruled that, in most cases, one chapter in a book of ten or more chapters (and 10% of a book with fewer than ten) is generally considered the limits of “fair use.” So, if you’re looking for a rough benchmark, there you go. But, of course, it’s not really THAT simple.”

1: The “character” of the use. The ruling states that educational purposes strongly supports Fair Use. So far so good.

2: “The nature of the work being used.” This is more problematic. The judge ruled that there is a greater scope for Fair Use if the work is factual, or non-fictional. “Creative” works have a more restricted Fair Use application. For a lot of humanities and social sciences, this also supports Fair Use. Tough luck, Literature, I suppose – and for a wider swath of educators who use “creative” texts in the classroom.

3: How much of the work is being copied. Here are the brass tacks: According to the ruling, for works with ten chapters or more, the use of one chapter is fair. Under ten chapters, 10% of the total pages (including bibliography, index, etc.) is fair. On one hand, this could be worse. But 10% of a monograph can really come fast. Compilations, that is, multi-authored works, are to be considered as one text.

4: How the use could affect the potential market or value of the copyrighted work. The ruling is weighed against Fair Use if it would result in a financial loss to the holders of the copyright. This is where things get tricky. After all, how is the average professor or TF supposed to know or quantify these criteria? However, Judge Evans qualified this factor, stating that it would significantly favor publishers, AS LONG AS a license in an appropriate format is both readily available and at an appropriate price. In other words, if the publisher does not have a reasonably priced (and accessible) licensed digital version, then the scales tip back to Fair Use. And as things stand now, most publishing houses don’t provide such an option.

(Bolded items mine)

I know that some faculty vaguely understand the restrictions of copyright, fair use, and intellectual property – they are usually the holders of either a copyrighted work or intellectual property. Students, however, are probably much less clear on what constitutes copyrighted material, how to get permission to use such material, and the pervasive idea that “if it’s on the Internet, doesn’t it belong to everyone?”. While the judgement in the above case certainly helps clear up some confusion for educators – we know more exactly what we can use and what we can’t, as well as providing academic publishers with an incentive to make licenses more affordable – for students this is less helpful when creating their own work, perhaps through appropriation, or remix, of other people’s work. The following may provide a useful guideline- modified as necessary for your course and the coursework you are assigning for your students (note the phrasing in the second-to-last paragraph is particular to a course on digital rhetoric and literacy). Below that I’ve posted a couple really useful Fair Use & Copyright informational resources.

(courtesy of Professor Caroline Dadas, Assistant Professor, English, Montclair State University)

Some thoughts on Copyright and Fair Use:

Copyright (an author’s exclusive right to his/her writing or discovery) is established by the U.S. Constitution. Prior to 1976 authors had to register a copyright of their work, but after 1976 all work is automatically copyrighted. This means that the following are all protected by copyright:

  • alphabetic text
  • designed alphabetic text (HTML files)
  • images (.JPG, .GIF)
  • audio (.WMA, .MP3)
  • video (.MPG)

To promote the exchange of ideas, there is the Fair Use Clause which allows for the copying of portions of a work provided that: the purpose is non-commercial, only a portion of the work is used, the work is credited to the original author, and the use of the work does not infringe upon the gain an author might have from their original work.  Fair Use applies in instances of “criticsm, comment, news reporting, teaching, scholarship, or research” (US Code 17, Section 107).

So, if you are using copyrighted texts, you should keep in mind the context: you are limiting your use of these images to a classroom, for the purposes of critique/comment. In this case, you are covered by Fair Use.

Even though all work is automatically copyrighted, it is possible to provide licenses of use that are less stringent than U.S. Copyright. Take a look at www.creativecommons.org for an example of licenses that are based on an ethic of sharing, copying, sampling, remixing.

Online Resources:

Stanford Copyright & Fair Use Center – http://fairuse.stanford.edu/

National Council of Teachers of English (NCTE) – http://www.ncte.org/positions/statements/fairusemedialiteracy

Works Cited:

“Lessig on Fair Use.” Independent Lens, Copyright Criminals, PBS. 10 Jan 2010. Web. 26 Sept 2012 <http://www.pbs.org/independentlens/copyright-criminals/fair-use.html&gt;

 “‘Fair Use’ – A Nightmare Averted?” The Bok Blog. 17 Sept 2012. Web. <http://blog.bokcenter.harvard.edu/2012/09/17/fair-use-a-nightmare-averted/&gt;

Managing your online persona as an educator

There seems to be a lingering question of how and if we present ourselves to students via social media. This post offers some good guidelines for managing your online presence, with a very useful collection of further resources at the bottom of the post. As always, please share your thoughts about interacting online with students and establishing an online persona as an educator.

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