What is Gamification and Why Use It in Teaching?

A few weeks ago The Innovative Instructor had an inquiry from a reader who wanted to offer an online gamified Gothic art history class and was looking for models. Today’s post seeks to provide information on gamification, why you might want to consider using it in your teaching, and how to go about implementing gamification.

Gamification is defined as the application of typical elements of game playing (rules of play, point scoring, competition with others) to other areas of activity, specifically to engage users in problem solving. [Wikipedia and Oxford Online Dictionary] It has been used in marketing, but also has applications in education. In addition to promoting specific learning gains, games are a form of active learning. In some cases gamification includes the use of badges – think scouting merit badges in digital form – to promote learning and recognize competencies (e.g., Khan Academy has a badging system).

My own introduction to gamification came last October when I attended the annual Educause conference. One of the keynote speakers was Jane McGonigal who has a Ph.D from UC Berkeley and is a world renowned game developer.  Her 2012 TEDGlobal talk has had 4.5 million views, and her website is a great place to start learning about the value of games. “She points out that we like people better if we’ve played a game with them; we bond and build trust. And contrary to popular thinking, she explains that games are not so much a tool for escapism but rather a way to use our best selves. Gamers are extremely productive and collaborative within the realm of a game.”  [Friedman, Stan. “Finding the Future: Inside NYPL’s All-Night Scavenger Hunt.” Library Journal. July 13, 2011.]

It’s not all just fun. Games can be about finding solutions to serious problems as McGonigal states: “Many of my games challenge players to tackle real-world problems at a planetary-scale: hunger, poverty, climate change, or global peace, for example (see: EVOKE, World Without Oil, Superstruct).” [http://janemcgonigal.com/]

A search for scholarly articles on gamification [Google Scholar gamification in education] will get you to research on why gamification is an important teaching and learning strategy and how to incorporate gamification into your curricular planning. “In today’s digital generation gamification has become a popular tactic to encourage specific behaviours, and increase motivation and engagement. Though commonly found in marketing strategies, it is now being implemented in many educational programs as well, helping educators find the balance between achieving their objectives and catering to evolving student needs.” [Huang, Wendy Hsin-Yuan, and Dilip Soman. “Gamification Of Education.” 2013. p.5]

Huang and Soman define a five part process for applying gamification to the instructional environment.

Flow chart defining the steps to implementation of gamification in instruction.

The flow chart starts with knowing who your students are and where the course/training/instruction fits into the larger curricular framework. Context also refers to the type of instruction and where it will take place (individuals, groups, class size, face to face, online). Identification of “pain points” (factors that prevent learning advancement) will help the instructor define learning objectives and structure the placement of game elements in the curriculum. Then you can begin to identify resources – pre-existing games or ones that you will develop, which can range from complex to very simple. Finally, you will implement the gamification strategies.

Keep in mind that the objective is to gamify the process not the outcome. “Ben Leong, Assistant Professor at the School of Computing, National University of Singapore (NUS) states that there should be a clear understanding that gamification is independent of knowledge or skills. Gamification directly affects engagement and motivation and it indirectly leads to acquiring more knowledge and skills. Gamification encourages students to perform an action; for example, motivating students to practice computer programming will increase their skill and motivating students to memorize consistently can increase their knowledge.” [Huang and Soman. p. 15]

For many the big question will be “What games should I use?” There are a number of already developed, sophisticated games applicable to a variety of disciplines – STEM, humanities, social sciences – out there. For example, Entering the Education Arcade  [Jenkins, Henry, E. Klopfer, K. Squire, and P. Tan, “Entering the Education Arcade,” ACM Computers in Entertainment, Vol. 1, No. 1,
October 2003, Article 08] describes three games made by the Microsoft-MIT iCampus project, namely Supercharged!, Environmental Detectives, and Revolution. “Has education become nothing but fun and games? Not exactly. In each case, the games are being integrated into a range of other curricular activities. Games are enhancing traditional educational tools such as lectures, discussions, lab reports, homework, fieldtrips, tests, and textbooks. Games are being allowed to do what games do best, while other kinds of teaching support those lessons.” [Jenkins et al. p.2]

These links will take you to the games cited above and others developed by the MIT Education Arcade.

Also check out Games Learning Society, another developer of innovative educational video games, which “…promote engaging ways of learning about biological systems, civic activism, pro-social behavior, programming, and many other STEM domains.”

You don’t have to rely on existing video games, online simulations, coding your own games, or having students code in order to bring gamification to your teaching. Keep in mind that you are looking to identify a “pain point” and find a way to help your students learn that material. Role playing, research-oriented scavenger hunts, adapting classic television games or shows (e.g., Jeopardy, Who Wants to be a Millionaire?, Mission Impossible) to the classroom, are low-barrier methods to consider.  As this video demonstrates, it can be as simple as bringing buckets of ping pong balls to class. Here at Johns Hopkins, Professor of Biology Vince Hilser demonstrated the concept of equilibrium to students in an introductory biochemistry class by having them throw ping pong balls across the room. Specific rules, timed segments, and a spirit of competition fulfill the requirements for the activity to be a game.

Now, Innovative Instructor, your mission, should you choose to accept it, is to develop a game to help students conquer a learning obstacle in your class.

Macie Hall, Senior Instructional Designer
Center for Educational Resources


Image Source: Macie Hall adapted from Huang, Wendy Hsin-Yuan, and Dilip Soman. “Gamification Of Education.” 2013. p.7.

Teaching with Primary Sources

Four examples of primary sources: letter, photograph, early bible, broadside.A couple of weeks ago I attended a workshop sponsored by the Mid-Atlantic Regional Archives Conference (MARAC) titled Current Trends in Teaching with Primary Sources – A Hands-on Workshop. Not only did I learn a lot about the subject, but the workshop itself was a model for best pedagogical practices. Lecture format was kept to a minimum, formative assessment was used throughout, and the emphasis was on active learning in small groups. The workshop instructors, Matt Herbison (Archivist for Reference and Outreach, Legacy Center, Drexel University College of Medicine), Doris Malkmus (Instruction and Outreach Archivist, Pennsylvania State University), and Rachel Grove Rohrbaugh (Archivist and Public Services Librarian, Chatham University), were enthusiastic about both what they were teaching and how they were teaching.

The Innovative Instructor doesn’t sit on the other side of the podium (so to speak) very often, so it was exciting to experience the principles we preach in practice. The instructors condensed the lecture content to several short (ten minutes or less) segments and provided the participants with photocopies of the slides for reference. Each of the lecture sessions was followed by an exercise. We were organized into groups of three and four and given handouts – copies of newspaper clippings, letters, photographs, printed materials – accompanied by a set of key questions for the group to answer.  In this way we learned to identify and differentiate primary, secondary, and tertiary sources; how to evaluate these documents for audience and bias; and how to analyze documents using standard generalized and specific approaches. Since the goal of the workshop was to train the trainers, we were also given some background on teaching strategies, including the importance of developing learning objectives, knowing your audience, and assessment and rubrics. For our final exercise each group created a primary source activity for a specifically described undergraduate or high school class using a set of primary and secondary sources.

Why is it important for students to learn how to work with primary sources? A project called Students and Faculty in the Archives collected data between 2011 and 2013 on visits by faculty and undergraduate students to the Brooklyn Historical Society. “After visiting the archives, participating students were more engaged with and excited about their coursework, showed improvement in key academic skills, and achieved better course outcomes than their peers. Faculty participants learned newly-established best practices for archives-based teaching and became more thoughtful and effective instructors.” And from the Library of Congress web pages on teaching with primary sources we learn that “[p]rimary sources provide a window into the past—unfiltered access to the record of artistic, social, scientific and political thought and achievement during the specific period under study, produced by people who lived during that period. Bringing young people into close contact with these unique, often profoundly personal, documents and objects can give them a very real sense of what it was like to be alive during a long-past era.” Moreover working with primary sources engages students, helps them to develop critical thinking skills, and learn to construct knowledge.

If you are interested in integrating primary source research into your courses, it’s easy to get started. Here at Johns Hopkins we have librarians and archivists who provide instruction for students individually or to a class, either in the classroom or in the special collections areas. There are likely similar library, special collections, and archive resources on your campus. Don’t stop there. If you are in or near an urban area you and your students should consider the wealth of primary source material housed in public libraries, archives, historical societies, newspaper morgues, house museums, and other such institutions.

There are also a number of places online where you can find inspiration for learning activities to introduce or reacquaint your students to working with primary sources. The following resources were recommended by the MARAC workshop:

Brooklyn Historical Society, Teaching effectively with primary sources: http://www.teacharchives.org/

NYSED on Document Analysis: http://www.p12.nysed.gov/ciai/dbq/one.html

National History Day Resource Listing: http://www.nhd.org/ConductingResearch.htm

Key Concepts in Historical Thinking: http://canadianmysteries.ca/en/keyConcepts.php

DoHistory: http://dohistory.org

Library of Congress: Using Primary Sources http://www.loc.gov/teachers/usingprimarysources/

Document Analysis Worksheets: National Archives http://www.archives.gov/education/lessons/

National History Education Clearinghouse: http://teachinghistory.org/

Historical Thinking Matters: http://historicalthinkingmatters.org

For further reading on the subject of teaching with primary sources, here are links to two bibliographies provided by the MARAC workshop:

1) Society of American Archivists Reference, Access, and Outreach Section
http://www2.archivists.org/groups/reference-access-and-outreach-section/teaching-with-primary-sources-bibliography

2) Zotero Groups – Teaching with Primary Sources
https://www.zotero.org/groups/teaching_with_primary_sources/items/collectionKey/2BKBRTH8/

Macie Hall, Senior Instructional Designer
Center for Educational Resources


Image Source: Individual images from Wikipedia: http://en.wikipedia.org/

Resources for Peer Learning and Peer Assessment

Students doing group workSeveral weeks ago our colleagues in the Center for Teaching and Learning at the Johns Hopkins School of Public Health presented the very informative half-day symposium Peer to Peer: Engaging Students in Learning and Assessment. Speakers presented on their real-life experiences implementing peer learning strategies in the classroom. There were hands-on activities demonstrating the efficacy of peer-to-peer learning. Two presentations focused on peer assessment highlighting the data on how peer assessment measures up to instructor assessment and giving examples of use of peer assessment.  If you missed it, the presentations were recorded and are now available.

A previous post highlighted Howard Rheingold’s presentation From Pedagogy to Peeragogy: Social Media as Scaffold for Co-learning. You will need to bring up the slides separately – there is a link for them on the CTL page.

For additional material on peer learning and assessment the JHSPH CTL resources page is loaded with information on the subject, outlining best practices and highlighting references and examples.

Macie Hall, Senior Instructional Designer
Center for Educational Resources


Image Source: Microsoft Clip Art

Multimedia Assignments

In the previous post, we looked at a debate on the value of a certain type of student writing assignments. The upshot was that it might be in the best interests of students for instructors to model real-life research experiences and allow for presentation of research results in the range of media possibilities available to working professionals. Creating multimedia assignments for your students may have appeal, but for instructors taking the plunge for the first time, such assignments may seem daunting. You may be equating multimedia with video, and video with movie production, and imagining that students will somehow need to become budding Quentin Tarantinos in addition to learning all the course materials. And where is that video equipment going to come from?

Image showing icon-style examples of text, audio, still images, animation, video and interactivity.In truth, multimedia creation can output to a wide range of formats, including digital posters, audio-casts, timelines, visualizations, digital/online exhibitions, websites, blogs, presentation software productions, and video. Video can be produced using easy to learn and readily available applications. PowerPoint and Keynote offer low-tech solutions as there are options to save presentations as video files. Student don’t need a video camera for these – still images combined with timed transitions, animations, and music or voice-over recordings can make for very effective end products. For true video, many students have smartphones that are capable of shooting video clips for editing in iMovie, or Windows Movie Maker, or even on the phone itself.

Unless your goal is for students to learn advanced digital video skills, the slickness of the end product should not be the sole determinant of the grade. Rather, just as you would grade a text assignment, your assessment rubric should focus on the strength of the argument and supporting evidence. But, your first question should be whether a multimedia assignment is in alignment with your teaching objectives.

Mike Heller, Departmental Teaching Fellow (Music) at Harvard’s Derek Bok Center for Teaching and Learning, has created a two minute video on the five key considerations for designing multimedia assignments. These are:

1. Why create a multimedia assignment? What is the value added?

2. Be aware of the myth of the digital native. Not all students are technical wizards. Their experience and expertise will vary. It’s a good idea to start with lower stakes assignments to get students familiar with multimedia technologies before introducing a major project.

3. Don’t just teach the tools, teach the critical thinking. Try folding a traditional assignment into the multimedia project, perhaps by having students write an essay before adapting it into a video presentation.

4. Set clear goals by creating a concrete rubric. Without this you may find it difficult to assign grades once you receive the work.  Having a clear vision of your primary learning objectives will make it much easier when it comes to grading and providing feedback.

5. Communicate your teaching goals to your students. Distributing your rubric when you make the assignment is a good way to achieve this. By offering specific guidelines about the skills you want them to learn you insure that students are clear about the assignment.

In regards to the third point on teaching critical thinking as well as the tools, you may not have the expertise to teach some of the multimedia tools and that may determine the path you take in deciding how to frame the assignment. Look for resources on your campus.

Here at Johns Hopkins Homewood campus, we have the Digital Media Center  providing student support. See the end of the post for suggestions and links to specific free online platforms to support multimedia assignments.

Another tip sheet for creating multimedia assignments can be found at the University of Massachusetts at Amherst Office of Instructional Technology – 10 Tips for Successful Multimedia Assignments.

University of Wisconsin-Eau Claire Technology to Enhance Learning Experience module – Five Steps to Creating Successful Multimedia Assignments – suggests that instructors “…[c]omplete the technology-based assignment yourself before assigning it to students. This will give you the most accurate idea of the amount of time and training involved, and the challenges that students may encounter. This will also enable you to develop a rubric for grading and communicating your expectations to students”

If the final products are going to be shared on public websites or otherwise publicly accessible, you will want to think about copyright issues. This can be a good opportunity to teach your students about copyright and fair use. Depending on your institution, there may be library staff able to provide assistance or other resources available, perhaps through the college or university office of legal counsel. We have a great LibGuide entitled Copyright and Fair Use: Trends and Resources for 21st Century Scholars here at JHU to get you started. 

Suggested Resources

Blogs – Blogger, Tumblr, WordPress
Timelines – Timeline JS, SIMILE  Timeline
Digital/Online Exhibitions – Padlet, Omeka, Google Sites, WordPress, Tumblr
Websites – Google Sites, WordPress

Macie Hall, Senior Instructional Designer
Center for Educational Resources


Image Source: CC Kevin Jarret – http://www.flickr.com/photos/kjarrett/2856162498/in/photostream/ http://en.wikipedia.org/wiki/Multimedia

Rethinking Student Writing Assignments

On December 13, 2013, Rebecca Schuman, an adjunct professor at the University of Missouri St. Louis and columnist for education at Slate and The Chronicle of Higher Education, wrote a blog post at Slate entitled The End of the College Essay that created a firestorm of controversy in the humanities community. Schuman, who confesses to writing with “gallows humor” was clearly venting her frustrations in trying to teach a specific form of literary research-based writing to students with little motivation or reason to learn it.  Schuman was surprised by the virulent reactions to her rant, and maintains that the level of debate the post provoked is indicative of the need to reassess writing assignments.

Metal box containing pencils and pencil sharpener.Recently, Marc Bousquet, associate professor of English at Emory University and frequent contributor to the Chronicle of Higher Education presented a more nuanced version of Schuman’s argument in a post entitled Keep the ‘Research,’ Ditch the ‘Paper’.  “To cultivate undergraduate research, we may have to prune back the surrounding kudzu called the research paper. Often wretched, usually pointless, tens of millions of these artifacts heap themselves on faculty desks and inboxes every year. But to what end? Does assigning this form of “researched writing” teach students much about either research or writing? In most cases, clearly not.”

Instead, Bousquet suggests that instructors create assignments that provide opportunities for students to engage in real research, as opposed to Googling for quotes, and for the publication or sharing of that research to reflect the range of options available to professionals inside and outside of the academy.  “Millions of pieces of research writing that aren’t essays usefully circulate in the profession through any number of sharing technologies, including presentations and posters; grant and experiment proposals; curated, arranged, translated, or visualized data; knowledgeable dialogue in online media with working professionals; independent journalism, arts reviews, and Wikipedia entries; documentary pitches, scripts and storyboards; and informative websites.”

By giving assignments that develop skills for 21st century careers instructors provide authentic experiences that are more likely to engage students. Ultimately, the work you assign to students will depend on your learning objectives for the course. If the goal is to teach students how to write an essay, then you will have essay writing assignments. Otherwise, in aligning student work outside the classroom with your course objectives, you have a chance to be imaginative when you give your students an assessable assignment.  As an example, see the January post Creative Student Assignments: Poster Projects, and stay tuned for an upcoming post on best practices for multimedia assignments.

Macie Hall, Senior Instructional Designer
Center for Educational Resources


Image Source: Microsoft Clip Art

The Characteristics of High-Quality Formative Assessments

As we explore different theories of learning, two points seem salient: that students’ understanding of intelligence affects their self-perception, their determination, their motivation, and their achievement (Dweck, 2002); and that a students’ ability to self-regulate learning, to be metacognitive, ensures more successful learning and achievement (Ormrod, 2012, p.352-3).  As instructors plan curriculum and assessments, they ought to consider how to use these points as guides to ensure student learning and success.

Word cloud created from the text of the blog post.Formative assessment, understood as both a tool for instructors to gauge student learning and a teaching method, works iteratively with student understanding of intelligence and learner-regulation.  That is, formative assessment is based on the idea that learners should learn to take control of their learning, and that intelligence is a malleable quality.  In turn, formative assessment improves self-reflection in students and reinforces the idea that intelligence can be increased as opposed to it being a fixed entity, reflecting Carol S. Dweck’s important work on growth mind set, discussed in a recent the Innovative Instructor post.

An understanding of just what formative assessment entails highlights the recursive relationships of formative assessment, self-reflection, and a malleable view of intelligence.  Lorrie Shephard describes formative assessment as a process through which an instructor and a student come to better understand both the learning goals and the student’s work towards those goals in order to “alter the course of instruction and thus support the development of greater competence” (2005, p. 67).  This definition identifies formative assessment as a process of feedback that improves student learning.

Using formative feedback as a teaching method means that a classroom becomes the locus of ongoing dialogue that helps students measure and improve as they work to meet goals, expectations, and objectives.  The instructor takes in information about student progress and understanding, which creates the opportunity for a feedback loop that the instructor can use to shape teaching.  It is the moment when student progress shapes instruction that formative feedback becomes formative assessment.

When practiced effectively, this iterative relationship between instruction, feedback, student adjustment, and instructional adjustment maps onto self-reflection and a view of malleable intelligence.  As instructors provide formative feedback to students, they give students the tools to assess their own progress toward learning goals. Over time, students learn self-reflecting strategies (Shepard, 2005, p. 69; Wiggins, 2004, pp. 2-3, 6), allowing for moments such as Black and Wiliam noted when “one class, subsequently taught by a teacher not emphasizing assessment for learning, surprised that teacher by complaining, ‘Look, we’ve told you we don’t understand this. Why are you going on to the next topic?” (2004, p. 36).  As students reveal their learning progress, either directly (as in the example above) or indirectly through tasks that foster formative feedback, instructors have the opportunity to adapt their instruction. As teaching becomes more closely aligned with student progress, students are given increasingly refined opportunities for comprehension or alignment with expectations. As students chart their own progress, they implicitly buy in to the idea that they can improve their performance by making changes in their approach (Black & Wiliam, 2004, p. 30; Shepard, 2000, p. 43; Wiggins, 2004, p. 5). They come to understand, either overtly or tacitly, that their achievement is based on effort, not an unchanging quantity of intelligence (Shepard, 2005, 68; Lipnevich & Smith, 2009b, 364). When formative assessment works, students become self-regulating learners who practice self-reflection and learn a malleable view of intelligence—and are more motivated and more likely to achieve (Dweck, 2002).

Given the value of formative assessment, how can instructors use the characteristics of exemplary formative assessment as they plan their courses?  As opposed to inserting a few well-crafted formative assessments into the curriculum, instructors should understand that the adoption of formative assessment is the implementation of a course-long instructional approach.  Specifically, instructors can use formative feedback in every class through effective questioning strategies that elicit information about student understanding and help students monitor and adjust their learning (Black & Wiliam, 2004, pp. 25-7).  Instructors can assess students’ prior knowledge and use “knowledge-activation routines” such as the K-W-L strategy, to “develop students’ metacognitive abilities while providing relevant knowledge connections for specific units of study”(Shepard, 2005, p. 68). Comments on work, marking of papers (Black & Wiliam, 2004, pp. 27-31; Lipnevich, 2009a; Lipnevich, 2009b), peer-assessment, self-critique exercises (Black & Wiliam, 2004, pp 31-3), one-on-one tutorials, small group remediation, instructor and student modeling, analysis of exemplars (Wiggins, 2004), and revision exercises can be used throughout.

Although methods may be similar across disciplines, the precise use of formative feedback will naturally vary between disciplines (Black & Wiliam, 2004, pp. 36-37; Shepard, 2000, 36). Nonetheless, Black & Wiliam and Shephard (2005) stress that adopting formative assessment as an instructional approach requires a cultural change within a learning community. Because students activate and practice self-reflective strategies in an effective formative feedback loop, they ought to be given a chance to develop and hone these skills in every classroom.  Since formative assessment relies on students understanding clearly what the expected outcomes of their learning and work are, they need exemplars. If instructors within a department, discipline or, ideally, school can agree upon the characteristics of exemplary work and learning, student self-regulation is more natural and more likely to be accurate.

References

Black, P. & Wiliam, D. (2004). The Formative Purpose: Assessment Must First Promote Learning. Yearbook of the National Society for the Study of Education103 (2), 20-50.

Dweck, C. (2002). Messages That Motivate: How Praise Molds Students’ Beliefs, Motivation, and Performance (in Surprising Ways). In J. Aronson (Ed.), Improving Academic Acheivement: Impacts of Psychological Factors on Education (pp. 37-60). San Diego: Academic Press.

Lipnevich, A. & Smith, J. (2009a). “I Really Need Feedback to Learn:” Students’ Perspectives on the Effectiveness of the Differential Feedback MessagesEducational Assessment, Evaluation and Accountability , 21 (4), 347-67.

Lipnevich, A. &. (2009b). Effects of Differential Feedback on Students’ Examination Performance. Journal of Experimental Psychology: Applied , 15 (4), 319-33.

Ormrod, J. (2012). Human Learning (6th Edition ed.). Boston: Pearson.

Shepard, L. (2000). The Role of Classroom Assessment in Teaching and Learning. CSE Technical Report, University of California, Graduate School of Education & Information Studies, Los Angeles.

Shepard, L. (2005). Linking Formative Assessment to Scaffolding. Educational Leadership, 63, 66-70.

Shute, V. (2008). Focus on Formative Feedback. Review of Educational Research , 78, 153-89.

Wiggins, G. (2004). Assessment as Feedback. New Horizons for Learning Online Journal, 1-8.

Sarah Wilson is the co-director of the Upper School at Laurel School in Shaker Heights, Ohio. She has a B.A. (English) from Kenyon College, and an M.A. from Teachers College, Columbia University. She has taught middle and high school English for 13 years.


Image Source: Formative Assessment Wordle created by Macie Hall

A Tip of the Hat to Tomorrow’s Professor

For writing The Innovative Instructor blog posts I read a lot of books and articles related to teaching and follow various educational blogs.  One resource that I’d like to pass along is the Tomorrow’s Professor e-Newletter. Sponsored by the Stanford University Center for Teaching and Learning, Tomorrow’s Professor is edited by Richard M. Reis, Ph.D., a consulting professor in the Department of Mechanical Engineering at Stanford.

Screen shot of Tomorrow's Professor website logo.Twice a week (Mondays and Thursdays) during the academic year Reis passes along articles from journals or excerpts from books on a wide range of topics in the following categories:

  • Tomorrow’s Teaching and Learning
  • Tomorrow’s Academy
  • Tomorrow’s Graduate Students and Postdocs
  • Tomorrow’s Academic Careers
  • Tomorrow’s Research

“Tomorrows Professor seeks to foster a diverse, world-wide teaching and learning ecology among its over 49,000 subscribers at over 800 institutions and organizations in over 100 countries around the world.”

The more than 1250 posts to date have been archived so you can search for past posts as well as subscribe to receive new postings via email.

As an introduction, I found a recent post on The Three Most Time-Efficient Teaching Practices [#1218] to reflect some of the pedagogical best practices that The Innovative Instructor tries to promote.  The author, Linda C. Hodges, Associate Vice Provost for Faculty Affairs and Director of the Faculty Development Center,University of Maryland, Baltimore County, states:

What constitutes productivity in teaching is a point of debate, of course, but many of us agree that we want to facilitate student learning. When faculty are challenged to change traditional teaching practices to promote better student success, all we may see looming before us is additional class preparation time. The best kept secret, however, is how much more time-efficient some of these touted teaching practices are.

The three practices she describes are 1) beginning planning with the end in mind by using backward course design, 2) generating criteria or rubrics to describe disciplinary work for students, and 3) embedding “assessment” into assessments.

Hodges asserts that spending time in the planning and development of your courses using proven pedagogical methods will save you time in your teaching in the long run. Taking a few minutes each week to peruse Tomorrow’s Professor could help you in all aspects of your academic life.

Macie Hall, Senior Instructional Designer
Center for Educational Resources


Image Source: Screenshot of Tomorrow’s Professor logo
http://cgi.stanford.edu/~dept-ctl/cgi-bin/tomprof/postings.php

Creative Student Assignments: Poster Projects

Looking for a final course project for your students that might give them an authentic learning experience – building skills they can use in their post-college careers? Think about a poster assignment.

For STEM career-path students, poster sessions are certain to be a part of their futures. Increasingly, those in Humanities and Social Sciences are finding that poster sessions are being seen in their professional/academic conferences. Posters and similar presentation approaches are becoming part of business (including non-profit) practice as well.

Student presenting at a poster session.

Credit: NASA/GSFC/Becky Strauss

Poster projects can be designed to foster student research, writing, and presentation skills as well as pushing them to think visually. If having students print out their final product for presentation is too costly and/or space for a poster session is limited, students can present electronically. In fact, the easiest way to create a poster is to use a size-customized (e.g., 48”x36”) PowerPoint or Keynote slide, so presenting on a large screen to a class is feasible and cost effective.

You will want to provide students with specific objectives as well as concrete instructions, and, preferably, a few checkpoint deadlines along the way. Fortunately there are many online resources and guides for poster creators.  Here are three (if you have other sources, please share in the comments section):

SUNY at Buffalo Libraries – Designing Effective Posters
A collaborative effort hosted at NCSU: Creating Effective Poster Presentations
This one combines short videos and text in an introduction to Poster Design, especially good for layout and design elements.

There are many more, as well as YouTube and Vimeo video tutorials.

First time poster creators tend to err on the side of having too much text, so you should give your students some specific guidelines.  These, for example, can be adapted according to your pedagogical goals and academic discipline:

Title = 1-2 short lines
Abstract (if required) = ~50 words
Introduction = ~200 words
Materials/methods = ~200 words
Results = ~200 words
Conclusion = ~100 words
Other sections (footnotes, acknowledgements, sponsors) = ~50 words
TOTAL < 800 words

A total word count of 800 is may be difficult to achieve, but getting as close to that as possible will keep the content concise and focused. It will also leave more room for images and diagrams, the elements that will be most attractive to viewers in a crowded poster session.

You will want your students to think about using consistent design elements (layout, font, color, images, and data display) so that their visual language is both unique and subject-appropriate. This attention to consistent design will also set them apart from other displays. Looking at examples of posters in class and having your students discuss what is effective and what is not can be a good way to get students thinking visually. Use Google Images  to search for “examples of scientific posters” or “examples of humanities posters” or examples in your specific discipline to start the conversation.

Macie Hall, Senior Instructional Designer
Center for Educational Resources

Reid Sczerba, Multimedia Developer
Center for Educational Resources


Image Source: Credit: NASA/GSFC/Becky Strauss
http://www.flickr.com/photos/nasa_goddard/7651333914/in/set-72157630763357278

Polishing your PowerPoints

You’ve rebooted your syllabus, now it’s time to take a serious look at your PowerPoint/Keynote presentations. We all know that nothing is more deadly to an audience than a speaker who presents by reading from his/her text-covered slides. And yet, when it comes to preparing lecture slides for our students, we are sometimes hard pressed to come up with alternatives. For one, there is the idea that the slides are serving a double purpose – first there is the lecture, and second, the slides, packaged for distribution on a course website, present a review of the material covered. The Innovative Instructor is here to tell you that this is poor pedagogy and offer better practices.

Roadside billboard with message "your (brief) message here" displayed.For starters, when your slides are playing a dual role, neither objective is well-served. Create review sheets or outlines for your students as a component separate from your lecture slides. Rather than repeating the information you are giving in the lecture, use the opportunity to create a set of questions that your students should be able to answer after the lecture. This will help prepare them for exams by making them think about the material and identifying areas of weak understanding.

As for the in-class presentation, those slides with dozens of bullet points and incomprehensible charts and graphs need a makeover. An book by Nancy Duarte called Slide:ology – offers a quick read and great tips. [Nancy Duarte, Slide:ology,  O’Reilly Media, Inc., 2008] Duarte reports on research showing that listening and reading are conflicting cognitive processes, meaning that your audience can either read your slides or listen to you; they cannot do both at the same time. However, our brains can handle simultaneous listening to a speaker and seeing relevant visual material.

Duarte contends that if you have more than 75 words on a slide, it is serving as a document. Your students can’t even see the text when it is projected, so the information is lost. With around 50 words a slide acts as a teleprompter. The default method for the instructor is to turn his or her back to the audience and recite from the words on the slide while the students are reading along, usually faster than the speaker is speaking. The best presentations use minimal text on the slide. The slides act as visual aids, reinforcing your message and allowing the students to concentrate on what you are saying.

Ideally your students should be able to process the message on your slide within 3 seconds. Think of it as a billboard. As a driver, you only have a few seconds to read a billboard as you drive past, so the message must be compelling and to the point. The three second rule works because it puts the focus on what you, the instructor, are saying. Remember, your students can’t read and listen simultaneously. The ideal slide will be a short sentence or phrase summarizing the main point you are making, or an image that reinforces your message. Each slide should have only one point.

Data slides should also be rethought. Have you ever found yourself saying, “I know you can’t really see this, but….”? Stop right there. If the chart, graph, table, or diagram isn’t readable, don’t show it. The fact is that presentation slides are not a good medium for displaying complex data. If it is really important that your students examine your data details closely, then you should think about creating a handout and allowing for consideration of that information apart from your slide presentation. Otherwise, consider that the data slide should not be about the data display but about the meaning of the data. What is the point you want to make? Do you need a chart or graph to make that point? If the answer is yes, then simplify. Keep your data points to a minimum, eliminate chart clutter such as unnecessary labels and lines, and spread the information over several slides if you are making more than one point about the data.

Duarte provides lots of information on colors and fonts. The essential take-away is to keep it basic. Black text on a plain white background will work in any situation. San-serif fonts such as Arial or Verdana, are easiest to read. Keep the font size large (not a problem when you aren’t trying to cram so much text on each slide) and in no case should it be less than 24 points.

It doesn’t take much work to clean up your slides and become a power presenter. And your students will thank you.

Macie Hall, Senior Instructional Designer
Center for Educational Resources


Image Source: Microsoft Clip Art edited by Macie Hall

Perry’s Scheme – Understanding the Intellectual Development of College-Age Students

While attending the Educause conference in Anaheim, CA in October, I heard a talk on Flipping the Classroom that referenced Perry’s Scheme – the classic study and resulting model of cognitive development of college-age students. Back in the Center for Educational Resources, looking for more on Perry, I uncovered a trove of information, distilled for you in this post.

William G. Perry, Jr. was a psychologist at Harvard and professor in the Harvard Graduate School of Education. During the 1950s and 60s he conducted a 15 year study of the intellectual and cognitive development of Harvard undergraduates. In 1970 he published Forms of Intellectual and Ethical Development in the College Years: A Scheme, New York: Holt, Rinehart, and Winston; reprinted November 1998; Jossey‐Bass. The long-term impact of Perry’s scholarship is captured in a quote from the book jacket of that publication: “Since its original publication in 1970, this landmark book by William Perry has remained the cornerstone of much of the student development research that followed. …Perry derived an enduring framework for characterizing student development – a scheme so accurate that it still informs and advances investigations into student development across genders and cultures.”

An excellent summary of the key points of Perry’s book for practical application is provided in James M. Lang’s On Course: A Week by Week Guide to Your First Semester of College Teaching, Harvard University Press, 2008, pp. 163-173.

In a nutshell, Perry “described the development of Harvard students as progressing from the dualistic belief that things are either true or false, good or evil, through a stage of relativism in which they feel that all beliefs are equally valid, to a stage of commitment to values and beliefs that recognized to be incomplete and imperfect but are open to correction and further development.” [Wilbert J. McKeachie, McKeachie’s Teaching Tips, Houghton Mifflin, 2002, p. 296.]

Diagram showing the progression of Perry's Scheme from Dualism to Multiplicity to Relativism to CommitmentMore specifically, Perry’s Scheme of intellectual development proposes nine positions or levels with the transformative sequences that connect them. Googling William G. Perry or Perry’s Scheme (be sure to add the middle initial to avoid being inundated with links to William “Refrigerator” Perry, the former NFL lineman) will provide a number of summaries of his model, which is often reduced to four levels:

1. Dualism – knowledge is received, not questioned; students feel there is a correct answer to be learned.
2. Multiplicity – there may be more than one solution to a problem, or there may be no solution; students recognize that their opinions matter.
3. Relativism – knowledge is seen as contextual; students evaluate viewpoints based on source and evidence, and even experts are subject to scrutiny.
4. Commitment within relativism – integration of knowledge from other sources with personal experience and reflection; students make commitment to values that matter to them and learn to take responsibility for committed beliefs. There is recognition that the acquisition of knowledge is ongoing activity.

An individual student at a single point in time may be at different stages in regards to different subject areas. Hofer and Pintrich note that change from one stage to another “…is brought about through cognitive disequilibrium; individuals interact with the environment and respond to new experiences by either assimilating to existing cognitive frameworks or accommodating the framework itself.” [Barbara K. Hofer and Paul R. Pintrich, The Development of Epistemological Theories: Beliefs About Knowledge and Knowing and Their Relation to Learning, 1997 67: 88 Review of Educational Research, p. 91.]

While Perry himself acknowledged the limitations of his work – the majority of his subjects were white, male students at Harvard and the interviewing process was not subjected to protocols that would be considered mandatory today – as the book jacket claims, the study is still considered to be a seminal work.

So why is it important to you as an instructor? Let’s say that you’ve just given a brilliant lecture on different theoretical models for economic development in Mongolia or presented several philosophical approaches to the question of nature or nurture. Afterwards a student comes up to the podium and asks you, “But which is the right one?” Understanding that for this subject at least, your student is stuck in the dualism stage might help you in responding and providing appropriate guidance.  Although today dualistic thinking is less prevalent among college-aged students than in Perry’s time – most students come into a college education at the stage of multiplicity – your first year students may still perceive the instructor to be the disseminator of truth. Students who have not reached the stage of relativism may be less comfortable in a classroom setting that is focused on active learning. When students push back on teaching and learning strategies that shift their roles from being recipients to being participants and collaborators, it may be because they are not yet developmentally up to the task. Such teaching approaches may, however, help students transition to higher levels as they experience the “cognitive disequilibrium” that Hofer and Pintrich describe (see above).  As our faculty-centered pedagogies shift to learner-centered approaches, a key to success will be in understanding how students view their acquisition of knowledge.

Macie Hall, Senior Instructional Designer
Center for Educational Resources


Image Source: CC (some rights reserved) Macie Hall