What kinds of flipped strategies could you use in an online course to shift the focus from the instructor to the students; to encourage active participation from students rather than passive observation?
- I would use a welcome video using FlipGrid and introduce myself, then invite all of the students to introduce themselves.
- In a traditional studio art class, I normally introduce the theme of the week by showing a PPT of one artist’s work to inspire the students. For an online class, I would ask the students to do research themselves about an artist of their choice, and write a paragraph on a shared blog or Google+ communities to briefly introduce this artist; also, write another paragraph on the reasons of their choice and how this image relates to the specific theme. Then, they can then respond to another students’ image/response of their choice.
- I would also use a synchronous meeting to facilitate that particular week’s task or “homework” after letting them watch myself videotaping a demo. I would post a couple of related articles/texts to complement the weekly theme; a Youtube video or an instructional video on Lynda.com to show them specific techniques required. After the students are done with the task, if it was not finished in a synchronous class, they could complete it in their own times and post it on the shared discussion board.
- During the synchronous meeting, I would also ask each student to respond/critique to each other’s work, so we’d also get an immediate response, which is valuable and a good training that reflects the real art world.
- For one project, I would ask students to use a social media to create an art work that interacts with the wider public.
- I would also ask each student (candidate teachers) to develop their own blended mini-lesson plan and post their plan online: conduct one 10 minute lesson during one synchronous meeting and create a video for us to watch before hand.
- I would ask the students to write a one paragraph response to a related article they have read during each week. For some modules, they can also choose their own article and give a PPT presentation to all.
- I would provide an online office hour for them to be able to call anytime for any questions. Apart from encouraging them to email me anytime they need for questions, I would also provide my cell phone number and allow students to text/phone me if they have any urgent questions.
- I would try to coordinate with the school to open any media lab/ studio during the weekends and at nights to provide more working time for the students.
- I would encourage collaborative work between the students on certain projects (most probably finals, then ask a volunteer to lead/organize an online exhibition for the whole class. On top of showing his or her work, each student can be assigned a role to build the online exhibition. Roles include: curator, content developer, creative director, and site developer.
Tuesday, June 27, 2017
Wednesday, June 21, 2017
Friday, June 16, 2017
Thursday, June 15, 2017
5: Synchronous or Asynchronous?
Online Week 4 Google+ Discussion Post:
If you were to teach a course online, and you had your choice of delivery modalities, would you pick synchronous (real time) or asynchronous (on demand?) Or, as we do here, would you combine them?
I would definitely choose the blended format. While asynchronous discussion can promote deeper thinking and higher-order processing, Synchronous meeting has a positive impact on social and cognitive presence, perceived learning (Rockingson-Szapkiw, 2009) and immediacy, which are vital aspects of productive learning. For me, an online course’s biggest asset that is different to a traditional one is the possibility of teaching/learning without having the constraints of space and time. However, if there were a magic door where I can go from my home and reach the classroom immediately, I would not choose to teach nor take an online course.
As a home person who does not go to coffee shops to work, I usually prefer a classroom-like quite atmosphere space in the library or study in order to concentrate; unless I am sick or feel idle, I also work on less demanding task such as listening to podcasts, emailing, reading, or editing pictures; but I definitely cannot be in a deep thought mode when am at these more “relaxed” places. Just like the physical classroom or study, the physical posture reflects a mode of being focused and deep concentration. Although the asynchronous only format gives more flexible time for both parties and allows us to conduct teaching/learning anywhere, the importance of the learning atmosphere cannot be stressed. The synchronous format corresponds to a simulation of being in a classroom that promotes an atmosphere of learning, which elevates learning quality, attention and guides students on track during a face-to-face discussion, especially for those who are not used to emailing professors when they have questions. If the students really cannot attend these meetings due to schedule clash—which should be planned/scheduled since the beginning anyway—they can still listen to the recordings in their own time.
As an artist who’s creative work is mostly done alone in a studio, and as an art teacher who facilitates students’ work-in-progress during class, the importance of the immediate facilitation of students’ work in progress can only be achieved through a synchronous meeting. In an art class, it is also important to have regular “crits” that promotes collaborative learning. A “crit” is a gathering of all faculty and student members every once in a while, generally once per month to have one student hang all of their work up onto the wall like an exhibition, and have all members read the work, reflect, discuss and give critiques. It can be a torturing experience for many due to the unrestrained and straightforwardness of faculty responses (many of which are often already established artists); It is an important practice for art students because right after graduation, the reality of the real art world is exactly like that: when one presents a show in a gallery or a space, one meet audiences from everywhere, and they respond to the work right away, sometimes the artist may not like it, but would have to get used to and bear with it. Often times, the audiences come and check out the artwork for the first and the last time, thus it is the first impression and immediate thought/response that is the most valuable.
The artist then would continue to work and strive to breakthrough the old work in order to continue to create new ones. Sometimes the artist gets a review in a magazine or a newspaper, which is more like the asynchronous response. Funnily, in the contemporary art world, sometimes it is good to have “bad” reviews if they raise controversy.
Synchronous meeting parallels improvisation in music and living life spontaneously as human beings. The elimination of it just make me think of the non-humanness that education would become: If the new technological world develops to a point where humans do not need to go anywhere nor move their fingers/bodies anymore to type or go to places, experience, or even don’t need to think in order to think or communicate, human species would end and be controlled by machinery and technology. To the point where machines become higher thinking than humans, and whether human species is superior to machines is another topic to be discussed; but synchronous meetings reflect the human aspect of teaching/learning that in turn brings back our control as humans.
Asynchronous teaching modal provides much support such as participatory and collaborative learning, production of artifacts (Cavana, 2009; Gold, 2001), more contribution on discussion (Light Colbourn & Light, 19970, and more time on homework and reflection (Mayer, 2003), which cannot be ignored. Thus a complementary of both would foster a better quality learning.
If you were to teach a course online, and you had your choice of delivery modalities, would you pick synchronous (real time) or asynchronous (on demand?) Or, as we do here, would you combine them?
I would definitely choose the blended format. While asynchronous discussion can promote deeper thinking and higher-order processing, Synchronous meeting has a positive impact on social and cognitive presence, perceived learning (Rockingson-Szapkiw, 2009) and immediacy, which are vital aspects of productive learning. For me, an online course’s biggest asset that is different to a traditional one is the possibility of teaching/learning without having the constraints of space and time. However, if there were a magic door where I can go from my home and reach the classroom immediately, I would not choose to teach nor take an online course.
As a home person who does not go to coffee shops to work, I usually prefer a classroom-like quite atmosphere space in the library or study in order to concentrate; unless I am sick or feel idle, I also work on less demanding task such as listening to podcasts, emailing, reading, or editing pictures; but I definitely cannot be in a deep thought mode when am at these more “relaxed” places. Just like the physical classroom or study, the physical posture reflects a mode of being focused and deep concentration. Although the asynchronous only format gives more flexible time for both parties and allows us to conduct teaching/learning anywhere, the importance of the learning atmosphere cannot be stressed. The synchronous format corresponds to a simulation of being in a classroom that promotes an atmosphere of learning, which elevates learning quality, attention and guides students on track during a face-to-face discussion, especially for those who are not used to emailing professors when they have questions. If the students really cannot attend these meetings due to schedule clash—which should be planned/scheduled since the beginning anyway—they can still listen to the recordings in their own time.
As an artist who’s creative work is mostly done alone in a studio, and as an art teacher who facilitates students’ work-in-progress during class, the importance of the immediate facilitation of students’ work in progress can only be achieved through a synchronous meeting. In an art class, it is also important to have regular “crits” that promotes collaborative learning. A “crit” is a gathering of all faculty and student members every once in a while, generally once per month to have one student hang all of their work up onto the wall like an exhibition, and have all members read the work, reflect, discuss and give critiques. It can be a torturing experience for many due to the unrestrained and straightforwardness of faculty responses (many of which are often already established artists); It is an important practice for art students because right after graduation, the reality of the real art world is exactly like that: when one presents a show in a gallery or a space, one meet audiences from everywhere, and they respond to the work right away, sometimes the artist may not like it, but would have to get used to and bear with it. Often times, the audiences come and check out the artwork for the first and the last time, thus it is the first impression and immediate thought/response that is the most valuable.
The artist then would continue to work and strive to breakthrough the old work in order to continue to create new ones. Sometimes the artist gets a review in a magazine or a newspaper, which is more like the asynchronous response. Funnily, in the contemporary art world, sometimes it is good to have “bad” reviews if they raise controversy.
Synchronous meeting parallels improvisation in music and living life spontaneously as human beings. The elimination of it just make me think of the non-humanness that education would become: If the new technological world develops to a point where humans do not need to go anywhere nor move their fingers/bodies anymore to type or go to places, experience, or even don’t need to think in order to think or communicate, human species would end and be controlled by machinery and technology. To the point where machines become higher thinking than humans, and whether human species is superior to machines is another topic to be discussed; but synchronous meetings reflect the human aspect of teaching/learning that in turn brings back our control as humans.
Asynchronous teaching modal provides much support such as participatory and collaborative learning, production of artifacts (Cavana, 2009; Gold, 2001), more contribution on discussion (Light Colbourn & Light, 19970, and more time on homework and reflection (Mayer, 2003), which cannot be ignored. Thus a complementary of both would foster a better quality learning.
Tuesday, June 13, 2017
Thursday, June 8, 2017
4: Presence & Connectedness
Morrison (2014) citing Lehman and Conceicao (2011), points out that one of the most important aspects of online teaching is the concept of ‘presence’ . Garrison (2003) provides a framework of presence in three major categories; these are social, cognitive, and instructor presence that overlaps with each other to form the central educational experience (Fig. 1). The Educational Experience are supported by three aspects: Supporting Discourse, which is the merging of of Cognitive and Social Presence; Selecting Content, which is the merging of of Cognitive and Teaching Presence (Structure/Process); and Setting Climate, which is the fusion of Social and Teaching Presence.
Fig. 1
Given that learning in an online environment requires a more self-directed way of learning in order to maximize outcomes, self-awareness of the instructor’s role becomes even more critical than traditional classroom settings. Four ways that an instructor can establish presence are: 1) Creating a two-minute welcome video to show and introduce the professor’s profile; 2) Posting a weekly announcement that accompanies with regular communication such as comments on discussion boards and/or upcoming assignments; 3) Give specific, personal feedbacks on assignments; 4) Feedback on Class Discussions.
Joyner (2014) cites Anderson, Rourke, Garrison and Archer (2001) on teaching presence, which includes “the design, facilitation, and direction of cognitive process for the purpose of realizing educationally worthwhile learning outcomes” (p. 437). Three roles that are fulfilled both as a classroom and online teacher are, “(a) designer of an educationally worthwhile educational experience, (b) a facilitator of learning activities, and (c) a subject matter expert” (jones, 2011). She concluded that the instructor should post clear instructions regarding schedules, assignment expectations, due dates, demonstrate respect for the learning process, create quality content, provide supportive/corrective guidance through email rather than public posting, express belief that students will be successful in the online environment, respond specifically to student work, and share workable solutions. Further, students should be encouraged and valued, while being informed to participate in meaningful interactions after deep thoughts. In turn, the instructor should “address appropriate environmental responses” (Joyner, 2014, p. 438) to increase desired student learning outcomes.
According to the constructivist theory, students bring to their environment “their unique knowledge, skills, attitudes, and beliefs” and build knowledge and meaning through interactions with each other (Joyner, 2014, p.438). In an online classroom, both individualist and social constructivism happens either through their direct experiences or collaboration with others (Almala, 2006).
Through classroom technology and assignments, connection can be achieved through online discussion, podcasts, and synchronous video meetings. The succinctness of the course homepage and weekly reading/audio/video materials, and the use of online journals also affects the degree of connectedness. Connection can also be achieved through students receiving quality and positive feedbacks. Lastly, the ability and creativity of an interactive course managed/designed by the instructor would also assist in coursework and student-instructor connection (Joyner, 2014, p. 442).
In general, in an online environment, it is imperative for instructors/facilitators to be active participants that bring quality feedbacks. The instructor’s resourcefulness, familiarity, and creativity of the technology, accessibility outside classroom, and providing clarification to major course points are also a primal influence on providing a sense of presence and connection to the students' learning experience.
Joyner, A. Shiela. (2014). The importance of student-instructor connections in graduate level online courses. MERLOT Journal of Online Learning and Teaching, 10(3), 436-445.
Ladyshewsky, K. Richard. (2013). Instructor presence in online courses and student
Satisfaction. International Journal for the Scholarship of Teaching and Learning, 7(1). Article 13, 1-23.
Morrison, Debbie. (2012). Instructor presence in the online class – Key to learner success. Online Learning Insights.
Retrieved from
https://onlinelearninginsights.wordpress.com/2012/05/18/instructor-presence-in-the-online-class-key-to-learner-success/
Fig. 1
Given that learning in an online environment requires a more self-directed way of learning in order to maximize outcomes, self-awareness of the instructor’s role becomes even more critical than traditional classroom settings. Four ways that an instructor can establish presence are: 1) Creating a two-minute welcome video to show and introduce the professor’s profile; 2) Posting a weekly announcement that accompanies with regular communication such as comments on discussion boards and/or upcoming assignments; 3) Give specific, personal feedbacks on assignments; 4) Feedback on Class Discussions.
Joyner (2014) cites Anderson, Rourke, Garrison and Archer (2001) on teaching presence, which includes “the design, facilitation, and direction of cognitive process for the purpose of realizing educationally worthwhile learning outcomes” (p. 437). Three roles that are fulfilled both as a classroom and online teacher are, “(a) designer of an educationally worthwhile educational experience, (b) a facilitator of learning activities, and (c) a subject matter expert” (jones, 2011). She concluded that the instructor should post clear instructions regarding schedules, assignment expectations, due dates, demonstrate respect for the learning process, create quality content, provide supportive/corrective guidance through email rather than public posting, express belief that students will be successful in the online environment, respond specifically to student work, and share workable solutions. Further, students should be encouraged and valued, while being informed to participate in meaningful interactions after deep thoughts. In turn, the instructor should “address appropriate environmental responses” (Joyner, 2014, p. 438) to increase desired student learning outcomes.
According to the constructivist theory, students bring to their environment “their unique knowledge, skills, attitudes, and beliefs” and build knowledge and meaning through interactions with each other (Joyner, 2014, p.438). In an online classroom, both individualist and social constructivism happens either through their direct experiences or collaboration with others (Almala, 2006).
Through classroom technology and assignments, connection can be achieved through online discussion, podcasts, and synchronous video meetings. The succinctness of the course homepage and weekly reading/audio/video materials, and the use of online journals also affects the degree of connectedness. Connection can also be achieved through students receiving quality and positive feedbacks. Lastly, the ability and creativity of an interactive course managed/designed by the instructor would also assist in coursework and student-instructor connection (Joyner, 2014, p. 442).
In general, in an online environment, it is imperative for instructors/facilitators to be active participants that bring quality feedbacks. The instructor’s resourcefulness, familiarity, and creativity of the technology, accessibility outside classroom, and providing clarification to major course points are also a primal influence on providing a sense of presence and connection to the students' learning experience.
Joyner, A. Shiela. (2014). The importance of student-instructor connections in graduate level online courses. MERLOT Journal of Online Learning and Teaching, 10(3), 436-445.
Ladyshewsky, K. Richard. (2013). Instructor presence in online courses and student
Satisfaction. International Journal for the Scholarship of Teaching and Learning, 7(1). Article 13, 1-23.
Morrison, Debbie. (2012). Instructor presence in the online class – Key to learner success. Online Learning Insights.
Retrieved from
https://onlinelearninginsights.wordpress.com/2012/05/18/instructor-presence-in-the-online-class-key-to-learner-success/
Subscribe to:
Posts (Atom)