example of the Hubs toolThe Ecampus multimedia team researches emerging tools, and works with our sibling team of Instructional Designers to help support instructors. So lets take a moment to peek at tools we all might be using in the coming years for communicating with teammates from a distance.

Multimedia developers primarily use a paid tier of Slack (for instant messaging), Outlook (for email), and Zoom (for meetings with live video or audio). While we play around with many other emerging tools, I believe we’re using the same basic trio as most everyone else. Just wanted to be clear that I don’t have a revolutionary new secret tool in my back pocket which you must start using today. We’re all in the same basic boat at the moment.

CDT shares files through a variety of different online services. Documents are usually shared through Box, with Google Drive as a backup. Videos usually end up on Kaltura through OSU’s MediaSpace, but works in progress start out on Frame.io to leverage some handy features for time stamped feedback. We manage our team’s projects through Asana, and store final deliverable files with a wrap-up note in a private internal database tool (that our team created and maintains). So those are handful of tools that might be mentioned when working with us. You may have already been sent a Box folder to upload files into, or a frame.io link to comment on a video.

As we all settled into home office work back in March, there was an interest in new tools for social interaction. I was particularly interested in applications that were connecting Virtual Reality users with phone and desktop users. Mozilla, the creators of the Firefox browser, are quietly building up Hubs, which strikes me as the most promising tool in this space. It’s free, easy to learn, and offers a ton of excellent functionality. Stop by the experimental space I set up for my team. It features a 3D model imported from our sketchfab account, and a video from our YouTube account.

One of the developers of Hubs recently laid out the secret plan for this tool: to build up a persistent global 3D network to rival the world wide web. Exciting stuff for all you fans of the scifi metaverse, and the freedom of early web pages.

There are other interesting tools bubbling around at the moment in the VR space. Facebook is letting anyone sign up for the beta of a shared social universe for Oculus VR users called “horizon.” Microsoft acquired AltspaceVR, which mixes VR users with desktop users and has already hosted multiple conferences during the quarantine. If you’ve invested in a VR headset, it might be worth checking out the bustling communities in VR chat or Rec Room. The makers of Second Life tried out 2 approaches to VR (Sansar and High Fidelity), but recently changed course. My team is currently trying to schedule a time to try out Sketchbox in different VR headsets. I stumbled across “Somnium Space” while writing this blog post. It’s kind of crazy how many things are being developed, but… aren’t quite ready for mass consumption just yet.

There is a cognitive load problem with all the new tools bubbling up in these cauldrons around the world and begging for attention. While Mozilla Hubs is my favorite, it does take a few minutes to go through it’s tutorial and learn what all you can do. These days that’s a lot to ask of people who just seek the simplicity of walking into a room to meaningfully interact with other humans in a natural way. More and more I’m nervous about suggesting new tools to colleagues, because I know they’re already dealing with a lot. And I see a lot of folks casually making a notable pile of work for others without seeming to notice the strain. As a designer, I enjoy walking through a new tool, and once I determine it’ll be useful for others it is hard to appreciate how exhausting it might also be for them. I think the key mistake is to require others learn a tool before they can get back to whatever task they set out to do in the first place. Hopefully we can find ways to design simpler tools, and to help people enjoy learning useful new third party tools. Wait until you’re ready to jump into the ones I’m mentioning here, and take it easy on your coworkers.

Suggestions? Want to meet up and talk about this further, perhaps inside one of the tools mentioned above? Please just leave a comment, or send us an email – we’d love to hang out with you and explore what the world is cooking up!

Awe – A Shared Uncommon Human Experience

Can you recall the last time you experienced awe? It is likely you can because awe is an emotion that tends to be a positive memorable experience. What were you doing during your awe experience? Did you learn anything from it? Do you still think about it? This post will profile the nature of awe and will conceptualize how we may integrate awe in learning design for online instruction. We will begin with exploring what awe is and how it occurs. Then our focus will turn to how awe might impact cognition and therefore learning. Lastly some examples of how awe integration might be conceptualized for online instruction and remote experiential learning.

 

Photo of the North Shore of Lakes Superior by Lawren Harris.
Figure 1. North Shore of Lake Superior by Lawren Harris (1926). Paintings are examples of art that may elicit the awe response. Photographed in situ by Craig Rademacher.

It is understood that awe is a common feeling associated with experiencing art, music, panoramic views, and other beauty (Keltner & Haidt, 2003). Awe is considered a positive emotion with a prototypical facial display (Shiota, Campos, and Keltner, 2003). Awe is a state experience that is differentiated from other positive emotions such as amusement, interest, love, joy, contentment, and  pride (Campos et al., 2013). As an emotional state it is transient but may produce feelings of transformation, or openness, due to its impact on cognition (Danvers & Shiota, 2017). Course developers and instructional designers often value new ways of creating learning experiences in course design. The nature of awe suggests it may be useful in that regard. Before we can integrate awe into online course design we must have a better understanding of how it occurs.

 

What Makes Awe Happen?

The awe experience is elicited by two key features in a stimulus: perceptual vastness and need for acommodation (Shiota & Keltner, 2007). Although perceptual vastness is often experienced when viewing grand landscapes, vastness may also be found in any stimulus that expands a person’s accustomed frame of reference.

From this perspective vastness may be understood as a function of space, time, number, complexity, ability, or the mass of human experience. Shiota and Keltner (2007) further suggest vastness may be implied by a stimulus, making even a mathematic equation feel vast due to its ability to explain a large number of phenomena. Even people like Henry Ford, Rachel Carson, Queen Elizabeth II, Nelson Mandela, and Bill Gates might elicit a sense of vastness due to their understood expansive impact on the lives of others and society.

 

Panoramic photo of a lone person standing in the vast landscape of Bad Water Basin in Death Valley National Park in California.
Figure 2. A hiker stands alone in the vast landscape of  Death Valley. Encountering vast landscapes like those in Death Valley National Park have the potential to elicit awe in park visitors.   Image by Craig Rademacher.

When facing this sense of vastness that challenges personal understanding, we adapt. Cognitive accommodation is a process of changing our thinking patterns, or frames of reference, in the face of perceptually vast stimuli. This differs from assimilation which brings a new experience in line with existing schemas or experiences. In contrast, accommodation stimuli reshape or alter existing cognitive schema. This sense of a need for accommodation is the second key feature of the stimuli that elicit awe.

 

How Awe Impacts Us

From a cognitive perspective awe occurs during the engagement with novel, complex, patterned information that is accessible yet, as previously has been stated, is outside a normal understanding of the world (Keltner & Haidt, 1999). This cognitive challenge creates a feeling of wonder and astonishment and humans respond (Shiota et al., 2017). Rather than depend on default cognitive frames of references  or scripts, awe encourages cognitive accommodation, prompting the taking in of new information to update understanding.

The accommodation process fostered by awe focuses a more detailed analysis of the information-rich stimulus under consideration. In this process individuals in awe shift their awareness away from normal concerns. In a sense, awe changes our vantage point to something greater than ourselves and opens the mind to new information, perspectives, and understandings.

Awe not only leads to new ways of processing information it also changes how we see the world, making life a richer experience. Research has shown that awe elicits self- relevant thoughts and connectedness leading to an experience of a “small self” (Nelson-Coffey et al., 2019). These self-transcendent feelings are positive and contribute to awe being an emotion that is pleasant and calming and inspires an interest in social responsibility.

 

Integrating Awe in Online Instruction

After an awe experience it is likely we have changed our thinking, feeling, and perhaps behaivor. Isn’t this one of the great purposes of education and a goal of learning? How might we leverage this awe in online instruction?

A recent op-ed by Goldie Blumenstyk in The Chronicle of Higher Education (2020) addressed the topic of what kind of higher education is needed now and beyond the current pandemic. Blumenstyk  identified a number of issues. Two are salient to a discussion of integrating awe into online learning. In brief these were:

  • A need for more applied learning that can be evaluated through guided reflection and mentoring to prepare students for careers of purpose in society.
  • Customized education, leveraging the online environment and technology that is both values-based and experiential.

As we have seen in the research, awe theory addresses the needs identified by Blumenstyk. Awe is a positive emotional experience that fosters personal reflection. It is individualistic, or personally customized, and inspires consideration of ideas and actions outside the self and increases prosocial behavior (Piff et al, 2015). It is clearly experiential in nature. Awe as a goal and vehicle for learning seems worth exploring. How might we integrate awe into course design and development of online instruction. Let’s look at three different examples as a starting point.

Example #1: Referencing Awe Experiences in Learning

One of the most obvious and perhaps easiest way to bring awe into online instruction is to have learners reference past awe experiences as part of their course work. This may seem daunting to faculty who cannot identify or manage what experiences will be brought forward. However, that is part of the benefit. Referencing awe experiences is a personal application of learned experience to the online environment. As an example, an instructor may post a discussion prompt that might look like this.

Discussion Prompt – Topic: Poverty and the Social Safety Net
For this assignment I would like you to recall a time you experienced awe. Where were you? How did you feel in that moment of awe? Did it change your perspective in any way? Once you have thought about your awe experience post a response to the following questions:

What ideas or feelings about your role in society are related to your awe experience? Are your beliefs about poverty and the role of government in providing a social safety net informed by your perceived role in society? How is your perspective aligned with government policies concerning social aide?

Although not completely fleshed out in terms of response posts or a rubric this discussion prompt encourages individualized learning related to the course topic of poverty in the local community. It encourages reflection, analysis, and logical comparison. It brings awe into the discussion as an individualized reflective element.

Example #2: Stimulate Awe Experiences in Learning

Research on awe has used writing about awe and video viewing to stimulate awe in study subjects. Stimuli that creates a sense of perceptual vastness and accommodation shapes the awe emotional response. Can we create these opportunities for students? Below is an example to consider.

Interactive Timeline – Topic: Anthropology and Early Human Migration
At Oregon State University we often use a proprietary timeline tool in online courses. The scale of this timeline can be varied and it typically is media enriched with images, video, text, and links. Any timeline can be built entirely by the instructor or students can contribute to the timeline as part of an assignment.

In this example of a senior level Anthropology course the instructor provides a timeline chronicling physical appearance of the Bering Land Bridge and the migration of humans across the land bridge into North America. The assignment may read something like what is seen below:

 

Illustration of the Beringia gene flow map.
Figure 3. Map of Gene Flow in Beringia. Some concepts include vast ideas such as the scale of geologic time. This too can elicit awe in learners. Erika Tamm et al / CC BY (https://creativecommons.org/licenses/by/2.5)

Paper Assignment Prompt

For this assignment review the contents of the Bering Land Bridge timeline that addresses the migration of humans in the Beringia region during the Ice Age. In your review pay close attention to the process of glaciation and how it impacts both the land bridge and human and animal migration patterns. Note the length of this time period.

Once your review is complete write a paper about Beringia and the scale of both the time period and human/animal migration. What impressed you about the history and geography of the migration? How does this migration inform your thinking about how species adapt to survive?

Although a cursory assignment, it illustrates an intent to engage students with the vastness of geology and geography and immense physical/cultural change over time. It also asks learners to reflect on new information and how it may inform current thinking about the human experience and nature. It is designed with an awe experience in mind. And it is presented and completed entirely online.

Example #3: Awe In Experiential Learning – Art Appreciation

In an earlier post on this site Rademacher (2019) described the process of experiential learning. That process is depicted in the experiential learning model below (Kolb & Kolb, 2018).

 

Model of the Experiential Learning Cycle.
Figure 4. Model of the Experiential Learning Cycle. Model depicts the four stages of the experiential learning cycle.

The starting point of the experiential learning process is the concrete experience. Incorporating awe into experiential learning is about designing learning that integrates an awe eliciting concrete experience. Once that is complete, then the experiential learning cycle can be completed. Interestingly, the four stages of the experiential learning cycle seem to parallel the awe experience process. In the table below, you can see the parallels that might be conceptualized. This teases the idea that awe may be an archetype of experiential learning.

 

Image showing the parallels between the Experiential Learning Cycle and the Awe Experience Process
Figure 5. Conceptual Parallels: The Experiential Learning Cycle and The Awe Experience Process.

So in this example the goal is to create a remote learning experience where students seek out a setting where they may, or have, experienced awe. As various forms of art elicit awe let’s use an art example.

Experiential Learning Assignment Description

The major assignment for this term is to examine the purpose of art in the human experience. Your assignment is to visit a local art gallery or museum of your choice. During your visit identify several art pieces that you feel inspired by. Spend focused time looking over and reading about your favorite piece of art. If permitted, take a photograph of that piece of art for future reference.

Compose a paper about your art experience. Before you write, reflect on how the artwork you photographed inspired you. With that in mind provide answers to the following questions:

  • Describe your thoughts and feelings about experiencing the artwork in person?
  • Did your understanding of art change from this experience? How?
  • How might you approach viewing art differently in the future?
  • How do you think your experience might be like that of other people viewing this art?
  • Describe how your art experience affirms or contrasts the purpose of art as defined by the authors of the course text.

Submit your paper via the learning management system by…

These three examples were provided as a way to begin thinking about how we might integrate awe as part of online instruction. Each example is incomplete and would need further details. Each does, however, provide a kernel of an idea of how awe integration might be pursued.

 

Final Thoughts

Awe is a common human emotion that has been shown to be important from the perspectives of spirituality, philosophy, health, wellness, and defining ourselves (Keltner, 2016; TED, 2016). This article posits that awe may also be valuable as a vehicle for online instruction and learning. As course designers we often look for ways to connect real life experience with the online learning environments. The conceptual parallels between awe and the experiential learning cycle highlighted earlier may be worth examining in greater depth.

In her 2016 TED Talk, awe researcher Lani Shiota defined awe:

Awe is an emotional response to physically or conceptually extraordinary stimuli that challenge our normal frame of reference and are not already integrated in our understanding of the world.

Shiota’s definition suggests that awe serves as a form of new learning originating from things we do not readily understand. Yet it is not simply taking in new knowledge, it is adapting to ideas and physical stimuli that we perceived as vastly bigger than our selves. It may prove valuable for course developers and designers to think about what awe opportunities might exist in the design of online instruction. We might begin that process by better understanding how awe shapes cognition and emotion. Integrating awe into online instruction could very well help online learners find the vastness and beauty of new subjects, new ideas, or new experiences.

 

References

Blumenstyk, G. (2020, April, 22). The higher ed we need now. Leadership & Governance | The Chronicle of Higher Education. Retrieved from https://www.chronicle.com/article/The-Higher-Ed-We-Need-Now/248591

Campos, B., Shiota, M.N., Keltner, D., Gonzaga, G.C., & Goetz, J.L. (2013) What is shared, what is different? Core relational themes and expressive displays of eight positive emotions. Cognition and Emotion, 27 (1), 37-52.

Danvers, A.F. & Shiota, M.N. (2017). Going off script: Effects of awe on memory for script-typical and irrelevant narrative detail. Emotion, 17 (6), 938-952.

Keltner, D. (2016, May 10). Why do we feel awe?. Greater Good Magazine.
Retrieved from https://greatergood.berkeley.edu/article/item/why_do_we_feel_awe

Keltner, D., & Haidt, J. (1999). The social functions of emotions at four levels of analysis. Cognition and Emotion, 13, 505–522.

Keltner, D. & Haidt, J. (2003). Approaching awe, a moral, spiritual and aesthetic emotion. Cognition and Emotion, 17 (2), 297-314.

Kolb, A. & Kolb, D. (2018). Eight important things to know about The Experience Learning Cycle. Australian Educational Leader, 40 (3), 8-14.

Nelson-Coffey, S.K., Ruberton, P.M., Chancellor, J. Cornick, J.E. & Lyubomirsky, J. (2019). The proximal experience of awe. Public Library of Science (PLoS One), 14 (5), p. e0216780.

Piff, P.K., Dietz, P., Feinberg, M., Stancato, D.M., & Keltner, D. (2015). Awe, the small self, and prosocial behavior.Journal of Personality and Social Psychology, 108(6), 883-889.

Rademacher, C. (2019, February 16). Experiential learning in online instruction. Ecampus Course Development & Training (Oregon State University). Retrieved from http://blogs.oregonstate.edu/inspire/2019/02/06/experiential-learning-in-online-instruction/

Shiota, M.N., Campos, B., and Keltner, D. (2003). The faces of positive emotion: Prototype displays of awe, amusement, and price. Annals New York Academy of Science, 1000, 296-299.

Shiota, M.N. & Keltner, D. (2007). The nature of awe: Elicitors, appraisals, and effects on self-concept. Cognition and Emotion 21 (5), 944-963.

Shiota, M.N., Thrash, T.M., Danvers, A.F., & Dombrowski, J.T. (2017). Transcending the self: Awe, elevation, and inspiration. In M. Tugade, M. N. Shiota & L. Kirby  (Eds.), Handbook of positive emotion (pp. 362–395). New York, NY: Guilford Press.

TED (2016). Why awe is such an important emotion | Dacher Keltner [Video] YouTube. https://www.youtube.com/watch?v=ysAJQycTw-0

TED (2016). Why awe is such an important emotion | Lani Shiota [Video] YouTube. https://www.youtube.com/watch?v=uW8h3JIMmVQ

Welcome to the Webcam and Video Tips guide by Oregon State University Ecampus
This brief series of tips is meant to be a beginner’s overview for DIY home recording on webcam, with some additional options suggested if you want to take your video production even further.
Since this document may not cover every issue you encounter while acclimating to DIY video recording, we recommend contacting your school tech person for additional troubleshooting.

WHERE TO START

  • Internet Connection
    • Wired connection via ethernet cable is best
    • If wired connection is not possible, having a clear line of sight to wifi router will give the best wireless connection
    • Disconnect any wifi devices that are not in use or needed.
  • Computer Check
    • Determine if your computer meets minimum system requirements for streaming software
    • Close all non-essential programs to free up more computer resources
    • Disconnect any external monitors if you are on a laptop and it is running slowly
  • Testing Your Tech
    • Does your computer have a built in webcam or do you have a 3rd party webcam?
    • Identify where your microphone is and talk towards it
    • Test the webcam and audio settings BEFORE your first recording. 
    • Practice practice practice
      • The last recording will be better than the first
  • Making sure your voice is clear and easy to understand
    • Having a microphone helps with this
    • Smart phone earbuds have a built-in microphone that can help you with voice clarity
    • Airpods would also work when recording to an iPhone

PRESENCE AND ENVIRONMENT

  • Be aware of your environment.
    • Limit any background noise as much as possible.
    • Clean up your space and be aware of what is in the background of the video.
    • Rooms with carpets and drapes are best for audio.
    • Turn off lights and close windows that are behind you when you are recording.
    • If possible, turn on a light behind the camera.
    • Keep experimenting with lighting until you have a set up that works for you.

  • Try not to bump the desk, computer, camera, or microphone while recording.
    • Typing should also be avoided.
  • Do a test lecture and watch it.
    • See what works and what doesn’t.
    • If possible, get feedback from others
  • Practice
    • The more you practice, the more natural it will feel.
    • Run through what you want to say before you start recording.
  • Relax and be natural! Hopefully you are sharing knowledge that you are passionate about and we want that to show. (Remember that we are always our own worst critic, and your teaching team will be there to help you with constructive feedback on how to help students best enjoy and learn from these videos.)
  • Have notes in front of you while you’re recording. 
    • It is easy to get distracted or off topic, especially when you are uncomfortable.
    • Having notes in front of you while you record can help you stay on track.
    • These notes can be as vague or as detailed as you want, but avoid reading off of them directly and not looking at the camera.

DIGITAL NOTATION

GOING FURTHER WITH VIDEO PRODUCTION

  • For DIY video production, there are many ways to go about this!
    • The lowest barrier to recording on your own would be to use a smart phone attached to a tripod or other mount.
    • If you have access to a camcorder or DSLR, get out there and use it!
  • For smart phone video
    • Avoid handheld and invest in a tripod or smart phone / camera mount
    • If you have a decent internet connection for uploads, consider recording 1080p at 30fps
    • Use an external microphone whenever possible

ACCESSORIES TO CONSIDER IF RECORDING WITH A PHONE

Apps:

  • Filmic Pro – $14.99
    • Allows manual control of exposure and white balance, audio monitoring, and other useful features.

Audio:

  • Lavalier microphone – $18.99 
    • Highly recommended. Audio recorded from your phone’s microphone can be difficult to hear if you aren’t standing near the phone or if the location is noisy. 
  • Double lavalier microphone – $25.99
    • For when you have two people on camera. Both mic cable feed into the same phone, removing need to sync two audio sources. 
  • Audio cable extension – 10 ft. $9.95 or 20 ft. $15.95
    • For when you need to stand farther away from the camera.

Stabilization:

  • Selfie stick w/built-in tripod and Bluetooth remote – $23.99 (heavy duty, 51″ extended), $14.99 (27.6″ extended)
    • Terrific for self-recording in the field.
  • Combination hand grip/small tripod/tripod adapter – $8.89
    • Can be used as a hand grip for filming on-the-go or as a desktop tripod. Phone mount can be removed from the hand grip/tripod legs section, allowing you to mount your phone on most standard tripods.
  • Gimbal stabilizer – $94.99
    • Pricey, but will greatly increase the quality of your footage if you’re filming something that requires camera movement, such as a walk-and-talk interview or a field trip video.
  • Creative ways to mount a smart phone with household items:

 

ADD-ONS / TIPS AND TRICKS

  • If you would like to have access to a teleprompter as you record video, consider one of the following:
  • Here are some sound improvements to consider to reduce echo in your recordings.
    • Add blankets or blinds on walls to reduce echo.
    • Record in the smallest room possible.
    • Avoid rooms with hardwood floors.

Lighting for video

  • Turn a window or glass door into a soft “Key Light” by hanging a cheap, frosted shower curtain over the window. 

 

Authors: Jason Jones, Drew Olson, and Sammi Lukas, with special thanks to Victor Yee for technical support with the images.

Facilitating Active Learning with Zoom

connected learners image
Image by Gerd Altmann from Pixabay

By Christine Scott, Instructional Design Specialist, Oregon State University Ecampus

So you managed to get your face-to-face courses up and running remotely in the midst of a global pandemic. You’ve secured your Zoom sessions to avoid unwanted disruptions, your students are in their virtual seats, and you’ve successfully delivered a few lectures. So what’s next?

Now that you have students’ attention, you may find that you’re ready to focus on transforming your synchronous session into a space for active learning to take place. It’s no secret that students learn better when they are actively engaged in the learning process. The question is how that translates to a remote Zoom session. Is it even possible to recreate the dynamic learning environment of your face-to-face class? 

To answer that question, we can look to best practices in online pedagogy. We know that students in online environments experience better outcomes and higher satisfaction when there are opportunities for active learning and engagement with the instructor, the course content, and each other. Fortunately, Zoom has several tools we can leverage to incorporate learner engagement in the remote setting.

Creating Opportunities for Active Learning

To set the stage for active learning, consider breaking your content delivery into shorter chunks, punctuated by periods of activity. Ask students to do something meaningful to help them engage with the content. This approach not only supports learning, but it also encourages accountability. If students understand they will be called upon to complete a task, they are more likely to be motivated to engage with the lecture.

During your synchronous session, you might ask students to: 

  • Respond to a question
  • Take notes to share
  • Create a list of examples or discussion questions to share afterward on the Canvas discussion board
  • Prepare a reflection to submit after the fact
  • Solve a problem

Breakout Rooms in Zoom

Breakout rooms are easy to set up and operate in Zoom. These small group spaces are useful as a means of incorporating peer-to-peer interaction and feedback into your remote course. They can also promote inclusion by providing an opportunity for low-stakes participation for learners who may be reluctant to chime in during large group sessions. Finally, breakout session activities can serve as a tool for formative assessment as the activities students complete can help instructors gauge achievement of the learning outcomes. 

Creating Breakout Room Tasks

Breakout room tasks can be carried out on-the-fly in the synchronous session, or they can form part of a more complex assignment. You might provide a prompt, file, or a link as a springboard for spontaneous discussion in small groups. Alternatively, you might flip your remote classroom by providing students with a pre-activity to complete before the live session. For further engagement, you might have students build on what they produce in their breakout rooms through an asynchronous submission in Canvas. 

When creating breakout room tasks: 

  • Set clear expectations. Any explanation of expectations should include a clear relationship to learning outcomes. Provide a code of conduct for interaction, performance expectations related to the task, etc.
  • Prepare instructions in advance. Provide students with a clear task and deliverable. Include any resources needed to complete the task. Outline the deliverable or provide a model so that students understand what is expected upon reconvening with the whole class. 
  • Guide students in how to self-organize. Assign roles or ask students to assign them (host facilitator, notetaker, timekeeper, and speaker who reports back to the class). 
  • Provide technical support. A tip sheet for the technology can be helpful in case they get stuck, for example. 
  • Monitor. Circulate as you would in your face-to-face class by joining breakout rooms to check in. 
  • Report back. Ask students to present a summary slide (groups might contribute a slide to a class google presentation), share group’s response, etc. Follow up with whole-group sharing in some form. 

Sample Breakout Room Activity Types

  • Small group discussion
  • Think – Pair – Share
  • Group project
  • Data analysis/text analysis
  • Debate preparation
  • Simulation practice – mock interview
  • Peer feedback
  • Jigsaw activity

Polling 

Another option for interactivity during lectures is the Zoom poll. Polls are easy to launch and are a handy tool for icebreakers at the beginning of sessions, to check for understanding, or to allow students to have input on lecture content. They can be created as anonymous surveys or as simple question responses. 

Fig. 1 This example demonstrates how polling could be used to pose a question and elicit an anonymous response from participants.

Non-verbal Feedback in Zoom 

Sample of Nonverbal feedback icons from Zoom
Nonverbal Feedback options in Zoom

If you miss the non-verbal feedback of a live audience in a face-to-face setting, you might consider encouraging students to use Zoom’s non-verbal feedback options available in the chat window. This tool allows students to input quick yes/no responses to questions, ask for the speaker to speed up or slow down, indicate that they need a break, and more. 

Sample of a music activity
Fig 2. Consider how the simplicity of non-verbal feedback indicators might be useful in a cognitive psychology course for student feedback while listening to audio clips. Students could be asked to use the thumbs up when they can name the familiar melody mixed with interfering tones, for example.

 

Facilitating Lab Experiences Remotely

Live lab activities provide another opportunity for interactive experiences in Zoom. The following examples of lab tasks that implement active learning principles are taken from existing online courses through Oregon State University Ecampus. Consider how similar field and lab experiences could be used to engage learners in your remote courses. 

Sample Experiences

image from science course

Science Education

In this example from a phenology course, students observe and record specific elements in a local natural area over the course of the term. After watching an instructor-led demonstration, learners record key elements based on Nature’s Notebook. They then share their data, photos, and drawings with the class to create a collective body of observations. Students then contribute their observations to a national phenology network. 

Public Health

pedometer walker
Image source: pixfuel.com, cc

Learners in this course collect and analyze authentic data through a public health topic: the human-built environment. Students wear a pedometer to track how many steps they take over a 48-hour period. They ask other members of their family or community to track the same information. Students gather, analyze, and compare their data to identify potential strategies their community could implement to improve its built environment to promote active transportation by walking, biking, or other means.

Tips for setting up remote lab demonstrations or tasks: 

  • Consider common household items to recreate a lab experience
  • Add or find components online
  • Use online videos or DIY recordings of a demonstration
  • Present simulations and provide an analysis or breakdown of what is happening
  • Connect students to virtual labs or simulations
  • Provide instructions and expected outcomes
  • Demonstrate or show the process for collecting data
  • Provide raw data for students to analyze
  • Offline – engage students with assignments or discussions related to the remote lab experience

Whether you opt to use breakout rooms to facilitate collaborative tasks, quick polls to gather student input on lecture content, or non-verbal feedback options to take the pulse of your audience, the features of Zoom offer a means of interaction that can help you to bring students to the center of your remote teaching sessions. 

Adapted from slide presentation by Cyndie McCarley, Assistant Director of Instructional Design, Oregon State University Ecampus

By Susan Fein, Instructional Designer, OSU Ecampus

I recently volunteered to lead a book club at my institution for staff participating in a professional development program focused on leadership. The book we are using is The 9 Types of Leadership by Dr. Beatrice Chestnut. Using principles from the enneagram personality typing system, the book assesses nine behavioral styles and assesses them in the context of leadership.

At the same time, a colleague asked me to review a book chapter draft she is co-authoring that summarizes contemporary learning pedagogical approaches. These theories are derived from every conceivable arena, including psychology, philosophy, epistemology, neuroscience, and so on. In both of these situations, I found myself immersed in far-reaching and seemingly unlimited perspectives, principles, beliefs and approaches to explain the constructs of human behavior.

Was the universe trying to tell me something?

Here’s What Happened

To prepare for the book club, I completed five or six free online tests designed to identify my predominant enneagram style. Imagine my surprise when my results were all different! A few trends emerged, but the tests failed to consistently identify me as the same enneagram type. Does that mean the tests were flawed? Certainly that may be a partial contribution. After all, these were not the full-length battery that would be used if I were paying for an assessment administered by a certified enneagram practitioner.

But frankly, I think the variation had more to do with me. My mood, the time of day, my frame of mind; was I hungry, was I tired and a myriad of other factors likely affected my responses. The questions were subjective, scenario-based choices, so depending on my perspective in that instant, my selection varied, producing significantly different results. I suddenly realized that I wasn’t the same person from moment to moment!

Does that sound absurdly obvious? Was this a “duh” moment? At one level, yes, but for me, it was also an “ah-ha” moment. As educators, do we expect students to respond or react in a predictable and consistent way? Is that practical or realistic? I don’t think so.

Now I was intrigued! How could my role as an instructional designer be enhanced and improved through recognition of this changeability? How might I apply this new insight to support the design and development of effective online learning?

I didn’t have a clear-cut answer but I recognized a strong desire to communicate this new-found awareness to others. My first thought was to find research articles. Google Scholar to the rescue! After a nearly fruitless search, I found two loosely-related articles. I realized I was grasping at straws trying to cull out a relevant quote. I had to stop myself; why did I feel the need to cite evidence to validate my incident? I was struggling with how to cohesively convey my thoughts and connect them in a practicable, actionable way to my job as an instructional designer. My insight felt important and worth sharing via this blog post, but what could I write that would be meaningful to others? I was stumped!

I decided I should talk it over with a colleague, and that opened up a new inquiry into design thinking. Rushing back to my computer, I pulled up images of the design thinking process, trying to incorporate the phases into my experience. Was my insight empathy? Did it fit with ideation? Once again, I had to force myself to stop and just allow my experience to live on its own, without support from theories, models, or research.

In desperation, I sought advice from another trusted co-worker, explaining my difficulty unearthing some significant conclusion. We had a pleasant conversation and she related my experience to parenting. She said that sometimes she lets stuff roll right off when her teenager acts out, but at other times, under nearly identical circumstances, she struggles to hold it together and not scream. Then she mentioned a favorite educational tool, the grading rubric, and I was immediately relieved. Yes, that’s the ticket! I can relate my situation to a rubric. Hurray! This made sense. I rewrote my blog post draft explaining how rubrics allow us to more fairly and consistently assess student work, despite changes in mood, time of day, energy level, and all the other tiny things that affect us. Done!

Satisfied, I asked a third colleague to review my draft and offer comments. Surely she would be approving. After all, there were no facts, tips, tools, research or actionable conclusions to correct. What could she possibly find to negatively critique? She felt that the ending was rushed and artificially trying to solve a problem. Oh, my, how on target she was! I realized that I had no idea how to elegantly extricate myself from this perilous journey I’d started. My blog posts are usually research-based summaries of the benefits of active learning, blended learning and the like. Safe and secure ground. What was I doing writing a personal reflection with absolutely no solid academic foundation? This was new and scary territory.

Who Cares? I Do

In the end, I had to let go of my need to cite valid research-based arguments. I gave up my desire to offer pithy words of wisdom or quotes from authorities. Ultimately, this was a personal reflection and, as my colleague gently reminded me, I had to be vulnerable.

So what, exactly, is my point? What is it about those chameleon-like outcomes that feels important to share? What do I want to say as a take-away? Honestly, I’m not sure. I only know that in recognizing the influence of human factors on my moment-to-moment reactions, I was unexpectedly expanded. I felt more empathy for the faculty I work with and the students they teach. (Maybe I can fit design thinking in here after all…kidding!) I sensed a stronger connection to my humanity. I deepened my compassion. But is any of this important? I mean, really, who cares?

I do. I care. I work with people and for people. I work to support student success. My job allows me to partner with instructors and bolster their confidence to have positive impact on their students’ futures. If I am more open, more inclusive, more humble, more willing to consider other people’s ideas or perspectives, that’s not such a bad thing. And I don’t need research to validate my experience. It’s okay for me to just be present to a new awareness. It’s okay for me to just be human.

Open Pedagogy Part 1 – What is the value of going ‘open’?

By Ashlee M. C. Foster, Instructional Design Specialist Oregon State University Ecampus

Designing the "right" assignments
Figure 1: A list of challenges and strategies associated with designing the “right” assignments. This list is a result of a collaborative activity generated by the Critical Open Pedagogy cohort at the Digital Pedagogy Lab 2019. Photo courtesy of Ashlee Foster

Are you committed to broadening access to education and knowledge, acknowledging and mitigating barriers, fostering social justice, and designing authentic and renewable learning experiences that contribute to the greater good? Do you employ pedagogical approaches that focus on student agency, collaboration, community, and connection to the public and world at large? If so, you may be an open educator at heart!

This is a three-part blog which will introduce the potential value of open pedagogy (part 1), critically examine considerations and strategies for implementation (part 2), and explore current practitioner examples and design approaches (part 3), which I hope will help you envision open assessments for your courses.

You may be thinking those two little words encapsulate a great deal, and you would be right! I have learned that this is a complex question with various evolving answers among practitioners. Recent literature indicates that there is a shift occurring from Open Educational Resources (OER) centered pedagogy to pedagogy that is focused on the potential impact, collaboration, connection, democratization of education, and the critical inquiry of systems and technology. Both leaders in the field, Robin DeRosa and Rajiv Jhangiani define open pedagogy as, “access-oriented commitment to learner-driven education AND as a process of designing architectures and using tools for learning that enable students to shape the public knowledge commons of which they are a part.” It may help to contextualize this pedagogy by examining your perceived value of the approaches, consider what excites you most, and identify how you personally connect with the pedagogy. Let’s begin by exploring this together!

What values underpin open pedagogy?

What is open pedagogy?
Figure 2: A whiteboard with questions posed. The questions include “What is open pedagogy?”, “What is Open Educational Practices?”, and “What is Open Education?” Cohort members co-generated answers to these questions and posted them to the board. Photo courtesy of Ashlee Foster

I had an invaluable opportunity to attend the Digital Pedagogy Lab Critical Open Pedagogy track, facilitated by Rajiv Jhangiani. Throughout the intense week, our cohort engaged in meaningful discussions centered on what is it that makes someone an educator, open pedagogical approaches, public scholarship, educational technology, the democratization of education, and how open pedagogy can foster social justice. Rajiv asked participants to review his 5Rs for Open Pedagogy and then write a personal interpretation of the values. Specifically, he asked, “What brings you (or others) to this work?” In the spirit of openness, I have shared my initial perception of the values which continue to evolve as I learn more about the field.

Recent literature surveyed educators and asked them to describe how going open impacts their pedagogical approaches. Educators indicated that the open approaches prompted them to find innovative ways for students to obtain and share knowledge, use of new methods and platforms, diversify learning materials to include multi-perspectives, actively teach open literacies, move to a participatory model of teaching and learning from one that was top-down, and to engage in critical inquiry around entrenched knowledge structures.

Additionally, educators shared their perceived value for creating learning assessments that:

  • go beyond a single course (renewable),
  • are broadly relevant (inclusive),
  • allow for student choice when demonstrating learning (agency),
  • connect to the real world and the learner’s personal interests (relevancy),
  • amplify multi-perspectives from broad global voices (liberate),
  • empower students with the knowledge and skills to participate openly (freedom), and for educators and learners to collaborate (participate)!

What are students saying?

These are valuable insights from practicing educators, but what are students saying about open approaches in their classes? In a recent study, 173 students were asked to compare the educational value of open pedagogy to traditional approaches, to identify the types of learning outcomes associated with this approach, and if they preferred open pedagogical approaches to traditional. Out of 169 respondents, 53% of students preferred open pedagogical approaches to traditional classroom teaching practices. Students shared that the open approaches led to increased knowledge of the material, synthesis of information, consideration for the relevance of information, how to bring information together in a meaningful way for diverse audiences, application to real-world issues which they personally connect with, and they found the approaches to be more engaging. However, 20% of students preferred traditional pedagogy. This highlights that the integration of varied approaches may be optimal. I have learned that open pedagogy is not necessarily a silver bullet that can remedy all barriers and challenges associated with closed systems. Rather, it seems to be a tool that can be leveraged to foster social justice, engagement, participation, collaboration, co-construction of knowledge, the democratization of education, and to increase global access to education.

With all that said, let us circle back around to the question posed in the Critical Open Pedagogy workshop, what brings you to this work? I encourage you to reflect on this question. You may even find it helpful to write out your interpretation of the values of open pedagogy and share those with the community. If you feel comfortable to do so, please feel free to share in the comments of this blog. Do you find yourself inspired by this pedagogical approach? If so, I invite you to revisit this blog for Open Pedagogy Part 2 – Critical Considerations for Implementation and explore the resources below.

References

Resources

 

Who are our students?

Is there such a thing as a “typical” college student? The evidence suggests that no, there is no such a thing as a typical college student. According to the National Center for Education Statistics, 2015 Report, 74% of all undergraduates are “nontraditional” students. This means that they have at least one or more of the following characteristics: having one or more dependents, working full time, attending school part time, taking a gap between high school and college, and completing a GED instead of a high school diploma. It is simultaneously exciting and challenging that higher education has become more accessible to an increasingly diverse student body. The challenge for instructional designers and faculty, therefore, is to keep up with how to design courses that welcome and support all students.

Do we design for the majority or for the “extremes”?

If we design courses for the most common student situations, we end up serving students who already have advantages, who can already see, hear, and pay tuition with ease. When we design for the extreme situations, however, we support students who may have uncommon or specific strengths, as well as potential barriers such as disabilities or financial strain. Furthermore, when we design for the extremes, the outcome benefits all students, thus aligning our course with the principles of Universal Design for Learning (UDL). The quintessential example of this is, of course, closed captioning: Closed captioning was designed to help people with hearing loss, but it was quickly discovered to be useful for all kinds of people for various reasons, including English language learners, for example. This same schema of the benefits of closed captioning can be applied to other solutions where we design for extreme situations. The result of designing for extremes is that the experiences for all users are enhanced.

Personas: What are they, and how are they used?

One approach to designing inclusive courses is to use personas in the course design stage. A persona is fictional representation of a user group and is intended to foster empathy for that particular user group whose needs resemble the fictional persona. A persona may include a photo of a fictional individual (provided by Unsplash, for example) as well as information related to the design challenge. In this case, my colleague Heather Garcia and I have developed a set of personas for use in designing online undergraduate and graduate courses. The student data that we included in each persona are based on quantitative and qualitative national and local demographic information. The personas that we created focus on students who may bring unique strengths to the course or find more barriers in their educational journey compared to “traditional” college students. With these diverse personas, we grow our empathy and can be efficiently guided into designing for nontraditional students who are based in reality.

Okay, I have a set of personas. What next?

Photo of fictional student and fictional bio
This persona is from “Personas for Course Design” CC BY NC SA, linked below, created by Elisabeth McBrien and Heather Garcia

Here is an exercise using personas for the purpose of designing inclusive courses:

  1. Choose a set of personas to work from:
  2. Select a few personas from the set. 
  3. Get to know your “students” represented in the personas.
  4. With your course in mind, ask yourself the following questions:
    • What strengths do these personas bring to the course?
    • What barriers do you anticipate these personas will face?
    • What design decisions would you make to support all personas as they work to meet the learning outcomes?
  5. The answers to the above questions can help you make design decisions that create an inclusive course, one in which all students are welcomed and supported.

How did it go?

One way to include this exercise in your design practice is to keep a deck of printed personas, like a deck of cards, nearby as part of your design toolbox. That way, instructional designers and instructional faculty can then do a personas design challenge during the design stage of each course. 

Have you used personas in your course design? Please leave a comment and let us know how it went!

References and resources:

As described in an earlier post, Use a Mix Map for Blended Learning, the blended learning mix map is a widely used tool to visualize and design hybrid (or “blended”) courses that integrate scheduled face-to-face meetings with online elements. The two overlapping circles in this planning template provide space to list online learning activities, face-to-face learning activities and possibly activities that occur in both learning environments.

Blended Learning Mix Map

Where Does Learning Actually Occur?

Oregon State University faculty have found utility in drafting mix maps while in the early phases of hybrid course development. Many of those faculty suggested that the traditional two-circle mix map needed one improvement, namely a third circle! In response, the Center for Teaching and Learning and Ecampus created the Three-Disc Hybrid Design Mix Map.

Three-Disc Hybrid Design Mix Map

Does your blended course have learning activities that extend beyond the online and classroom environments (for example, service-learning, field or clinical experiences)? If so, this three-disc mix map is an ideal course planning tool. The “Other” circle is the place to list learning activities that principally take place somewhere other than the classroom and the online course site.

Sketch a Three-Disc Mix Map in Three Steps

You could create one mix map for your entire course, but many instructors prefer to focus on a single representative week of the course. There are three steps to sketching out your blended course vision on the three-disc mix map:

1 – List each learning activity in the appropriate circle. Consider these activities from the student perspective. For instance, collaborating on a group poster project, taking a quiz or making a presentation. Be sure to include “other” learning that occurs beyond the online and in-class environments. Consider the balance between learning activities in the three circles.

As to which learning activities fit where, that’s a topic to carefully consider and to converse about with your teaching colleagues as well as an instructional designer. For instance, think about the positioning of weekly discussions in your course. In terms of student learning outcomes, do discussions work best for you and your students in the classroom, online or possibly in both places? Can discussions be structured to bridge the gap between learning environments? Remember to consider how the timing of discussions will be woven into the broader, ongoing flow of blended learning in your course. And remember that classroom meeting time is finite and measured to the nearest minute in a hybrid course, so be judicious in using that time strategically!

2 – Use arrows to draw functional connections between the learning activities. For example, a weekly quiz is based on narrated online lectures, or an in-class discussion applies information from online readings. Aim to link every activity to at least one other activity. Be especially attentive to linkages between the online and face-to-face activities.

3 – List the average amount of time per week that you expect students will spend on each learning activity. For instance, two hours of reading or 90 minutes of problem solving. Check to see if the weekly total make sense in light of the Oregon State University credit hour policy, which states, “One credit is generally given for three hours per week of work in and out of class.”

Speaking of time expectations, 15 minutes is a reasonable amount of time for you to create a first draft of a mix map.

Mixing and Remixing

I recommend that you periodically revisit—and possibly redraw—your mix map, perhaps a week later, then a month later, to see how your blended course vision has evolved. A mix map is a malleable vision of a blended course at a given moment in the course design and development process; it’s not an end point. As the design and development process moves forward, remixing the map comes naturally.

In working with mix maps and more broadly with blended course design and teaching, focus on deeply interweaving the various course elements. Hybrid courses can truly be “the best of both worlds” of online and on-the-ground teaching and learning, by building on the strengths of each of these educational modalities, but only with intentional design that explicitly, and seamlessly, meshes the online, in-class and “other” elements of the course!

Resources

The OSU Hybrid Learning website provides downloadable mix map templates and sample mix maps. For more about blended learning, refer to these earlier blog posts: Blended Learning: What Do the Faculty Say? – Part 1 and Part 2, and Susan Fein’s excellent Blended Learning: What Does the Research Show?

If you’d like to take a deeper dive into blended learning, see the Blended Learning Toolkit and Kathryn Linder’s superb guide, The Blended Course Design Workbook.

About halfway through earning a master’s in education, I took a summer session class on digital storytelling. It ran over the course of three half-day sessions during which we were required to complete two digital stories. I had no great academic ambitions in my approach to these assignments. I was trying to satisfy a degree requirement in a way that worked with my schedule as a single mother of two teenagers working full time while earning a graduate degree.

My first story was a self-introduction. I loved this assignment. Even though I had one evening to complete it, I spent hours tweaking it. I enjoyed learning the tools. I enjoyed sharing my story with my classmates. Even after it was graded, I kept finding ways to improve it.

After completing the course, I began to study the use of digital stories in education. My personal experience had shown me that in completing my assignment I had to become comfortable with technology as well as practiced my writing, speaking and presentation skills. I also felt a stronger connection to my classmates after sharing my video and watching their videos.

Literature

The research on digital storytelling echoes my own experience. Dr. Bernard Robin, an Associate Professor of Learning, Design, & Technology at the University of Houston, discussed the pedagogical benefits of digital storytelling assignments in a 2016 article,  The Power of Digital Storytelling to Support Teaching and Learning. His research found that both student engagement and creativity increased in higher education courses when students were given the opportunity to use multimedia tools to communicate their ideas. Students “develop enhanced communication skills by learning to organize their ideas, ask questions, express opinions, and construct narratives” (Robin, 2016). Bernard’s experience also finds that by sharing their work with peers, students learn to give and accept critique, fostering social learning and emotional intelligence.

Digital Storytelling as Educators

Digital Storytelling in online education shouldn’t be thought of as only a means of creating an engaging student assignment. Educators who are adept at telling stories have a tremendous advantage in capturing their student’s attention. In the following short video, Sir Ian McKellen shares why stories have so much power. Illustrated in the form of a story, he shares that stories are powerful for four reasons. They are a vessel for information, create an emotional connection, display cultural identity, and gives us happiness.

The Power of Storytelling, with Sir Ian McKellen

McKellen is a compelling narrator with a great voice. This story is beautifully illustrated. It reminds me of how I want my learners to feel when they are consuming the content I create. Even if for a moment, so engrossed, that they forget that they are learning. Learning becomes effortless. As he points out, a good storyteller can make the listener feel as if they are also living the story.

Digital Storytelling Assignments

There are lots of ways to integrate digital stories across a broad set of academic subjects. Creating personal narratives, historical documentaries, informational and instructional videos or a combination of these styles all have educational benefits. One of the simplest ways to introduce this form of assessment to your course is to start with a single image digital story assignment.

Here’s an example I created using a trial version of one of many digital story making tools available online:

Single Image Digital Story Example

 

Digital Story Making Process

The process of creating a digital story lends itself well for staged student projects. Here’s an example of some story making stages:

  1. Select a topic
  2. Conduct research
  3. Find resources and content
  4. Create a storyboard
  5. Script the video
  6. Narrate the video
  7. Edit the final project

I created an animated digital story to illustrate the process of creating a digital story using another freely available tool online.

Digital Storytelling Process Movie link

Recommended Resources & Tools

You will find hundreds of tools available for recording media with a simple search. Any recommended tool should be considered for privacy policies, accessibility and cost to students.

Adobe Spark

Adobe offers a free online video editor which provides easy ways to add text, embed videos, add background music and narration. The resulting videos can be easily shared online via a link or by downloading and reposting somewhere else. While the tool doesn’t offer tremendous flexibility in design, the user interface is very friendly.

Canvas

Canvas has built-in tools to allow students to record and share media within a Canvas course. Instructions are documented in the OSU Ecampus student-facing quick reference guide.

Audacity

Audacity is a free, open-source cross-platform software for recording and editing audio. It has a steeper learning curve than some of the other tools used for multimedia content creation. It will allow you to export your audio file in a format that you can easily add to a digital story.

Padlet

Padlet allows you to create collaborative web pages. It supports lots of content types. It is a great place to have students submit their video stories. You have a lot of control during setup. You can keep a board private, you can enable comments, and you can choose to moderate content prior to posting. Padlet allows for embedding in other sites – and the free version at the time of writing allows users to create three padlets the site will retain.

Storyboarding Tools

A note first about storyboarding. Storyboarding is an essential step in creating a digital story. It is a visual blueprint of how a video will look and feel. It is time to think about mood, flow and gather feedback.
Students and teachers alike benefit from visualizing how they want a final project to look. It doesn’t have to be fancy. It is much easier to think about how you want a shot to look at this stage than while you are shooting and producing your video. A storyboard is also a good step in a staged, longer-term project in a course to gauge if students are on the right track.

Storyboard That

This is a storyboard creation tool. The free account allows for three and six frame stories. In each frame, you can choose from a wide selection of scenes, characters, and props. Each element allows you to customize color, position, and size. Here’s a sample I created:

The Boords

This site has several free to use templates in multiple formats to support this process. Here is one that I have used before:

A4-landscape-6-storyboard-template

Looking for Inspiration?

Start with Matthew Dicks. Dicks is the author of Storyworthy: Engage, Teach, Persuade and Change Your Life through the Power of Storytelling. He is a teacher. He is a five-time winner of the Moth GrandSlam championship.
His book is wonderful, but to just get a taste, start with the podcast he cohosts with his wife. Each week they include a well-vetted and rehearsed story told during a competition. They then highlight the strengths and areas for improvement. You will walk away with ideas and the motivation to become a better storyteller. Here’s the first episode, and one of my favorites.

Conclusion

When pressed for time to develop course content, we tend to over-rely on text-based assignments such as essays and written discussion posts. Students, when working on Digital Storytelling assignments, get the opportunity to experiment, think creatively and practice communication and presentation skills.

For educators, moving away from presenting learning materials in narrated bulleted slides is likely to make classes more engaging and exciting for their students leading to better learning outcomes. Teachers work every day to connect with students and capture their attention. A good story can inspire your students and help them engage with the content.

I was uncomfortable when I received my first digital storytelling assignment. I didn’t really know how to use the tools, wasn’t confident I knew how or what to capture. I was sure it would feel awkward to narrate a video. But These assignments turned out to be engaging, meaningful, and the process is pretty straight forward. Introduce digital storytelling into your courses, even by starting small, and you are sure to feel the same way.

This is the final segment in a three-part series summarizing conclusions and insights from research of active, blended, and adaptive learning strategies. Part one covered active learning, part two focused on blended learning, and today’s article discusses research assessing the value of adaptive learning.

Diverse Definitions

Five young people studying with laptop and tablet computers on white desk.

The University of Maryland writes that “Adaptive learning is an educational method which uses computers as interactive teaching devices” that allocate resources according to the needs of each learner. Educause Learning Initiative describes adaptive learning as systems that “use a data-driven…approach to instruction.” Wikipedia’s definition focuses on technology as the distinguishing characteristic.  Smart Sparrow, an adaptive learning platform vendor, emphasizes the learning experience, noting that adaptive learning “address the unique needs of an individual through just-in-time feedback, pathways, and resources (rather than providing a one-size-fits-all learning experience).” And though each of these is accurate and helpful, they fail to inspire a vision for the true value and benefits of adaptive learning.

What’s special about adaptive learning? Why should you consider using it? One answer is succinctly summarized by Dale Johnson, manager of the Adaptive General Education Program for EdPlus at Arizona State University, who said, “The traditional approach of presenting the same lesson to all students at the same time is being replaced by the adaptive model of delivering the right lesson to the right student at the right time.” Johnson cuts to the heart of the matter; focusing on the value and benefits of adaptive learning rather than describing the technologies that make it work. For today’s blog post, that’s the more relevant framework for our discussion.

Game Changer

Although adaptive learning can be successfully implemented in any discipline, this article cites research from STEM (science, technology, engineering, and mathematics) disciplines. The classic, one-size-fits-all lecture model is commonly used in STEM courses. Historically, those classes tend to have the highest rates of attrition and failure. As a result, educators are looking for ways to increase student success and reduce failure and withdraw rates. Many have turned to adaptive learning as that solution.

Adaptive learning uses specialized computer programs to create a customized, student-centered learning path (Kerr, 2016). These systems establish a baseline of knowledge that estimates the student’s degree of mastery for a topic. As the student progresses and gives new information to the adaptive learning platform, it re-evaluates the student’s proficiency and knowledge (Scalise, Bernbaum, & Timms, 2007) and comes to “know” the student, customizing and adjusting the feedback, practice questions, and support materials to match that student’s skills. Although all students ultimately arrive at the same learning destination, the path traveled by an individual might differ from that of classmates, depending on prior knowledge, learning style, and other factors (Canfield, 2001).

Course Design and Instructor Approach

Effective use of adaptive learning requires a well-designed, pedagogically-sound course structure. Adaptive learning may fail if technology is simply added as an extra element or after-thought. To fulfill the promise of adaptive learning, it must be aligned with the learning outcomes, topics, activities, and organization of the course (Scalise, Bernbaum, & Timms, 2007).

When adaptive learning is used as part of a well-structured course design (or redesign), it harmonizes with the benefits of active and blended learning, to deliver powerful, personalized guidance and support.

Instructors will want to re-evaluate course design and activities from the ground up to ensure successful adoption of adaptive learning. This includes discipline-specific choices as well as non-academic influences such as motivation, time management, psychological and social aspects, emotions, learning abilities, and fostering an inclusive environment. These added elements play a key role in the successful implementation of adaptive learning (Martinez, 2001).

Does Adaptive Learning Work?

Yes! There is substantial evidence to conclude that adaptive learning improves student success.

A study in an introductory chemistry class compared post-test results of two student groups. The group using adaptive learning out-performed the control group by an average of nearly 21% (Scalise, Bernbaum, and Timms, 2007). Research from a basic algebra class noted higher final grade averages with adaptive technologies (Stillson & Alsup, 2003). And another study from college algebra showed that students using adaptive learning scored higher than the control group on pre- and post-test assessments (Hagerty and Smith, 2005).

Here at OSU, several undergraduate courses, including college algebra and introduction to statistics, have reported improved results after redesigning courses to include adaptive learning software.

Benefits to Students and Instructors

Students

Research indicates that under-achieving students gain the most from adaptive learning. But this customized approach improves study habits and attitudes for all learners (Walkington, 2013). Students report feeling like they could succeed in the topic, many for the first time, because of the added support provided through adaptive learning (Canfield, 2001). A research study reported that 61% of students said they learned more mathematics than in previous traditional math classes (Stillson and Alsup, 2003).

Students report benefits in exit surveys from courses using adaptive learning:

  • Able to work at their own pace, using adaptive content as an extension of course materials, concepts, and activities (Stillson & Alsup, 2003).
  • Learned more with adaptive learning (Canfield, 2001).
  • Liked the support of step-by-step explanations, immediate feedback, and customized practice problems (Canfield, 2001; Stillson & Alsup, 2003).
  • Motivated to strive for completion when viewing graphical charts showing progress (Canfield, 2001).
  • Developed better study skills and were willing to devote time to learn, recognizing that these investments brought the rewards of a deeper understanding of course content and, ultimately, a passing grade (Stillson & Alsup, 2003).
  • Less stress and worry because of the self-paced, just-in-time nature of adaptive learning, where new topics or practice problems are only presented when the student is ready for them (Canfield, 2001).

Most students said they would take another class using adaptive learning and would recommend the adaptive format to others (Canfield, 2001).

Instructors

Since adaptive learning uses sophisticated technology, most platforms generate reports and data that inform instructors about individual student performance, including details about the skills achieved, remaining progress to achieve mastery, problem areas, and other critical information. At a glance, instructors can use these vital metrics to monitor student performance and, as needed, intervene and provide additional guidance (Scalise, Bernbaum, & Timms, 2007).

If Adaptive Learning is so Great, Why Isn’t Everyone Using It?

As with any technology, adaptive learning is not a panacea. It has drawbacks and may not be well-suited for every student or every situation.

Those lacking adequate internet speed or easy access may be frustrated. Learners who do not own computers may have difficulty finding systems in campus labs or libraries. Students with minimal prior knowledge may spend more time reaching baseline skill levels than classmates. Those who are employed, have extensive family obligations, or juggle other responsibilities may have challenges effectively managing their time to complete the adaptive learning segments (Canfield, 2001; Stillson & Alsup, 2003).

Administrators and teachers uncertain about how to incorporate adaptive learning may have challenges. When not well-integrated into course design, adaptive learning can create confusion. Course instruction and activities must align with the learning materials delivered by the adaptive system. Since adaptive learning is personalized, students may be working in different sections or topics from peers. When lectures or topics don’t match the adaptive content, students perceive this as two classes, with double the work. When course structure lacks cohesion, students might ignore the adaptive support or conclude that it hinders, rather than helps, their ability to study (Stillson & Alsup, 2003).

Finally, adaptive learning is most often used in classes already known to be difficult. The introduction of a new technology could add a layer of confusion and frustration, especially if its been inserted as an add-on component. Courses that haphazardly integrate adaptive learning might even experience an increase in drops or failures due to poor design. Students less confident using technology might be worried about learning this way (Stillson & Alsup, 2003).

In Summary

Adaptive learning has the potential to increase learning, especially in STEM disciplines. The ability to customize material and content to fit the needs of individual learners is a powerful shift from the more common one-size-fits-all lectures. Although more research is needed to realize the full scope of benefits of adaptive learning, results indicate that adaptive learning may better support universal and inclusive learning goals (Scalise, Bernbaum, & Timms, 2007). Adaptive learning gives instructors valuable information about student performance, and these technologies help students more easily grasp complex concepts and content. The ability to closely match topics to a student’s readiness and knowledge may increase their willingness and motivation to learn (Canfield, 2001).

What’s Next?

If you are interested in learning more about adaptive learning and whether it might benefit your teaching and success of your students, check out these OSU Ecampus resources:

Susan Fein, Oregon State University Ecampus Instructional Designer

susan.fein@oregonstate.edu | 541-747-3364

References

  • Canfield, W. (2001). ALEKS: A Web-based intelligent tutoring system. Mathematics and Computer Education, 35(2), 152-158.
  • Hagerty, G., & Smith , S. (2005). Using the web-based interactive software ALEKS to enhance college algebra. Mathematics and Computer Education, 39(3), 183.
  • Kerr, P. (2016, January). Adaptive learning. ELT Journal, 70, 88-93.
  • Martinez, M. (2001). Key design considerations for personalized learning on the web. Educational Technology & Society, 4(1), 21.
  • Scalise, K., Bernbaum, D. J., & Timms, M. (2007). Adaptive technology for e-learning: Principles and case studies of an emerging field. Journal of the American Society for Informaton Science and Technology, 58(14), 2295–2309.
  • Stillson, H., & Alsup, J. (2003). Smart ALEKS… or not? Teaching basic algebra using an online interactive learning system. Mathematics and Computer Education, 37(3).
  • Walkington, C. A. (2013). Using adaptive learning technologies to personalize instruction to student interests: The impact of relevant contexts on performance and learning outcomes. Journal of Educational Psychology, 105(4), 932–945.