instructional design « Ecampus Course Development and Training

According to the 2020 Brandon Hall Group Team Development Pulse Survey findings (Werder, 2021), at least half of work is currently done in teams in over seventy percent of companies. Global Human Capital Trends (2016) confirmed that this trend is continuing, with over 7000 organizations moving towards more team-based designs. However, the success of team collaboration is not a guarantee and requires diligent planning and hard work. Tannenbaum and Salas (2020) suggest that there are seven “Cs” (or drivers) of teamwork, namely: capability, cooperation, coordination, communication, cognition, coaching, and conditions.

To contextualize and apply each of these 7 “Cs”, I’ll use a recent team collaboration I participated in as an example. A team of four staff from Oregon State University Ecampus gave a virtual presentation on the role of instructional designers in research. Speaking of the first C – capacity, thanks to the selection of team members, this team had the perfect mix: the facilitator was in charge of setting up the stage and engaging the audience with an opening poll and scenario. A second team member was assigned to cover the institutional level, a third team member was assigned to cover the team level and the last team member was assigned to cover at the individual level. Capability: checked ✅!

Cooperation: During the preparation for the presentation, each of the four team members worked individually on our own parts. When we met again, we reviewed each other’s parts, felt comfortable voicing any concern or areas that could use improvement. We each revised our individual parts and met again to review. At this point, we felt we had the content nailed down. Laurie, Tianhong and Heather already know each other very well since we all work in the same instructional design team at Ecampus. Naomi opened herself up and welcomed us to give her feedback and ideas for improvement up front, which is very helpful for Laurie, Tianhong and Heather to connect with her, and built trust for working together on this project. Viola, Cooperation: checked ✅!

Coordination: During the two rounds of peer review sessions, we made many changes, based on feedback from team members. Naomi opened up with a poll of attendee roles and a scenario to illustrate why instructional designers need to be involved in research. Laurie demonstrated diligence and surveyed the entire instructional design team at Ecampus and was able to present some solid data on our team composition in terms of degree/education, and years of career in instructional design. Laurie also provided Tianhong with two prepared slides on areas to be covered as a suggestion. Tianhong conducted comprehensive research and her findings demonstrated that over 50% of instructional designers at Ecampus have participated in research activities with support from Ecampus. Heather’s storytelling of her research involvement was rich and fascinating. So she had the pleasant struggle of cutting down her content to fit within a nine minutes time frame. And we all put scripts of what we plan to say in the notes area of the google slide we were collaborating on, which help us to stay within the limited time and allow us to have discussion time with all participants. Since each of us diligently completed our individual work as planned, the whole presentation is full of data and stories. Coordination: accomplished✅!

Communication within the team of four presenters was relatively easy since we use slack as a communication tool internally and we used calendar invites and emails for scheduling purposes. Our slack messages were quite active throughout the preparation and on the day of the presentation and after the presentation with many suggestions, encouragement, and compliments! Communication: accomplished✅!

Cognition or shared understanding among the team members is vital. In my opinion, this should be the first C on the list! For our team project, Naomi hand-picked the three panelists to join her on this collaboration because she sensed that all three of us share a common understanding on the value of instructional designers being involved with educational research. This common understanding and vision is visible the entire time while we worked on this project. Cognition: checked✅!

Coaching: Does leader and/or team members demonstrate leadership behaviors? Yes, Naomi is a great leader in this project. It was a pleasure to work under her leadership since the role of each panelist is very clear, and we started the collaboration early enough so that we have plenty of time to review, revise, practice and practice again before the actual presentation. Laurie also demonstrated leadership by offering help to cohesively formatting and beautifying each of our slide decks into one presentation file. Coaching: accomplished✅!

Conditions: Does the team have favorable conditions such as resources and culture? Yes, each team member brought with them expertise in their own roles, we were also able to use existing tools such as slack and google slides, and ecampus presentation template for this collaborative presentation. Naomi could have done it all by herself. But she invited a panel of three instructional designers to collaborate with her on this presentation. Our combined effort makes our story stronger, richer and more impressive because we work as instructional designers and we have experience doing research as instructional designers. Conditions: checked✅!

On the day of the virtual presentation, Laurie and Tianhong were presenting from campus offices housed inside the campus library while Heather and Naomi were presenting from their remote offices. In the middle of the presentation, there was a 🔥fire alarm in the library which required everyone to evacuate from the library. Laurie and Tianhong moved to a nearby building and logged back online and re-joined the presentation within 10 minutes. We are so thankful that the four of us are presenting from different locations so that the fire alarm did not stop us from presenting. This is how virtual team collaboration saved our work during a fire alarm emergency. And this is how the 7 Cs led us to a great team collaboration. The next time you sit down to plan a team project or initiative, you might benefit from reflecting on these following questions:

Does the team have the right people with the right mix? (Capability)
Does each team member have constructive attitudes about their team? (Cooperation)
Does each team member demonstrate necessary teamwork behaviors? (Coordination)
Does each team member exchange information effectively with each other and outside? (Communication)
Does each team member possess a shared understanding? (Cognition)
Does leader and/or team members demonstrate leadership behaviors? (Coaching)
Does the team have favorable conditions such as resources and culture? (Conditions)

I hope I have encouraged and convinced you a tiny bit in your next decision for teamwork and have fun collaborating and doing effective teamwork!😊

References:
Werder, C. (2021). How to develop a winning team. Brandon Hall Group. Retrieved from https://www.brandonhall.com/blogs/how-to-develop-a-winning-team/

Global Human Capital Trends. (2016). The new organization: Different by design. Deloitte University Press. Retrieved from https://www2.deloitte.com/content/dam/Deloitte/global/Documents/HumanCapital/gx-dup-global-human-capital-trends-2016.pdf

Tannenbaum,S.I. & Salas, E. (2020). Teams that work : the seven drivers of team effectiveness. Oxford University Press.

This past February, I was putting together a proposal for the 2022 Distance Teaching & Learning (DT&L) Conference, and I shared my draft with a couple of my colleagues for feedback.

Typically, when requesting feedback, our team relies on Google Docs, which has a nice feature set for suggesting edits.

However, I was not using Google Docs. I explained that they would be viewing my formatted document on HackMD, a collaborative web-based Markdown tool.

One of the colleagues I had asked for feedback responded:

What are the pros and cons compared to a google doc, may I ask?

That question inspired this blog post.

What is Markdown?

Markdown is a plain text format with a simple syntax to add formatting elements (headings, lists, quotes, bold, italics, etc.). It is easy to convert Markdown files into other formats, such as PDFs, HTML, and rich text. One of the primary uses of Markdown is creating content for the web, which can be done with almost no knowledge of HTML. The first Markdown specification was developed by John Gruber and Aaron Swartz in 2004 and released as Open Source.

What Are the Advantages of Writing in Markdown?

It Is Easy to Learn and Fast to Write

Most markdown syntax is intuitive. Perhaps you are writing a document, and you decide you want to emphasize some text using bold or italics styling. In Markdown, you can surround the words with underscores or asterisks rather than select content and apply a style from a menu or keyboard command. For bold text, add either two asterisks or two underscores before and after the word (your choice, most editors support either syntax):

**bold**
__bold__

For text that you want to be displayed in italics, use one underscore or asterisk before and after the word:

*italics*
_italics_

Creating hyperlinks in documents, a somewhat tedious process in a word-processing program or HTML, is as easy as putting a descriptive link text in brackets and then an address immediately following in parenthesis, like this:

[OSU Canvas Dashboard](https://canvas.oregonstate.edu/)

which in my document becomes: OSU Canvas Dashboard.

It Is Just a Text File

A Markdown file with the extension “.md” is just a plain text file. Storing information in plain text files has several advantages:

Text files are future-proof. You can open a plain text file with any editor on any platform. You are not hostage to the proprietary format chosen by an application developer. You are not dependent on any particular software program still being around to open your Markdown files.
Text files require very little storage. This blog post, written in Markdown, was almost 250% larger once converted to a Microsoft Word document.
Text files are platform-agnostic, making them easy to share with other people or multiple devices. A text file can be opened on a Mac, on Windows, in Chrome OS, in a web browser, on an ios or Android smartphone, or on a Linux machine.
If you open up one of your Markdown text documents in platforms like Box or Dropbox, it automatically renders the HTML.

Markdown is Highly Portable

One of the most significant advantages to writing in Markdown is how easy it is to convert Markdown into virtually any other file format:

HTML: With no knowledge or experience in web development, you can quickly convert Markdown to HTML. There are many ways to convert Markdown to HTML. You can use a web-based tool such as Markdown2Html or StackEdit or work in a text editor with support for exporting Markdown in various formats like Brackets.
RTF: An RTF file keeps basic formatting, such as links or emphasis, while retaining a text file’s flexibility and small size.
PDFs: Many Tools support applying CSS-based styles during a conversion. On my Mac, I use Marked 2 and several of the Marked 2 – Custom Styles to create beautiful PDF files.
Word: Markdown formatting information (titles, headings, quotes, paragraphs, lists, etc.) is retained during conversion. Suppose you convert a document from Markdown to Word. You can then apply any of the built-in styles available in Microsoft Word to format your file instantly.

For a much longer list of the supported conversion file types, explore Pandoc, a universal conversion utility. Using Pandoc, I have converted markdown files into a slide deck, a mind map, a Google Doc, and a Microsoft Word doc, but there are dozens of additional options.

It Is Easier to Read and Write Than HTML

Let’s look at a numbered list with some simple formatting. I have applied bold to item 1 and italics to item 4:

Analysis
Design
Development
Implementation
Evaluation

Here is what that list looks like in Markdown:

1. **Analysis**
2. Design
3. Development
4. _Implementation_
5. Evaluation

If you were to write that same list in HTML, it would look like this:

<ol>
<li><strong>Analysis</strong>
</li><li>Design</li>
<li>Development</li>
<li><em>Implementation</em></li><li>Evaluation</li>
</ol>

Even if you are comfortable coding in HTML, writing the list in Markdown is much quicker and can be quickly converted to HTML at any time.

You Can Write Without Distraction

Using Markdown, I can focus on content rather than the formatting. I can indicate how something should be formatted (as a hyperlink, heading, paragraph, etc.) and then let a MarkDown tool transform my document to numerous other file types. I don’t have to look at dozens of text and paragraph formatting options on a ribbon toolbar or interrupt my writing to apply them.

What Do You Need to Get Started?

A Text Editor

You can write Markdown in any text editor. However, many tools provide a real-time preview of your formatted document and give you several export options. These web-based Markdown tools are free options worth exploring:

Dillinger is a great place to start. You can experiment with the syntax and instantly preview your content without installing any software on your computer. StackEdit works much the same way. Both are free, and both support export to HTML and PDF.
HackMD is another web-based tool, also free, which has collaborations options.

If you prefer working in a desktop application, there are also many options. Here is a nice write up of several Markdown Editors.

Learning the Syntax

After choosing your editor, you need to get familiar with some basic syntax. The most common and helpful Markdown syntax is very easy to master. You saw bold, italics, and a Markdown link earlier. Here are a few more examples:

Headings

To place a heading in the document, precede the text for the heading with one or more hashtags. Here’s a level two heading:

Level Two Heading

In Markdown, you would write it like this:

## Level Two Heading

Many Markdown editors also support the use of an id in a heading:

### Level Three Heading {#custom-id}

When converted to HTML, this will give you an anchor that you can use to link directly to that heading.

<h3 id="custom-id">Level Three Heading</h3>

Lists

Lists look much like they would in any other document. Here is a numbered list:

trumpet
french horn
tubal
trombone

which in Markdown is:

1. trumpet
2. french horn
3. tuba
4. trombone

and an unordered list:

cymbal
drum
marimba
tambourine
xylophone

looks like this in Markdown:

- cymbal
- drum
- marimba
- tambourine
- xylophone

Or you can use the single * with a space to make a list of items like this:

* string instruments
    * cello
    * violin
    * harp

Note the support for indenting lists using spaces in the example above, which would work with either * or -. The Markdown list above would render like this:

string instruments
- cello
- violin
- harp

Hyperlinks

To make a hyperlink in Markdown, you write a descriptive title in brackets, followed by the URL in parenthesis, as mentioned above. You can even save yourself the trouble of manually creating markdown links through the use of one of the many available browser extensions like this one for Chrome or this one for Firefox, which allow you to copy a website address as a Markdown link.

Rather than document the complete set of Markdown formatting options, I will refer you to the Markdown Basic Syntax Guide or in Markdown:

[Markdown Basic Syntax Guide](https://www.Markdownguide.org/basic-syntax/)

MultiMarkdown: An Expansion of the Language

The Markdown language is Open Source. Since its inception, other developers have enhanced the language to include options beneficial to academic writers. These include:

tables
blockquotes
citations
footnotes ^{[^1]}

Adding specific examples of these items is beyond this basic Markdown blog post. Instead, I recommend reviewing the MultiMarkdown v6 Syntax Guide. As you will see, the syntax for the new items follows the same spirit of being easy to add to a document and relatively intuitive syntax.

Advanced Tools and Applications

If you want to do a deep dive on Markdown, here are a few resources you can explore:

Pandoc: a universal convert that will convert a markdown file to dozens of other formats.
Mac Power Users #548: Jumping Into Markdown – Relay FM
Markdown Service Tools – BrettTerpstra.com
Markdown Tables generator – TablesGenerator.com
Setting Up a Scholarly Writing Environment With Markdown, VSCodium, and pandoc

Yes, But What Are the Cons?

You may recall that my colleague asked about the pros and the cons. So, as much as I love writing in Markdown, I should be transparent about the limitations I have encountered.

Collaboration. Both Microsoft Word and Google Docs support providing feedback on documents using the review or suggestion features. I have yet to find a Markdown editor that supports this type of collaboration. When I want to have a document reviewed, I convert the Markdown document to one of those other formats and then convert it back after implementing the feedback. Converting from Markdown to something, as I have said, is something most markdown editors already do. Converting from some other format to Markdown may take more effort. In this case, I used a Google Doc add-on, Docs to Markdown.
Citation tool support. When writing in academia, I use an integrated tool for citation. Zotero, when installed as an add-on to Word or Google Docs, will help generate bibliographies and inline citations. I have managed to integrate Zotero integrations into my Markdown editor of choice (Visual Studio Code), but it was very fiddly. I followed the setup described in this video: Setting Up a Scholarly Writing Environment With Markdown, VSCodium, and Pandoc. Not for the faint of heart, with a very detailed how-to, step-by-step video, it still took me the better part of a Saturday, with reasonably in-depth knowledge of Markdown, Zotero, and my editor.

Conclusion

To begin your Markdown journey, I suggest starting here: Markdown Guide. The easiest way to learn Markdown is to start using it; you can learn the basics in minutes. Once you do, you will find broad application and support. You can use Markdown to write HTML, draft blog posts, create documentation, and post messages on messaging platforms or forums such as Reddit, Discord, and GitHub.

^{[^1]}: It seems worth mentioning, in a footnote, that I wrote this blog post entirely in Markdown. Feel free to download it and take a look. To see it with the formatted HTML, try pasting it in the online markdown editor Dillinger.

By Susan Fein, Ecampus instructional designer

If you use slide presentations to deliver information and then provide a digital version of the slides to support learners, this post is for you!

Instructors teaching online or who use a companion LMS or website to accompany in-person classes often upload the slide file to aid students in notetaking. However, you may not be aware that digital files are not automatically accessible to those using assistive technologies, such as screen readers. Following a few simple and easy guidelines will improve accessibility of your materials for all students and demonstrate your thoughtful attention to inclusivity and equity.

Who Benefits from Accessibility?

Everyone, not only those with disabilities, benefit from accessible learning materials. The U.S. Census Bureau estimates that there are more than 40 million people in the U.S. with a disability, so odds are good that some of them will be in your courses.

Accessibility practices support all learners, not just those who require them. In 2016, the OSU Ecampus Research Unit conducted a nationwide survey about student use of video closed captions. In that study, 70% of respondents who did not self-identify as having a disability used captions at least some of the time.

I asked OSU’s disability access center how many online students request disability-related accommodations. So far this year, 23.9% of those served by their office are Ecampus students. Last year, nearly 40% of all Ecampus courses had at least one student with an accommodation, and nearly 15% of all online-only students used a disability-related accommodation.

To ensure equity, regardless of who does or does not depend on accessibility support, it is vital to make all learning materials compliant with accessibility standards. When educators intentionally create fully accessible materials, we more equitably serve all online learners.

What Can You Do?

Here are five easy-to-follow tips that elevate your commitment and ability to create accessible materials.

Tip #1. Use a template. Templates are important because basic formatting for accessibility is already built in. By inserting your content into designated sections, you preempt some accessibility issues without any extra effort. For example, when you insert the topic of each slide into the designated title field, the slide structure maintains the correct sequence in which a screen reader encounters the various elements on the slide. If you are concerned about being too constrained or predictable, these designated fields accommodate your creativity! It is okay to reshape, resize, or reposition a field if you do not like its default appearance or location.

Regardless of which end of the design spectrum you lean, always start with a template. If you are not fond of colorful designs or fancy formats, there is a basic, unadorned template you can use. If you are a fan of fun, frivolity, or fabulous, select one of many free template options found online to suit your theme or topic. Check out the different templates Ecampus has developed with college-specific themes. One of them might be a good fit for you.

Tip #2. Enter a unique title on each slide. Each slide in your presentation must have a unique title. This permits a screen reader to navigate easily from one slide to the next. What happens when you have segments of the presentation that require two or more slides to fully deliver the information? No problem! There are various ways to address this.

When several slides focus on a different aspect of the primary topic, use that in the title. For example, you are creating a presentation about Health and Wellness and have multiple slides on the topic of Cooking. You want to introduce the topic, describe meal preparation, and offer ideas for healthy snacks. Since these are three distinct subtopics, a good approach is to label the slides as Cooking: Overview, Cooking: Meal Preparation, and Cooking: Healthy Snacks. Repeating the main topic in the title helps the learner connect each segment but still delineates separate subtopics.

If the subject matter does not neatly break into clear subgroups, it is fine to use a sequential number, such as Cooking Part 1, Cooking Part 2, etc. Since most creators develop a presentation’s content, sequence, and flow thoughtfully and logically, if you take a moment to consider why you grouped together specific ideas, the unique titles will likely emerge.

Tip #3. Follow best practices. If you search online for guidance about how to create effective slide presentations, you will discover that many sources offer similar suggestions. Most of these include recommendations about text (contrast, font size, font style), use of images, page structure, and so on. Use this short list as a helpful reminder of these other accessible-friendly best practices.

Text should be easy to read, with good contrast. Black text on a white background is ideal and classic. Be cautious of templates with too subtle contrast. They might not meet accessibility guidance for visually disabled learners. Use 18-point (or larger) sans serif font for readability.
Use images judiciously. Pictures convey themes, present an idea, or evoke a mood. However, too many can detract from the message, be confusing, or appear unprofessional. Aim for a “less is more” approach. (Learn more about accessibility for images in the next tip.)
Include adequate white space to separate and group content. Bullets are optional. Keep slide structure simple. Use phrases or a few words rather than full sentences. Break up content into multiple slides to avoid crowding.

Tip #4. Create alt-tags for images. A screen reader recognizes the presence of an image but it cannot discern the content. To be accessible, that information is provided as a text description or alt-tag.

If you have images in your slide deck, each must have an alternate text description. The alt-tag describes and explains the content of an image. Usually it is not accessible or helpful to use the file name. And beware of tools that try to divine the content of an image and insert descriptions. These are usually wildly inaccurate and unhelpful.

The majority of images in an effective presentation should be essential to the learner’s experience; the image is required for accurate comprehension of the content. The are images such as charts, graphs, photos, maps, or data. Other images may be optional or decorative; nice to have but not essential to the learning and, if not seen by the student, do not impede the learner’s ability to grasp the material.

For essential images, write a brief (1-3 sentences) text description. No need to include lead-in words like “this is an image of…” Describe the key educational value of that image. What about it is important to the learner? What is the essence of the information you want the learner to know about that chart, graph, or photo?

Screen shot of alt text box for an image from Office 365 PowerPoint — Screen image from Office 365 PowerPoint

Decorative images have two options: enter a description or skip over the image. To skip, enter null text (“ ”) as the alt tag or, if available in your version of PowerPoint, select the “decorative” option. Both choices direct the screen reader to ignore the image. If you prefer to tag a non-essential image, use a simple description, such as “team logo” or “Professor Kumar.”

Understand that writing good alt tags is a challenging skill that takes time and practice to master, so do your best. You may want to confer with the Disability Access Center, an instructional designer, or other faculty support group if you need assistance.

For more information about how to write effective alt tags, refer to these or other resources.

Tip #5. Use meaningful text to format links. Please do not insert a full URL on your slide. Screen readers recognize a URL link and read aloud every individual letter and symbol, often in a monotone mechanical voice, depending on the specific assistive tool. Think about how frustrating, confusing, and unhelpful that is. Instead, format each link using meaningful text, as demonstrated in this post. For example, the two resources linked above use the article’s full title as the meaningful text. Also, avoid the over-used, too generic “Click here for more information,” with the word “here” formatted as the hyperlink. Instead, select text that specifically identifies the URL content, such as “Visit the Disability Access Services web page for more information.”

Accessibility Supports Equity

Demonstrate your commitment to equity! With just a few extra minutes, you can easily meet minimum accessibility standards by following these tips and using the accessibility checker tool built right into PowerPoint!

Reference

Linder, K. (2016). Student uses and perceptions of closed captions and transcripts: Results from a national study. Corvallis, OR: Oregon State University Ecampus Research Unit.

The following is a guest blog post from Meilianty Gunawan. Meili completed an Instructional Design internship with OSU Ecampus during Fall 2021.

Have you ever driven a car on a highway with no streetlights in the middle of the night? Your first instinct is to turn your car’s high-beam lights on to give you greater visibility on what lies far ahead of you. You are probably fine just by relying on the car’s low-beam lights, but you will not be able to get a clearer picture of the far end of the road as you would get from the high-beam.

Bloom’s Taxonomy is a framework used by instructors to develop course learning outcomes. It lays out six cognitive domains (from basic to more advanced) and examples of measurable action verbs along with those domains.

Bloom's Taxonomy cake style graphic — “Using Bloom’s Taxonomy to write effective learning objectives” by Jessica Shabatura, University of Arkansas

When course learning outcomes are set from the point of students’ knowledge and skills deficiency, students are inadvertently deprived of the greater things that they were able to achieve after completing the course. Lower-division courses (100- and 200-level courses) generally focus on the lower-order cognitive processes in Bloom’s Taxonomy. However, there are expectations for the upper-level and graduate-level courses to focus more on the higher-level of cognitive processes. This expectation was clearly spelled out in the Upper-and Lower-Division course policy that was approved by the OSU Faculty Senate Curriculum Council in April2021.

Therefore, instead of looking at the knowledge or skills students are lacking, try thinking along the following lines to stretch the course learning outcomes into the higher-level thinking processes:

What can the students do after they have met the lower-level portion of the learning outcomes?
What if all my students scored “A” in their prerequisite course(s) or they are so academically prepared to take the course?
What if all my students had mastered the lower-level skills required and they liked problems that are more challenging?
How can my students apply the skills and knowledge from the course to their professional work?

When courses aim for the higher-order cognitive domains in their learning outcomes, it inadvertently drives the assessment away from the traditional factual memorization type of assessment that is generally entailed mainly in the ‘remembering’ and ‘understanding’ cognitive realms.

As an illustration, we will use the following learning outcome as a baseline:

“Describe the winemaking process”

A glass of red wine and bunch of grapes in low light. — Image source: “Red Wine” by leguico is licensed under CC BY-NC-ND 2.0

Describe is a verb under the ‘understanding’ cognitive process. While it is good that students are able to describe the wine-making process, think again about the greater purpose of them being able to describe the wine-making process. Why do they need to be able to describe the winemaking process? Is it so that they can recommend the best process, compare and contrast various processes, evaluate the suitability of a process, etc?

The following are some of the suggested revisions to the above learning outcome that are geared towards the higher-order thinking in Bloom’s and how it impacts the ways students are being assessed.

Recommend a suitable winemaking process to produce a product with industry-accepted specifications.
- Recommend falls under the ‘evaluating’ cognitive domain. In the assessment, the instructor can give a list of specifications of the final product (e.g., the color, purity, turbidity of the wine) and ask the students to recommend a suitable winemaking process. In the quest of selecting and recommending the suitable process, the students are exercising critical thinking skills and potentially problem-solving skills, especially if they need to suggest certain optimization in the process to produce the product with the right specifications.
Evaluate the feasibility of a certain wine-making process under specified conditions.
- For the assignment, the instructor can present a case study of company X that wants to do a start-up business in making wines. Given the specified capitals, resources, and expected lead time for the product, the students need to evaluate if the winemaking process in question is feasible. By justifying their yes or no answer, they are practicing the synthesis, reasoning, and argumentative skills which fall under the higher-order thinking process.
Compare and contrast the different winemaking process commonly used in the industry.
- Compare and contrast are within the ‘analyzing’ and ‘evaluating’ cognitive domains. To measure this learning outcome, the instructor can ask the students to compare and contrast the processes A, B, and C. The instructor can also award points if the group is able to illustrate their explanations with the aid of diagrams. By comparing, contrasting, and illustrating the different winemaking processes, the students are having a more in-depth analysis of each process and how they are being similar or different from one another.

So, the next time you are thinking about the course learning outcomes, you may want to picture them in the context of their entirety and see them in the grand scheme of things; just like how you would have seen the far distance after turning that car’s high-beam on!

In your work as an instructor or instructional designer, what kinds of course design problems have you been trying to solve lately? Perhaps there’s a discussion board assignment that you’d like to make more engaging, or maybe there’s a lab activity that students struggle with.

According to recent research findings published in the journal Nature, “…people are more likely to consider solutions that add features than solutions that remove them, even when removing features is more efficient” (Meyvis, T. and Yoon, H., 2021). In a course design context, this means we will probably reach for something we can add to our course to fix a problem: a shiny new tool we learned about at a conference, an extra video lecture, or an additional step for that lab activity that students struggle with. We do need to include quality tools and fresh media to our courses, certainly. However, because there is so much to cover in any given course, we should strategically subtract all unnecessary elements. The aforementioned Nature article has brought to my attention that I may be regularly neglecting the powerful design move that subtraction offers. As a result of reflecting on that, I’ve collected a few examples of how instructors and instructional designers can use subtraction in course design.

Subtraction example #1: Remove formal requirements from informal practice activities

Let’s take a look at a discussion board assignment as an example. Sometimes discussion boards are treated more like formal writing opportunities than discussions. For example, do you require students to not only respond to the prompt but also use a formal style of discourse and cite evidence in accordance with APA style guidelines and do so in a certain number of words? We don’t require students to use APA style or converse with a word count in our in-person discussions, so why would we do this in an online course (Darby, 2020)? Consider subtracting those formal writing requirements for discussion boards, and reserve the APA citations and formal requirements for polished writing assignments. That way, online discussions can be a place to practice and informally grapple with new concepts and ideas the way that face-to-face discussions are. Then, after students have a chance to work through topics in an informal way, they will be ready to try more formal tasks on the topic, such as constructing an argument and appropriately citing evidence according to a particular style guide.

Subtraction example #2: Reduce the frequency of office hours

If you hold office hours at a set time each week, and you notice that few students attend, consider doing away with the set weekly “office hours” altogether. Instead, invite students to make an appointment with you at least once during the term, at a time and in a modality that works well for them, or reduce the frequency of office hours to two or three timely sessions (optional attendance) per term, such as before each exam. Take questions in advance so that students too busy to attend can still benefit from the sessions, and post a recording of the session afterward in an announcement. According to Lowenthal, Dunlap, and Snelson (2017), less frequent but more focused office hours increased participation from students. Lastly, consider renaming your new infrequent office hours to something warm and inviting, such as “Coffee Break” or “Consultations” (Darby, 2019), which students may find more welcoming. Building in plans for facilitation and instructor presence in the early stages of course development allows faculty to focus more on teaching while the course is running and less on reactive problem solving.

Subtraction example #3: Dethrone teaching “folklore”

Teaching “folklore,” which John Warner calls the ineffective “practices handed down instructor to instructor” (p. 207, 2020), shows up uninvited, particularly when you have been assigned a course to teach that you had no hand in developing. One example of teaching folklore is the stubborn assumption that serious scholars are gatekeepers for their fields. Evidence of this exclusionary approach may show up in the form of a stern, overly formal, or cold tone in a syllabus. Consider removing verbiage that conveys a cold tone, since we now know that warm-tone syllabi encourage students to reach out to their professors (Gurung and Galardi, 2021). Another example of this is inflexible class “policies” that reflect an individual instructor’s preferences and not university policies. Consider reviewing the policies stated in the syllabus and delete any that are not aligned with actual university policies. Further, the idea that students must achieve a level of eloquence and scholarly sophistication on par with faculty in order to be considered for a grade of “A” on an assignment is another example of this. Evidence of this type of folklore could be found in rubrics with benchmarks that are nearly impossible to achieve. The element that could be subtracted here is not the rubric, but rather the specific language in the rubric that makes it impossible for students to succeed in the assignment. N euromyths, which are false beliefs about the brain and learning, could also be included in the category of teaching folklore. If you spot neuromyths in a course, remove them. In summary, if you spot one of these ineffective teaching folklore elements in your course, consider removing the “folklore” item.

For this design challenge, try subtracting ineffective design elements before adding new items to solve course design problems. If you are unsure if something should stay or go, ask yourself what purpose this element serves in the course. It should then become clear whether the item belongs or needs adjustment. Even small adjustments can transform learners’ experiences. What have you removed from your course? Share how the process was for you by leaving a comment.

References:

Blum, S. D. (Ed.). (2020). Ungrading : Why rating students undermines learning (and what to do instead). West Virginia University Press.

Darby, Flower. The Secret Weapon of Good Online Teaching: Discussion Forums 6 ways to lead meaningful class discussions in an asynchronous online forum. August 24, 2020.

Darby, Flower, and James M. Lang. Small Teaching Online : Applying Learning Science in Online Classes, John Wiley & Sons, Incorporated, 2019. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/osu/detail.action?docID=5780349.

Created from osu on 2022-01-18 23:50:41.

Gasiewski, J.A., Eagan, M.K., Garcia, G.A. et al. From Gatekeeping to Engagement: A Multicontextual, Mixed Method Study of Student Academic Engagement in Introductory STEM Courses. Res High Educ 53, 229–261 (2012). https://doi.org/10.1007/s11162-011-9247-y

Gurung, R. A. R., & Galardi, N. R. (2021). Syllabus Tone, More Than Mental Health Statements, Influence Intentions to Seek Help. Teaching of Psychology. https://doi.org/10.1177/0098628321994632

Lowenthal, P. R., Dunlap, J. C., & Snelson, C. (2017). Live synchronous web meetings in asynchronous online courses: Reconceptualizing virtual ofﬁce hours. Online Learning , 21 (4). https://doi.org/10

Meyvis, T. & Yoon, H. (2021). Adding is favoured over subtracting in problem solving. Nature.

Shi, T. Debunking Neuromyths and Applications for Online Teaching and Learning: Part 1. February 13, 2019. Ecampus Course Development and Training Blog.

Warner, J. “Wile E. Coyote, the Hero of Ungrading” from Chapter 13 of Ungrading.

Introduction

Relationships matter for successful collaborative work. Yet, when it comes to online/ blended/hybrid course design, development often begins with a focus on course content, assuming that the collaborative relationship between faculty and instructional designers is secondary to the design process (Tate, 2017). If we care about student success, we must turn our attention to the ways in which effective collaborative relationships among design partners contribute to the course feel — that is, the online learning environment as perceived by students. In our recent OLC presentation, we proposed an interactive strategy for developing collaborative relationships between faculty and instructional designers based on curiosity, enthusiasm, and mutual respect.

Faculty and instructional designers often find themselves at cross-purposes. The design process expects two groups of experts to bring their unique perspectives and skill sets together in course creation, without providing instruction or support for the kinds of intentional shared knowledge transmission and production necessary for collaboration (Richardson, J. C., et al., 2018). In fact, faculty buy-in to a collaborative working relationship ranks as the number one obstacle to instructional designers’ success (Intentional Futures, 2016, pp. 3, 15). Institutional frameworks must be in place that set up faculty-instructional design teams for success, so that together they in turn can set up students for success.

We suggest that fostering curiosity in each other’s disciplinary norms and approaches serves as an igniting spark for establishing effective instructional designer-faculty autonomy supports. In this way, relationships begin with trust, mutual respect for professionals’ expertise, and socioemotional growth.

ID-Instructor Cooperative Instrument

To aid in this process, we developed an ID-Instructor Cooperative Instrument for individual, flexible needs of both parties. Through a series of definitions and short prompts, users can see similarities and differences between their viewpoints on topics like student success, well-designed courses, and course feel. Feel free to use the spreadsheet linked above or this list of questions:

Course feel: Name up to 5 keywords that describe how you want the course to feel.
Student interactions: List the kinds of interactions your students will encounter in your course. Feel free to list them in order of importance, or to modify the categories.
1. Teacher ⟷ Student
2. Content ⟷ Student
3. Student ⟷ Student
Definitions:
1. How do you want students to define success in this course?
2. How do you define success in this course (for yourself and/or students)?
Working Together:
1. Name your best course — one you have designed, taught, taken, etc.
2. Name a course activity you are proud of, or one you would like to be proud(er) of.
3. Identify 3-5 keywords or phrases that describe your working style.
Anything else you would like to note?

Initial Feedback

In our OLC presentation, some session attendees were purely instructional faculty, while others worked full-time in instructional design. Many people served in joint roles, including some administrative responsibilities for facilitating course design, or had started their careers in one area and then switched roles. Despite these different backgrounds, almost everyone agreed with our assertion that lack of mutual respect between faculty and instructional designers negatively impacted their ability to create and deliver high-quality courses.

During the presentation, we enjoyed seeing the enthusiasm and excitement from participants wanting to share their own stories and experiences. Working through the instrument questions as a group for this session was engaging for both participants and for us as presenters. Participants were able to quickly and clearly pick up the instrument and begin to share their ideas right away. Feedback both during the interactive presentation and during the Q&A suggests that our instrument serves the purpose we created it for: to get faculty and IDs excited about talking with one another about teaching and course design.

Conclusion & Getting Started

We advise other faculty and ID teams to rethink their working relationships, starting with curiosity about each other’s experiences and hopes for the course and their future students. Administrators — who often need to increase faculty buy-in to course development programs, and help instructional designers meet faculty where they are in their pedagogical experience and comfort levels in online instruction and design — can play an important role in encouraging design teams to take the time to work through the kinds of questions and conversations outlined in this tool. The road to pedagogical expertise is often varied, windy, and complex, for everyone involved. When the course design process focuses on growth and learning for the faculty and ID, it leaves a positive mark on a course that reverberates for the students experiencing that online space.

We invite faculty and IDs to get curious about their counterparts. If there is not currently an intake meeting for faculty and IDs at your institution, you could share this instrument either for a one-on-one meeting, or with a dedicated pedagogy session through your Center for Teaching and Learning and discuss how it could be a starting point for a collaborative working relationship. If there is already an intake meeting that is part of the course design process, think about bringing in aspects of this instrument that might be missing from that session.

If you are an administrator, suggest that your faculty or IDs spend some time at the beginning of a project getting to know one another. You might even help spark some curiosity by including a professional introduction — what excites you about having a particular instructional designer or faculty member working on a specific course or program? What can you share about the unique experiences of your faculty or IDs that would help start that initial conversation?

We hope that this instrument will be a tool you can use as new course developments begin, whether you are working with a new collaborator or wish to get to know someone better that you have worked with previously. We would also be interested in continuing to learn about faculty and instructional designer relationships. If you have feedback, comments, or experiences you would like to share, we invite you to leave a comment on this blog post or reach out to us via email.

References

Intentional Futures. (2016). Instructional Design in Higher Education: A report on the role, workflow, and experience of instructional designers.

Richardson, J. C., Ashby, I., Alshammari, A. N., Cheng, Z., Johnson, B. S., Krause, T. S., Lee, D., Randolph, A. E., & Wang, H. (2018). Faculty and instructional designers on building successful collaborative relationships. Education Tech Research Dev 67: 855–880.

Tate, E. (2017). Easing Instructional Designer-Faculty Conflicts. Inside Higher Ed.

Subject matter experts in many fields have embarked on authoring projects with the goal of replacing traditional published texts or customizing content for specific learners’ needs, yet large-scale creation of open textbooks or series designed for language learners has been slower to gain traction (Blyth and Thoms, 2021). Efforts in this area have largely been limited to adapting existing OER materials (5R activities) for specific learning contexts or piecemeal creation of online activities to provide reinforcement of isolated language skills. Part 1 in this series outlines the potential benefits, limitations, and challenges that programs and instructors face when undertaking large-scale authoring projects to address the needs of language learners. The purpose of this second post is to offer guidance for creating open source language texts and present a framework for getting started.

Language Acquisition as an OER Subject Matter

Before getting into the nitty-gritty of creating an OER for language learners, it is worth pointing out how this process differs from open authoring projects for other disciplines. While OER writing projects come with inherent challenges regardless of the field, authoring comprehensive language learning content presents a unique challenge. One reason for this is that language teaching and acquisition involves complex sequencing and scaffolding of skills, language items, and linguistic concepts unique to the field of language acquisition (Howard and Major, 2004). An effective resource must present language items not only in the established order of second language acquisition, but also at the correct level for the learners at hand. The “correct level” is fluid and influenced by many variables (first language interference, motivation, metacognitive skills related to the process of learning a language, fossilization of rules, literacy in the first language, prior knowledge and educational experiences, and so on). While, say, writing a history text also involves expert scaffolding to ensure that content builds on what came before, there are fewer moving parts to align, and presentation and sequencing can and will vary from one subject matter expert author to the next. Effective language learning materials, on the other hand, are more like a house of cards that relies on complex relationships between a variety of aspects of the target language, language input, learning context, and characteristics of the learners themselves.

Language acquisition occurs when input is just beyond what students understand of a language (known as comprehensible input i + 1), so writing materials that consistently hit the sweet spot for learning is tricky even for the most seasoned language educator. In addition to presenting language in a specific sequence and at the appropriate level, authors must also consider how much new language content is enough at each stage and how to introduce, recycle, and reinforce this language through engaging and original texts as well as audios that present authentic and relevant contexts. All of this new content must then be aligned to learning outcomes related to both language form and function. Learners need not only the nuts and bolts of the language, but pragmatics are equally important—how is the language used in specific contexts and with a variety of interlocutors? What models will convey this information accurately in a way that is accessible at different levels of proficiency?

Understanding the social aspect of language is as important as the grammar and structure. Language proficiency involves much more than speaking and listening in a new language. All of the linguistic aspects must be delivered via content that also serves as a vehicle for familiarizing learners with the cultural and social contexts where the language is spoken. This should be done in a thematic way, weaving in social justice issues in a timely and relevant manner, sensitive to the complexity of the issues at hand. The author(s) must also be able to write engaging texts that present level-appropriate target grammar, vocabulary, and cultural information in activities that build upon each other or recycle the language previously taught. In addition to being linguistically sound, these original texts and audios must also demonstrate awareness and care for representation, integrating cultural and social justice topics relevant to the diversity of cultures, communities, interests, and social issues of a variety of speakers of the target language.

Creating language materials that incorporate all of these considerations requires a broad skillset beyond expertise in teaching the subject matter. Significant professional development and exploration may be necessary before embarking on expansive authoring projects for language learning. With careful coordination and planning, and an understanding of the process and support required, language programs, instructors, and learners stand to reap long-term benefits from creative, relevant, inclusive, and dynamic open resources. What follows is a suggested process and a sample framework for undertaking open source textbook production for language learning contexts.

Step 1: Survey of needs, resources, and intended uses

The first step in any authoring project is to identify the needs of a program and determine what kind of text will be used and how. This includes the extent of the textbook use within the department and also as a resource for the broader language learning community. A quality textbook resource can increase student autonomy and interest in language learning generally by providing accessible resources readily available to learners anywhere in the world (Godwin-Jones). At this stage, some questions to ask include:

Who are your learners and what is their motivation for learning a new language?
What kind of textbook needs to be replaced? What gaps do you seek to fill by replacing current text materials?
How will the resource fit into the larger curriculum?
Is the need for a single course text or a cohesive series to cover an entire level or multiple levels?
Who is available to collaborate and what are their areas of expertise?
What resources and support are available for the project?
How will time and resources be accounted for?
What is the timeline for implementation?
Who will provide expert and outside peer review of the textbook materials?
How will the textbook materials be maintained and updated over time to ensure long-term viability?

Most language programs involve extensive faculty collaboration. Instructors teach multiple courses across various levels. As such, it is important to promote broad participation in the planning stage to encourage instructor input, address concerns, and determine the scope of the implementation (e.g., across courses, levels). Gathering input on content and soliciting expertise among colleagues increases faculty buy-in and ownership of new materials.

Step 2: Identify the scope of your project

Once the shape of the project has been determined, it is time to outline the specifics of the resource(s) to be created. Determining the scope involves identifying learning outcomes. These are often mandated by the program, but they might also need to be rewritten or revised by the authoring team. Both the Common European Framework of Reference for Languages (CEFR) and the American Council on the Teaching of Foreign Languages (ACTFL) provide guidance on proficiency standards for world languages. Beyond language outcomes, it is also important to identify what the content goals are. This may involve generating a master list of topics, social justice and cultural themes to be addressed, and so on. At this stage, identify subject matter experts and any professional development needs. Who will participate as part of the core authoring team? Who will be responsible for quality control and review? Keep in mind that creating, reviewing, building, piloting, and maintaining comprehensive open language materials requires a significant time commitment, even if the goal is to create a single course text.

See ACTFL World Readiness Standards for Learning Languages

Step 3: Collaborate on a framework scope and sequence

The importance of this stage cannot be understated, particularly when multiple authors and stakeholders are involved. Once the themes, topics, outcomes, and other aspects of the materials have been identified and divided up into learning segments (levels across a series, units of a text, etc.), it is time to write the scope and sequence, which is basically a detailed outline. This outline should clearly show how everything fits together and serves as a framework for authoring materials that weave together language function and form, grammar points, text genres, readings, audios, pronunciation, vocabulary, practice activities, interaction, cultural and social justice themes, topics, etc.—all with attention to a logical progression, order of acquisition, recycling of language items, and student engagement.

Let’s take a language text for English language learners as an illustrative example. If the grammar point for a learning segment is the present perfect tense, what types of contextualized content elicits that structure naturally? Perhaps a short biography representative of one aspect of the culture can serve this purpose. Reading and audio texts might present a person’s life experience so far. This offers an opportunity to consider whose lived experience will be represented via this text. Which vocabulary items are crucial for using the language around this topic? How much vocabulary will be new and how much recycled? Using the present perfect form as an example, we might focus on a number of participial adjectives and the prepositions for/since (She has been interested in … since…). Language teachers as subject matter experts should have no trouble identifying these items regardless of the target language—this is how SLA comes into play. They teach this content all the time. The challenge is in putting it all together across units. That is, in addition to the grammar, punctuation, pronunciation, and writing systems (depending on the writing system of the language at hand) authors need to consider how the language builds on what was previously taught, how much is enough to present in each segment, what the cultural and social topics to be woven into authentic texts are, etc. A good scope and sequence defines all of this. For this reason, settling on a solid scope and sequence will require extensive coordination across subject matter experts, departments (in many cases), and in all cases, several rounds of review and revision before any writing begins.

sample scope and sequence template — Fig. 1 presents a sample unit from a scope and sequence created for a text for learners of English (CEFR A1+ level). This structure is applicable regardless of the target language although there may be some differences depending on the characteristics of the language. For example, phonetic languages may require less focus on pronunciation while languages using non-roman script will need to build in instruction on writing systems. View an accessible version of this template.

Step 4: Write and build

Once a final scope and sequence is in place and an authoring team has been identified, it’s time to start creating materials. Some questions to guide this stage include:

Who will write the text and audio scripts?
Who will provide diverse voice talent for audio texts?
Who will record and edit audio?
Where will the content be hosted and who will create it? (If using a tool such as Pressbooks, consider training for materials developers.)
What platforms will be used for any interactive content? (H5P, Quizlet, Playposit, etc.) and who will build these?
Where will the interactive repository be stored?
Who is responsible for acquiring Creative Commons images and maps?
How will accessibility be ensured?
What learner analytics will be gathered and how?

Because most of the activities in a learning segment tend to spring from the reading and listening input, it may be helpful to start with writing all of the texts for a level or course before creating the rest of the content. Audio and written texts must expose learners to a wide range of genres and text types (Tomlinson, 2012), so it may be useful to start by generating a list of genres to be covered. The texts, whether they are original or curated from online sources, must be reviewed and revised or adapted to ensure they contain the necessary language at the appropriate level, generate interest, employ the intended tone and voice for the genre, follow identified themes, incorporate social justice and cultural topics, and are accurate (in the case of non-fiction texts). If the content is curated, it needs to be reviewed for copyright and accessibility.

Throughout the authoring stage, frequent check-ins among authors and reviewers can help to ensure quality, authenticity, inclusivity, and adherence to the determined scope and sequence.

Step 5: Review and revise

Just as at every other stage of the process, peer reviews and revisions should be coordinated so that there is continuity in the editing process. It is important to enlist the help of internal and external subject matter experts. Assign different review tasks (big picture reviews of content and continuity along with detailed reviews of the language presentation) and provide each with review rubrics or guidelines to streamline feedback. External reviewers outside of the organization can help provide neutral insight. Enlisting the help of those with expertise in social justice topics, regional cultural perspectives, and different varieties of the language can help ensure accuracy, representation, inclusivity, and engagement. Be sure to review feedback as a team to reach an agreement on how to approach revisions to draft materials.

Here is a sample rubric for reviewing original course materials, but rubrics should be adapted according to the scope and sequence and goals of each project.

Step 6: Implement and iterate

Finally, it is time to pilot your new OER, but you aren’t done yet! Deliver the content to learners and collect their feedback as well as input from your teaching team. Keep in mind that an OER can be a work in progress, and one advantage of an open textbook is that it can be an evolving resource. Each iteration should involve coordination and input from the team who will be using the materials. Share your new resource widely. A high-quality OER opens the door for resource sharing with a broad community of colleagues, building visibility for the language program and lending credibility among colleagues around the world for the subject matter expert creators (Blyth and Thoms, 2021).

Step 7: Create a plan for long-term viability: updating materials, quality control, and access

While creating an open source textbook for language learners can be a continually iterative process, once the new materials reach a point of stability and all stakeholders are satisfied with the product, authors or departments need to create a plan for maintaining the materials. Unlike costly textbooks which quickly become outdated, open access resources are easier to update (once the initial investment in time and resources has been made), save students money, and expand access to learners everywhere. The key is to create a plan for longevity so that updates are systematic, incorporate learner and instructor input, and are reviewed for quality control. The beauty of an OER for language learning is that it offers the opportunity to democratize teaching and learning by being responsive to the changing landscape of social justice education, shifting cultural influences, evolving characteristics of language learners, and distinct learning contexts.

References

American Council on the Teaching of Foreign Languages (ACTFL)

Common European Framework of Reference for Languages – Companion Volume (2020)

Blyth, C. S., & Thoms, J. J. (Eds.). (2021). Open education and second language learning and teaching: The rise of a new knowledge ecology. Multilingual Matters. https://www.multilingual-matters.com/page/detail/?k=9781800411005

Godwin-Jones, Robert. “OER Use in Intermediate Language Instruction: A Case Study.” CALL in a Climate of Change: Adapting to Turbulent Global Conditions – Short Papers from EUROCALL 2017, 2017, pp. 128–134., https://doi.org/10.14705/rpnet.2017.eurocall2017.701.

Howard, Jocelyn & Major, Jae. (2004). Guidelines for Designing Effective English Language Teaching Materials.

Tomlinson, B. (2012). Materials development for language learning and teaching. Language Teaching, 45(2), 143–179. https://doi.org/10.1017/S0261444811000528

A group of instructional designers at Ecampus participated in a book club reading “Ungrading” (Kohn & Blum, 2020). We learned many creative ways of designing assessments through participation in this book club. If you happen to be searching for ideas on designing or re-designing assessments in your teaching, we would highly recommend this book!

The idea of “Ungrading” may sound radical to many of us. Yet instructors at all types of educational institutions have tried ungrading in many different courses, ranging from humanity courses, to STEM courses, and from primary education to higher education. Starr Sackstein (author of Chapter 4 “Shifting the Grading Mindset” of the book) encourages educators to consider “ways to adjust small things in the classroom that will lead to important growth for students”. And this suggestion of starting small is coherent with what James Lang proposes in his book “Small Teaching” (Lang, 2016) and Thomas Tobin’s +1 strategy for implementing new teaching and learning strategies (Tobin & Behling, 2018). Sackstein provides a table comparing the grades vocabulary that focuses on judgement or criticism, with the non-grade vocabulary focusing on assessing and opportunity for improvement.

In chapter 5, Arthur Chiaravalli proposed a way for teaching without grades: Descriptive Grading Criteria, such as A for outstanding, B for Good, C for Satisfactory and I for Incomplete. Do you remember elementary school report cards that use E for Excellent, S for Satisfactory, and NI for Need Improvement type of categories? I think that is exactly what descriptive grading criteria represent.

In chapter 7, Christina Katopodis and Cathy Davidson offer a new approach to start a new term/semester by asking students:” What is Success in this class for you? And How can I help you achieve it?” (p. 107) Katopodis and Davidson also remind us the importance of explaining why when you challenge your students to take their own learning seriously and give students opportunities for metacognitive reflections about the learning activities themselves. Katopodis and Davidson also offer a model of contract grading for Twenty-First Century Literacies and a model of collaborative peer evaluation. Students’ grades in the course come from self-and-peer evaluations using detailed evaluation forms.

In chapter 8, Christopher Riesbeck described his critique-driven learning and assessment design of do-review-redo submission process for his intermediate-level programming course. I have used similar approach in my own teaching before and it works very well for any course with manageable number of students. The advantage for this approach is every one of your students can improve their first submissions based on feedback they receive from the instructor. The disadvantage for this approach is the potentially extended time instructors may spend on providing the feedback and reviewing the submissions and re-submissions. The key to this assessment method is making sure that the workload of providing feedback and reviewing revisions is manageable. In chapter 9, Clarissa Sorensen-Unruh provided her experience of using ungrading in her organic chemistry II course, giving students opportunities to practice evaluating their own work.

And that is only snippets of what I took away from a few chapters from this book. Many resources about ungrading outside the book were shared during our book club meetings, such as two-stage exams, group exams and public exams. To answer a common question that ungrading practices may fit humanity courses more easily, Cyndie McCarley shared “Grading for Growth” blog written and maintained by two math instructors Robert Talbert and David Clark. To learn about all the creative assessment design methods introduced in this book, read it yourself either through library ebook or get a hard copy and enjoy reading, designing and experimenting!

References

Kohn, A. and Blum, S. (2020). Ungrading. West Virginia University Press.

Lang, J. (2016). Small Teaching. Jossey-Bass.

Tobin, T.J. and Behling, K.T. (2018). Reach Everyone, Teach Everyone. West Virginia University Press.

At a recent faculty professional development workshop series, I became aware of faculty’s concerns about addressing the learning needs of students from different cultural and linguistic backgrounds. Students with multilingual and multicultural identities are oftentimes perceived as deficient (Almon, 2014; Flores & Rosa, 2015) and might feel they hold an outsider status (Merryfield, 2000). In my personal experience navigating multiple identities that intersect culture and language, and in my work supporting faculty in their learning design and instructional decisions, I began examining ways in which blended and online learning spaces can offer more welcoming opportunities for students. One of these ways is using a cultural lens and mindset towards inclusive learning design.

Culturally Responsive Approaches

There have been several culturally responsive approaches to teaching and learning. By and large these approaches advocate for the recognition of students’ cultural backgrounds as critical to their learning success (Gay, 2013; Ladson-Bilings, 1994). In fact, a culturally responsive pedagogy (CRP) aims to promote the integration of students’ culture to support their learning experiences. In blended and online learning, this pedagogy can create an environment that “acknowledges, celebrates, and builds upon the cultural capital that learners and teachers bring to the online classroom” (Woodley, Hernandez, Parra, & Nagash, 2017, p.1).

For students whose first language is not English, we first should focus on their strengths and not their deficiencies. These students bring their cultural backgrounds, values, experiences, and language diversity with them to the online learning environment. It is important to recognize that culture is central to teaching and learning; therefore, advancing online and blended learning design should be grounded on dimensions for cultural sensitivity where students’ diverse identities, cultures, languages, and backgrounds are seen through an asset-based lens. This means, recognizing the value in the cultural backgrounds, experiences, and languages of students; and embracing these students’ traits as assets. This asset-base approach can be the first step in developing a mindset for designing and teaching in ways that promote social, academic, and emotional learning for these and ALL students.

Culturally responsive approaches have been mapped out to the three principles of Universal Design for Learning to offer (1) multiple means of engagement, (2) multiple means of representation, and (3) multiple means of action and expression (UDL, n.d.). UDL and CRP can help instructors amplify the opportunities for students from different cultural backgrounds to demonstrate their knowledge when given strategies that incorporate multiple perspectives, experiences, connections to the real world, and choices (Bass & Lawrence-Riddell, 2020; Kieran & Anderson, 2018)

The connection of UDL and CRP offers consideration to inform instructional design choices. Yet, these considerations appear to be adds-on to the design of the learning experience. How can we expand the UDL and CRP connection to embrace a mindset to move towards an inclusive learning design where the cultural and linguistic traits of students are seen from an asset-based perspective? A few dimensions from research and praxis would get us started to help achieve this goal.

Dimensions for Learning Design

The following dimensions for learning design, that expand the connections between UDL and CRP, should be considered whenever possible in the design of blended or online learning experiences. Following are the six dimensions.

Dimensions of Culturally Responsive Leraning Design — Dimensions for Culturally Responsive Learning Design

Instructor’s reflection
Visual design
Linguistic domain
Content
Interaction
Technology

Identity and Experience

Instructor identity and experience relates to the practice reflection –inner analysis to reveal assumptions about teaching and learning (Jaramillo Cherrez & Jin, 2020). Through these reflections, instructors can identify ways to humanize the learning experience. Instructional designers (IDs) can help instructors engage in a (self) dialogue to explore how the instructor’s identity informs or impacts their teaching and instructional decisions, how they respond to students’ cultural differences and embrace them as strengths, and how instructors could also learn from students.

Design

The visual design of the course and learning materials can have a profound impact on students’ learning experience (Hedberg & Brown, 2002). For students whose first language is other than English in particular, it is important to be aware that these students may come from different cultures and social groups, and thus, visual representations may have positive or negative consequences to their success in the course. Visuals should be carefully chosen because the variety of images, colors, and symbols may affect the message students receive in the class. When using images from pop culture, it is helpful to add context to give more clarity to the instructional purpose. The visual design also relates to the readability of the content and how it is presented and structured. Asking a colleague or friend to read the instructions and descriptions of assignments can help clarify expectations and requirements for students. Bear in mind that what is clear to one is not always clear to others, especially when using complex sentences and terminology of a discipline.

Linguistic Variability

Many students might have a first language different from English. Also, keep in mind that different cultures may have different ways of writing, usually influenced by rhetorical and social contexts (Almuhailib, 2019). There may also be linguistic and cognitive differences in the way that students interpret the information given to them. For some cultures, direct descriptions are fine, whereas for others the context is important before addressing a specific perspective. Some cultures may characterize themselves for being more individualistic and others more holistic, and students, including those whose first language is other than English, can find themselves moving along that continuum. In designing culturally responsive blended or online courses, language matters because of the transactional distance characteristic of asynchronous spaces. Many students may already be pressured to demonstrate “good”, “academic”, “professional” English. One way to be aware of linguistic diversity is to be more explicit with instructions. For example, indicate clearly the use of naming conventions, abbreviations, acronyms, and descriptors in activities and assignments.

Content

The fourth consideration is content. The main suggestion is to try to diversify the curriculum with resources from around the world (e.g., content from scholars from diverse cultures and linguistic backgrounds). Allow students to see themselves represented in the materials. Create activities and assignments that help students explore the concepts in connection to their own backgrounds and communities(e.g., linguistic, cultural) and experiences, and that allow students to move from low to high cognitive tasks (e.g., staged projects). Yet, diversifying the curriculum goes far from bringing into the course content perspectives that are commonly ignored. It involves explicit acknowledgement of the value of the different perspectives and modes of knowledge.

Interaction

Interaction also can benefit from a culturally responsive mindset in that instructors can vary the modes of interaction by using audio/video communication(e.g., assignment feedback, DB, announcements). It is also important to guide and scaffold group activities with resources such as guidelines, group contracts, teamwork guidelines, group rapport activities, conflict resolution resources). Particularly for teamwork, instructors can build group activities early in the course to promote collaborative learning. For online discussions, instructors could allow students to select the tools that they feel more comfortable with using, bearing in mind that many students from different cultural backgrounds might not be familiar or have experience participating in discussion activities. Another suggestion is to promote student-led discussions to help students move from the individual task to the group task. This will allow to vary the cognitive demands that can foster meaningful knowledge construction and organization while also addressing different audiences, styles of writing and analysis, and communication modes.

Technology

It is important to recognize that technology is not neutral. Clearly, it is important to select tools and evaluate them for intended and unintended consequences for students, such as the cost, the technical support, the pedagogical affordances, and the availability in other geographic areas. It will be helpful to consider the different levels of technology skills that students may have and plan on developing guidelines and technical resources (e.g., links to providers, manuals, accessibility and privacy policies) that can help students. Additionally, in considering digital tools it is important to review whether the affordances the tools offer are available to all students, in the different browsers and devices (e.g., tablets, smart phones, browsers). In using digital tools, careful attention should be given to the kinds of data that the tools require students and instructors to share. It is important to read carefully the terms of use, data privacy, and the information that is being collected as a way to understand how the users can trust the tools and their procedures for sharing or not with others the data collected.

These dimensions underscore the need to approach learning design with a mindset that not only acknowledges student multilingual and multicultural identities, but also catalyzes these identities to help students be valued and successful. I consider these dimensions in my instructional design work, and I would like to invite you to consider them next time you design an online or blended learning experience.

Sources

Almon, C. (2015). College persistence and engagement in light of a mature English language learner (ELL) student’s voice. Community College Journal of Research and Practice, 39(5), 461-472.

Almuhailib, B. (2019). Analyzing Cross-Cultural Writing Differences using Contrastive Rhetoric: A Critical Review. Advances in Language and Literary Studies, 10(2), 102-106.

Bass, G., & Lawrence-Riddell, M. (2020). Culturally Responsive Teaching and UDL. Faculty Focus. https://www.facultyfocus.com/articles/equality-inclusion-and-diversity/culturally-responsive-teaching-and-udl/

Dougherty, E. (2012). Assignments matter: Making the connections that help students meet standards. Alexandria, VA: ASCD.

Kieran, L., & Anderson, C. (2019). Connecting universal design for learning with culturally responsive teaching. Education and Urban Society, 51(9), 1202-1216.

Gay, G. (2013). Teaching to and through cultural diversity. Curriculum Inquiry, 43(1), 48-70.

Hedberg, J. G., & Brown, I. (2002). Understanding cross-cultural meaning through visual media. Educational Media International, 39(1), 23-30.

Ladson-Billings, G. (1994). What we can learn from multicultural education research. Educational Leadership, 51(8), 22-26.

Merryfield, M. M. (2000). Why aren’t teachers being prepared to teach for diversity, equity, and global interconnectedness? A study of lived experiences in the making of multicultural and global educators. Teaching and Teacher Education, 16(4), 429-443.

Flores, N., & Rosa, J. (2015). Undoing appropriateness: Raciolinguistic ideologies and language diversity in education. Harvard Educational Review, 85(2), 149-171.

Universal Design for Learning (n.d.). The UDL Guidelines [Website]. https://udlguidelines.cast.org/

Woodley, X., Hernandez, C., Parra, J., & Negash, B. (2017). Celebrating difference: Best practices in culturally responsive teaching online. TechTrends, 61(5), 470-478.

Part I: Role of Course Developer as Media Curator

This post is Part I of a two-part series on video selection and use in online courses. Part I provides the reasoning behind understanding course videos selection by course developers as a curatorial process. Part II will explore video curation in practice in course development and provide a course design perspective on video presentation and management issues.

Recent Video Use Trends

In September of 2020 the enterprise video company Kaltura Inc. conducted its seventh annual State of Video in Education 2020 report. The report included responses from across the education system spectrum with higher education institutions making up 53% of all respondents (Figure 1.).

Chart showing percentages of educator sectors in response to Kaltura survey. — Figure 1. Percentage of respondents to video survey by education sector.

This report described how remote teaching-driven course changes impacted video adoption and use in education. Remote teaching and learning was the most common use of video (83% of respondents). Lecture captured as video was used by 69% of the responding institutions.

The executive summary identified a number of key insights and trends related to changes in video use in education. A select few can be seen below:

Use of video for remote teaching and learning grew by 28% over 2019.
Video use is viewed as positive. Respondents (84%) saw video as having a positive impact on student satisfaction, 73% seeing video increase student achievements and 76% believe it increased instructor satisfaction.
Students as creators of video increased by 13% from 2019 to 2020.
In higher education there was rising video use for remote teaching, lecture capture, and flipping the classroom.
Actual growth in the use of video for remote teaching and learning grew by 28%.
A majority of respondents (68%) want to continue to blend traditional teaching with today’s virtual innovations; such as video.

In some ways this is not surprising. This past year forced many instructors in higher education to convert face-to-face courses to remote instruction. Much of that transition was accomplished with synchronous sessions via ZOOM or some other video conferencing program. Live video conference sessions, if recorded, also served as a support resource for students. In response to the challenges of the past year both live and recorded video were adopted to make remote learning doable. Fully online courses do not have this live element as they are asynchronous and did not have to adapt in this way.

In asynchronous courses at Oregon State University our Ecampus course developers utilize video differently. Video is as a key media element in delivering course content to learners, promoting faculty presence, and to build depth into projects and assignments. Video content may be produced internally by course developers (e.g., instructors) and used in courses via an enterprise video system (e.g., Kaltura). Video content may also be sourced from external video-based social media sites (e.g., YouTube and Vimeo) or educational and commercial collections (e.g., Kanopy or Amazon) and via syndicated video sources (e.g., podcasts and Twitter).

Given the plethora of video available and a trend toward increased video integration into instruction the challenge to course developers is the selecting, managing, and presenting video content to support and compliment course learning outcomes. Ultimately this also becomes a course design challenge for instructional designers who must adapt to manage the integration of increasing levels of video in the course in a way that makes sense from a pedagogical perspective as well as visual design aesthetic.

Course Developers as Media Curators

What is a Curator?

The growing value of video in the experience of a course suggests that course developers (e.g., instructors) consider a new way of thinking about how video is selected, managed and presented. In essence, I am suggesting that for a given course the course developer serves as a curator of video content.

But what is curator? Should a course developer really think like a curator? How might curated media shape course development and instructional design?

In order to explore this notion of course developers as media curators a bit more I would like to share the definition of what a curator is from the American Alliance of Museum (AAM) Curators Committee (2009). The preamble to the curator core competencies of a curator defined the term curator as:

Curators are highly knowledgeable, experienced, or educated
in a discipline relevant to the museum’s purpose or mission.

Curators are further described as having nine core competencies and related applied skills. The competencies are:

Collection planning Scholary Research Exhibition Development
Collecting Object Research Education
Collection Care Applied Research Outreach & Advocacy

In Figure 2. we see these same foundational roles expressed by the AAM coupled with a definition of curator and description of the work of a curator. Also included is the domain of the work. Those domains are preservation, research, and communication. The global context of curation is, in this definition, a museum. The more discrete context is the exhibition, or exhibit application. Yet it is all part of a curator’s work.

Curator defined with context. — Figure 2. Definition of the term curator and select context example.

What we see in this definition in Figure 2. is the premise that curators select, gather, care for, and prepare presentations of single items that in aggregate make up a curated collection. That collection becomes a resource and object of education, outreach, advocacy and presentation.

This makes the act of curatorship a scholarly and creative practice that is deeply intentional and based upon the definitional parameters of the organization doing the work.

Course Developers – Curators of Video Collections

Now let us think about what an online course developer is and what they do. At Ecampus course developers collaborate with instructional designers to plan an online course. Instructional designers advise and take content selected by the course developer and build that content into Canvas, our learning management system. The created courses are then shared with students. Course developers are considered content experts much like museum curators are. Let’s look at that a bit more closely.

In Figure 3. below we can see a comparison between the definitional role and duties of a museum curator and course developer. There are striking parallels between these roles. So much so that it would seem reasonable to think about what a course developer does as also a curatorial practice. A practice focused on the learning content, including video, for a given course.

Perhaps the greatest difference between these to two curatorial practices is the context of each. In asynchronous course development it is not uncommon for instructors to perform many of these same functions as museum curators but on a more discrete scale. The scope and context of their focus is obviously different.

In essence a course developer actively gathers and in may cases, creates unique course elements that form the curated media collection for a course. That collection of texts (readings), images, web resources and video is then used for education, research, and perhaps outreach with a constant eye on student access to media. Ultimately a course media collection is intended to permit the course developer to fulfill the purpose of the course and guide students in achieving the course learning outcomes.

The physical design of the course, with its media collection, is the domain of the instructional designer. The collaboration between the course developer and instructional designer are key in preparing the course as an “education exhibition” of sorts that has clear learning outcomes.

Course Video Selection: The Art of Curatorship

We began this discussion with the importance of video in online course development and design. With that in mind it is logical that video curation is an important element of course-wide media collection identification.

Video collection, cataloging, arranging and assembling for display in a course fits quite well within the parameters of curating. Any curation is also about a level of storying, opportunities for engagement, information sharing and perspective sharing (Potter, 2017). In course development these processes as applied to course media, and in particular video, have the potential to create and shape the nature, experience, and associated learning in an online course.

In making decisions about video use in online courses, a course developer would apply their knowledge and expertise to curate the selections. Clear learning outcomes provide a pedagogical and content structure to the video curation process. Once a video collection is established other decisions may come into play that reference an aesthetic for the collection. This is the art of curatorship.

The art of curatorship has been viewed as closely aligned to a design process (Shuey, 2014) and may be guided by an interpretation of the universal visual design principles as conceptual guides to the education exhibition that is the online course. In this sense the curator is not thinking as much about the collection items per se but more about how the collection fits together to provide and support a narrative, flow, or education scaffolding for the course.

Thinking Like A Curator

As an exercise in curatorial thinking let’s take some re-interpreted concepts of visual design and see if they help us think through how we curate not only individual videos but also a video collection. This brief list includes accompanying questions that are informed by the identified principle and may shape the curation of video. In these examples found videos are outside video sources where created videos are those made by the course developer.

Balance: What is the intended balance between: Created and found curated videos? Permanent video and temporary (single-use) video content?
Emphasis: How does found video reinforce or extend created video? Is there a particular focus or intention of video use?
Movement: Is there a scaffolding of curated video that matches the scaffolding of the course progression? How does the video curation contribute to that progression?
Pattern: Is curated content focused, more general in nature, or quite diverse in source, topic or message?
Rhythm: Does video use and viewing support or promote a rhythm of engagement for the course that compliments course objectives?
Repetition: Are curated videos reinforcing similar ideas or concepts? Are videos used consistently for certain aspects of the course (i.e., narrated lectures)?
Proportion: Does the video collection time commitment fit within the time expectations for the course? What is the ideal proportion of video to text, image, and other course media?
Variety: Are curated videos from different content sources and types? What is the ideal balance for the course?
Unity: Does the video collection promote a sense of wholeness to the course? Could the video collection, on its own, communicate identifiable ideas, patterns of ideas, or a range of perspectives on a topic?
Does video accessibility contribute to the overall course accessibility?

In working through this exercise, we begin to move beyond video collecting by subject toward a more complete analysis of video collection selection and use that includes intertwined pedagogic and aesthetic considerations. This helps create a video collection that is intentional in its item selection, organization and use.

Final Thoughts

Recent research by Kaltura Inc. indicates that video use in education is on the rise in the past year. A continued growth of access to video and ability to create video coupled with an interest in integrating video in education efforts suggests course developers have a challenging task regarding media selection and use.

This article presents the idea that course developers, whether obvious or not, are actively engaged in a curatorial process regarding media selection and use. In addition, because of the importance and prevalence of video, its curation is presented as a key element of the larger course media curation effort. Lastly, we have explored how video collections contribute to academic and aesthetic value of a course and provided some key considerations based upon extending classic visual design principles to a curatorial practice.

It is interesting that the term curation has Latin roots in the verb curare; which means to take care of. Course developers conducting intentional video curation contribute to meaningful media curation for a course. This engagement in the practice of a curator is truly a professional act of caring about the quality of course development and the impact on student learning.

In Part II of this series we will address the practice of video curation in the context of an online course and explore instructional design considerations for video use that balance and complement a sample course video collection.

References

American Alliance of Museums. (2009). Curators Committee (CurCom): Curator’s core competencies. https://www.aam-us.org/professional-networks/curators-committee/

Kaltura Inc. (2020) The state of video in education 2020: Insights and trends [seventh edition].
https: //corp.kaltura.com/resources/the-state-of-video-in-education-2020/

Potter, J. (2017). Curation. In K. Peppler (Ed.), The SAGE encyclopedia of out of school learning (pp. 4-6). SAGE Publications Inc., Thousand Oaks, CA.

Shuey, G. (2014, October 21). The art of content curation. RELEVANCE.
https: //www.relevance.com/the-art-of-content-curation/

Wikipedia (n.d.). Definition of term collection.
https://en.wikipedia.org/wiki/Collection_(artwork)

Wikipedia (n.d.). Definition of term curator.
https://en.wikipedia.org/wiki/Curator

Video Resources

Special thanks for the following individuals for their contributions to this article.

Chris Lindberg, Instructional Design Specialist, Oregon State University, Ecampus, Corvallis, Oregon.
Cody Rademacher, Curator, Holocaust Museum & Cohen Education Center. Naples, Florida.

What is Markdown?

What Are the Advantages of Writing in Markdown?

It Is Easy to Learn and Fast to Write

It Is Just a Text File

Markdown is Highly Portable

It Is Easier to Read and Write Than HTML

You Can Write Without Distraction

What Do You Need to Get Started?

A Text Editor

Learning the Syntax

Headings

Level Two Heading

Lists

Hyperlinks

MultiMarkdown: An Expansion of the Language

Advanced Tools and Applications

Yes, But What Are the Cons?

Conclusion

Who Benefits from Accessibility?

What Can You Do?

Accessibility Supports Equity

Reference

“Describe the winemaking process”

Subtraction example #1: Remove formal requirements from informal practice activities

Subtraction example #2: Reduce the frequency of office hours

Subtraction example #3: Dethrone teaching “folklore”

Introduction

ID-Instructor Cooperative Instrument

Initial Feedback

Conclusion & Getting Started

References

Language Acquisition as an OER Subject Matter

Step 1: Survey of needs, resources, and intended uses

Step 2: Identify the scope of your project

Step 3: Collaborate on a framework scope and sequence

Step 4: Write and build

Step 5: Review and revise

Step 6: Implement and iterate

Step 7: Create a plan for long-term viability: updating materials, quality control, and access

References

Culturally Responsive Approaches

Dimensions for Learning Design

Identity and Experience

Design

Linguistic Variability

Content

Interaction

Technology

Sources

Part I: Role of Course Developer as Media Curator

Recent Video Use Trends

Course Developers as Media Curators

Course Video Selection: The Art of Curatorship

Thinking Like A Curator

Final Thoughts

References

Contact Info