Every time I prepare to teach a class or run a workshop, I think back to one of my favorite scenes from an episode of The Simpsons. Principal Skinner has taken an almost-bursting carload of newspaper to the recycling center and is discouraged to see that a half-ton will only get him seventy-five cents. He complains, “That won’t even cover the gas I used to go to the store to buy the twine to tie up the bundles.” The hippie running the place tells him, “It sounds like you’re working for your car. Simplify, man!”

We laugh at this bit of humor, but honestly it’s exactly what many of us do when we are preparing to teach with new technology resources. We are very sure that we want to make use of this new piece of technology; after all, we love it, so surely our students will too, right? We cheerfully load our classrooms full of hardware, software, music and video players, document cameras, interactive whiteboards, classroom response systems, and other equipment focused on accomplishing a specific set of tasks, confident that we have the knowledge and proficiency with them to accomplish what we set out to do. We’re also sure that what we do with our shiny new toys is bound to revolutionize what we do in the classroom every time we teach this material.

In reality, each of us is driving around with a carful of newspaper and no idea of what kind of results we’ll wind up with. We forge ahead into the class intent on delivering exciting new content and too often are derailed by a host of unforeseen issues either with the technology itself or the unexpected effect it has on the delivery of otherwise familiar content. We put that half-ton of effort into making the class work and wind up with seventy-five cents of educational value when it ends. Therefore, it’s up to us to make sure we have the mixture of expertise, practice, and technical know-how necessary to make technology tools work for the class and not against it. Here are five steps to think about before you add that cool new toy to your class.

• Do you know your stuff?

This seems obvious at first. “Well, of course I do! I’m teaching it, aren’t I?” However, to make sure students get the most out of the class, you should know your material well enough that you don’t really need any notes. I was told by a former professor long ago that if you can’t teach your entire class session with notes on one side of a 3 x 5 card, you’re not ready. This guy used to do graduate-level lectures that lasted two hours with no notes whatsoever; he was so familiar with the material that it was just a matter of recall. This idea is great to consider when you are thinking about bringing something new into the class. In case something goes wrong with the technology, you can go on autopilot, and you can focus not on the things you already know but on the one new variable, making your technology work and using it to enhance your instruction.

• Can you make it work?

Again, this answer seems obvious. “Well, it’s mine! Of course I’ve mastered this stuff!” Then surely you know how to troubleshoot all of your wireless connectivity issues, connect your hardware to audiovisual equipment in the classroom, and make sure that any content that needs to be authenticated can be. (If you’re scratching your head right now, you haven’t mastered the technology.) It’s not enough to know how to do this one really cool thing that would be so fantastic in class; you’ve got to be prepared for the fact that it might not work at first and know how to fix the problem. Although it’s always possible to call someone from the Technology Support Center to fix technology problems, there is no guarantee that they will be immediately available or that their solution will be quick. If you’re teaching an evening class, that fix might not be available until the next day or even later. This also assumes that whoever comes from the TSC knows how to fix the technology you’re having trouble with, and if it’s your new toy from home, they might not have any idea. In cases like this, you have to be the expert!

• Can you teach it with this?

Especially when adding new technology to the delivery of a lesson, it is extremely important to make sure that the instruction itself is well paced and makes good use of all available resources. It’s also important to make sure that you know exactly when, where, and how the technology piece will integrate with the lesson. Are you adding in a new delivery system to be used all the time, or is this only for one lesson? Is your new technology going to be a central feature of the lesson, or is it really just a cool “bell-and-whistle” feature that will ultimately distract your students and detract from where you wanted to go? Be sure that the “cool factor” of your new device will be outweighed by its instructional value in the classroom. Don’t think about the neat stuff it can do; think about how you can use it to enhance the quality of your instruction. Too often we assume we can enhance a lesson we’ve had trouble teaching in the past with that exciting, new piece of technology; it usually only makes things worse, because students get distracted by the cool stuff when there is already weaker instruction and lose track entirely.

• Do you have a backup plan? Or, “What if it doesn’t work?”

Most of us remember back to those days when we didn’t have computers in every classroom, when we didn’t have projectors and interactive whiteboards, when we didn’t have iPods and iPads, et cetera. We still learned just fine, and our instructors taught us without all of the equipment we take for granted now. The question we forget most often when bringing new technology into class might just be the most important: what happens if it doesn’t work? There is no bigger disaster than having your presentation take a nosedive because you were counting on the technology and found that it didn’t work the way you figured it would, or refused to work at all. Just like with everything else, technology-integrated lessons need an emergency plan. Be ready to do it analog-style if the tech won’t work this time, and have a plan ready in case it never does. The students have to learn this stuff whether or not you wow them with fancy devices!

• How will you evaluate your results?

In the case of technology, there aren’t always well-defined ways to assess the effects of your technology use on instruction. If you’re simply using new technology to teach old material, the only benchmarks you may have are students’ comprehension rates compared to you not using the technology. If you’re using a new tool to deliver specific content types that you haven’t taught before, you don’t even have a frame of reference to compare it to. In this case it might be useful to survey your students on their reactions to the new instructional tool to gauge its effectiveness before you use it a second time. If you’re using the tool to present material that they will be tested on later, test scores are a great measure of effectiveness; you can see right away what they did and didn’t get, and that can be directly attributed to your performance in front of the class.

I don’t in any way want to discourage anyone from experimenting; after all, that’s what my job, like my other stay at home jobs, is about! I think one of the most important aspects of being a good teacher is the willingness to explore and expand the scope of what instruction is and how to go about it. However, we have to make sure that whatever we do is backed by solid pedagogy, content knowledge, and a well-developed game plan. Armed with this set of tools, we can get our money’s worth for that half-ton of work!

For the past twelve years, I have worked in academic technology at an institute of higher education (with a brief eight-month corporate stint that taught me that my heart and soul truly is in education). However, my academic background is not instructional design but rather in communication arts and theater. I have to say this pairing of work experience and academic education has served me well, as the two routinely go hand in hand with my job.

Toronto – Wintergarden Theater by Cannon in 2D (http://www.flickr.com/photos/16462767@N00/3286021531/)

If you think about it, teaching can be seen as a performance. A performance occurs when there is a performer and an audience and there is communication between them. Sometimes it’s unidirectional coming from the presenter to the audience, and sometimes it is bidirectional with feedback coming from the audience, so the communication cycle is completed. This is the topic for this academic year’s Teaching and Learning Conference at DePaul University—the play and performance found in teaching and learning. The keynote speaker, Nancy Houfek, head of voice and speech for the American Repertory Theatre at Harvard University, will focus her presentation on the “act” of teaching. She will present specific skills that can be used by instructors to be more effective.

I have to agree that these skills are important for any instructor who lectures. The “Sage on the Stage” model of instruction will, in my opinion, always be present somewhere in our classrooms. There has, however, been a move away from a full “sage on the stage” model to a “guide on the side” model, where the instructor is more of a facilitator than a lecturer—a director rather than a performer. So how does the concept of theater play into this type of a classroom? Are the ideas and skills learned in a theatrical setting still useful?

Yes.

The classroom moves away from instructor-based play to student-based play. The students are the ones who experiment, create, and play with the content in order to present the material. They construct their learning like an improv actor would construct the scene or a playright would construct the script. The instructor needs to be well versed in the skills necessary to present, create, and perform in order to guide the students. He or she needs to be proficient in all of the beneficial performing and theatrical skills in order to be effective models for the students.

Theater skills in the classroom are twofold: for the instructor to use himself/herself in presenting content and modeling techniques for the students as well as for the instructor to teach to the students as they construct their own learning and become the “actors” in the room. While not every encounter needs to be worthy of an academy award, the basic skills of vocal projection, blocking, storyboarding, subtext, and storytelling, just to name a few, are skills that all students, regardless of disciple, will find valuable in their own teaching and learning.

I recently found myself composing an e-mail to one of DePaul’s Desire2Learn (D2L) beta testers. I am working with her to design and develop her online course using D2L.

I’d sent her a template for her module content—a word-processing document—and she didn’t understand what exactly an “instructor’s introduction” might look like. I should explain here—for those not acquainted with Desire2Learn—that D2L encourages a linear path through online content.

I explained to the faculty member: an “instructor’s introduction” is an overview of the module. It’s where you explain why the topics are important, connect them to the real world through examples or problems, and point out how this week’s content is connected to last week’s. It also might, or might not, include the module learning objectives, and, if not, they should be an item of their own.

My e-mail began sounding like an overview of Gagne’s nine events of instruction.

I determined a more visual approach was called for! So, I did some finagling and came up with my own “Arc of Activities in a Learning Module.” With some input from colleagues, I expanded the Arc, and the current version is attached for your review.

Feedback is appreciated!

Just last week, after three months of work, I completed my very first knitting project: a frayed baby blanket that was a journey involving many stops and starts, a few more balls of yarn than anticipated, and a great reflection upon how I learn. As a beginning knitting student, learning to hold the needles was laborious and I was convinced there was something wrong with my dexterity, particularly since others encouraged me with "It will get easier!" I often found myself making comments to the knitting experts such as “You’re so fast!” and “How long did it take to do that?”—the very comments posed to me while teaching technology-based workshops. Although my "knitting as learning" metaphor may seem a bit clichéd, my experience as a vulnerable learner was profound and instilled in me a renewed sense of patience and inspiration. In fact, my overall experience in learning to knit—which ultimately did improve, albeit at a tortoise-like pace—exposed me to some key lessons applicable to any adult learning experience.

Lesson 1: Teach skills as they are needed.
Right now, I only know how to execute two knitting stitches and how to cast on in order to begin a project, but I’m okay with the skills I have acquired. I currently have no desire to learn the butterfly stitch, do a heel turn, or make a luxurious après-ski sweater for my cousin. I’m really happy when I’m simply knitting and watching Mad Men on television. I’m content learning a few skills, practicing them, and then moving on to the next skill when I’m good and ready. This leads me to question why, in our technology workshops, we often succumb to the temptation to include every doodad, gadget, and feature available. I think that, as instructional technologists, we know the material so well that it is sometimes hard to put ourselves in the position of the intended audience. We may be guilty of having an underlying impatience to hurry through material so we can get on to what we believe is more interesting and captivating. It’s so much more exciting to go over the glossy multimedia features of a tool rather than focus on the basics, but it is important to teach skills as they are needed.

Lesson 2: Informal learning is critical.
I have joined three different knitting groups and found that meeting like-minded people who are motivated by a common purpose makes the learning experience more exciting. One group was online, and although I was an infrequent guest to the community, it gave me an opportunity to see concepts come together as I built my skill base. Part of the excitement of learning something new is the thrill of making connections between what I already know and what I’m learning. Meeting other people who are going through the same experience helps make these linkages, whether the meeting occurs online or in person. I like the social learning or "guided study group" model of learning new skills and find that informal support systems mixed with formal ways of learning, such as workshops, are effective in learning environments.

Lesson 3: Accept the flaws.
One reason it took me three months to finish my first knitting project was that I had trouble accepting how flawed my knitting was. As I was knitting, I envisioned perfect rows of beautiful stitches; instead, I got loose, big stitches that were uneven, gaping, and frayed. How could I give this blanket to my niece? After a while, I got over this expectation of perfection and embraced my blanket and all of its weird stitches. Likewise, in educational technology, it’s often easy to get wrapped up in perfection and visions of perfectly crafted Edward Tufte-approved PowerPoint presentations. Rather than hide our mistakes, we should embrace them and share more of them. Wouldn’t it be a great learning opportunity to dissect teaching mistakes each quarter so that we might learn from them?

Lesson 4: Don’t be tempted to oblige when someone says, "Please fix this!"
The best part about participating in a knitting group was that, when I dropped four stitches, there was always someone there who could fix it for me. However, when I got home, I had absolutely no clue about how to pick up dropped stitches myself. Some of the mistakes I made drove me to seek out remedies in books and on YouTube. Some mistakes actually never got fixed. Yet a fundamental component of learning is knowing how to fix mistakes. I realize that this process is quite similar in academia. Faculty members want help and, as instructional technologists, we are naturally suited to assist them. However, we aren’t doing them a service by simply fixing things for them. It is actually selfish and might be easier for us because it takes less time than showing them how to do it themselves. Faculty members will appreciate the hands-on experience as well.

Lesson 5: Choices matter.
One of the best aspects of learning to knit is that, even as a beginner, I got to make so many choices based on my level of expertise, such as the types of yarn available to me, the patterns I could select on Ravelry, and the sequence of learning. As my skill level progressed, I was able to choose which stitches I wanted to learn next. Having several options is empowering and makes the learning process much more fun. Too frequently in technology training, faculty members have very few choices. They don’t get to decide what they’ll learn next or the pace at which they learn it. It would be empowering to offer them more selections, thereby providing more individualized training sessions and workshops.

My journey of learning to knit has highlighted various elements essential for an effective adult learning experience. We should provide adult learners with multiple opportunities to explore and try new things, including opportunities to fail and have fun. At DePaul, we’ll have plenty of these chances with our Desire2Learn transition. It will be fine if your course looks like my baby blanket. I just hope it won’t take you three months to complete!

Cross-posted on the CET blog

It is easy to think that Learning Management Systems (LMS) are only useful for fully online courses or those specifically designed to be “hybrid.” If you teach a class that regularly meets in person, why would you consider using an LMS? The answer is that online tools available in an LMS like Desire2Learn offer a one-stop solution for the out-of-class support students are expecting.

A 2009 survey conducted by Michigan State University’s Virtual University Design and Technology (VuDAT) group suggests that student expectations about what makes a good “in-person” course have changed with the increasing availability of online tools:

• Outstanding “in-person” courses are expected (by both students and instructors) to incorporate a wide range of online-support and online-learning activities.
• In-person course instructors are expected to organize and link to online external readings and relevant external Web sites, interactive problem sets, simulations, and games.
• Instructors expect and are expected to structure and guide online discussions and blogs outside of class in addition to their teaching role during the in-person class time. Students want to receive regular e-mails from their instructors, to be able to access syllabi, grades, and class lists outside of class, and ideally, to view slide shows or lectures presented during live class online.

A helpful visualization of the survey results is below, and the full report is available here.

These survey results interest me because they are consistent with my own expectations for a face-to-face course, which have been influenced by my experience as an online student and online instructor. I am interested in the factors that influenced the survey participants’ expectations and how many of them have experienced formal online learning. As an online student and instructor, I had access to most of the highly rated online tools mentioned in the survey. I cannot imagine taking or teaching a course, including a face-to-face course, without this robust online support.

To meet student expectations about online support, an instructor might employ a range of separate tools. For example, she could use an online gradebook tool, create a Web site, maintain a public Google calendar, organize student e-mail addresses in a mail client, and create a blog or message board for discussions. All of these tools would be scattered across multiple URLS, with various logins, degrees of security, and kinds of technical support.

In contrast to this ad hoc approach, a Learning Management System provides a central, organized location for online tools and resources—behind a secure login and with institutional support. If additional tools are needed, they can be linked from this one site and embedded in the context of the course. Use of the LMS relieves the individual instructor of many responsibilities and provides students with a streamlined experience of online course resources.

As DePaul transitions to a new LMS this year, those involved in the design and delivery of in-person courses should consider the available tools and how they can be used to support student learning beyond the classroom walls. Bill Gates advocates this combination of online support for in-person classes, in his 2010 Annual Letter: “So far technology has hardly changed formal education at all. But a lot of people, including me, think this is the next place where the Internet will surprise people in how it can improve things—especially in combination with face-to-face learning.”

Sharon’s recent post about encouraging student creativity got me thinking about assignments that foster innovation and originality. As someone who spent a lot of money to obtain an M.F.A., I have a vested interest in anything that promotes the value of creative education, which is why I’m a fan of Daniel Pink’s work. Pink is perhaps best known for his bestselling 2006 book, A Whole New Mind: Why Right-Brainers Will Rule the Future. In the book, Pink proposes that we’re experiencing a shift from the information age, which valued knowledge and logical, left-brain thinking, to what he calls the conceptual age, which values innovation and six key “senses.” These senses include:

1. Design – Moving beyond function to engage the senses
2. Story – Adding narrative to products and services, not just argument
3. Symphony – Adding invention and big-picture thinking, not just detail focus. Call My Friends at InventHelp!
4. Empathy – Going beyond logic and engaging emotion and intuition
5. Play – Bringing humor and lightheartedness to business and products [1]
6. Meaning – Incorporating a higher purpose into products and services

Pink has gone so far as to proclaim that the M.F.A. is the new M.B.A. and that creative professionals such as artists and designers are the innovative problem solvers who will lead the much-hyped new economy. While I don’t want to oversell the value of an art-school education, I think most educators agree that we’d all love to integrate creative thinking and problem-solving skills into our assignments. Of course, fostering creativity in higher ed comes with several challenges:

1. How do I motivate students to do great, innovative work?
2. How do I ensure they’ve mastered essential concepts and skills?
3. How do I grade their work fairly?
4. How do I grade their work in a reasonable amount of time?

I realize the last three questions are often the ones that matter most to instructors, but they’re also the most irrelevant if we don’t first address question one when designing creative assignments. As luck would have it, question one is also the focus of Daniel Pink’s newest book, Drive. The following video presents some of the key findings from the book and addresses some common misconceptions about what motivates people to think outside the box.

(This amazing animation was created by a company called Cognitive Media and I have to say I think their work merits a blog post all its own. For another great example, check out Barbara Ehrenreich’s “Smile or Die”.)

Pink’s presentation proposes that three key factors foster creative thinking: autonomy, mastery, and purpose. Hopefully, educators can find it comforting that money and material gain are nowhere to be found in this list, since we can’t start offering students 50 dollars for every great idea they come up with. I feel fortunate to teach in a discipline where these motivating factors seem easy to incorporate into the projects my students complete. In my Web-design course, I allow my students to choose what type of site they would like to create and what type of client they’d like to work for in creating their final projects, giving them a great deal of autonomy. I require that the project result in a completed, fully functional Web site, ensuring students will have a sense of accomplishment and mastery. And I encourage students to work with a nonprofit or small business that normally couldn’t afford a professionally designed site, providing a sense of purpose.

It might seem hard to imagine how other disciplines can incorporate these factors into their assignments, but I’m sure it’s possible. That doesn’t mean we have to throw out all our multiple-choice quizzes and other standardized assessments, and it doesn’t address how to grade creative projects fairly and quickly. But I think when we focus on creating assignments that motivate and inspire students, they tend to go beyond the requirements of any grading-criteria checklist we could have dreamed up. And in the process, they might just inspire us to stop watching the clock and enjoy the task of reviewing and evaluating their work.

1. Summaries of items 1 – 5 were taken from the Wikipedia entry for A Whole New Mind.

“A critical part of becoming creative is being able to play—to play with ideas, with tools, and with pedagogical techniques.” This is a point made by Dr. Punya Mishra at the preconference workshop (Creative Teaching with (and without) Technology) for this year’s DePaul Annual Faculty Conference, and it is a point that I try to practice whenever I get to wear my professor hat.

As the instructor of a beginner-level Chinese-language class, I design various kinds of TPACK games and events that combine pedagogy (P), technology (T), and content knowledge of Chinese (CK). The activities I’ve designed range from celebrity-gossip sessions in Chinese (yes, I learned a lot about Jersey Shore in class), to an interactive lecture session with PowerPoint, to an online character-writing assignment on Wimba, to an all-about-my-family talk on Voicethread.

Although most of the time, I am the one who is throwing the ball to the students, when it’s their turn to swing, they strike back hard and soundly: the breakout sessions they managed during our online meeting had better structures than mine; the tally games and activities they designed during the final prep session were fun and sweet (with cookies and treats); and the presentations they put on Voicethread make mine look nothing but dry and boring.

This quarter, some of the players are just out of control—they knock one out with a movie!

CHN103 Movie: A Sneak Peek

Take a look at this trailer of a movie made by my students.

I called it a movie since this twenty-three-minute-long video project conveys a story with twisted themes played by eight characters. In addition to a series of well-designed episodes, it includes special effects, sound bites, theme music, animation, an FBI warning at the beginning, and bloopers in the end.

 It took eight students thirty-some hours to produce it—for a project that is worth only 10 percent of the total grade. That’s right, 10 percent, since all I asked was a short presentation in Chinese delivered via electronic means like Voicethread.

“Can we do a video project? Can we?” A call was made by one and echoed by a few.

“OK,” I said, “with one rule: everyone has to play an acting role in it!”

And from there on, eight out of the twenty-one students in my class teamed up and merged themselves into this fun and crazy idea of playing Hollywood at DePaul.

An Idea for Fun

I bumped into the cast and crew while they were shooting a scene outside the library. There was laughter mixed with screams of excitement between takes and cuts, but none of them ever bothered to ask me how many words needed to be included in their project or how long it should be or where to find the assignment requirements online. Clearly, they fell in love with what they were doing.  They were not driven by a grade; instead, they were doing the work they enjoyed so much that they didn’t consider it work or an assignment anymore.  And loving what they do is the one common attribute Mihaly Csikszentmihalyi found among creative people (or people in their creative mood).

The sight of my students defining and designing their own class project reminded me of when I was a student.  Over a decade ago, I took a class on multimedia design and production, and I had a classmate who was far above and beyond everyone in the class (I secretly believed that he actually knew more than our professor). For his class project, he wowed us with an online game he designed that was not only animated but also interactive.  My professor gave his project an F, with a simple and “legit” reason: he didn’t follow her requirement of creating the animation in PowerPoint. I still remember how disappointed he looked when he told us his grade and how much time he had spent on this project.

I now know that from a professor’s point of view, this F was not just a grade; it was a message sent to a self-centered smart aleck: follow the rules and stop showing off!

I never thought there was anything wrong with that message until I became a professor myself.  Well, actually, until I became a mother, a role that forced me to explore and to understand what is going on in the little minds of my children.

Young minds are so fresh and original; they constantly manufacture crazy ideas longing to be attended.  They cry (literally) for the opportunity to show off!   Because they own the natural resource to generate creativity: the energy and brashness of youth (Malcolm Gladwell, Late Bloomers: Why Do We Equate Genius with Precocity, New Yorkers, 2008).

When creativity is budding, it also requires a safe environment to live and grow.   Teachers — in day cares, colleges, and anywhere in between — have the power to either create or destroy that enviroment.   In a classroom where creativity is chreshed,  the sparkles of a creative thought may lead to a beautiful moment of learning through the hand of an innovative teacher  —like the one described in this new letter from my son’s day care.

A Newsletter

This is a letter prepared by Noel Sucherman, one of the teachers of my son’s preschool class. It contains updates of activities that have taken place in a classroom of three- to five-year-olds.  One of the stories goes like this:

During lunch, one friend asked another friend “what would happen if they put their apple seed in the ground.” The friend responded, “A tree will grow, with apples on it!” We talked about how some seeds are planted right outside while other seeds need to grow inside first. There were several requests to grow our own apple trees. Seeds from our apples were placed inside a bag with a little bit of water. The bag was closed to help keep the warm air inside. “We have to keep the seeds safe, a friend said.” After about fifteen days, a few sprouts were observed growing out of one of the apple seeds. “Noel, we cannot grow a tall tree in a bag. We have to put it in the dirt.” The apple seeds were transplanted into a pot of dirt for further growth. We also grew lima beans. Each child wrapped a bean inside a wet paper towel, then placed them inside a bag, watered them and taped them in various places throughout the classroom. Only two children wanted their beans in a dark place, the rest of the beans were hanging in the windows where they were exposed to more sun light. After nineteen days, the two friends beans began to sprout roots, interestingly they were the beans placed in the dark. So many of the children then wanted to relocate their beans to dark places in the room. Their beans also started growing. Once the roots started to appear, the children then planted the beans in little pots of dirt.

In this story, an interesting scientific experiment stemmed from a casual lunch chat or a crazy idea from a little kid wanting to plant a tree out of a seed—because they were well cherished and nurtured by a teacher!

Teaching is an art that lives in the moment; and most of the moments are jointly created by the teacher and the students.  After showing off my students’ movie project to the third audience group, I thought that I’d better jot down what my students have taught me about how to stimulate creativity:

• Maintain a young and playful mind (so you will appreciate the same)
• Give students plenty of chances to play with their own ideas (TPCK can be owned by them)
• Join them in the play
• Have a goal for every assignment, but unlock the rules
• Make a big fuss about any out-of-the-box thinking
• Seek meaningful learning outcomes from the fun of playing ( after all, their movie is in Chinese)

And last but not least,

• Reflect by writing a blog entry or respond to the one I wrote!

A couple years ago, a colleague and I posited an instructional-design approach to improving learning and performance when utilizing Web 2.0 technologies. This approach was built upon the socio-constructivist philosophies of learning and emphasizes three dimensions in designing learning for the Web 2.0 environment—social/collaborative elements, user-generated design, and knowledge management. The motivation for this approach stemmed from the recent emergence of approaches to learning that are based on self-determination and networked contexts such as heutagogy (Phelps, Hase, & Ellis, 2005) and connectivism (Siemens, 2005), which help us understand learning as making connections with ideas, facts, people, and communities.

Learning has grown beyond mere consumption of knowledge and become a knowledge-creation process.  We sought to develop a model (so to speak) that builds upon the inherent capacity of networked communication to support improvement in learning and performance and a means to approach learning in which students engage in a process of learner-driven design. Learning in this new paradigm is derived from innovation rather than instruction. Our investigations while assembling this model reinforced the notion that learner-designed contexts have the capacity to connect the formal learning agenda of educational institutions with the personal learning goals of students.

Our contention is that the learner must be placed at the intersection of social construction of knowledge (Glasersfeld, 1995) and distributed cognition (Salomon, 1993). Thus design, particularly for networked contexts, should slide to the learner-directed side of the pedagogy-heutagogy continuum. Garrison, Anderson, and Archer (2003) identified social presence, cognitive presence, and teaching presence as the conditions for developing an online learning community.  Their finding, in conjunction with our assertions, dictates that design should now provide for co-configuration, co-creation, or co-design of learning.

That’s what we think, anyway. What about you?

If you’re interested, you can find the complete model in Wired for Learning: An Educator’s Guide to Web 2.0, Terry T. Kidd, Irene Chen (Eds.), Information Age Publishing. Charlotte, NC.

Garrison, D. R., Anderson, T. & Archer, W. (2003). A theory of critical inquiry in online distance education. In M. G. Moore, & W. G. Anderson (Eds.), Handbook of distance education (pp. 113–127). Mahwah, NJ: Erlbaum.

Glaserfeld, E. V. (1995). A constructivist approach to teaching. In L. Steffe & J. Gale (Eds.), Constructivism in education (pp. 3–16). Mahwah, NJ: Erlbaum.

Phelps, R., Hase, S., & Ellis, A. (2005) Competency, capability, complexity and computers: exploring a new model for conceptualizing end-user computer education. British Journal of Educational Technology, 36(1), 67–84.

Salomon, G. (1993) No distribution without individual’s cognition: A dynamic interactional view. In G. Salomon (Ed.), Distributed cognitions: Psychological and educational considerations (pp. 111–138). Cambridge: Cambridge University Press.

Siemens, G (2005). Connectivism: Learning as network-creation. ELearnspace. Retrieved November 15, 2007, from http://www.elearnspace.org/Articles/networks.htm.