52. Metaliteracy

Do your students create digital media in your courses or just consume it? Does the concept of information literacy seem too limited in this context? In this episode, Tom Mackey (Professor in the Department of Arts and Media at Empire State College) and Trudi Jacobson (Head of the Information Literacy Department and Distinguished Librarian at the State University of New York at Albany) join us to discuss metaliteracy as a framework for improving critical thinking and metacognition while students become active participants in the construction of knowledge in online communities.

Show Notes

Transcript

Rebecca: Do your students create digital media in your courses or just consume it? Does the concept of information literacy seem too limited in this context? In this episode we discuss metaliteracy as a framework for improving critical thinking and metacognition while students become active participants in the construction of knowledge in online communities.

[Music]

John: Thanks for joining us for Tea for Teaching, an informal discussion of innovative and effective practices in teaching and learning.

Rebecca: This podcast series is hosted by John Kane, an economist…

John: …and Rebecca Mushtare, a graphic designer.

Rebecca: Together we run the Center for Excellence in Learning and Teaching at the State University of New York at Oswego.

[Music]

John: Our guests today are Tom Mackey, Professor in the Department of Arts and Media at Empire State College and Trudi Jacobson, the Head of the Information Literacy Department and Distinguished Librarian at the State University of New York at Albany. In fact, she is currently the only Distinguished Librarian in the SUNY system. Welcome, Tom and Trudi.

Trudi: Thank you.

Tom: Thank you. Very happy to be here. Thanks for the invitation.

Rebecca: Today our teas are…

Trudi: I am drinking highland blend.

Tom: I’m drinking sweet cinnamon spice.

John: And I am drinking chocolate mint tea, a Harney and Sons blend.

Rebecca: I’m back to my good ole English afternoon.

John: Such a surprise.

Rebecca: Sometimes you just need to have the dependable option.

John: Both of you have written very extensively and done a lot of research and workshops on metaliteracy, with three books, three MOOCs (with a fourth one under development), several articles, a badging system and the metaliteracy.org blog. Could you tell our listeners a bit about what metaliteracy is?

Tom: Sure. Thanks, John, I’ll start. Metaliteracy is a pedagogical framework that empowers learners to be active producers of information in collaborative environments. So that’s our elevator speech right there in terms of what it is. Basically, it is an approach to teaching and learning that prepares individuals to be reflective learners in addition to being critical thinkers, and we’ll talk a bit about how that reflection piece is especially critical for a metaliteracy, which, of course, applies metacognition. By doing so, learners are informed consumers of information, which means they ask good questions about the information they encounter in a variety of environments, and as you know, that’s important today with all the different environments and social media environments and access to different kinds of new sources that we have; it includes those especially mediated by technology. And we’ll talk as the idea was first introduced and developed why that was so important to the concept. When we first introduced it we really argued that because of the emergence of social media, online communities especially, think about web 2.0 and the change from the original web—what a critical moment that was—that what we really needed was a metaliteracy that promoted effective participation in these environments. As we know, these collaborative social environments have an engagement piece that is important; we build that into this metaliteracy framework; we thought there was a real need for that—how we were developing it. We also acknowledge that in addition to acquiring information and looking critically at information that individuals really needed to creatively create and share information in this connected network world. This idea of consuming information versus producing information, it’s an idea that’s been around for some time, but we really thought it was critical to develop it into a metaliteracy that also focused on reflection as a core concept. The idea of a metaliteracy is that we look at some of the common characteristics that unite different forms of literacy—that was the other piece of this. We introduced it as this comprehensive, unifying framework. The idea for that was that in this social media environment what we really needed was to try to better understand different competencies, different characteristics of literacies instead of just coming up with a new literacy every time there’s a new technology. We were trying to look at things in a more comprehensive way. As the idea developed in the first book, especially the meta in metaliteracy, intentionally invokes this idea of metacognition. Or thinking about your own thinking: this is really key to metaliteracy because metaliterate learners are reflective about their own learning experiences and they really take charge of their literacy and learning which is really where the empowerment piece comes in.

Trudi: Meta derived from the Greek… also means “after.” Metaliteracy is what happens after literacy. Basic reading and writing, what comes after that. Also what comes after information literacy, which is g enerally thought of as finding and locating information. The definition of information literacy has expanded since we started work on metaliteracy. In addition to reflecting on their own thinking, the metacognitive aspect of metaliteracy also means that individuals have the capacity to self-regulate their own learning, which means that they identify their own strengths and weaknesses and play a role in preparing themselves to adapt to new learning situations. Metaliteracy prepares learners to adapt new technology and to do so in a critical way, that is asking questions about how technologies are designed and the ways that technologies or platforms may impact how we access and create information as well as how we communicate with information. Originally we developed metaliteracy to emphasize how individuals participate in social media environments. And Tom, would you like to talk a little bit about that?

Tom: That piece is really essential to what we’re doing. We see this framework is relevant to a range of collaborative teaching and learning situations, but it is interesting that we saw a real need for emphasizing the social media aspect, online communities, this post web 2.0 environment that we are in, but we also don’t want it to be limited to that. We really see metaliteracy in all environments, all collaborative environments… communities of practice. This is something we should be thinking about beyond just the technology, but really how we engage with each other, how we participate and perhaps also how we blend the technology, how we mediate technology with those spaces as well.

Trudi: One of my favorite parts of metaliteracy is that it advances the idea that learners are teachers. We see this in collaborative environments where learners support and teach other learners, but what’s really important is that often students, for example, don’t think they have any particular expertise in something, and encouraging them to empower to teach others often leads to really interesting situations.

 Tom: That part is so key and that’s something that we saw in our own teaching experiences that when we had students in collaborative situations… group work… building technology tools together… building collaborative websites, for example, that the students themselves were as much a teacher as I was, and trying to foreground that so that they can see it, is critically important.

Rebecca: This is a really interesting framework and you’ve given us a lot to think about. Can you help us make it a little more concrete by providing an example of how you might emphasize metaliteracy in a class or what you mean by a student who might be metaliterate?

Trudi: One of the things that I would do in my classes is encourage students to be information creators and to explore the technology in doing so. So they don’t have a final paper that they have to write, but they may need to create a video or a tutorial or we’ll be talking about our badging system later, maybe creating content for that and doing it in small groups. If they’re doing something where they have to use a technology; I don’t teach them that technology; they sort of learn together and that “learner as teacher” often comes out in those situations because often there’ll be a student in a group who will have more expertise in that area or be more willing to just jump in and see what happens, and then the rest of the group will learn from that. One of the more interesting teams that I had when I’ve taught is one where none of the students felt they could do anything, but they actually accomplished it and their sense of pride and empowerment in doing that was wonderful.

Tom: I have an example: I’m currently teaching a course at Empire State College called “Digital Storytelling,” and the whole point of the course is that students learn about these resources, they locate them (with some prompts from me in the course), but it’s a fully online course and in many ways they have to figure this out on their own, they have to adapt to these new technologies, and I think that they’re looking at their own use of technology in a different way. So, for example, the very first assignment they have to create a selfie video with their cell phone. So they all have cell phones, they probably all done videos before, they probably all done selfies before, but this assignment is really designed for them to introduce themselves to everyone else in the class in a fully online course. From the very beginning they have to challenge themselves to present themselves a certain way to the class… to be themselves but to also think through that presentation, to really be the active producer of information in a collaborative setting where they’re doing something on their own but they’re sharing something about themselves to the other class. In an online course it allows us to get beyond just the text-based introduction and online discussion and to really seeing the students, to hearing from them. I posted a video of myself and it was great to see their response, so it was very much like a classroom situation but it happened asynchronously and online and it was a great way to get the class started, so from the very beginning they saw themselves as digital storytellers and they know that they now are starting their story and that we’re all going to participate and learn from them.

John: So it’s encouraging students not just to critically analyze information as consumers but to be active participants in social dialogues as producers as well. Is that a reasonable short summary?

Trudi: Yeah.

Tom: Absolutely. And what does that mean? …especially in today’s environment, which is very participatory but were divided and partisan in so many different ways. How do we get across those divides? What does it mean to be a responsible participant of information now? What does it mean to be an ethical contributor to these spaces? The whole idea is to really to get them to reflect on this, and not just to produce and share something, but now especially to think about the implications of that so that the informed consumer part is still important so that they’re thinking about these different sources that they’re encountering but also thinking about what they’re creating themselves and sharing.

Trudi: I think when they’re asked to be information producers in this way they think about themselves differently. They create information and share it on social media, but they don’t really think of themselves as information producers, and so I think it expands their horizon.

Tom: They may not have necessarily been asked to do so in an academic environment. This blurring of boundaries between informal learning and formal learning, I think it helps to push that a little bit. Not to say that they’re not beyond our classes, because they might be, but clearly they’re doing it in their everyday practice with their cell phones and the way they consume information now, but this really foregrounds, I think, in some of what the responsibilities are and what the empowerment of that is as well when they’re asked to construct something, so instead of a research paper maybe that is a collaborative media project with their peers—what kind of learning do you gain from that experience?

Trudi: Just one other point. The projects that I was talking about, they need to create them for public consumption. It’s not something that’s just directed at me as the professor of the course. They have to think about it a bit differently.

Tom: That’s a great point, because in the digital storytelling class they’re not just creating it even for the Moodle environment that we’re in; they have to actually upload their selfie videos to YouTube so that they’re thinking a bit about that public consumption piece even beyond the instructor and even beyond the class itself because now it’s up on YouTube and hopefully that’s having an impact on what they’re thinking about in terms of how they present themselves in the information that they’re producing.

Rebecca: I’m hearing two key things bubble up in what you’re talking about and one is audience and the second is reflection. Are those two key things to move up beyond traditional information literacy to this metaliteracy level?

Trudi: I think that those are two key pieces, but I think, well, there’s the old definition of information literacy and then there’s the newer one, which somewhat influenced by metaliteracy, but I think that often information literacy is thought of primarily as consuming and evaluating information, so not the responsible, creative production of it. It’s also too often, I think, seen in the academic setting as just related to research and not sort of life-wide. I think that that’s another element here.

Tom: In many ways that’s what I think we were really originally working against that original information literacy definition, the ALA definition and also the Association of College and Research Libraries, the original standards, b       which were very prescriptive in the way that they were designed, so that we were as a framework were really just trying to open this up and also take into account the technology piece—not make it all about technology, certainly, but in many ways the advance of web 2.0 and emerging technologies was kind of being, at the time, anyway, sort of avoided. We knew that there’s a real shift happening in our culture and I think that we’re sort of on the other side of that now, but I think that was important to bring that into the learning experience to have students really reflect on those environments and what they’re doing in those environments.

John: You both mentioned the new ACRL information literacy framework. How does metaliteracy relate to that?

Trudi: We developed metaliteracy in part because of a frustration, with this old definition as we were talking about and Tom mentioned the standards really were very prescriptive, very skills based, concentrated on behavioral and cognitive learning domains. Metacognition was not a part of it, so you identified metacognition so that reflection as something new and they didn’t explicitly address the affordances of web 2.0. So I was co-chair of the task force that was convened by the Association of College and Research Libraries and I brought the idea of metaliteracy to the group for consideration. There were a lot of forces at work in developing the structure of the framework and there were like 2000 people weighing in so it’s a very interesting process. Threshold concepts or core concepts was one of the primary features that we used with the framework. I sort of quote from the introduction to the frameworks; there are those ideas in any discipline that are passageways or portals to enlarged understanding or ways of thinking and practicing within that discipline. For example, in biology, evolution would be a threshold concept. That was one element and then the other was metaliteracy. The idea of learners as information creators as well as consumers—which we’ve talked about—definitely has a presence in the framework. There are four learning domains in metaliteracies: behavioral, cognitive, affective and metacognitive. These all have made their way into the framework, so there really is in part a close relationship between the two. For example, the affective domain maps to the whole sections on learner dispositions. I think that there really is a close relationship and I think metaliteracy has gotten additional notice from people because it is explicitly mentioned in the framework.

John: So it’s complementary that they fit well together, they link well together.

Trudi: That’s right.

Tom: I think that’s a good way to put it that they’re complementary, because that also allows each approach to still move forward because we see metaliteracy as this evolving concept and we’ve been working together—we’re working with a team of colleagues called the “Metaliteracy Learning Collaborative” on these ideas, we’re writing together and we’re developing this different MOOC and badging projects. Every time we do something new we’re learning something new and we’re trying to build that into the core ideas here. I think that this idea of complementarity is really important to these two; they’re not mutually exclusive, they work together, and as Trudi mentioned, when we go out and talk to different audiences on this they’re interested in both concepts and working with both. One interesting comment we often hear from people is that with metaliteracy they’ll say you found a way to talk about something that we were trying to do or that we were already doing but you found a name for that really made sense. We really like that: the fact that we were able to name something that really probably was in practice but maybe didn’t have as in-depth of a framework built around it and we like that dialogue with practitioners and something we try to do so this idea of theory and practice for metaliteracy is critically important and allows you to move forward.

Trudi: And the ACRL information literacy framework information literacy is not something that can be taught only by librarians so it’s really directed also towards faculty and administrators. It still seems to have a librarian focus to it, whereas metaliteracy, I think, extends beyond that. Librarians are interested in it but we’re also seeing all sorts of things that are being written or talked about by academics in a really broad range of disciplines.

Tom: And we’ve found that in the books we’ll talk about the two unedited books we’ve done in addition to the first metaliteracy book and we saw evidence of that when we do a call for proposal; it’s really from a wide area of academics. We definitely have librarians, but we also have faculty from many different disciplines, and also instructional designers. That piece of it has been really fascinating as well because we’ve been trying to really open it up to as many people as possible and not seeing it just within one particular discipline.

John: How have faculty and librarians responded to your work?

Trudi: There’s been a lot of interest in it to explore one of the collaborations. Somebody that I’m working with at the University at Albany is a political science professor. This will give you an indication how at least one person has responded to our work. She teaches a 200 level political science course that includes some of the general education competencies, one of which is information literacy, and she was developing this course from Pollock. She came to me to talk about information literacy. We ended up talking about metaliteracy and she was so excited by some of the things we’ve talked about that it would do for her students, so this idea of information creators, the empowerment that she has made metaliteracy sort of a key part of her course. She has the students do about 8 activities connected to metaliteracy. These activities come from a digital badging system that we can talk about a little bit later. She actually has students create an activity that would fit into this digital badging system, which is pretty exciting. This year she asked us to extend what we’re doing and we have been creating questions for the students about what it means to be an information creator, information producer, a teacher, a translator of information and we found this very exciting. It’s not just a collaboration in that she is using some of this material for her students, but her students are creating things for us and she’s giving us ideas. It’s just one example but it’s one where it has become a core part of this course, not only when she teaches it but when others teach it as well.

Tom: Collaboration has been key to what we’ve been doing from the very beginning. The first SUNY IITG we received was really to initiate to launch a metaliteracy learning collaborative and that first project led to the development of our first connectivist MOOC… b eginnings of the digital badging system, although it wasn’t part of the initial grant, but that’s something that we started working on, and also what was most important at the time was the development of the first metaliteracy goals and learning objectives which we’ve recently revised but it was important when we developed that that instead of just Trudi and I working on this together, we really opened it to a SUNY-wide audience that included faculty and librarians. Those goals and learning objectives are available via metaliteracy.org and we recently revised them as well. I think that collaboration with the metaliteracy learning collaborative also led to thinking about metaliteracy in a different way and thinking about those four domains of learning that Trudi mentioned previously; we would look at the metacognitive, which we’ve mentioned is key but also the behavioral, the cognitive and the affective domain so that what we’re really looking at is really the whole person. We’ve also through the metaliteracy learning collaborative we’ve been working on papers together, we’ve been working on these MOOCs; we were lucky enough to have the experience of working on a connectivist MOOC really early on and then I took Coursera MOOC and then a Canvas MOOC and now we’re working on open edX and all those projects involve faculty librarians from Empire State College, the University of Albany and other parts of SUNY, that’s really key. We’re very lucky that we’ve been invited to speak on this which also shows the level of interest and how people are responding to it and many different venues and last year we were lucky enough to present at a conference at the University of Guadalajara in Mexico for this literacy and learning conference and it was just a great experience to be there with international scholars who were talking about literacy in various ways and then we added something by talking about metaliteracy and there’s a lot of interest in what we were talking about. We appreciate those opportunities to have conversations that are both theoretical and practical; the response has just been really positive.

John: We should just clarify the IITG program you mentioned is a SUNY-wide competitive grant program for all of the colleges and universities within SUNY. You were one of the early recipients of that and have received some further funding from that, just to explain that to our listeners who are not as familiar with the SUNY system.

Trudi: John, since you mentioned the innovative instruction technology grant, just to show sort of interest from others, we did get one with School of Education faculty member, actually one from Albany and one from Empire State College because they were really interested in the digital badging, but also the idea of a digital citizen. The plan was and happened that graduate students in education who were going to be teachers would have an opportunity to learn about digital citizenship that’s important for them when they’re teaching, also what digital badging is, so there were a couple of different takeaways. We were able to move metaliteracy or an aspect of metaliteracy into graduate education for educators.

Rebecca: There’s been a lot of mention of metaliteracy badges so maybe we can talk about those?

[LAUGHTER]

Trudi: Yeah, certainly. This was something that developed out of one of those innovative instruction technology grants. We’ve been working on them ever since. What we did was we took the learning goals and objectives for metaliteracy and created open content, very ambitious scheme. There’s four digital badges in the system. Each one of which has anywhere from 12 to 20 activities, starting with lower level quests, moving up to challenges and ultimately you get to these four digital badges. They were written by members of the meta literacy learning collaborative. Tom has written some, I’ve written some. Students have written some, so undergraduate and graduate students they’re being used currently at Albany about 2,500 students have gone through parts of this badging system. The only ones so far who’ve actually earned badges are ones who have taken my courses. It’s content that can be used in classes across a range of disciplines. Also, adaptable to the disciplines. I mentioned earlier the political science professor and sometimes she sort of tweaks the assignments in there so it really relates to what she’s teaching in her political science course. The badge system itself at this point is restricted to University of Albany because there’s a single sign-on process, but we do have a website that has all of the content openly available. People are welcome to use this.

Tom: And from the perspective of someone who has developed some content for this it’s really a fascinating experience because you know that you’re somehow reaching learners that are not in your course but that it’s something that you’re opening and you’re sharing, so this idea of thinking about them as open educational resources that can be then adapted for different contexts. It’s really interesting and exciting to know that something I might create as a learning object could be used by a faculty member here at the University at Albany who’s having their students go through it. Some of them that I developed are based on learning activities I had created in some of my information science courses when I taught here at the university, but I’ve adapted them or updated them. That piece of it from a faculty perspective, as long as you’re open to it, is really engaging and interesting and a way to reach other learners who may not be students in your class but you’re sharing those ideas with them.

Trudi: And I don’t know if it’s ok if I plug a book that I just co-edited with Kelsey O’Brien… Just published this month, September 2018, Teaching with Digital Badges, which was published by Rowman & Littlefield. In that book there is a chapter written by Kelsey O’Brien on the metaliteracy badging system.

Rebecca: Great, you’re both working on a new book together, right?

Trudi: Yes.

Tom: Yes.

Rebecca: Can you talk a little bit about that new book and how it connects to your earlier work?

Tom: Sure, the new book is called “Metaliterate Learning for the Post Truth World.” We’ve shifted somewhat from I think what was a really optimistic view of the connected world and how great it is to be producers of information and be participatory to really trying to further emphasize some pieces that were there but I think needed to be fleshed out a bit more for the new environment we’re in post truth, which is based on confirmation bias and misinformation, false information and questions about new sources and all kinds of misleading facts that are being sent out. We really wanted to take that head-on because we saw metaliteracy in many ways even though it’s an idea that had developed previously as something that is a strong education response to some of the concerns and issues that we’re seeing today. Soon after the 2016 election we wrote a piece about fake news and that term is certainly changed even from the time that we originally wrote it. Wrote a piece for the conversation called “How to Reject Fake News in a Digital World,” so again taking a metaliteracy approach to looking at fake news in a critical way. Since that time even the term fake news, of course, has been weaponized, so we have conflicting thoughts about even using that term based on the research some educators think that it’s important to still keep using it and others want to reject it completely but I think we all generally know the narrative of that. The new book we decided to foreground metaliteracy in this environment and to make it an edited book so that we could engage other educators about this idea. Wasn’t just us but that it was other educators who were dealing with it. About half of the book is very theoretical and the other half of the book is more practical. When we did a call for proposals we tried to intentionally keep that open because we wanted different perspectives on this. I wrote the framing chapter to really talk about post truth, to reframe metaliteracy within this context and to also talk about a new figure that Trudi and I developed together based on the metaliteracy learning characteristics. The new book is going to present a new image, a new figure that further develops the metaliteracy idea from a theoretical perspective and talk about the importance of those characteristics in the post truth world. We’re joined by incredibly prestigious authors who from a theoretical standpoint look at things such as the importance of documentation in metaliteracy, and again, what they’re doing is they’re flushing out pieces of metaliteracy that we have not engaged with yet, so it was really exciting to see that. Another author talks about inoculation theory preparing learners to in many ways be resistant to some of the post truth issues that we’re currently engaged in. Scientific literacy, so there’s a whole chapter on the importance of scientific literacy and looking at it through the lens of metaliteracy. Also, looking at the synergy of word and image and photojournalism, Tom Palmer who teaches here in the journalism program at the University of Albany and it was also a journalist who works for the Times Union wrote that chapter. A few of the chapters do deal with the ACRL framework for information literacy for higher education, so we had that perspective. We were talking previously about both concepts are complementary and we have a few authors who really prove that. We also have a few authors who look at such topics as teaching students to be wrong, genre writing in the first year, writing instruction and the application of poetic ethnography in digital storytelling to create narratives in Philadelphia neighborhoods. I’m very interested in digital storytelling. I mentioned that previously and one of our authors also talks about digital storytelling to empower voices and to encourage students to really raise their voice in the current times that we’re in.

Trudi: And earlier you sort of asked how faculty, other educators, librarians have responded to metaliteracy. I think it’s really interesting. Tom and I did a workshop on metaliteracy at Temple University and a couple of these chapters actually came from people who were in that workshop. It was really sort of exciting to see the immediate impact that that had had.

Rebecca: That’s cool. So this sounds like a really great book; when can I get it?

Trudi: Next spring. [LAUGHTER]

John: Ok. Your current MOOC is a Coursera MOOC but you’re developing a new open edX MOOC. Could you tell us a little bit about that and how that new MOOC will differ from the prior MOOCs, because you’ve had more than one in the past?

Tom: This is part of a continuum of those three MOOCs. We actually wrote a paper in Open Praxis that talked about metaliteracy as a pedagogical framework that was applied in these different MOOCs, so we did a kind of compare and contrast of the different MOOC environments but also talked about our experiences and those different platforms and what it was like, and at the end of that paper one of our conclusions was that what we really needed to do next was create a kind of hybrid MOOC environment because what we had previously was the connectivist MOOC which was our first one and that Stephen Downes type approach. We actually used his grasshopper programming to run that MOOC, then we had the more structured xMOOCS, the Coursera and the Canvas. In many ways the paper was about that but what we decided at the end of the paper was we analyzed it was that we needed a hybrid version and it would it be possible to do that, is there a platform out there that has the learner-centered freeform approach of the connectivist MOOC with some of the structures that were valuable in the video that was really key to the xMOOCS. One of the ideas that propelled this idea forward… We also then, of course, had this shift to this thinking of a transition of kind of a connected world to a post truth world and what does that mean, and because we were working on this book “Metaliterate Learning for the Post Truth World,” we thought that’s a theme for a MOOC. We won’t go out there and call it the metaliteracy MOOC, but it’s a post truth MOOC that’s powered by metaliteracy that really applies the metaliteracy framework to each of the modules within the MOOC, so we’re really excited about that. We did apply for another SUNY IITG and we did receive funding for that, which allows us now to build a team—again it’s another Empire State College, University at Albany team—and we’re really excited about it, we’re developing it now, we’re exploring the open edX environment and as part of that too we’re working with the University of Buffalo because they’ve just launched an instance of open edX for their continuing education program and so they’ve already done a lot of the analysis and a lot of the footwork in terms of creating this instance of open edX on their campus, so they’re letting us experiment with what they’ve done and the idea is that our experience as one of the first two SUNY institutions beyond UV that are using open edX that we will hopefully pave the way for other SUNY faculty librarians that want to develop an open edX MOOC.

Trudi: One of the things that we’d like to do with this—Tom mentioned earlier—we’ve recently revised the metaliteracy learning goals and objectives. We are using those as the framework for this new MOOC. We would like to address issues such as confirmation bias, the role of expertise and authority in today’s environment, issues related to safety, security and personal privacy online, representations of reality in a virtual world and all the while sort of empowering participants to raise and share their voices while rebuilding communities of trust.

Rebecca: Who do you see is the audience for this particular MOOC?

Trudi: I think that we’re really hoping that it’s a very broad audience. We’ve had that, for example, with the Coursera MOOC where there were a lot of international participants everywhere from high school students to non-traditional types of students. We learned about their professions which just ran the gamut and I think that although we do hope to introduce this MOOC as part of courses both at Empire State College and at the University at Albany we’re really hoping that the participants are traditional learners and non-traditional learners. I think that what we’re going to be including in the way of content is something that needs to be broadly disseminated.

Tom: I think because that’s one of the advantages of MOOCs is that they do open up a potentially global audience, so we’re hoping for that international perspective as well, and as Trudi mentioned, we are developing courses so that we could on each of our campuses—I’m calling them wraparound courses—so that the courses that introduce students to the MOOC and they can then earn credit for doing so, because that’s been one of the big questions about MOOCs; can you learn credit, so what we’re doing is creating separate courses and in my version of the course I’m doing a full semester course so that the first half of the course will be introducing students to, well, what is a MOOC? What is post truth? What is metaliteracy? And I have a whole section on how to prepare for success in taking a MOOC, and then that will hopefully prepare them to be a successful learner in a MOOC environment so then they’ll take the six-week course and then there will be reflection piece at the end, which is very metaliteracy, and I actually think that a course about a course is very meta, so we’ve got that piece of it, and that idea to emerge from our very first connectivist experience where we tried to do it for credit and sure, you can talk about this experience at the University at Albany. In particular, in many ways the students were not prepared for the connectivist environment, so what we’re trying to do is in mind, since mine will be a full semester course, is invite students to take it but to really prepare them for being successful in MOOC because we know too that completion rates and MOOCs are not always great, but what if you offer it and prepare students for that environment. I think it is unique enough of an environment where that’s worth exploring.

Trudi: And Tom referred to our connectivist MOOC, which I did use as part of a course, essentially a blended course, and I was amazed when the students actually asked for more in-person class meetings because they couldn’t really grasp the idea of the MOOC and the fact that they were making decisions about their own learning. They were making decisions about which readings would be important. They needed to participate through a personal blog that was sort of elected and shared, and what they essentially did was doubt. I had about a 60% dropout rate in the course and the ones who were left were the ones who just wanted their hands held essentially through the rest of the course and that’s where we really learned that what Tom is going to be doing with his course, which is a full semester course, mine will be a quarter course again, is preparing them for this. This MOOC will be a more directed connectivist MOOC, but it was a very important takeaway.

Tom: And I’m hoping that by doing that it prepares them not only for our MOOC but it opens up the possibility of picking other MOOCs for lifelong learning. So that I think there are potential benefits, even beyond this experience. We’re hoping to launch the MOOC,—we’re developing it now—but we’re hoping to launch it for March 2019. It will be called “Empowering Yourself in a Post Truth World,” which is really important because we really want it to be a positive learning experience and one that provides resources for learners to be successful. You can imagine that talking about the post truth world could be a real downer, but what we really want it to be is a real positive focus of how to address the issues, look at these issues critically, but then to leave with some concrete ways of dealing with it. It also builds on some of the other MOOCs we had. The Coursera MOOC, for example, involved empowering yourself in a connected world and we’re running that now as an on-demand version. So when we first ran it in Coursera we were in the course and it was moving along and we were there in the discussions and following it but then Coursera changed its format a little bit and open up this possibility of on-demand and we actually like that because it allows us to have that content out there and to have learners engage with it in a self-paced way. Up to this point we’ve had, based on the stats we continue to receive from Coursera;—it’s running all the time—we’ve had 1,900 registrants and 900 active learners. We were really happy about that because it really gets some of these concepts out there, and I think it’s probably it’s been out there for a couple years now; it’s probably due for a revision, but that’s one of our projects that we’d like to do eventually, but I think that the post truth MOOC will in many ways build on that as well, so if someone wanted to go back they could look at that on-demand version, but as Trudi mentioned, the post truth MOOC is a six module, six-week learning experience on a very specific topic. I think it will be even more of a clearly-defined focused than even the other one.

John: Would be really nice to have all voters taking in the next couple of years. [LAUGHTER]

Trudi: We would like that.

Tom: Yes, yes.

Rebecca: So you’ve talked a lot about the learner side and some of the tools and materials and MOOCs and things that can help learners become more metaliterate. How do you help faculty coach students through this kind of process? What are the takeaways for faculty? They’ve listened to this episode, they’re really interested in the idea; where do they get started?

Trudi: I think not to just promote our books, but I think that perhaps if they took a look at the two edited volumes they might get a sense of how others are doing it and the range of disciplines is pretty broad, so they might find someone in their own or a related one. I think that that might be a good place to start. I think also taking a look at the learning goals and objectives might provide some ideas of things they’re already doing, but perhaps finding ways to highlight them or frame them slightly differently.

Tom: And not to promote our blog, but metaliteracy.org; everything is in there, including the goals and learning objectives. Summaries of all the books, because we’ve had the blog now for a few years, so it’s interesting even to kind of go back and look at some of the original postings, but it links to the books, it links to all the presentations. The presentations are available, and a few of the keynotes that were recorded are in there. I do think the metaliteracy goals and learning objectives are definitely key because those can be easily applied. Should we mention what we were just invited to write because that would actually address this audience as well?

Trudi: Yeah, we’re going to be writing a piece for higher education jobs. They have a couple of newsletters and going to be talking about the importance of teaching or emphasizing metaliteracy on campus for administrators and also what instructors can do. We think that those are going to be appearing in November.

Tom: Because we’ve had a commitment to making everything open—I know it’s a lot to look for, but we do have the metaliteracy YouTube channel, the blog, of course, the presentations and a lot of these resources were intentionally constructed that way so that other educators could use them, so go to “Empowering Yourself in a Connected World” on Coursera and access the videos, use the learning activities in any way you want. Go to the first module; there’s a PDF in there that has the metaliteracy learner roles and we’ve used them as learning activities in our own classes and it has some reflective questions, so you have this diagram that really explains the different roles a learner could take and then it has questions for learners to really think about those roles. So I think a lot of those resources can be adapted in any way that people want, and it’s really an open concept, so we want people to get involved and apply their own approaches to this.

Rebecca: We wrap up by always asking: what next? You’ve given us so much, but what else? [LAUGHTER]

Tom: That’s a really good question. The next book that we mentioned is coming out in the spring. We’re currently working on the open edX MOOC, “Empowering Yourself in a Post Truth World.” We also, of course, will be launching that in the spring.

Trudi: With the digital badging system we would like to if we can find some more funding have a learning pathway portion to it where instructors can really tailor the information or add components for their own disciplines. We’re also working on a metaliteracy module for another innovative instruction technology grant funded project called “I succeed,” which is being developed in western New York, and they’ve asked us to provide a module on metaliteracy and this is going to be directed to high school students who aspire to college or first year college students and can be used by instructors, so we are putting that together with four units.

Tom: We have a few upcoming panel presentations that OLC accelerate in Florida in November.

John: I may see you there.

Tom: Oh, great! I haven’t been there in a couple years so I’m looking forward to getting back and that’s such a great conference.

John: It is.

Tom: And of course there will be continued research and writing. I’m certain that the open edX experience that we’re currently immersed in will lead to a paper, and we’d like to do a research project that assesses the application of the metaliteracy goals and learning objectives. So much of what we’ve been doing is really theorizing and talking about practice and developing these environments, but we would like to delve into that a bit more. We might have an opportunity to work with an international scholar that we met last year at the University of Guadalajara, but we’re not sure about that if that’s going to happen, but that would allow us to really expand the metaliteracy concept: working with international scholars. So there’s a lot of possibilities. Perhaps a coil courses in our future, and that’s another SUNY resource; it’s a collaborative online international learning environment. I think that’s something that we would love to do with an international scholar, so we’ll see if that happens some day. A lot of ideas, got a lot going on, but we’ll see.

John: You got a nice track record of being really productive with us.

Rebecca: Thanks so much for joining us and spending time and giving us lots of things to think about.

John: Yeah, you’re doing some wonderful work.

Trudi:Thank you.

Tom: Thank you so much, we really enjoyed this.

Trudi: Yeah.

[MUSIC]

John: If you’ve enjoyed this podcast, please subscribe and leave a review on iTunes or your favorite podcast service. To continue the conversation, join us on our Tea for Teaching Facebook page.

Rebecca: You can find show notes, transcripts, and other materials on teaforteaching.com. Music by Michael Gary Brewer.

51. Engaged scholarship

Many of us live and work in communities where there is a strong town and gown divide. Building trust, engaging authentically, and developing deep understanding through intergroup dialogue takes time, patience and the right structure. In this episode, Dr. Khuram Hussain, an Associate Professor of Education and Interim Dean at Hobart College, joins us to explore a model of engaged scholarship that challenges the academy to engage in dialogue with and work alongside the community to address pressing local issues.

Show Notes

Transcript

John:Many of us live and work in communities where there is a strong town and gown divide. Building trust, engaging authentically, and developing deep understanding through intergroup dialogue takes time, patience and the right structure. In this episode, we’ll explore a model of engaged scholarship that challenges the academy to engage in dialogue with and work alongside the community to address pressing local issues.

[Music]

John:Thanks for joining us for Tea for Teaching, an informal discussion of innovative and effective practices in teaching and learning.

Rebecca: This podcast series is hosted by John Kane, an economist…

John:…and Rebecca Mushtare, a graphic designer.

Rebecca: Together we run the Center for Excellence in Learning and Teaching at the State University of New York at Oswego.

[Music]

Rebecca: Our guest today is Dr. Khuram Hussain, an Associate Professor of Education and Interim Dean at Hobart College. Welcome, Khuram.

John:Welcome.

Khuram: Thank you for having me.

John:Our teas today are:

Khuram: I’m actually drinking coffee. I hope that’s ok.

Rebecca: You and most other people. [LAUGHTER] We’ll let it go.

Khuram: I will end the day with tea.

Rebecca: Ok, perfect. I think we had a recent guest who also ended the day with tea. Today I have chai.

John:And I have pineapple ginger green tea.

Rebecca: Well, that sounds good. You always are far more adventurous than me.

Khuram: If it’s any consolation, I have a little cardamom in my coffee, which I typically put in my tea, but I really like it in coffee as well.

Rebecca: That sounds good. I should try that.

Khuram: I highly recommend it.

Rebecca: Do you have an advice about how much?

Khuram: One. One is good.

Rebecca: One is good. [LAUGHTER].

Khuram: If you want it a little stronger you can crack it and then let it sit and it’ll be even more cardamom(y). [LAUGHTER]

Rebecca: Perfect. [LAUGHTER]

John:We see you’ve done some work with engaged scholarship and service learning. Could you tell us a little bit about what is meant by engaged scholarship for those who aren’t familiar with it?

Khuram: Engaged scholarship is essentially the integration of community needs with learning and it involves addressing community needs along with whatever respective disciplines and skills a scholar may apply to a particular condition. It could be anything from developing a literacy program that is also being useful and utilized in a community, but drawing from that community in order to make sense of what questions you want to answer. So, you’re not drawing it just from a review of literature or from a body of scholarship that emerges from conferences or a community of scholars, but in fact from a variety of voices within the community itself. It’s a much more community relevant approach to even designing research before you actually do it, and it spills out into community engaged teaching as well.

Rebecca: What got you involved in engaged scholarship?

Khuram: I first had the opportunity to do engaged scholarship as a professor of education at Hobart William Smith. I was teaching a course on the civil rights movement and a colleague approached me about volunteering to serve as a professor at a maximum-security prison, and the program there was run by a Bard Prison Initiative where long term inmates were given the opportunity to enroll in an undergraduate program. And so I taught the exact same course that I was teaching on campus within the educational space that they had created for prisoners (maximum security prison) and that was my first chance to think about the ways in which the needs and realities of communities outside of campus and inform the work in learning on campus and could also inform my notions of scholarship.

John:Your work is a form of service learning in terms of the student involvement in it. How does your approach differ from the more traditional service learning approaches?

Khuram: I think that a lot of what I have seen in traditional or conventional service-learning approaches is that there’s a great focus on the ways in which our students will learn by “doing for” communities. So how can we help children learn how to read? How can we provide food to food-scarce areas? And that becomes such a central narrative and the assumptions that young people have about what service-learning is is that we’re gonna learn through service for, and what I think is unique and special about the kind of work that many folks are doing today and I hope to be a part of that (and I hope I have been a part of that) is to do service with. To move from that model means we are required to collaborate and to take a much more team-based approach to service work and the learning then moves both ways. The service then moves both ways, and that I think is the fundamental difference between what we’ve been trying to do the last few years and what we’ve often seen provided to students.

Rebecca: How does your engaged scholarship relate to the service-learning projects and things that you do with students?

Khuram: In part, the ways in which engaged scholarship works is by providing students and faculty and community members an opportunity to create knowledge out of the questions and concerns that emerge in community related work. So for instance, we started an initiative known as “Tools for Social Change” some years ago, and before we looked at any kind of service project we looked at the ways in which the community saw itself. How did long-term residents see college campus residents? How did college campus residents in the same city see long-term residents of the city? And put them into intentional dialogue, first through interpersonal relationship building and then talking about social and structural issues that have informed their understanding of themselves within the city. And within larger structures of identity, race and class particularly. After they developed that understanding we asked, “Ok, what does this community mean to you? Where do you feel empowered? Where do you feel isolated?” Based on the answers to that, we were able to map out a different kind of geography. Even though we had developed a sense of connection and collectivity as members of a community that had been dialoguing all semester, we were operating within a city that was deeply segregated and divided, and so it was from there that we looked at scholarship. We looked at research that we could pursue, and one of the first things that became really important for us to consider was the way in which the economics of the city and the capacity of some to gain access to jobs opportunity was very different than it was for others. And so we ended up taking that initial group and developing wider groups that would go out into the city and inquire… essentially do a self-study of the city about the economics and economic opportunities that were available. And so essentially it was these two stages: first of engaging in dialogue; coming to an understanding of what shared community work could be and then going out into the city with the same participants and essentially conducting appreciative inquiry and having students and faculty and community members (long-term community members) interviewing members of the community, and we were out at the Salvation Army, we were in barbershops, we were in laundromat, we were in every corner of the city and particularly in corners of the city that didn’t often have a strong voice or were not well represented, I should say, in conversations about economic development. We were able to take those, transcribe them and give them to members of the working group that are trained qualitative researchers. They synthesized that, summarized it, and we were able to present it to the city. So, here we’ve created knowledge and we’ve created it through a certain kind of process, right? You might want to call it bottom-up, but I like to see it as horizontal; it’s relational knowledge, and that, I think, is one of the most powerful things about service-learning with as well as engaged scholarship with.

John:That group that was doing the analysis of the data… Were they faculty? Were they students? Was it some mix?

Khuram: It was some mix, but here you do have kind of a hierarchy of knowledge and skill, I should say, in terms of how to do this, and so students and community members were trained by ethnographers and researchers on how to hold a tape recorder, what kinds of questions, and how to ask questions, the ethics of confidentiality, and then they went out and they conducted (after receiving a few weeks of training) these interviews in the community and it was the researchers, mostly faculty, that then booked and analyzed that data and ultimately synthesized that data, but every turn there was some part of this that was democratic and collaborative. Even the questions themselves were questions that the participants generated in concert with other community members. What is it that we want to know about ourselves? And so those were the questions that were ultimately used when we did the broader interviews.

Rebecca: Sounds like a really powerful way of breaking down the town-gown divide that happens in a lot of communities where there’s an institution of higher education.

Khuram: I think that it was transformational for all of us. I don’t think anyone could truly have appreciated what was going to happen, and I think part of it is because it was an open conversation and we sustained a certain level of openness, curiosity, and vulnerability to each other as well as what we hope would come out of it, and I mean for me it’s transformed the way I think about everything from teaching to service to even social action and the role of institutions of higher education in really engaging in communities, and so the power of it, I think, was also to reveal what’s possible that we are capable of operating on different terms and the institutions of higher education do not need to be paternalistic in their engagement with communities and they do not need to take a charity-based approach in their supportive communities; they can be collaborative, it just requires us to match strength to strength to define the things that are going to be valuable for college students and faculty and staff to learn from communities and what communities will benefit learning with their work with institutions of higher education.

John:It strikes me too that this type of project could be much more sustainable. Many service-learning projects or one-off projects where the students work and do something in the community or to the community or for the community, but when you get the community itself engaged it swould seem that that could, at least for some types of projects, set the stage for continued collaboration, either with later groups of students working with them or with the community itself. Has there been much success in continuing the efforts once the classes ended?

Khuram: I first off want to say that I absolutely agree that service-learning is conventionally structured as a one semester project-based or hour-based experience, and it’s usually focused on alleviating one particular social issue, and what we have found is that it’s necessary to do year-long initiatives and we’ve been very fortunate to see that this initiative has been able to sustain itself for over three years, but that’s required us to allow it to evolve into what it needed to and one of the biggest parts of that has been that it has been untied from any particular course. It used to just be tied to my classes and so students would do service learning project were tied to classes they were taking with me. Now, students are participating as participants in independent studies, they’re participating in different working groups that sustain themselves a little bit more autonomously, and that is also true for a lot of long-term community residents that have joined smaller working groups. There’s a working group on food insecurity, there’s a working group on political representation, there’s a working group on economic empowerment and economic opportunity, and so any one of these working groups becomes its own kind of autonomous community that intersects with long-term residents and college students and faculty and staff and that, I think, is a sign of progress and health, is when the institution of higher ed that’s tied to these projects doesn’t need to own it, control it, and manage every aspect of it. If it can become a little bit more fluid and have its own purpose outside of a predetermined purpose from the institution, it becomes more organic and more impactful often.

Rebecca: The continuity that set up in a structure like that of “community who doesn’t go away” versus students who drop in and out as they go through four years—they’re a member of the community but then they often leave—seems like it’s a really useful model for not only making the learning better but just making the impact better. Can you talk a little bit about the community’s response to these projects.

Khuram: Yes, drive-by service-learning isn’t the way to transform communities or students; it requires a real, authentic engagement, and I think when you put people in real situations you get real outcomes and that’s across the spectrum. So you’re going to get people that are going to collaborate, develop great friendships, but you’re also going to get friction and struggle and honest expressions of frustration with one another. And so that becomes a part of it too, so our students need to learn or end up learning—whether they need to or not—the ways in which their participation is both important but sometimes limited. They are going to sit and be witnesses to long-standing struggles in a community; for instance, long standing struggles between law enforcement and communities of color, and they’re going to find their own footing in those spaces; they’re going to need to make sense of how to be an ally, how to be an advocate for an inclusive community that they now belong to, so the stakes become a little bit more real. But I would be a little bit disingenuous if I was going to imply that it’s neat and tidy. I’ve received pushback at times. I remember we were holding a dialogue and I had said that we’re really starting to build some really empowering opportunities here and someone coughed and said, you’re from the colleges; you have all the power. It was a great check on my own assumptions about how I was being seen in that space… that participating in a community activity while still being associated in some ways representative of a very wealthy, multi-million dollar institution in a post-industrial Rust Belt City is not going to play out in someone else’s mind the way that it might in mine. Now what I’m proud of in that work is that someone felt that they were in a space where they could call out people’s unseen or unacknowledged privilege, and that I thought was really important for other people to see, and for me to experience, but it also means that tension in real relationships is ongoing. Honestly, we are not dealing with a utopian situation where we’re all playing on equal terms; we’re coming with different levels of capital and different levels of support within that community, so even as we do this work, my students are good to remember, as am I, we cannot be tourists in other people’s lives, that if we have certain privileges this is a place to take responsibility for some of them.

Rebecca: In a situation like this where tensions can be high, differences big sometimes, and you’re trying to dialogue, how do you set up that environment so people feel safe, like the situation that you’ve just described.

Khuram: Always sit in a circle. Always begin with some expectations. What do we need from each other to have respectful and productive and meaningful conversations? Let’s create those standards together and revisit them every time we sit in circle together. Have people that are prepared to facilitate, that have training or are getting training in facilitation; that needs to be, I think, a critical piece of that, because while it is important to hear from everyone, there is a lot of value in having someone who can reflect back some of the bigger messages and patterns that are emerging in the conversation, someone that can point to the standards that we’ve set for ourselves and what we expect as our best way of engaging, and to remind people that there are strategies that we’ve identified when things get really heated where we want to go with that. So, I think being very intentional about creating a dialogical space, and for us, the use of intergroup dialogue and a lot of the pedagogical strategies developed by the University of Michigan Intergroup Dialogue were very important and helpful resources to get started.

Rebecca: I think one of the things that I was hearing here that I want to just note, is if you’re having one of these conversations that you should have a facilitator and that the facilitator is not really participating in the conversation but rather facilitating the conversation. I think that can be challenging if we want to be involved in those conversations, but you need to make sure that you’ve picked that person and that person is staying as a third party.

Khuram: Yes, absolutely. And we typically have two people that will facilitate and that way there’s still some opportunity to give feedback or response or to slightly move out of a facilitator role, at least in terms of being able to share some ideas. But yeah, it does require you to pull back a bit. But having two facilitators… and it isn’t something that can’t be learned; I don’t think that people have to be lifelong professional facilitators. Most teachers are facilitators, and most of us have some experience facilitating or mediating conversations between others. As much as it’s important to start with people that have a background in facilitation, I think ultimately you want to end in a place where many of the participants feel comfortable and can contribute to the facilitation process over time, so we would meet every week. Ideally, we wanted to prepare people for their opportunity to do some facilitating. At this point we’ve seen dozens of participants go on to do much more formal facilitation in other spaces. That’s something that I’m very proud of and I’m very proud of them, I should say, for what they’ve accomplished.

John:You had mentioned some broad categories of tasks and working groups. What were some of the specific projects that were undertaken by people working in these projects in the community?

Khuram: All of these emerged dialogically as members of the campus community and long-term residents of the community talk through ways in which they felt connected and disconnected. We had four big ones, I’d say. We had community police relations, economic opportunity, food justice and food insecurity, and political representation. I’ll touch on each of them a little bit and then if you want to know a little bit more about any one of them I can pause. So, for food justice and insecurity, part of the challenge was an immediate one where it was about galvanizing community members to glean food and to increase access to fresh food, so we had volunteers doing gleaning. In the midst of that they were also looking at the president’s food deserts and dialoging along with community members about their access to nutrition and presenting some of those findings to the City Council and the Mayor. Or police community relations, we had two dedicated members who were part of a standing committee known as the Community Compact that met with different members of law enforcement and city government on a regular basis to talk about police-community relations and to develop programs to engage the community as well as to address certain policies. Then we have political representation, and for that what we saw was a wonderful volunteer energy of members of our entire group that went out and facilitated dialogues between political candidates and community members. Unlike conventional town halls where you’d have people sitting behind a table or behind a podium, we chat in circle with political candidates, and we had facilitators asking questions and facilitating dialogue in a pretty different kind of environment than I think a lot of us have when we engage with people that want to be elected, as well as elected officials. So we ran those, along with giving people an opportunity to register to vote. For economic empowerment, we trained facilitators to go out into the community in pairs and to hold circles in different corners of the community… in laundromats… in a variety of public spaces… to ask them what were the ways in which they were experiencing opportunity and what were the ways in which they were limited from economic opportunity. We also explored with them if they could wake up tomorrow to a different city, what would it look like? What opportunities would exist? And we took all of that and made it a final document called the “Big Talk in a Little City,” which has become an important and integral part of the city’s long-term commitment to economic empowerment, and so, not only are those voices and stories included in an official document, those voices and stories are now helping to shape policy and resource distribution in the city.

John:How have students reacted to this? Have any of them considered careers as working with communities and such things?

Khuram: For some of our graduates this has been life-changing. I think that one of the most fundamental things that we did well was simply to put people that would otherwise never have encountered each other in the same room and to ask them to share their stories and to talk about themselves. Developing those personal relationships between people that would otherwise pass each other on the street without a glance. People that had age differences, 40, 50, 60 years, people that had racial and socio-economic differences and geographic differences were suddenly having dinner at each other’s table, knew the names of family members, and knew the smallest things about one another were coming to their respective graduations and ceremonies and really becoming participants in each other’s lives. So, for a lot of our undergraduate students, having an opportunity like that is so deeply transformative because now policy is not just a matter of abstract equity and justice; it’s a matter of empathy and equity. You feel differently for someone who feels like a friend or family when they are in need and that informs your approach to policy and your approach to work in a community differently. So, we’ve had students that have gone on to do some really powerful work in law clinics, AmeriCorps and have stayed in the community to do some of that work because it was so transformational and they committed so much of their learning to this kind of engagement that they want to continue it. We do have a few folks that took a gap year between graduate school and stayed on, or decided to pursue a different kind of professional path because of the work they did.

John:That’s impressive.

Rebecca: It’s really exciting.

Khuram: I wouldn’t believe it if I hadn’t seen it.

John:Could you give us some idea of the scale of this—how many students are involved and how has it grown?

Khuram: We started with a relatively small group of about 20 students and 20 long-term community members, and in terms of active participants, it never really went much bigger than that, but it sustained itself over time and it also engaged a lot of other students and long-term community members for months at a time. What I mean by that, for instance, is a lot of our sustained participants would engage their friends, their roommates, their neighbors to come to our weekly sessions. So, we would oftentimes have topical session that were open to the public and those open sessions we could have up to 60, 70, 100, 200 people at those sessions, and so we had an active presence for quite a long time in the community when the courses were running, and now that we have the working groups there’s smaller numbers, but again, their impact, I think, in some ways is deeper because they’ve sustained some really deep work. One of the most incredible things that I saw the students do was they developed a course that would involve high school and college students learning together; so they essentially wanted to do what we were doing through these community dialogues in the high school. They wrote a course proposal, they submitted the course proposal, and after a few revisions and edits it was approved by both the college and the high school and we had a small group of about a half-dozen college students and a half-dozen high school students that took a course together at the high school. And that’s not a lot of people—but that doesn’t—what an incredible experience that they’re participating in something they helped codesign in order to address an issue that they perceive to be real across these age differences and community differences; that these teenagers and these college students together identified this town-gown divide and saw high school and college as a way to build bridges and constructed a course to do that and then participated in that course together. To me, that’s a kind of deep, transformative, impact that doesn’t quite reflect big numbers, but big experiences.

John:It’s certainly a testament to the impact that it had on those students that they were willing to do this and interested and motivated to do this.

Khuram: Absolutely.

John:How have your colleagues responded?

Khuram: I think that my colleagues have been excited, and I think that for many of them it created a new opportunity for them to engage. So, we’ve had faculty that have come in as participants, we’ve had them lead certain workshops and activities. They’ve come in with their expertise within their respective disciplines and fields. So, we’ve had a really great showing of faculty support. And part of it is we did not host this work on campus. We were very intentional about finding a place and space that was both a place that could be shared as well as a place that was easily accessible for long-term community residents, and so we found ourselves at the oldest black church in the city and a place that many of my colleagues had never been… that many people in the community had never been, and it was in the part of the city that is still segregated across a number of lines of race and class, and yet it was one of the most racially and socioeconomically diverse spaces that you could sit in in the city and here it was in a historically or at least currently segregated space… and so I think the opportunity for faculty and for staff to engage with a community that they’re really caring about in a context that seemed more inclusive was really exciting and affirmed a lot of their values. I think this is something that people really want, it’s just a matter of creating the opportunity so that they can engage in it. I don’t think that most faculty or staff want to engage in these kind of vertical relationships with communities. It’s just how we’ve been doing things for so long.

Rebecca: Seems like your background in teaching about equity and teaching about intersectionality and doing some research in the classroom about these topics set you up really well to do this work. Are there tips or other things that could provide faculty who don’t have that same background that you could share to give us a doorway in?

Khuram: I think that in some ways having a background as a scholar in any kind of social justice or equity field can be a barrier, and here’s why. That work is always in your head and it is disembodied in the institution, and the institution is, by its very nature, disembodied from the communities that it surrounds. And so you can very easily be a deft and prolific scholar of social inequity and convey and facilitate inequity in your actual life. So really it’s not a guarantee of anything. I think the measure of your capacity is in the doing, and I think it’s really about addressing questions. Who am I inviting to the table? Where is the table? Who is not here? What do I need to ask now to get who’s not here, here? Those are the more important questions, and I think if we don’t presume that there’s a certain kind of institutional privilege that comes even with being able to wax philosophical about questions of equity, then we’ve already lost the plot. We’ve got to honestly think about the spaces and places in which we’re doing our work and the kinds of privileges that we need to interrogate about ourselves before we can do any of this work in equitable and meaningful ways, and so I would say this work is for everybody, and this work is for anybody who is willing to really work with community members and to find shared purpose with community members. It’s willing to listen and learn from… and is not just interested in providing to.

Rebecca: Those are such great reminders… and empowering to make sure that we can all find a way to help and work with the communities that we live in.

Khuram: Yeah, and sometimes it does mean maybe rethinking a service-learning project that’s a semester long and seeing if you can map it out over a year. Would you spend a semester just creating relationships between students, yourself and long-term residents of a community just in that exploratory project? and then say, “Ok, out of this what have we identified collectively as a community need that we can address as a class?” …so that you get, of course, that buy-in, which is so important, but there’s a truly transformative possibility that is emerged that simply wasn’t there until you took the time to really connect and build that relationship, so I’m also in practical terms a really big proponent of year-long service-learning initiatives and moving away from the pressures of a semester-long initiative, unless you’re willing to do half a semester of really just relationship building and collective meaning-making and then cut the service piece a little shorter.

John:We usually wrap up the podcast with a question: “What are you going to do next?”

Khuram: What I would like to do next is to start preparing and supporting students to be the initiators of this work. I am currently working with a couple student groups that are creating their own curriculum and their own activities to engage people in the community with. Right now it’s a youth-to-youth, college student and high school student initiative, and the aim there is to just be a guide on the side, to really maximize whatever space and context I can help create for students to develop their own initiatives for engagement. Again, along these principles of working with, but to see our students become the guides that they need that our students can be the leaders that they’re looking for and that they can help develop leadership in their communities, and so for me right now what that involves is again having college students and high school students connect and collaborate and learn from each other with really very little use of faculty and take from us what you need and build what you must.

Rebecca: Sounds really exciting. Thank you so much for all that you shared today; I think it gives us all a lot to think about. Not just think about it; we need to take action too. [LAUGHTER]

Khuram:Thank you.

John:Thank you.
[MUSIC]

John:If you’ve enjoyed this podcast, please subscribe and leave a review on iTunes or your favorite podcast service. To continue the conversation, join us on our Tea for Teaching Facebook page.

Rebecca: You can find show notes, transcripts, and other materials on teaforteaching.com. Theme music by Michael Gary Brewer.

49. Closing the performance gap

Sometimes, as faculty, we are quick to assume that performance gaps in our courses are due to the level of preparedness of students rather than what we do or do not do in our departments. In this episode, Dr. Angela Bauer, the chair of the Biology Department at High Point University, joins us to discuss how community building activities and growth mindset messaging combined with active learning strategies can help close the gap.

Show Notes

  • “Success for all Students: TOSS workshops” – Inside UW-Green Bay News (This includes a short video clip in which Dr. Bauer describes TOSS workshops)
  • Dweck, C. S. (2008). Mindset: The new psychology of success. Random House Digital, Inc.
  • Barkley, E. F., Cross, K. P., & Major, C. H. (2014). Collaborative learning techniques: A handbook for college faculty. John Wiley & Sons.
  • Life Sciences Education
  • Steele, C. M., & Aronson, J. (1995). Stereotype threat and the intellectual test performance of African Americans. Journal of personality and social psychology, 69(5), 797.
  • Steele, C. M. (1997). A threat in the air: How stereotypes shape intellectual identity and performance. American psychologist, 52(6), 613.
  • The Teaching Lab Podcast – Angela Bauer’s new podcast series. (Coming soon to iTunes and other podcast services)

Transcript

Rebecca: Sometimes, as faculty, we are quick to assume that performance gaps in our courses are due to the level of preparedness of students rather than what we do or do not do in our departments. In this episode, we’ll discuss how community building activities and growth mindset messaging combined with active learning strategies can help close the gap.

[MUSIC]

John: Thanks for joining us for Tea for Teaching, an informal discussion of innovative and effective practices in teaching and learning.

Rebecca: This podcast series is hosted by John Kane, an economist…

John: …and Rebecca Mushtare, a graphic designer.

Rebecca: Together we run the Center for Excellence in Learning and Teaching at the State University of New York at Oswego.

[MUSIC]

John: Our guest today is Dr. Angela Bower, the chair of the biology department at High Point University. Welcome Angela!

Angela: Thank you John! Hello Rebecca

Rebecca: Hi, welcome!

Angela: Thank you

Rebecca: Today’s teas are…

Angela: I have a piping hot mug of Earl Grey

Rebecca: Yes! Someone drinks tea again! [LAUGHTER]

John: I have ginger peach green tea.

Rebecca: And John get ready for this, Dragon Oolong tea

John: That’s actually very good.

Rebecca: We have a joke that I have my standbys and this was not one of them.

John: We’ve invited you here to talk about your work on reducing the performance gap for underrepresented students in STEM disciplines. Before we discuss this could you tell us a little about the performance gap?

Angela: You bet! Well, I can tell you about my experiences at two different institutions, although I can say that my experiences at these two institutions with respect to the performance gap in foundation STEM courses is not unique to these institutions. It’s a natural phenomenon that if we look at foundation courses that are taught with a traditional lecture format typically, which still is often the case with STEM courses. We see a gap in the performance between majority students and then students from underrepresented groups and this was the case when I taught biology courses at the University of Wisconsin in Green Bay. If we went back and looked at the data in a foundation course in Introduction to Human biology course that we had taught for decades, we could see prior to a change in pedagogy in terms of what was happening in that course, we could see for decades prior a gap in the performance between majority and underrepresented students at that institution. Likewise the same is true at High Point University with the way that we used to teach our introductory biology courses. And this performance gap is really troubling because often times what it means is that the students in those courses that are not performing well, we tend to lose them and in the end we end up having a much lower percentage of students who are members of underrepresented groups choosing to major in the sciences and then of course choosing to pursue professions related to the sciences as well.

Rebecca: Where does this performance gap originate?

Angela: Well that’s a really interesting question and there are a lot of misconceptions about where that performance gap originates. I’ll go back to when I first started teaching. What I assumed which was entirely wrong was that the academic performance gap was an indication of a difference in the academic preparedness of students from underrepresented groups. So I like many other faculty in my field assumed that students were coming to our institutions not having a high school education that prepared them to perform well in these introductory science and math courses. I later came to find out that this was not at all the case. We did a study at University of Wisconsin in Green Bay where we controlled for let’s say SAT scores of these students coming in; so if we looked at maybe white students and black students who came in within the same range of SAT scores specifically their math scores which is a strong indicator of how well they will perform in the course and if we looked at how they performed in the course even when we controlled for SAT Math score, we saw a performance gap. So that suggested to us (and this was the big lightbulb moment for me) this doesn’t have anything to do really with academic preparedness at least with respect to our student population. What it has to do is something that we’re doing in the classroom. We really were teaching in a way that favored the academic performance of students of a particular group or did not enhance the academic performance of our underrepresented minority students and so that’s when we decided to make some changes.

Rebecca: How did you start to figure out what to pinpoint?

Angela: Well interesting how we stumbled upon an approach that worked at Green Bay. We had a variety of instructors teaching this introductory course, so we had multiple sections going on at a given time and as you know is often the case to change what’s happening in the classroom to get instructors to adhere to a different pedagogy; who are often swamped and busy and maybe have taught the course for a certain way for a number of years and are not comfortable with moving to for example a more student-centered format with respect to their courses (which by the way is pretty daunting when you have lecture sections of 150 students). So what we initially decided to do just to see if it would have any impact was we started to do things outside of the classrooms in a way that was very student-led and student centered. Students who were enrolled in this introduction to human biology course in Green Bay were provided with the opportunity to attend workshops outside of the classroom that were totally optional and we call them toss workshops TOSS, which was an acronym that stood for targeted opportunities for success in science. And we chose students to serve as mentors for these TOSS workshops who were science majors who had at least received grades of B or better in these introductory courses, but who had really strong social skills. Then I worked with those student mentors to train them in student-centered pedagogies and also a culturally inclusive classroom approaches and then they would offer these tops workshops at a variety of times during the week when we were sure that we would get a number of students who could attend. In other words we tried to make sure that those TOSS workshop opportunities didn’t interfere with their academic schedule and these weren’t required and we went about recruiting students for these workshops in a really interesting way. We conducted this in collaboration with a man named Dr. Sean Robinson who is now on the Whitewater campus in Wisconsin, but he at the time was working within our Multicultural Center and he worked really hard to recruit underrepresented students who were his advisees in the Multicultural Center and spread the word. Likewise he helped us recruit a fabulous mentor for our students Mr. Junie Lee who was a grad of our program at Wisconsin, who was also very good at networking with these students and we made it very widely known and it became a popular fun thing to do. Because the students who led the toss workshops were very socially engaging they planned fun activities to review the week’s content and it certainly became a destination for these students and it created a really strong sense of community. And over the four years that we ran this TOSS programming what we found from the very first semester that we offered these opportunities outside of the classroom was that we closed the gap and that happened every single semester for eight semesters across those four years. Multiple sections even with different instructors in different pedagogies in these courses having that opportunity to participate in TOSS workshops totally changed the culture and we closed the gap. And so what we learned from that was that a sense of community was I think probably key here. We know this because (well we assumed this) of an interesting analysis that Dr. W Furlong did, who had worked with our office of institutional research in Green Bay. We looked at the student mentors that led the TOSS workshops and we looked at the activities that they had planned for their TOSS workshops in a given semester and I also ranked the students then in terms of the level of difficulty of the exercises that they performed. In other words how academically rigorous were those workshops versus how much social stuff is going on and we actually found an inverse correlation with the academic rigor in the workshops and the impact of the workshops themselves. So in other words when those mentors were just more social and creating a strong sense of community and spending more time just engaging students generally not necessarily reviewing academic content, that’s when we saw the most profound effect. So this is what led us then to really now focus our efforts with respect to closing the performance gap on really the more emotional components of learning, the affective domain of learning. And yeah of course I’m not at all saying the cognitive part isn’t incredibly important because absolutely it is, it would be silly to say that it wasn’t but generally what we found in Wisconsin and now also what we’re finding at High Point University is that we can close that gap by paying really close attention to that effective emotional component of learning and taking really intentional steps to just create a very inclusive community for students and to engage them in very intentional ways.

John: Have there been changes in classrooms as well to try to build the same type of inclusive environment within the classroom setting?

Angela: Yes. So once faculty learned that the impact of TOSS workshops in Green Bay, more and more of them started to pay more attention to what inclusive classroom approaches looked like. and then at High Point University now where we have also done some interventions that have been really successful in closing that performance gap. We now are employing a model where all faculty who teach our introductory biology courses are on board with employing these techniques that intentionally address the affective domain of learning.

John: What techniques did you use at High Point to address the affective domain?

Angela: When I came to High Point University five years ago, of course we pulled up some of the institutional data, the historic data regarding performance of students in our introductory biology courses and of course saw that performance gap, a long-standing one. And so we really tried to build a model that built upon the knowledge I gained in Wisconsin about the importance of building community and addressing the affective domain of learning, we then attempted to employ that uniformly at High Point University. This time in the actual courses themselves and not with these optional outside of the class activities, so at High Point now we’ve got all instructors on board employing approaches in the classroom where they then administer to students our weekly messages that address the affective domain of learning and it involves growth mindset strategies, which is based on the work of the Stanford psychologist Dr. Carol Dweck who wrote a book on growth mindset strategies. And what we are doing at High Point University is providing students with weekly growth mindset messages maybe 5 or 10 minutes at the start of the course on Monday or Tuesday. I prepare maybe two or three PowerPoint slides with a growth mindset message that I send to all instructors before the start of the week and then they show that message to students and they reinforce the message throughout the week. And just to review what it means to employ growth mindset strategies; if a person has a growth mindset they believe that with hard work and persistence they can improve at whatever it is that they are doing. If a person has a fixed mindset they believe that essentially we are how we are and maybe you’re born a science person or maybe you’re born not a science person, maybe you’re a math person, maybe you’re not a math person and so students that have a fixed mindset will very much back away from things that challenge them because if they engage in an activity that challenges them and maybe they don’t perform so well with respect to that academic opportunity, they view that as a negative commentary on their intellect and who wants to publicly out themselves as being not smart or not good at something, so they will shy away from that and of course that has a very negative impact on their performance in the classroom, they don’t seek out the help that they need, if they vomit test they don’t go in and figure out what went wrong in that test. By sending them weekly growth mindset messages we’re telling them we believe you hang in there with hard work and with really smart use of resources that are available to you and figuring out what an effective study strategy is for you, you’re going to be successful in this course, we think you can do it now let’s get down to work. And long story short those growth mindset strategies have been very powerful in helping us close the performance gap, also now at High Point University in our introductory biology courses.

John: What would be some examples of those messages?

Angela: I would send out a variety of messages the ending on the week, some of them were science related and some weren’t. Maybe there was an interesting study that I read over the weekend on neuroplasticity and so of course being biology majors they would have an interest in that you can literally change your brain with practice. There was one study I sent a couple of slides showing MRIs of the brain in people who had intentionally performed or intentionally practiced a video game, it was a race car game where they practice going around a particular track for maybe two hours worth of practice and these MRIs showed literally their brain was changing in response to those two hours of practice so that was one example. I chose things outside of the realm of science and maybe one week we had a couple of slides on NBA superstar Michael Jordan and the fact that he didn’t make his high school basketball team, he got cut from his basketball team but again with hard work and persistence and employing the right strategies he was arguably the greatest basketball player of all times. We have a really funny clip from a Nobel laureates Junger report card from back in his grade school days about his teacher saying you’re never going to be any good at science, you just need to give it up and later he went on to win a Nobel Prize for his work in cloning. These are just a few examples of growth mindset messages that we sent to students on a weekly basis.

Rebecca: Have you noticed a difference between the in-class strategies of growth mindset versus community-focused TOSS workshops that you had done at Green Bay?

Angela: Both have been effective in closing the gap. They’re two very different academic settings, so one thing that the TOSS workshops were really great for in Green Bay was really fostering a sense of community among a group of students, many of whom were commuter students. And so they’d go to classes and then they’d leave the campus, they vacate the premises and we would never see them hanging out and studying up by our offices or engaging in social activities that involve their peers in science and with the implementation of these TOSS workshops we saw much more of that, we saw students hanging around after hours talking more with their professors. So I saw a significant change in our sense of community particularly with our underrepresented minority students in Green Bay as a result of those TOSS workshops. It’s I would argue much easier to address the community issues in certain respects at High Point University because we’re a private institution, students are required to live on campus, there are all sorts of social activities to engage them all the time. Now whether or not they’re feeling a strong sense of community or developing a strong sense of trust with the faculty that teach their science courses or feeling a sense of belonging I think what we’ve done with growth mindset strategies is heighten all of that with our High Point University students. So they’re two very different models, I think they are very well suited for those very specific institutional contexts. I have to tell you that when I first got to High Point University I tried the TOSS workshop model and nobody came because it was optional, it was outside of class at a time where quite frankly there were lots of other social events happening on campus, extracurricular activities, students are involved in so many different clubs on campus so that just was a model that wasn’t going to fly here, we needed to do something specifically in the classroom to catch those students when we had our captive audience.

Rebecca: It’s really fascinating to hear those differences, but also recognize that you need to adjust your design based on context.

Angela: I think context is a huge deal.

John: Did you make any other changes at High Point besides adding the growth mindset prompts?

Angela: What we did within the classroom was more than simply take these intentional approaches to address the affective domain of learning through the use of growth mindset strategy. So we also very intentionally changed the way we taught our foundation biology courses by also making sure that we were employing best practices to address the cognitive domain of learning. Prior to when I had come to High Point University lecture was the primary mode of teaching in our introductory biology courses and there was a lot of turnover that happened when I arrived, there were curricular changes, the hiring of many new junior faculty just in response to the growth of our program and as we hired these new faculty we were very intentional in training them in approaches that would involve active learning in the classroom. And we worked very hard with the instructors that teach multiple sections of this introductory biology course to standardize our curriculum in a way to make sure that students were getting exposure to active learning, best practices for addressing the cognitive domain of learning in addition to those that address the affective domain of learning with the growth mindset strategies. And what we found one year when we ran simply the active learning approach where we covered at least 25% of the material in those introductory biology courses with active learning strategies, but didn’t employ the growth mindset approaches. We still, with some of our underrepresented groups, still saw a gap— a performance gap. So again, while some studies have shown that active learning can help to close that gap or narrow that gap, we weren’t very successful in doing that at High Point University. Active learning alone didn’t do it for us and I think that’s an important point to make for whatever reason. It could be our institutional context, it could be a lot of different things, but my point is when we combined active learning with approaches that also address the emotional or affective components of learning, that’s when we hit the sweet spot. We needed to do both of those to close the performance gap.

John: What specific active learning strategies did you introduce?

Angela: Active learning strategies that are chosen by the instructors— they are individual. All of them use student-centered discussions of the primary scientific literature so that’s one of the outcomes of that introductory biology course. For us to introduce our first-year students right away to the primary scientific literature, so that’s one approach I know. Instructors, we primarily leave it up to them to choose what they want to do when we have people join our program or begin teaching our introductory biology courses. We provide them with that Bible of students under learning techniques called Collaborative Learning Techniques written by Elizabeth Barkley and her co-authors. They get that and I know a lot of them use that as their go-to manual if they want to set up an active learning strategy to cover a particular topic on any given day. They’ll employ maybe just simple think-parent shares or something more elaborate than that. That’s really up to the individual instructors to do it but we just ask that they spend about a quarter of their time doing that. We also revamped our laboratory sections associated with that course so that they are also much more student-centered. Now someone argue that laboratories by nature are active learning— I would argue that they’re not in the traditional way that they’re taught. Traditional labs are very cookbook in nature and performed in a way I would argue that don’t really actively engage the students brain. You come in, here’s what you do, settle this up and here’s what you should expect to see— that’s not at all what we’re now doing in these introductory biology courses. We are infusing scientific inquiry into pretty much every aspect of that course. Yes, covering the technical skills that they would need to be proficient cellular and molecular biologists but they’re also expected to come up with hypotheses to test and then use those technical skills as they design experiments, test their hypotheses, analyze their data, etc. So the labs also are very student-centered and, by the way, much more than 25 percent active learning happens in those labs— the majority of what happens is active learning. So when all is said and done, with the implementation of those active learning strategies along with their growth mindset messages, we’ve had a lot of success in enhancing the performance of our underrepresented students in closing the gaps.

Rebecca: One of the things that you mentioned in passing was training your faculty when they come in in active learning strategies and I imagine also these affective strategies as well.

Angela: Yes.

Rebecca: How do you employ that? Is that through a teaching and learning center on campus? Is this through your department? How does that work?

Angela: That is a good question. So when we had the addition of so many new faculty to our program— so one year, we had three new faculty. The next year, we had five new faculty. The year after that, we added two more. That’s huge turnover and again, reflects the growth that was happening in our program at the time. One thing that I did was I established a journal club— typically science departments have journal clubs where people present their data that they’re creating in lab or maybe they talk about a scientific paper. I set up a teaching and learning journal club where every other week, we would get together and talk about our recent publication in the scientific teaching and learning literature. And the new faculty who were coming in were really eager to learn this stuff because they wanted to improve their student outcomes and they wanted to be on board and teach in a way that was equitable within their classroom. So that was very helpful in terms of sharing with new faculty the findings regarding the evidence-based literature about the impact of these teaching practices on their student outcomes. So that was a really effective way to do it. Then that was the first year or two when everyone was on board and then, as happens, once people get their research programs established and then they start getting on committees, it became less and less likely that we would have a good turnout with our teaching and learning journal clubs. So my latest trick now is I just started a podcast that’s really focused on teaching in STEM and I’m calling it The Teaching Lab and my goal is to interview an innovator in STEM education every week or two who can share something about a recent publication in the teaching and learning literature that I can then share with my faculty. So it’s sort of an on-the-go professional development opportunity for them when they’re out what can their dog in the morning, they want to listen to a podcast or driving home at night because it’s becoming harder and harder as they establish themselves and now have their research programs up and running and they’re wanted in a million other areas on campus, it’s less likely that we will get together for this teaching and learning in the sciences journal. We call it our TLS Journal Club. We still have lunch together at least a couple of times a week and just bat ideas around and it’s a really wonderful community of colleagues I have here and I’m so fortunate in really having that journal club earlier on set the tone but now I’ve got to come up with other tricks because of the changes that have happened.

Rebecca: Looks like we’re all looking in the same bag of tricks, right? [LAUGHTER]

Angela: Well, it makes total sense.

John: Yeah, the asynchronous nature of podcast makes it a whole lot easier for people to fit it in their schedules.

Angela: Yes, and it’s easier then to sort of pick and choose. If there’s one podcast that eh, not so much use to me or of interest to me. I guess that’s probably more socially acceptable to skip listening to a podcast then just skip coming to a journal club and feeling the guilt associated with that.

Rebecca: You’re probably right. [LAUGHTER] What resources might you suggest for other faculty who want to work on reducing the performance gap in their classes?

Angela: It’s a good question. Just keeping up with the teaching and learning literature in the sciences. Life Sciences Education is a great resource that publishes a lot of evidence based up with respect to inclusivity, closing the performance gap, etc. I recommend Carol Dweck’s book on growth mindset to everybody and just going back and reading the classic literature by Claude Steele, the Stanford psychologist who did the original work on stereotype threat. Going back to those classic studies and looking at how profound the impact can be of stereotype threat, if you activate the threat of stereotype in a student, maybe it’s pointing out that women typically don’t perform as well as men in a math class. If an instructor just makes a statement like that before handing out an exam, it can have a profound impact on the performance of students. Just going back to read that classic literature about stereotype threat published by Claude Steele and colleagues and really thinking about how things we do in the classroom, totally unintentionally, can just have such a profound impact and how we really need to think about our messaging, and what we tell students, and the importance of building trust, and telling them that we believe in them, and also telling them you gotta work hard too, you know? And here’s how we’re gonna do that, here’s how we’re gonna progress this semester together, and here are the resources we can provide to you. Those are all wonderful resources, I think, for informing our teaching and really keeping at the fork front of our mind how incredibly important it is to address those emotional components of learning.

Rebecca: What are some of the strategies that you’ve used personally in your own classes in response to the work that you’ve done to improve inclusivity?

Angela: So I make sure, always, to be sending growth mindset messages to my students. If they don’t do well on a lab practical or don’t do well on an exam, I make sure to let them know that I believe in them and suggest to them alternative strategies or approaches that can help them to be successful. I work really hard, just generally, to foster a strong sense of community in my classroom, to invite students to come to my office hours even when there’s nothing wrong. Just come and hang out with me and let me know how your life is going. Fostering a sense of community is really important to help students feel like they belong. I try really hard to include in my classroom examples in discussions that are really culturally inclusive and that would reach a variety of learners. Right off the top of my head, those are things that I try to do on a regular basis. I try really hard to bring in speakers from underrepresented groups— scientific speakers from underrepresented groups because often, still, it’s a national phenomenon. We still see underrepresentation of certain ethnic groups within the sciences for sure. It’s less the case at least at undergraduate institutions that women are underrepresented. We’re seeing more and more women now in STEM disciplines, especially teaching at undergraduate institutions, but still we respect to scientists of color— very hard for our underrepresented minority students to find mentors who’ve had the same experiences that they’ve had. So while we work hard at High Point University to recruit faculty from diverse backgrounds and we’ve had some success in that regard, we could do better but we’ve had some success. We also try really hard to bring to campus scientists from underrepresented groups to meet with our students, to serve as role models for our students. That was very much the mode of operation for me in Wisconsin. I got some grant funding to make that happen in my students, who were able to interact with those scientists and be mentored by them, they still speak years later about what a significant impact that was on them in their life. So one example was Tyrone Hayes, who’s a very famous researcher at Berkeley, who is the guy that discovered how the pesticide atrazine is causing malformations and sex reversal in frogs and so forth. He is an African-American scientist who we had come and meet with our students in Wisconsin, talk about his research of course, but also just spend a lot of time during his visit hanging out with students and sharing his experiences and that really had a profound impact on them that they still talked about to this day.

Rebecca: Sometimes it’s things that seem so little to us that are so big to our students.

Angela: Absolutely.

Rebecca: We had a lot of interesting and exciting things going on but we always ask: what’s coming next?

Angela: What’s coming next? [LAUGHTER] I have a lot of data that I’m analyzing right now about the impact or growth mindset strategies on men versus women. I want to see if there’s a difference in responsiveness to the messaging in our male versus female students so there’s that. We’ve also implemented some growth mindset messaging in our introductory chemistry courses and we’re looking to see if they have the same impact in the chemistry courses as well, which is enough for now truthfully.

Rebecca: It seems like plenty.

Angela: Beyond that, you know we now have adopted growth mindset approaches as our campus quality enhancement proposal. So I made a pitch to our faculty when it came time to choose a new QEP topic that growth mindset strategies would really be an effective approach for addressing some of the problems that faculty/staff had identified that they encountered with students that frustrated them that they would like to see some approach adopted at our institution to address. Like students shying away from challenges or not really digging in when they were bumping up against obstacles within the classroom. Growth mindset strategies are incredibly effective for changing the way that students approach problem solving in the way that they feel about failure or challenges. It really helps them to be more resilient. Messaging itself is incredibly effective, we knew that that was the case in the k-12 setting based on Carol Dweck and colleagues work but now we and others are finding that in higher ed classrooms, likewise, they have a profound effect. So the growth mindset strategies and the messaging and the impact on a variety of student learning outcomes are now being employed High Point University campus pretty much universally in a variety of different disciplines and even within student life.

John: Well thank you, you’ve offered some wonderful suggestions that I think would be useful not just in the STEM fields, but in all of our disciplines.

Rebecca: Definitely. Thank you so much for your time and great research that you’re doing. I look forward to hearing what else you find.

Angela: Thank you so much for having me Rebecca and John.

[MUSIC]

John: If you’ve enjoyed this podcast, please subscribe and leave a review on iTunes or your favorite podcast service. To continue the conversation, join us on our Tea for Teaching Facebook page.

Rebecca: You can find show notes, transcripts, and other materials on teaforteaching.com. Theme music by Michael Gary Brewer.

46. Creative risk-taking

When you teach the same classes every year, it’s easy to fall into routines. Classes, though, can be much more fun for you and your students if you are willing to take some risk by experimenting with new teaching approaches. In this episode, Dr. Wendy Watson, a a senior lecturer of political science and pre-law advisor at the University of North Texas. joins us to discuss how she has engaged her students by introducing some very creative and fun assignments in her classes.

Show Notes

  • Ishiyama, J., & Watson, W. L. (2014). Using Computer-Based Writing Software to Facilitate Writing Assignments in Large Political Science Classes. Journal of Political Science Education, 10(1), 93-101.
  • Watson, W. L., Hamner, J., Oldmixon, E. A., & King, K. (2015). 14. After the apocalypse: a simulation for Introduction to Politics classes. Handbook on Teaching and Learning in Political Science and International Relations, 157.
  • Wendy Watson (2016) Best and Worst Teaching Moments (Center for Learning Enhancement, Assessment, and Redesign, UNT video) – This contains a description of the zombie apocalypse project.
  • Center for Learning Enhancement, Assessment, and Redesign at UNT
  • Olson, Katie (2017). “Local Author Gets Cozy with Mystery Genre.” The Dentonite. October 3, 2017
  • Wendy Lyn Watson – author website

Transcript

John: When you teach the same classes every year, it’s very easy to fall into routines. Classes, though, can be much more fun for you and your students if you are willing to take some risk by experimenting with new teaching approaches. In this episode, we examine how one professor has engaged her students by introducing some very creative and fun assignments in her classes.

[Music]

John: Thanks for joining us for Tea for Teaching, an informal discussion of innovative and effective practices in teaching and learning.
Rebecca: This podcast series is hosted by John Kane, an economist…

John: …and Rebecca Mushtare, a graphic designer.

Rebecca: Together we run the Center for Excellence in Learning and Teaching at the State University of New York at Oswego.

[Music]
Rebecca: Today our guest is Dr. Wendy Watson, a senior lecturer in political science and pre-law advisor at the University of North Texas. Welcome, Wendy.
Wendy: Hi, thank you for having me.

John: We’re glad to have you here.
Our teas today are:
Wendy: I am drinking Paris. It’s a blend from Harney and Sons.

John: We have that next door.
Rebecca: Yeah, a tasty one. I have Irish breakfast tea today.

John: …and I have ginger peach green tea.
We invited you here to talk a little bit about some of the interesting things you’re doing with your classes. Could you tell us first a little bit about the classes that you normally teach.
Wendy: Sure. In the state of Texas there is a requirement that every student take two Introduction to American Politics courses in our department. We refer to that as the full employment plan. So, I teach both of those courses and then, other than that, I teach all of our law related courses. I’m not the only one, but I teach all of the law related courses: our legal systems course, civil rights and civil liberties, the rights of criminal defendants, constitutional law, an LSAT prep class, gay rights in the Constitution, and a seminar on the death penalty, in varying cycles.

John: You do quite a few innovative things in your classes, and one of those is having your students rewrite the Constitution after a zombie apocalypse. Could you tell us a little bit about that activity?
Wendy: Yeah, the idea is that the zombie apocalypse has occurred. This is actually for one of the flavors of Introduction to American politics, and this particular course deals with institutions: the founding of the Constitution, federalism, the legislature, the executive, the judiciary, and civil rights and civil liberties. The idea is that the zombie apocalypse has occurred. Huge portions of the population of the US have been destroyed and the remaining members of the country are required to rebuild the United States and part of that is rewriting the Constitution. Essentially, what they’re doing is building a government from the state of nature, but they don’t know that. They think they’re building a constitution after the zombie apocalypse, and that’s way more fun. It’s a guided exercise; they get worksheets every week making them think about “What is bicameralism? What are the benefits of bicameralism? What are the drawbacks of bicameralism? etc. They don’t just get to go off and write crazy things. They actually have to think about stuff and then they work in groups to create these Constitutions. One of the things that I really love about the course is that they actually do have to grapple with these issues. They sometimes get pretty heated.

John: How large are the groups?
Wendy: Usually these introductory courses are about a hundred and twenty five students and I put them in groups of about five to seven.
Rebecca: And are these things that happened outside of class, in class, online?
Wendy: No. I’ve taught the class as an online class in which case it obviously happens online, but when I’m teaching the class as a face-to-face course I actually do give them class time. Having them do it outside of the class nothing ever happened, giving them the time in class keeps them from hating me and also ensures that they actually do provide some sort of useful product at the end.
Rebecca: What assignments or exercises or things that you would normally do in class does this exercise replace?
Wendy: You know it doesn’t actually replace any exercises because if I weren’t using this activity, all of their homework would be outside of class and they’re still doing all of that. So what it’s really replacing is me lecturing and I’ve got no problem with that and I don’t think they have a problem with that. It’s more exciting or more interesting for them to be doing something, talking to each other than it is to be sitting in a seat listening to me, I think, I’m pretty sure. And I think it’s actually more educational for them to be engaging in the material as opposed to passively sitting and listening to me. Yeah. So although all they’re missing out on is me talking.
Rebecca: How did you how did you decide to go in this direction and develop this particular activity?
Wendy: I was trying to think of a way to create a simulation that would last throughout that semester, so something that kind of continued over the course of a term. And I wasn’t really sure what that would be, and I think we were watching The Walking Dead. But honestly how that all came together I couldn’t tell you, but yeah I’m really happy with that. It’s been adopted by several of my colleagues and by a professor at University of Whitewater. She used it in a summer program for high school students, and yeah, I’m really happy with that how that one turned out.
Rebecca: How did the students respond?
Wendy: You know,of course there are always students who are not going to respond at all. But I’ve never had a student who actively said that they hated it which is, I guess, good. I’ve had a lot of positive feedback and I had you know one of my best student interactions ever over this particular assignment. Again, I’m going to apologize to all of my biology friends out there. One of the features of the assignment is that the zombies fall into two categories. The type one zombies who are traditional brain-eating zombies and then the type two zombies who have developed a lesser mutated form of the virus. And so they have features of zombies, they have the shuffling gait and the slurred speech, but they have higher order cognitive thinking and they don’t eat brains, and they’re just generally safe. But if two type two zombies have a child together there is a probability or a possibility that their child will be a type 1 zombie. Again, this makes no sense at all, since it’s a virus and that just doesn’t make any sense. But, it raises this question of what do you do with type 2 zombies? Do you sterilize them? Do you kill them? What do you do with them? And they were grappling with this issue one day. And this poor student comes in, and he was, I swear to God, he was almost in tears. Because his group had decided collectively to exterminate the type 2 zombies and he said,” what do you do when you encounter people who are terrible?” And so he ended up having this long talk about how do you deal with the notion that there are Hitler’s in the world. I was like “Well, you have to remember that there are Gandhi’s in the world.” It was a long and lovely conversation about the essence of mankind and the balance of good and evil. And I kept emphasizing to him that this wasn’t real and that his friends were not evil, but anyway it was it was a great conversation and I was so touched that he took it so seriously. It’s just a testament to me of the fact that students really are interested in the material if you give them an opportunity to be interested in the material.
Rebecca: It sounds to me too like it allows them to really grapple with the really difficult conversations that are around rights and lack of rights and who gets those rights. That might be really uncomfortable if you talk about it in a in a real situation, but in this safe simulation you can have some of those challenging conversations that you might not be able to have as effectively.
Wendy: Yeah, I think that’s right. If you’re talking about things like race or sexual orientation, you’re always confronted with the fact that there are people in the room whose actual rights are implicated, and that does tend to make people sent to themselves perhaps, and that’s not necessarily what you want in real active discourse. So, when you’re talking about something that is seemingly unreal, it is unreal… they’re zombies… it’s not real. I do think that it gives people the opportunity to think through issues in a way that is safer, but also more honest.

John: The type 2 zombies add to the degree of difficulty or the level of challenge there.
Wendy: Yes, exactly.

John: You’ve also created a 500-person learning community, could you tell us a little bit about that?
Wendy: Yeah, that was nuts! My university decided to try to create a variety of different models of learning communities, sort of all at once, that alone was nuts. But I was going to be involved in a combined course learning community, so without any residential component. And I found this wonderful man in the psychology department who probably had no idea what he was getting into, and we created this community that was 500 students. His Introduction to Psychology course and my Introduction of Political Behavior course, that’s the other half of our introductory American politics duo. And our courses were back-to-back, so there were times when he could have two hours, and times when I could have two hours. And we focused on political psychology, specifically as it related to campaigns. And over the course of the semester, they each had to read three or four articles and write one page papers about them, little summaries, and then they came together and they shared their information, and they had to come up with the campaign strategy for either one or two presumed political presidential candidates. At the time we thought that was going to be Clinton and Rubio… that obviously didn’t happen. But they created these poster presentations and then we picked from among those poster presentations the 10 best, and we took those to UNT on the square which is a little gallery space in downtown Denton. And we invited faculty and university administration and we invited the Denton Record Chronicle which is our local newspaper. And the students really got into it, the ones who won showed up with their little red bow ties if they were representing Rubio and they had candy at their stations. And it was really awesome. It was great.
Rebecca: What do you think one of the biggest learning gains was for students who were in this learning community scenario where you were diving into something in depth from two different points of view?
Wendy: I think one of the things that they gained was an understanding that these two disciplines actually interacted with one another, that psychology and political science weren’t sort of siloed ideas, that they actually were related to one another. And I think one of the other things that they learned is that what they learned in class actually had implications for the real world. That things that we were learning in psychology and political science had implications for how politicians were actually running their campaigns. And that they could take the skills that they were learning at UNT and potentially apply them to a job, which is always a big thing. [LAUGHTER] Getting a job is good.
Rebecca: What level are the students in these classes?
Wendy: In those particular learning communities, most of the students were freshmen, first-year students, because they had to be advised into them, somebody had to sort of point them towards this pair of courses, so they tended to be freshmen. Otherwise these courses actually tend to draw students all the way up to their senior year, because they put them off until they have to graduate. But for these particular communities, they pretty much have an advisor say, “Hey, here’s a good idea. Take both of these courses.” They tended to be freshmen.
Rebecca: Did you find that the learning community method works particularly well with first-year students?
Wendy: I think for a lot of types of innovation it doesn’t necessarily, but I think for this, it did, because I think their desire to please was strong. And I think that they didn’t any preconceived notions of what college classes were supposed to be like, so they were maybe more receptive to the idea of doing something different. For all they knew this is what it was supposed to be like. [LAUGHTER]

John: …and getting that introduction to an interdisciplinary view of the world is probably good to do before they get too deeply into the silos of their major.
Wendy: Yeah, I agree.
Rebecca: So you’re full of brainy ideas and another one that you pulled off was an online Electoral College simulation game, can you tell us about that too?
Wendy: Yeah. So that was a lot of that was a lot of fun. I actually have to give most of the credit for the online component to our office, here it’s called CLEAR the Center for Learning Enhancement Assessment and Redesign. The assessment component has largely gone out of clear, but that’s still what we call them. They do all of our online support, learning management system, redesigned helping us create online courses, all of that sort of work. And I had a sort of a low-tech version of this course. Originally they were working in groups, I always make them work in groups, I don’t know why. But they had groups and the idea was I used the map from 270 to win, which has sort of the baseline Electoral College predictions, and which states are going red, which states are going blue, etc. And then students had campaign money and they could essentially bet their money on individual states. And if you were the Republican Party and you bet fifty dollars here, but then the Democrats get 51, then the Democrats won the state, so whoever bet more money in a state won the state. And so you could see the strategy of betting in different states of spending more campaign money more campaign resources in each state, and as you won a state, the states that were blue moved around or the states that were red moved around and you could see the total – who was winning the electoral college. And it was played in three rounds. But this was a huge pain to implement in the classroom with having to update this Excel spreadsheet every round and get people’s votes every round. It was a nightmare. So CLEAR created an online version for us that allowed students to play against each other online and it was really slick, it was beautiful, I loved it.
Rebecca: So, I’m noticing the “loved” as opposed to “I love it”.
Wendy: You notice that didn’t you.[LAUGHTER]…… Yeah, so I think another point to make here is that if you’re going to launch into one of these grand plans, you really do want to have some long-term commitment from your University. I love my university but long-term commitment is not their forte and for the learning community, for example, Adriel and I (my co-conspirator and I), we put a lot of effort into that course and we ended up offering it twice. It went really well both times but to the extent we needed money it came from a Title III grant that ended. So, we didn’t have the money anymore and then we also depended very much on help from the registrar, from advising, and from admissions to help us coordinate all of the the details. Because it was no small matter, right? It was actually very difficult. It wasn’t just us. There are all sorts of offices that had to help us out with this. And the university basically was like, “Oh, we’re done.” That was difficult and so we just lost the necessary institutional support for maintaining that program. And with the electoral college I went for like a year and a half without teaching that course, so it didn’t get used because nobody else was using it. And so CLEAR stopped supporting it on their website. It just went away and it’s just gone. So, it’s just one of those things. You kind of need to get it in writing, because there’s a tremendous amount of start-up costs associated with these programs and unless you know that that’s going to carry forth and this investment is going to pay out over an extended period of time, tt could be a little bit demoralizing.

John: In one of your other experiments in class, you did something with a mystery room. Could you tell us how that worked?
Wendy: Oh yeah, that was this last year. That was so much fun. Yeah, so the game was actually called Free Lucky. Lucky is UNT’s unofficial mascot. He’s an albino squirrel; he’s actually not lucky at all. We’ve had a series of Lucky’s on campus and the only two that I’m aware of… one got carried off by a red tail hawk and the other one got hit by a car, so they’re not lucky. [LAUGHTER] But we call him Lucky and you can get little lucky dolls. And so I got little Lucky dolls and I shoved them in little cloth pencil cases and I put combination locks on the pencil cases, so he had to get him out by undoing the lock. And I’m put my groups of students… groups again… in various study rooms in the library and they each had a little encased enshrouded Lucky in their room. And then they started the game with a question on their learning management system on Blackboard. This was for an LSAT prep course and the beautiful thing about the LSAT is that you have these questions with very specific answers. No question… here’s the answer… that’s it. The first question, if they got it right, it led them to a webpage with another question; if they got it wrong it led them to a webpage that had nothing and then it sent them back to the original page, and so forth and so on. It sent them to various pages around the web, some of them with clues, some of them with other questions, eventually it would’ve taken them off of the web and sometimes it pointed them to different clues around the room. There were various and sundry things on the table, some of them which mattered… there was a playing card… it actually was a clue, but then there were things like spools of thread that meant nothing. There was envelopes taped under the table that had a whole series of questions. And the questions there, if you answered them all, there were four of them and those gave you letters and then there was a tongue depressor on the table that helped you translate the letters into numbers and that was the code to the combination lock and that allowed you to free Lucky. And the first team that got Lucky to me… I was sitting in the lobby of the library, first team that got Lucky to me won… and they won packets of colored highlighters, which doesn’t sound exciting but they were all pre-law students and that’s like gold in the legal community… is colored highlighters. So it was exciting, they were really thrilled.

John: It sounds like fun.
Rebecca: It sounds like a lot of fun.
Wendy: It was.
Rebecca: What made you decide to do a mystery room?
Wendy: Well, you know, we have one here in Denton, and I think it looks really cool and I want to go, but I can never get people to go with me, and so I decided well I’m just gonna create my own. I wanted to do something, again, that was interesting. As much as the LSAT prep stuff was really interesting and important for my students, it’s not super engaging. We could stand up there and write logic game trees on the board, for hours on end, but that’s not exciting. That’s not even lecture exciting, that’s just really really boring. So I wanted to at least break up the class a little bit by having something that was more engaging, more active, something that was interesting.

John: And it brings in gamification too, where there’s some incentives and competition.
Wendy: Yeah. Oh yeah, the competition was big. I had one group that came down with Lucky after about a minute and a half. I was like, “You did not answer all those questions.” The guy who handed me Lucky, he’s like, “You gave this puzzle to a marine .” [LAUGHTER] I was like, “So, did you just bust the lock?” He’s like “No, I didn’t have to bust the lock. I could get him out without busting the lock.” I was like “You have to open the lock, you can’t cheat.” [LAUGHTER]. So they went back, they did it. But anyway, yeah, it was definitely a game to them. They were serious about it.
Rebecca: That’s hysterical and unexpected, right? [LAUGHTER]
Wendy: Completely.

John: A common theme of all this is that you seem to experiment with your classes and take some risks in trying new things. Could you tell us a little bit about what prompts you to do that?
Wendy: A couple of things. One, is that honestly it keeps me interested in the courses. I can get bored with the material as much as they can. In fact, they sit through it for a single semester, I sit through it for semester, after semester, after semester. And you can only talk about the appointments clause for one or two times before you’re like “Oh my god, I’m gonna dig my eyes out. This is really dull.” And that’s something I actually enjoy, right? I think the appointments clause is interesting. You still want to shake it up a little bit. And the other reason is that I really do believe that students learn better if they are engaged. As much as I love to hear myself speak, I don’t necessarily think that they love to hear me speak. I think that they get more out of my class if they are doing something. If they are seeing some connection between what we’re doing in the real world. If they can see themselves actively engaged. If they have a sense that they have power in the class. Some sense of control over their own education. I think all of those things are really valuable to them. So it’s a little more effort for me, but I think the payoffs are worth it.
Rebecca: So all of these examples that you’ve shared with us today are really different from one another: they use different technologies, different setups. What is your advice to someone who wants to take some risks and try something new, but it’s something that they’ve never done before?
Wendy: Start small. Don’t start with a 500 person learning community, which is what I did. That was dumb. It worked out, but it was dumb. Yeah, start small. Collaborate with somebody so you have somebody to lean on and share ideas. That’s maybe why the learning community worked, is that I had something called the Core Academy, so we were focused on these sorts of things together. And then I had my my co-teacher, Adriel, to work with. I think having a support system and starting small is the way to go. You don’t have to do a semester long simulation, you can devote one class to something. Use a method that lots of people are using, like team-based learning. You don’t have to do that all semester you could do it for one class. There’s nothing wrong with starting small and then getting bigger.
Rebecca: Did you start small?
Wendy: I did not [Laughter].

John: Somehow I suspected that would be the answer.
Wendy: Yeah, that’s not my style. But again, I think that if you’re worried about getting started, if you are less stupid than I am, then don’t hesitate to start small. There’s nothing wrong with that.
Rebecca: Have you had any student resistance to some of the alternative or non-traditional methods that you’ve been using in your classes?
Wendy: I get a little resistance sometimes. For the most part, they actually seem to enjoy it. Every now and then I’ll get a student who seems to think that I’m not doing my job. I mean I’ve had students who flat out on evaluation have said “I expected to come to class and hear you talk and you didn’t.” Like “Really? That was what you expected?” I mean, yeah, I assumed that is the expectation, but like, “You’re disappointed that didn’t happen?” I can’t imagine that. And of course there’s always, as I mentioned, a lot of these things involve group work, and a lot of students have resistance to group work. Even when the group work ultimately works out okay, they still are annoyed that I put them in groups. Just the anxiety associated with group work carries over to the end of the semester. Of course, some groups don’t work out. You’ve always got somebody in some group that either doesn’t pull their weight, or is responsible for a part of the project and fails to turn it in, or somebody in the group who is bossy. You always have some group that’s got a problem and I usually try to mediate that situation, but sometimes they don’t come to me until it’s too late. There are always points of contention. But they’re relatively few, and honestly I’ve always got a few complaints when I lecture too. I’d like to say I never have complaints there, but I do.
Rebecca: I read this really great article about you being a mystery novelist.
Wendy: I am.
Rebecca: Can you talk a little bit about that?
Wendy: Sure, yeah. I am a mystery writer. I started writing a long time ago, right around 2001 actually. A bad year. But I had my first novel published in 2009. I write a type of mystery called a Cozy, which is exactly what it sounds like, it’s cozy. They are light, often funny mysteries. Amateur sleuths, so no cops or private investigators. They can be in the book, but they’re not the primary character. Usually female sleuths, small town, no sex or violence on the page. I mean obviously somebody dies but it happens off the screen. They’re really quite delightful. I said PG-13, I actually included the word “bitch” in my first book, and it wasn’t even calling somebody bitch. It was like son of a bitch. I hope I’m not destroying your podcast by using that word [Laughter]. I actually got nasty emails about using that word. Really? Oh my goodness. I don’t use that word there anymore. Yeah so I started writing I’m working on number seven right now and, that’s that.

John: How do you manage that along with all your innovation in class? It seems like that’s a lot of demands on your time. How do you allocate your time?
Wendy: Not well. Yeah, I was talking about this with a colleague this morning, we were talking about this LSAT prep course (she’s teaching it this semester) about the fact that prelaw students really should be studying a lot for the LSAT. It’s a huge portion of their application. Yet, for some reason, they don’t and instead they focus so much on their GPA, which is important, but honestly, not as important as their LSAT score. They shouldn’t let their GPA slide either, let’s be clear. But in the grand scheme they should be focusing on their LSAT score. We were discussing the fact that the LSAT is way far away but their GPA is right in front of them, and so that just feels like the thing they need to tackle right now. And for me my deadlines are way far away and my courses right in front of me. So I tend to focus on my coursework and I’m not so great about meeting my deadlines, and I apologize deeply to my editor, but that’s just the way it is. I do though have a calendar, a very detailed calendar, that I keep, that has specific time set aside for every single thing that I do. Not always true to that calendar, but I do have a calendar, and it includes time set aside for writing.
Rebecca: Do you find that your writing life and your teaching life influence one another?
Wendy: Yes. Certainly my academic life has influenced my writing life. One of my books was set on college campus and I got to kill off a couple people that I didn’t like so much, which was awesome [Laughter]. Certainly, I think that my tendency toward narrative, toward storytelling, influences my use of hypotheticals in my classes. To the extent that I’m sort of telling stories. Like the zombie apocalypse, I didn’t just write a paragraph: there has been a zombie apocalypse. It’s this, probably too long story, about this has happened, and it’s all dramatic, and that’s definitely a carryover from my writing life.
Rebecca: I imagine that those details though and that spike in the climax to a story, are all the things that get students really engaged and interested and and buy into the simulation and take it seriously. As opposed to something that’s a little more surface level and that it’s a little harder to imagine.
Wendy: Yeah, and I think sometimes one of the things my cozies tend to include is humor, at least I hope it’s humor. I tend to inject that into my hypotheticals a lot and I think that that helps. One of the simulations that I do in my legal systems class is a negotiation divorce case. Each side in the negotiation has information about their client. Some of its common knowledge, that both sides have, and the wife’s attorney has knowledge that only the wife has provided and the husband’s attorney has information that only the husband has provided, and they know that that information is going to come up during the negotiation in a series of PowerPoint slides. They don’t know when that’s going to happen, but the idea is that all the sudden the wife is going to blurt something out during the negotiation. They also don’t know that there’s information that the husband and wife have not told their own attorney and that’s going to come out in the course of the negotiation. So I had great fun crafting the simulation; like the things that the husband and wife have done, and the pieces of information that come out are delicious, and the students have so much fun finding out about these details. And yeah, I think that that makes the whole simulation so much more engaging, instead of just calculating the appropriate alimony. I think it’s a lot more fun.
Rebecca: Can you share a couple of tips from your creative writing self that might help other people come up with hypotheticals or examples that they could use in their classes?
Wendy: Yeah, I think one thing that you want to do is provide detail. If you’re going to create a hypothetical, create a character to go with the hypothetical, and then provide some detail about the character and the setting and those sorts of things. It really enriches the hypothetical. It doesn’t all have to be completely relevant. In fact, sometimes it’s better if it’s not all relevant because then it forces the student to look past the things that aren’t relevant to find the things that are. I think that’s probably the key is to include at least one person in your narrative and then provide some detail. Provide a setting, provide some description of your character, provide some element of detail about what’s happening, so that it’s not sterile or clinical. Because that’s, like you said, that’s really going to draw the student in, in a way that’s sort of, A happened, B happened, C happened, or not.
Rebecca: That’s great advice [LAUGHTER].

John: We always end with the question, what are you going to do next?
Wendy: So this year I’m actually not teaching, which it is really weird for me. Last year this time, I took a position as the director of the university’s core curriculum. So, this year I’m going to be continuing with my pre-law advising but otherwise I’m focused on the university’s core curriculum. I will be engaged in assessment, which is everybody’s favorite thing, but I’m also gonna be developing a lot of programs related to our cores. So some programs related to writing across the curriculum, some programs related to bringing back, I hope, some of our learning community endeavors, and possibly exploring some other options that would allow us to really enrich our university core curriculum for our students. When I talk to students now they talk about them as the basics or the things that they have to check off, and I want them to think of those classes as something more than that. So that’s what’s next for me.
Rebecca: Sounds like the right person might be in that job to help inspire students. [LAUGHTER] I think sometimes that’s a hard sell these days, helping students recognize the value of a liberal education, and get them excited about it and help them find connections.
Wendy: Yeah, I agree. I think I have a tough road ahead of me but I’m going to do my best.
Rebecca: I look forward to hearing more about it.
Wendy: Yeah, thank you. I’d love to come back sometime.

John: We’d love to have you back.
Rebecca: Thank you so much for spending time with us this afternoon and sharing all your great initiatives in your classes, I hope it’ll inspire a lot of our listeners.
Wendy: Thank you, I really enjoyed it.

[MUSIC]

John: If you’ve enjoyed this podcast, please subscribe and leave a review on iTunes or your favorite podcast service. To continue the conversation, join us on our Tea for Teaching Facebook page.

Rebecca: You can find show notes, transcripts, and other materials on teaforteaching.com. Theme music by Michael Gary Brewer.

44. Industry realistic experiences

Student motivation is enhanced when students see that the work they are doing is relevant to their future careers. In this episode, Dr. Bastian Tenbergen, an assistant professor of Computer Science at the State University of New York at Oswego, joins us to discuss how industry realistic projects may be used to enhance learning in software engineering classes.

Show Notes

  • Daun, M., Salmon, A., Tenbergen, B., Weyer, T., & Pohl, K. (2014, April). Industrial case studies in graduate requirements engineering courses: The impact on student motivation. In Software Engineering Education and Training (CSEE&T), 2014 IEEE 27th Conference on (pp. 3-12). IEEE.
  • Daun, M., Salmon, A., Weyer, T., Pohl, K., & Tenbergen, B. (2016, April). Project-based learning with examples from industry in university courses: an experience report from an undergraduate requirements engineering course. In Software Engineering Education and Training (CSEET), 2016 IEEE 29th International Conference on (pp. 184-193). IEEE.
  • Dijkstra, E. W. (1959). “A Note on Two Problems in Connection with Graphs.” Numerische Math. 1, 269-271.

Transcript

John: Student motivation is enhanced when students see that the work they’re doing in their classes is relevant to their future careers. In this episode we examine how industry realistic projects may be used to enhance learning in software engineering classes.
Thanks for joining us for “Tea for Teaching,” an informal discussion of innovative and effective practices in teaching and learning.

Rebecca: This podcast series is hosted by John Kane, an economist…

John: …and Rebecca Mushtare, a graphic designer.

Rebecca: Together we run the Center for Excellence in Learning and Teaching at the State University of New York at Oswego [Music]

John: Today our guest is Dr. Bastian Tenbergen, an assistant professor of computer science at the State University of New York at Oswego. Welcome!

Bastian: Thank you, thanks for having me.

Rebecca: Today our teas are…

Bastian: Well, upon John’s recommendation, I’m having the mint herbal mix tea, which is excellent! I’m a peppermint tea drinker, so this is blowing my mind right now.

Rebecca: Excellent!

John: I’m having ginger tea.

Rebecca: I’m having Prince of Wales today.

Bastian: I like the ginger tea, that is my favorite tea.

John: It’s good.

Bastian: Ginger and fennel and peppermint, those are my three.

John: We invited you here to talk a bit about the projects that you have students do in your computer science classes. What classes do you generally teach?

Bastian: I’m teaching in the computer science department, but I’m mostly teaching software engineering courses. We actually have two separate majors: we have computer science majors (Bachelor of Arts and Bachelor of Science) and we also have a software engineering Bachelor of Science program. People usually confuse software engineering and computer science or at the very least don’t really know what the differentiation is. In contrast to computer science where it’s really all about programming and all about finding optimal algorithms to solve problem x for person Y, software engineering is concerned with the process of development from A to Z. So from requirements all the way to programming which is a small part of it, all the way to Quality Assurance and also budgeting. Also, the business aspect of it, so it has a wider focus.

Rebecca: It’s a little more client facing?

Bastian: Very much client facing, yes. By trade I’m a requirements engineer you can say and a very smart person who very recently submitted his PhD dissertation (which I’m very proud of him that he did finally did that). He wants to find requirements engineering as a socio technical process that implements the vision of a system given the time and budget constraints that you have. They usually also call us the context of the system, the developmental context of a system. It’s the budget, the time, the resources you have and such things. Those are considerations during software engineering.

John: In what classes do you have students engage in projects?

Bastian: Well it is very hard to teach computer science without actually using projects. You can teach the skills but at some point the art of making software becomes more than the alignment of skills in a particular way. Legitimately almost all classes we teach have a very heavy focus on projects. I’m teaching a software and safety requirements engineering course which is project-based, at least a quarter to half the students grades depends on the project. I’m also teaching a software quality assurance class where at least a quarter, sometimes half of the grade depends on project performance. I’m also teaching occasionally capstone courses, where the capstone experience in the software engineering program really tries to simulate how an independent developer develops a spoke software for one individual client and one of my favorite things to teach is a class called “Software Design”. The term design implies software architecture but it’s not just that. For those software engineers out there listening, this particular course is called that for historic reasons, but it’s really a design process class. The entire class collaborates together on producing one substantial piece of software, which is usually on the first day of class. I demand like big evil Papa Smurf that this project could be marketable, so the explicit goal is we want to market it, which sometimes works and sometimes doesn’t, but that’s the goal. Then we differentiate the students into teams and have a database team, a GUI team, we have graduate students at our university that specifically focus on usability and human factors so we have those as a team, we have requirements teams, we have Quality Assurance teams. They have to learn not only how to work together, they also have to learn how to apply their skills, have to learn how to best make design decisions, how to communicate them and not only how to communicate them with like-minded peers that are also scientifically or engineering capable but also with a stakeholder. Software engineering in general is very focused on the people who are giving the money for a project. In my classes I really focus on the fact that students should be able to argue their rationales, not to other engineers and not to other technicians, but to their grandmother because if you can explain it to your grandma, you can explain it to the person who gives you money in the project; and that usually worked well.

John: How early in the term do students decide on the project?

Bastian: So, It depends. It depends on the course. In my requirements engineering and software quality assurance class where we also teach skills, we also teach requirements, solicitation, or you teach let’s say data flow based testing, which is a new technique for them to pick up. There, I usually pick the projects for them or if they have a particular good idea we’ll discuss it, but usually it’s in the first week or so that they finalize the project. In capstone classes and in the software design process class, I usually conceive the project ideas and then we make the necessary choices, let’s say the necessary preliminary choices in the first week. What I mean by necessary and preliminary choices it’s this; I basically say “I want a universal all-transfunctionater” and no one has any clue what that is and I say “great it’s your job to ask the stakeholder, who is also me, what I mean by that.” Then the requirements team would differentiate the people into teams and the people who self-select into requirements they say: “Ok, well Bastian, what did you mean by that?” …and I say “Well, I meant… really… whatever… a cow milking device.” So the project kind of takes shape. So, I force them to come up with the requirements and to get them out of me, so that, as an instructor I basically have a dual role… or actually triple role, sometimes quadruple role and I’m project manager for them. I’m also the stakeholder, I’m also the person who gives them advice and the instructor that says “dude you shouldn’t do this because X & Y & Z or whatever. Or, maybe here’s a great idea that someone else just had and maybe try this.” More often than not I’m also the conflict solver and a psychologist that lets them cry on the shoulder because at some point during the semester everyone is just frustrated. This is part of the experience I guess but that’s why I usually tell my students the trick is to be successful despite other humans and once that idea clicks, working together never becomes a problem ever again. So as you lose one conflict earlier in the semester and then it kind of dissolves and this is when you see the students go from students to professionals. It’s my favorite class to teach because you can see how the students go from “professor, how do you want this” to “well Bastian I know you said you want a cow milking device but see we don’t have any cows, so how about we build you this instead”. It’s important in these kinds of projects for them to be able to communicate what the stakeholder wanted versus what we can conceivably give to the stakeholder given the time and the budget and the people that we have on staff.

Rebecca: Or what this stakeholder may actually need and doesn’t realize that they need.

Bastian: That’s right! Two years ago, I co-taught to this class for the first time which was great because then we could literally play good-cop and bad-cop. One stakeholder and one instructor will always be against the ideas, which believe it or not wasn’t necessarily me, and the other one was always in favor and would always say “oh yes that’s fine, that’s fine, Keep going”. But you know even if you have someone who constantly approves of what you do you don’t know whether or not you’re actually making any good progress. So it may feel good to have your ego stroked and be told that yes everything is great but that doesn’t necessarily mean that you’re making useful progress. Really in the end the only way you learn is if you make mistakes. On the other hand of course being told everything is bad or everything is completely horrible and how dare you even propose this doesn’t help either. So the truth is somewhere in the middle and it’s for the students to find out what goes. That’s the tricky part about teaching this kind of class, is to guide the knowledge discovery process such that they find it but they can still be successful despite having to do all the work themselves really.

Rebecca: So you’re describing mostly the setup for your software design class right? Which is a big team right that has small teams on it, but you’re all working on the same project.

Bastian: Yes.

Rebecca: Are your other projects and your other classes also set up so that everyone’s working on the same project or individuals working on a project? How are the setup similar are different?

Bastian: You have teams of students I have a very much focused on that that students would at least together with one other person. And the reason is, four eyes see more than two eyes, that’s why. Plus I encourage them like, hey, you know if you talk to another person, if you vocalize your problems, it helps, it stimulates your thinking. So that’s why I do this for example my requirements class, I give the general theme of the project and then let the students do some of it on their own. For example, a little while ago when I taught this software and safety the requirements class first here in the US, I gave the students the opportunity to I said, “okay, we have these cyber physical Rovers or robots, never mind what cyber physical systems are but it’s a buzzword and they can do certain things something makes them special”. We discussed this in class and I said, “we have these robots, and I want you to do something cool with them.” “They each have individual functionalities, pick one for different sensors, different robots had different sensors, pick one and do something fun with it”. And they pitched the project ideas. For example, one of them said, “I want my robot to exit a maze.” Great idea do it. Another person said, “I want my robot to use the camera and use computer vision to recognize another robot and drive after him”. And it was a cool project. Another team of thing was three students actually said, “no we don’t like the robots we’d much rather do something else and here’s an idea”, and I said “okay”. Soon as the learning objectives that I have to find in my syllabus are roughly aligned, I’ll let them go. My general philosophy is if the student has a better idea than me and can argue it, ok. Because I want to learn something too, right? (laughter). So I let them do it and let him explore it if they have the idea right.

John: The students would have more ownership till when they come up with the idea.

Bastian: True. Usually I’m not sure if it’s me over the project or it’s just those cute little robots that we have, but usually students are quite enthusiastic about projects. For the coming semester believe it or not we bought programmable slot cars. Remember those slot cars that you used to race on the like little tracks, you a little controller in your hand you can push more and less gas and throttle. We bought programmable ones and we’re gonna be using that in a project. I’m super excited about this and can’t wait to play with that. I’m hoping students will be excited about this too. And if they’re not then fine they’re not expensive.(Laughter). Plus we have several other faculty in our department who are quite excited about these. I’m not going to tell you the name of the manufacturer but they have a very cool API, which is an application programming interface, which is really simple and open. I haven’t tried them out yet, so I’m hoping it that’s a needle platform to automotive software engineering projects which would be cool.

Rebecca: So, as your students are working in teams and you’re trying to make sure that they’re prepared for professional life, right? You’ve talked a little bit about thinking about clients and things like that. How do you make sure that the problem that they’re solving is realistic and it’s not pared down so much that it’s unrealistic? Sometimes when students self define a project, it’s in a context that wouldn’t generally exist when they are working on their own unless they’re at a startup.

Bastian: That is so true. I would argue that finding the project not necessarily the scope, but the project domain is probably one of the two hardest things about doing the project. In fact, I’m not sure if I’m allowed to say this and make some advertisement on my own behalf here, but colleagues of mine and I wrote two academic papers and we’ve just submitted the third one on project-based learning in industry-realistic case examples in software engineering to a fairly substantial fairly high ranking conference. The industry realistic examples, they usually reflect one or two aspects that you would commonly find in let’s say industrial development projects. For example, the problem of, let’s say sensor integration. If you have a little robot and you tell the robot to rotate 90 degrees, you can know whether or not that thing actually turned 90 degrees because the one motor if you have two wheels, assuming you have a two-wheeled robot one motor might be have different manufacturing tolerances and maybe a little bit stronger than the other one, so you may be turned 89 degrees, maybe you turn 94 degrees. So how do you fix that? Well you could put a little sensor on it that does that, but the only rotational sensors you have they are going to be inaccurate too. Especially if you have let’s say have the robot run on carpet rather than tile. All of a sudden the physical setting and that the robot is in has a great impact on the software that you’re developing, and that is an industry realistic problem. Let’s say you fly an autonomous aerial vehicle somewhere and try to detect wildfires, which we are currently experiencing a very hot summer with a lot of drought. So they do this, they use drones to detect wildfires. How do you know you’re actually currently flying through smoke as opposed to through humidity or through fog or through a regular cloud? You have to use sensors. It’s a realistic problem. So the domain flying an actual drone is hard, so we use a little robot which however has the same kind of problems. I was very fortunate that earlier in life, I was working with some industrial companies in research projects and so it’s relatively easy for me to figure out what could be a challenge that the software developer or software engineers is going to be facing. So in those two papers that are just described, we focused on how to apply industry realistic case examples and we figured out what kind of properties these have. For example, you want to be sure that the project that you give to your students doesn’t have a bunch of challenges, but just one is usually enough, just to focus on one little challenge. For example, get the little robot to rotate accurately, but you don’t tell them make a project that lets the robot rotate, because that’s boring. Instead you say, “hey, why don’t you write an overtaking algorithm for robots?” And usually you know full well that in order to make those robots actually overtake one another like cars on a highway, a lot of things have to fall into place. First for example, you have to figure out how to make this robot drive straight and that is already a project in an art of itself. So the other important criterion for these industry realistic projects is to have the project scalable. So toward the end of the semester I usually joke with my students and say, “well, if you can’t finish your project in time, it’s either because you didn’t scope the requirements right, or because you bit off more you can chew, development is harder than you initially thought, or maybe because we haven’t redefined success yet.” So if you can’t be successful redefine success. Which when I say that really what I mean is I tell them, listen, you can’t deliver what you wanted to deliver, fine, not a problem happens all the time in reality, instead tell me what we can expect. Given the time that’s left what can we expect. “Well, we can actually make the robot overtake”, they will say, “but we can make it drive straight with a certain level of accuracy.” That seems boring and uninteresting when I say it like this but it’s actually a remarkable feat. At the end of the semester, two kinds of students those that are happy to be done because this was horrible experience, the minority thankfully, or you have the people that say, “oh my god, had no idea how hard it actually is to interface hardware and software.”

Rebecca: Really a big lesson in scoping, it’s like how do you break a big project into small pieces.

Bastian: Absolutely.

Rebecca: Understand that small pieces have to be completed before you can put them together to make a big piece. It’s like modular design.

Bastian: Yeah, absolutely. Modular design is one of those keywords buzzwords almost from the 90s, but they were right. You divide and conquer is a recurring theme in computer science that works everywhere. If you want to sort numbers you divide and you conquer it’s the fastest way to do it and if you want to develop a software project you divide and you conquer. Your first build project one and project two. You can scope this whatever way you want. Very often actually I have students who halfway through the project realize the potential that the project has that they’re working on and say, “hey Bastion, I really would like to bring this project into this direction instead I know you said overtake algorithm, but let’s do a path finding algorithm instead.” Esker Dijkstra in the 1960s wrote basically the silver bullet of shortest path algorithms and, can I implement that and put it in the robot? And why not? Just last semester I had someone interested in that doing it. The third characteristic about these projects is don’t be a stickler too much for what the industry really experiences and let the student figure it out on their own. And the one hand you could simulate what companies develop software to particular degree. So you could say, oh we are all now going to fill out application slips or vacation slips or things like this right, but that this misleading from the art of developing software. On the other hand when you tell the student hey listen or when the student asks, “hey listen, I want to bring this in another direction because I find this really interesting,” usually what comes out is something really rewarding, In my experience at least. So the third concept is don’t overdo it students will by themselves, with enough enthusiasm, drive it into a direction that is going to blow your mind, theirs and yours.

Rebecca: So when students are working together in teams and they’re taking on kind of different roles. How do you help the students divide those rules but then also make sure that they’re learning all of the skills or techniques that you want them to learn.

Bastian: That’s hard it’s really really hard and I would say that there’s no silver bullet of how to do this. It is an unfortunate truth that the larger the project is the more people are working on the same project, the higher the chance that at least one person is simply left out and you can be the kind of person that says okay, let’s try to live this person up to make sure that they learn something, but to be entirely honest, in part, in my opinion it’s a component of the experience to make yourself available to your team. So what I do throughout the semester is encourage students to contribute any way they can and students miss understand sometimes from a grading perspective that contributing means being the natural-born leader. In my experience, every team no matter what has one or maybe two people who are really great at the technology and also really great with people and their form naturally adopt the role of the leader. Assigning a leader doesn’t really work all that often. You can say okay you’re a graduate student so you’ll have more management responsibilities and that usually works. But often there’s one non graduate student who’s also fulfilling this managerial role so part of the experience is to find any way you can possibly be helpful for your team this doesn’t necessarily have to be the leader role. You cannot be a leader and be a rather shy quiet person and still get an A in project based courses, the way I teach him. Simply because what does an A mean? An A means here an excellent outstanding student and when are you excellent outstanding student? Well, in these cases when you’re an excellent outstanding team member for your team. When are you doing that? Well, when you contribute stuff any way you can to your team such that your team can continue. I’ll give you an example, if you are the kind of person that never volunteers presentations in class, that never contacts me as the instructor with questions, that never has an management important role in the team but manages all the background communication, implements all the code, and does all the right things in the simply couldn’t contribute couldn’t do what they’re supposed to do if it wasn’t for your input; you’re an A student, regardless of whether or not you’re very outspoken and outgoing or not. On the other hand, if you are a student who talks a lot and who is volunteering a lot, and who is putting themselves in the limelight a lot, but at the end of the day your team can’t count on you because you didn’t show up for the team meeting or because you promised something but never delivered or because the stuff that you deliver is of poor quality and your team decides to drop it and not use your work. Then you’re clearly on the other end of the grading spectrum. So I have a rubric, a rubric system where I say oh can a student clearly is the backbone of the team any way possible a B student is delivering useful stuff in regular intervals and C student is well useful when being assigned work, right, and a D student is unfortunately not useful even when prompted and an e student is the kind of student where the team said listen we’ve asked you 15 times you haven’t done a darn thing we’re done with you.

John: We should know that as we go for some reason we use E’s instead of F’s.

Bastian: Oh that’s right. I’m sorry.

Rebecca: Its alphabetical.

John: It doesn’t make sense to any of us but it’s been done here for a long time.

Bastian: It’s true. So a student that is failing the course with an E or other universities with an F usually those students know that they are. Usually before they are even assigned a failing grade I’ve had numerous conversations with them not as the manager, not asked stakeholder, but as the Papa Smurf (laughter) who says listen, if you want to pass this class, and for software engineering students in our university this class is a core requirement, so they have to have a passing grade in this class to graduate. I say listen, right now you’re not. We’re also doing peer evaluations so some people could say well if you were the one that subjectively evaluates the students isn’t that unfair and the answer is yes, of course. So I’ve experimented with this, just evaluations by me, and I had some good experiences with it and also some very bad ones, unfortunately. So within disputes, and it happens occasionally. What I like to do is peer evaluations where students within the same team evaluate other team members on a scale of say 25 points and usually, and remarkably, these peer evaluations match my subjective opinion almost all the time, 100 %. Students when they evaluate others are usually little positively biased and they are reluctant to evaluate people really badly, but if you ignore that, the subjective evaluation students have of each other are matching my observations very well.

John: How often do they get feedback in terms of how well they’re doing?

Bastian: Every day, every day. We meet usually in this class, we are meeting three times a week or the university has allotted three meeting times a week. I like to schedule two meetings where I’m there and they are reporting to me in daily scrums, those of you who are software engineers,yes we’re doing AGILE methodology specifically scrum. We do daily scrum so it’s basically, you stand up when and you say this is what we have done from last time until today, this is what we’re currently working on, this is what we’ll do next, these are the roadblocks, these are possible problems, and these are questions that we have. Five minutes, everyone does it and usually takes the entire class period to figure out problems, to resolve roadblocks, and most of the time it’s minor things but gotta get done because it’s the planning for the rest. So, during that is when I provide feedback by saying hey have you done this yet or have you thought about that yet, or John Doe here, was supposed to deliver this and that, did they? On the other hand, I’ve very often we have experiences that students say well, see our friend Jane Doe here foresaw two weeks ago that this is going to be a problem, so she already did this and that in anticipation. That’s how you know you have a really great student at hand, right, when they can anticipate problems in the future but would usually only experienced engineers are able to do. So they get feedback every time. What I do however, is the third class meeting that we have, I usually reserve for project work. Because that is the one day in the academic schedule for all students in the class, and if you have 30 people in the class, that I know they have time. Especially at the beginning of the semester I often hear things like, oh we don’t have class on Friday. I’m like, no, no, no, no no, you have class. I might not be there and the reality is that of course I’m there, I’m just then the next room letting them duke it out, and when the shouting or the crying gets too loud, I walk in. Or they decide on things and they have a question and needed it answered right then right there, so they walk over to the other room, or wherever, I am and they ask me. Or I just sit quietly in the room and let the students plan the work on their own. So, the idea is that the third meeting of the week is usually when they get to make progress when they need other people to be present. We also usually coordinate using online chat functions, we’ve used Discord.

John: This is used in a lot of gaming.

Bastian: Yes yes I use them gaming a lot right? Plus all my students they’re all familiar with it because they’re usually all gamers. And we even have a little Steam community going because, you’re nerds like that. So they coordinate through Discord and sometimes they say, hey Bastian is a fine if we don’t meet in person because John and Jane are out of town because, whatever, wedding or sick or whatever, is it okay if we do this online? I say sure, I don’t care how you get it done, just get it done. That’s all I care about. I care about you make progress any way you can. Next semester I’m actually preparing for having this class for the first time in a sort of hybrid fashion. Hybrid in how a university means a portion of the course is online the other portion is a physical in class meetings and what I want to experiment with is, moving this course to an entirely online fashion. Basically simulate how offshore development works. Let’s say you have a team working in Atlanta, you have a team that works here in upstate New York, and you have another team in India or Poland or Germany, and they work together they have to coordinate somehow. So we’re gonna do this next semester. I’m excited, really excited for that.

John: Interesting. Will there be a synchronous component where you have everyone report?

John: Absolutely. So the reason why I said hybrid is because we’re gonna meet exactly twice in person. It’s going to be at the first class we’re going to actually physically meet. I tell them that from now on we’re not going to meet anymore. Instead, we’re going to meet online using an online meeting tool. The university has a couple of licenses that we’re friendly enough to allow me to use one. So we’re using this tool, we’re doing online meetings where everyone has to be present and has to do the same things we would otherwise do if we had physical, in-class meetings; the daily scrum, this is what I’ve been working on, this is what I’m gonna do next, this is what we as a team have been doing. So we still have the immediate feedback component, we can still plan ahead and we can still do all of this. The second time we meet will be at the end of the semester when we present the final project and when we show the final implementation to the stakeholder. Basically like a sales pitch. Of course that’s gonna be problematic because specially the usability folks, those part of the team who are going to be conducting actual usability tests with human subjects committee approval and everything, so we do it the actual way that a company does it, they of course have to meet. This is for next semester I’m actually thinking about having them fill out mock travel requests just to get them accustomed to this. So we’ll see how this work. I’m quite excited about this prospect. I looked at the class roster the other day and I think I have a really cool crew of really capable people and as things gonna be great.

Rebecca: What are some challenges that you’ve run across teaching project-based classes and some advice that maybe you could give to a faculty who’s newer to this methodology?

Bastian: I would still consider myself new to this. I’m actually junior faculty so I’m only, in quotation marks, an assistant professor at this university for just about three years. But our department usually have four as project involve classes taught by more senior faculty. One of the most significant challenges that have experienced this when you have disruptive students. Every once in a while you have a student who completely hates the idea of projects and frankly I was one of them when I was in grad school, I was I was one of them because at the end of grad school I was like if I hear the word project one more time I’m going to flip out. These days I have a different opinion of this. I understand that some people are just fed up with it and I understand. Especially when they have to work with other people that they don’t know that don’t have the same work ethic that they do, they get frustrated a lot. So a recurring problem is student frustration with other students. That’s why I joke with them and say well this class is not about skill acquisition, I don’t need you to know how to compile code, at this point I expect you know how to do this. I need you to learn how to be successful despite other people in your group. You need to be successful despite the fact that you’re running out of time. That kind of stuff. So it takes a little bit of convincing sometimes but usually you’ll find the trick is to find an amicable solution. Then if there’s conflict between people then talk to both sides and say listen, I’m not your enemy, I’m not here to point fingers, I’m not here to agree with you or disagree with you, I’m here to help you facilitate a compromise. That is sometimes challenging. It happens every single semester, but it’s challenging. My strategy usually is to listen to both sides and say okay and maybe you just used the word, the wrong words, maybe you use the wrong language, maybe there’s cultural differences, you have students from other countries and they might not have the same work ethic that you do they may work 24/7 it feels like and you will really appreciate your weekends off. That is fine that is a fine, thing to do we just need to be upfront about it we just say, listen Jane, I’m not gonna work Sunday nights because Sunday night’s is when I relax. Or hey, I’m sorry Wayne, tomorrow morning 8 o’clock is the only time we can meet, can you somehow make it happen? So it’s really about compromise and it’s the case-by-case thing but my strategy is listen to them all and if they can’t make a decision on their own, then I make one, and they just have to abide by it. Usually it’s not a problem.

John: Which is also a useful job skill because they’re going to be in these environments.

Bastian: Exactly. In fact, when I say we simulate the way a software company develops software, I’m not joking. We really do it. These conflicts that you have in a class like this are literally the same. Most students really appreciate the experience, they may hate going through it but they usually love it at the end. In fact two years ago, I had a graduate student who was a graduate student of human-computer interaction, of which our University has a master’s program, but her background I believe it was art. She came from an art background.

Rebecca: Probably a graphic design student.

Bastian: Um, I’m not certain about that, but probably. The strength of the HCI graduate program is that it has so many people from so many different backgrounds, which is a great asset, and you can draw from really greatly talented people. Unfortunately, the downside is well these people they may have taken exactly one computer science class ,namely introduction to programming, and they have never done anything software, ever, ever again. But this person she hated going through this class she hated every single second of it but now she is working for a rather renown company here in upstate New York and she says I’m really experiencing this every day of my life, and I’m so thankful we went through this. This is the best worst class you’ll ever take in your entire life. It’s not about making students suffer of course it is about making them experience something in a realistic fashion, and tone it down a little bit. I don’t want to be the evil boss, I don’t want to be the guy who okay’s everything, and the truth is somewhere in the middle and usually that kind of pans out. Another really challenging thing though is when you have the disruptive student. Not just someone who’s fed up with projects or fed up with people in the project but actually tries to sabotage it. Not too long ago I had a student who was let’s say, extremely convinced of their own opinion, and this person, they were very sure of their own abilities. They were very keen on arguing they would argue everything until you’re blue in the face. They would misinterpret people stopping to argue because they just fed up with it, with oh they just conceded, I won the argument. So I had this person actually say, what everyone is praising me for my great ideas. I said well, sure, but you’ve done these three components that you’ve developed for this project, and your team has used none of them. Your team is no longer inviting you to team meetings, on my recommendation, because whenever you were at a team meeting they would not get anything done. So what do you think, what do you think this is, this is not okay, this isn’t an okay behavior. So in the end we found a way to help this person become useful after all, for the team, but it was very very challenging. In this particular semester I would think that unfortunately half of my teaching load was probably just taking care of this one person. Later I found out from other faculty that they were difficult in other classes also, so it wasn’t really me or the class, it was just personal issue. Even though this person took a lot of my time, ordinarily this class is the easiest to teach because, I don’t need to prepare anything, I have no preparation some grading afterwards but no preparation. On the other hand, you also have to be ready to face anything. You walk in a classroom and you don’t know what fresh hell awaits you that morning in terms of conflicts, but as I said, it’s only experienced as conflict while you were in it, afterwards you’re laughing it off and everyone is usually happy that it happened this way. So that’s what I’m saying is like a rewarding class to teach, but it’s kind of tough.

Rebecca: I imagine you probably have busy office hours as well with project based learning.

Bastian: Oh yeah. So much so that my faculty website says, office hours by appointment only. In reality it means, if I’m in, I’ll probably have time for you. Because with classes like these problems emerge right then and there, and I don’t mean interpersonal problems I mean, oh snap, we really need to use this one server but the server just went down. What do we do now? Or, we’re using this Google API and Google did what Google loves to do, namely change their API, what do we do now? Or, not too long ago, we were developing Facebook integration and Facebook from one day to the next took away the ability to post across pages on Facebook. So the project was kind of dead in the water, what do you do now? And that’s the problem that emerges immediately and you have to fix it, the students can’t fix it. When the resources that they need vanish, they can’t help themselves, there’s no way they can recover on their own. So that’s when after a short brief moment of panic, where I panic myself, we have to fix it somehow.

Rebecca: And you become the magic wand. [laughter] That’s what my students think when they’re standing in line for project-based learning. It’s like they come in it’s like, please I can’t move forward.

John: Those are all realistic type problems that they will be facing.

Bastian: It happens all the time happens to companies all the time, if you’re in the reality of the situation is Facebook doesn’t just take this away neither does Google. Google as opposed to, for example Oracle, they don’t really change their Java API all that much and if they do they have support for the things that you use to use,it call it deprecated, Google just switches it off. But they don’t do it from one day to the next there is usually a period where they tell you, oh by the way in a year or so we’re gonna switch over this in that server. So technically as a student you could be prepared if you did enough research but realistically, they have to complete this project, and our semesters are 15 weeks long, they have to complete this in 15 weeks so you have to make some concessions. Then we’ll just redefine the scope we just focus on something else. For example, a little while ago Google took away the opportunity of making your own google map, and when I say that is not a google map of let’s say, I don’t know, Oswego New York. Using the Google map engine, make a map of your bedroom, that’s what I meant. So they took away that opportunity or they took away certain functionalities that we wanted in one of our robot projects. I said well, they can’t do that so what I’m gonna do instead? One student suggested, hey, can we use the Unity engine to model a room that robot moves in? I said sure. Unity is a game engine to make video games. I said okay sure, you can do that, but I don’t know unity very well. Actually, I don’t know it at all. So, we have people here on campus who do know this, but I’m having a feeling to become good enough at unity to make this project work we’ll take another semester of itself. So why don’t you do it the easy way? Take a picture of the room that you want to use, and then “restorize” it and just fake it till you make it. So in the end the project was successful despite Google’s API being on.

John: What are some examples of specific topics that are used in design class?

Bastian: So in the software design process class, the first time I taught it here in Oswego, we did a family tree website, like those find your ancestry websites that you can find on the internet. Mainly because my Dad, he now passed away, but my dad was really into that and he wanted a website just to show our own family tree. We did that which was marginally successful. It was a decent family tree some of the features that we initially shot for were not delivered but, you know, we can safely say it was a family tree. A year after that we did an automated clicker system and I know that John here, is very much a proponent of using clickers and classrooms. If you have seen that millionaire quiz show on TV, they have little devices, and you can basically poll the audience in the classroom or in a question or multiple choice type answers. So we implemented it, and I’m of the firm opinion that no student should have to pay money or anything because tuition is already high enough, so we implemented a free one. That was using students own cell phones and wireless network they could poll.

John: You had some classes actually use it as clients for protocall.

Bastian: That’s right. So I used it in my own introduction to programming class. I used that semester, I used them as guinea pigs. They were excited beyond belief. They kind of liked it. It was very buggy of course mainly because doing it over wireless is really bad protocol. Plus if you have a wireless network in a large lecture hall it is an even worse protocol. So there were some problems with it that we couldn’t just solve, that were just unsolvable to us. But in principle, in a small enough audience, let’s say inside of 20 students, it would work great. Last semester was particularly exciting due to a scheduling error by, I’m not gonna say whom, but say by certain administrative forces, I unfortunately and accidentally had twice as many students in this class as I was supposed to. I like to teach this class with like between 15 and let’s say 25. Because we have a lot of students sometimes we have to unfortunately have 30 students in this class. Last semester I had 50, so yeah.

Rebecca: Oops.

Bastian: That was awful. But I decided after I talked to our department head, Doug Lea, and he says well, what you’re gonna do, pick up people and kick them out? We decided that this is a really evil thing to do to students so we just bit in the sour apple and said okay fine, let’s do a red team blue team approach. Where we had the same project and we split the class in half saying you’re team blue, you’re choosing a different design solution than team red. They both implemented a Scrabble clone. Those of you have played Scrabble board game, and we can use words and play words, and the idea is that people would walk by a kiosk system, which is actually running right now and the entrance of our science building here, is a computer in a display case. It’s running a cloned version of Scrabble. People can walk by with their cell phones connect to a little wireless that is emitted there and then they get a hand dealt on their cell phone, then they can play words. Of course they’d have the usual problems like, the first person that walks by plays an unspeakable word, so we made it Oswego themed and say if you play certain words you would get bonuses and such things. I would just mentioned in the coming semester I’m going to teach this class for the first time mainly online and I’m thinking about doing a Productivity type software. Something like it connects to your email account and looks for what your emails are actually about; how much time do you spend in your emails, how much time do you waste? For me, as faculty I always feel like I’m doing 5 % teaching, 3 % research, and 97 million % of miscellaneous administrative stuff, so mostly probably emails.

Rebecca: Mostly email. [laughter]

Bastian: I want to know if that’s true. I want to see what do my email say I am communicating about the most? On the one hand you have to connect to Google’s IMAP account and download emails and then you’d have to some natural language processing to parts of speech in the email and so on. Of course there gonna be privacy issues with this. These days everyone is really concerned about privacy, as they should, so we’re gonna have a little team that is gonna be specifically concerned with making sure that we abide by ISO 27000 privacy regulations. Unless the students have a better idea of course. [laughter]

John: So our last question is, what are you going to do next?

Bastian: I’m really excited. I had a student, I was successful in obtaining funding for a student project over the summer, and this student built an indoor GPS navigation system for robots. Now when I say that I mean mainly the API. So from this grant money we bought a little ultrasonic location beacons, you could say, which can be distributed around the room and the robot gets another location beacon slapped on top of itself, and then the robot knows in relationship to all the other beacons, where it is. Using this little system he implemented a GPS type API that allows us to say, robot go exactly there, and the robot will drive up to two centimeters precise to that position. The robot has obstacle avoidance, it has pathfinding capabilities, and all that stuff. So one of the things that I want to do next is have a fleet of those robots, we have several of those robots, but only one of them is location aware right now. When I put location awareness on several other robots and then simulate let’s say exoplanet exploration, using those little things. Let’s say you have three or four or five or 20 of those robots roaming around in a large room and one of them finds an obstacle and says, hey guys, here’s an obstacle don’t run into. It tells all the other robots where that obstacle is and then the next time when the next robot comes around, to a similar location, and says oh here’s an obstacle, here’s the question; is it the same obstacle? Because if it is, then we don’t have to put two obstacles on the conceptual map, we have to do just one. So it’s something I want to do it also ties into into my research. Like one of the things that I’m really, really focusing on is to make sure that the students just don’t do boring little projects. Every student in computer science has implemented a library system or an ATM, you know boring, been done before. I’ve worked, as I said earlier, in cyber-physical systems and safety-critical requirements and such things, so I use those ideas in my classes and I want them to solve tiny little projects therein. I just mentioned earlier, we bought these programmable slot cars. What I want to do next is do obstacle avoidance and automatic cruise controls with those slot cars and just automotive type software engineering projects. That’s what’s happening. I’m really excited about that too.

Rebecca: Great. Thanks for joining us today.

Bastian: Thank you for having me, I’ve really enjoyed being here.

John: You’re doing some really interesting things there.

Bastian: I’m not doing any of them. [laughter] The students are doing them. I’m just there for the ride, really. [Music]

John: If you’ve enjoyed this podcast please subscribe and leave review on iTunes or your favorite podcast service. To continue the conversation join us on our Tea for Teaching Facebook page.

Rebecca: You can find show notes transcripts and other materials on Teaforteaching.com. Music by Michael Gary Brewer. [Music]

32. The Three Little Pigs

What do the three little pigs, the big bad wolf, and dragons have to do with web design? More than you would think. Rebecca Mushtare discusses how a trip through fairy tales may open up the opportunity to develop empathy skills and conversations about race, disability and identity.

Allison Rank joins us again this week, this time as a guest host.

Show Notes

Transcript

John: What do the three little pigs, the big bad wolf, and dragons have to do with web design? More than you would think. In this episode, we’ll explore how a trip through fairy tales opens up the opportunity to develop empathy skills in conversations about race, disability, and identity.

[Music]

John: Thanks for joining us for Tea for Teaching, an informal discussion of innovative and effective practices in teaching and learning.

Rebecca: This podcast series is hosted by John Kane, an economist…

John: …and Rebecca Mushtare, a graphic designer. Together we run the Center for Excellence in Learning and Teaching at the State University of New York at Oswego.

[Music]

John: Allison Rank, a frequent guest on this podcast, joins us today as guest host. Our guest today is Rebecca Mushtare who, until this episode, had been the co-host of this podcast.

Allison: Nobody panic. She’ll be back in this chair next week.

John: Today our teas are:

Allison: English breakfast tea.

Rebecca: What?!?

Allison: …under duress. I’m highly under caffeinated.

Rebecca: I’m drinking my normal English afternoon tea.

John: …and I’m drinking pineapple ginger green tea.
We invited you here today… because you’re always here… but we’re asking you…

Rebecca: …it’s a matter of convenience….

[LAUGHTER]

John: A year ago your daughter was born… now the three little pigs have invaded your class. Could you tell us a little bit about how the three little pigs made their way into your web design class?

Rebecca: I’ve been looking for ways to help students develop more empathy for their audiences, and it’s been a struggle. Students (or anybody who’s new to anything) will immediately try to make things for themselves, because it’s the audience they know best. So, it’s the easiest way. If you’re working on technical things or other concepts you don’t have to worry about audience too, because you have that part figured out. But, I’ve been really wanting to challenge students to dive into audience and also deal with accessibility issues which doesn’t come intuitively to them. So, the three little pigs actually offers a really great opportunity to have different audience members to think about (and audience members that don’t really exist); it becomes a safe zone. In this scenario, I’m using three titles as ethnographies for the students to read to get to know their audience better. I spent some time reading about ten different versions of the “three little pigs” and I’ve identified the best three. They are: The True Story of the Three Little Pigs by John Scieszka and Lane Smith, and The Three Pigs by David Wiesner, and There’s a Wolf at the Door: Five Classic Tales Retold by Z.B. Alley and R.W. Alley.
They read those books and then we come into class and I ask them to help me understand who all the characters are, what’s important to them, and some of their characteristics or qualities that we need to think about in terms of design… and then (from the perspective of the characters) what’s going on in the community that they live in… and the frame that I’m giving my students is that they’re in this community called Dragon Town. Dragon Town has a mayor named Mayor Melanie McDonald, and she’s human, but there are talking animals and dragons and other creatures that live in this community together and there’s a clear creature divide going on. So, the humans seem to value themselves more than the other critters in town. The poor pigs, they’ve got houses that are falling down. They don’t even up stand the Wolf’s breath. So, we’ve got some issues going on here.
The students read the stories, came to class, brainstormed about these characters, and helped identify some really big issues that were happening in Dragon Town… and then my challenge to them was, in teams of three or four, to identify one of those 10 that we identified as a class…choose one that they were gonna use a web design to help raise awareness of or to start to tackle. Obviously they’re not gonna solve these big problems, but they could make a dent into it.

John: The purpose then is to have students look at a problem from another perspective, from the perspective of the intended audience of the webpage, rather than using their own biases.

Rebecca: Yeah, exactly, and it’s something that they really need to practice… and so, yeah, this is a good opportunity to do that. They’re characters that their familiar with, but the books actually challenged a lot of their initial remembrances of some of the stories. So, it’s a nice way to get them to revisit that in a different way.

Allison: How was this different than how you’ve tried to approach the same topic in earlier iterations of the class?

Rebecca: In a previous episode, I think I talked about my simulated client project where I had these big company scenarios with the audience members being Oswego (the community that we live in) and they worked okay… but the students had trouble aligning themselves with older adults or middle-aged individuals who they just don’t seem to find relevant to themselves and even though these are individuals that are readily available in our community that you could interview and get to know, it was a struggle. We did a project in the fall, “The Voices of Oswego Veterans” project that we had a guest (Stephanie Pritchard) on who talked about that project… and we did a web project with that as well… and that was another way to deal with the audience. This time the audience was members of the Oswego community (the SUNY Oswego community), so they had a little bit easier access to that community… but the community that they were representing was different from themselves. These were students, so the population that they were addressing or talking about was student veterans, which was an identity that nobody in the class happened to identify with. That got us closest to solving the problem… but it wasn’t quite where I wanted them to be yet. What’s nice about this is that you don’t have to worry about offending anybody, because they’re not real.

Allison: I can imagine how the fictional characters are really helpful in terms of giving students a lot of space to play and a lot of leverage, but I have to imagine that there are some real challenges associated with giving them that amount of space as well. I guess I sort of have a gut reaction that thinks that they will make up things that cause problems in and of themselves. They’ve got enough rope to get in some dangerous positions. What are some of the challenges that you faced?

Rebecca: That’s a really good question. What I found was, they were willing to talk about things that they were never willing to talk about before. That, first of all, was a good space to be in. That was things like: “oh, there’s species profiling going on…,” “oh, there’s accessibility issues because pigs have hooves so they can’t type and tap on the computer screen…” …the accessibility issues that just bubble up. There was also the concern that critters were eating other neighbors, so we needed to start a campaign to be vegetarian, for example. So, there’s a lot of different things that came up…. a lot of social issues… another one was stranger danger… and then they did these presentations to the mayor, and it was important because we brought someone from outside in and I think that helped prevent some of the issues that you were identifying could bubble up as being a problem, but there was someone that wasn’t me who was the audience but I didn’t tell him who it was gonna be (it was just a grad student I bribed) who came in and just sat and played the part and asked questions and what have you…. and they were taking notes and then we went away and had a meeting and I came back with notes to the students about what the client was concerned about. So, that helped resolve some issues. But, you know, in the presentations there were some crazy things that happened… like the one on stranger danger, for example, the students had still indicated that the stranger, the bad character, was the wolf and the whole point was that all of the animals, and all of the creatures, and all of the humans, also have children and they all need to be concerned about strangers. That we shouldn’t associate one population as the bad actor. We ended up having to have a conversation about that. You can’t perpetuate these stereotypes, but what happened was we could have that conversation safely.

Allison: The familiarity played in the same way that a stereotype would traditionally function in class, but in a much safer space to have the conversation that resolves it.

Rebecca: Exactly. We were having crazy conversations about racial bias, and all these sorts of things, but under this guise of “it’s about the species” and the species problem that’s going on. And now all of a sudden it became safe. When that one group was having issues getting their head around it, I said to them: “You realize that this is the exact same thing as racial bias, right?” and they just looked at me with deer-in-the-headlights look. The next time they came back, the whole project was fixed.

Allison: That was actually gonna be my next question. At what point did you pull out from playing in the sort of allegorical space to say: “Hey, here’s what we actually just did” or did you let the experience and the skill building stand on its own?

Rebecca: I let things unfold organically, and I prodded and probed as necessary. I didn’t want any projects to perpetuate stereotypes or to perpetuate lack of accessibility… those two key issues. I probed and invaded their team time a lot with those particular things to push them on that, but you know they’re not perfect. But, I think they did a lot more growing in that area than they would have otherwise. What I think is missing, that I want to do next time is allow for more of that reflection at the end, so that they could apply it to some other projects. What I’m thinking about doing is have them present the work as if they were in an interview, and so how would you explain this project and what you learned from this project to a potential employer who has no idea what Dragon Town is, so that it becomes something that’s valid and useful… and I think that’s going to take some effort on their part to make that leap. But I think it’s actually a really good project for them to talk about in an interview and most employers would see the value in that.
I already have them do portfolio documentation. I already have them thinking about that, but I need to coach them through that process a little bit more…. and maybe actually make them present that.

John: Yeah, I could see an employer looking at a webpage making a case on avoiding inter-species consumption and being perhaps a little bit puzzled….

Rebecca: The tagline was “don’t eat your neighbor.”

John: Yes.

Rebecca:… which I thought was right on.

Allison: Yeah.

Rebecca: Well, and that group actually was interesting too because they wanted to do something that was: “Don’t eat your neighbor.” They wanted to be vegetarian but I was like, “Well, dragons have a big appetite. What are you gonna do for them?” So they came up with this tree salad or whatever that has just bigger things. They had to adapt the recipes and things like don’t forget there’s small kids. You got to think about these different populations, and they adjusted their content accordingly, to rise to that occasion. I also found this really great article about whether or not pigs are colorblind that I used as a doorway into thinking about accessibility issues. Apparently, I learned, pigs don’t perceive color the same way that humans do. They can’t perceive as many colors, so we have to really be concerned about the spectrum of colors and the kind of contrast that colors have… so that they would be accessible to pigs,,, but that led into conversations about maybe the pigs have to use voice activation because their hooves won’t let them type on their devices… and then we also had to talk about a mobile device for a dragon is pretty large…. so we had certainly some fun playful conversations, but they were really meaningful. We started talking about those issues pretty deeply in a way that I’ve never had in my class before.

John: Were the students more open to addressing these issues when it was in this safe zone or this safe space?

Rebecca: Yeah, even when I called that one group out on being stereotypical and perpetuating bias, they just received… and were like: “Oh, okay” and then you try it again… “is this better?” “My god, could you push it a little bit more?” and gave them some ideas about how they could push it… and our first solution wasn’t great after that…. It was to put in a separate monster that didn’t exist in this world as being the stranger, and then I identified that like when someone the other, we shouldn’t just assume that they’re the bad person or the bad creature. We had to be careful. I tried to call them out on whether or not we were using the word person, because it didn’t apply to dragons. So, it was funny [in] their presentations they were really conscious about things like that and trying to be inclusive in their language. So, yeah we ended up trying to tackle some of those things, and I was pretty impressed with how far they got… but it took some pushing. That one group took four or five tries before they had something that was gonna work.

John: How did students respond when you first gave them the assignment?

Rebecca: Well, I should probably provide a little setup in that my class includes design students, marketing students, and graduate students in HCI. So, it’s a fairly diverse population in and of itself in terms of disciplinary background. So there’s that. There are a number of people in the class who may not be traditionally artsy or creative, so it’s a little risky, right? I think I’m also known for being very serious. Which if you know me personally, that might not be true, but in the classroom students perceive me as being very serious… and the semester just was not going great, to be honest. It’s like something’s got to give, the students were struggling with a lot of the technical things, and so I basically threw the syllabus out or revised it significantly. stopped and did just technical exercises so students get comfortable with some of the things that they were really struggling with… and then one day I just showed up and said this is what we’re doing… and they had a ton of fun…. and were shocked… they’re just like “Is she serious? She lost it?” There was definitely those looks, but then there was a couple of key students who just jumped in and ran with it… and I think that really helped. So, I’m hoping that that will happen again. I think if everyone in the class is a little too serious, I don’t know that it would work.

Allison: Would you plan on sticking with, in the future, the three little pigs as sort of the through line story or it sounds like the story with the five different ways that the wolf is at your door? Does that give you some entree into some other storytelling avenues?

Rebecca: There is some entree into some other avenues and I maybe need to read some more fairy tales to be up on that, but the reason why I stuck with the Three Little Pigs is actually the wolf is the character that carries through all of them. So, that the five stories that are connected are all based on the wolf and different stories. So there’s Little Red Riding Hood, the Boy who Called Wolf, those are some of the stories in that other one. So, maybe there’d be some versions? I also happen to know that there was like the version of the Three Little Pigs told from the wolf’s point of view, so I really like that because it’s in direct conflict with the Three Little Pigs version of the story. I liked that the ethnographies that they were collecting were realistic in that they conflicted with one another, that they had to deal with the fact that there was conflicting information, and that they had to resolve that or deal with the fact that a wolf’s perspective was different than the pigs perspective of what the wolves perspective was… and I think that was a healthy messiness about it that worked pretty well… and the particular version of the Three Little Pigs that I used pigs escaped getting eaten by the wolf because they jump out of the storybook. So, there’s some plot twists in there that the students wouldn’t necessarily expect. It’s not a traditional version of the story… plus, they all have really great illustrations and they’re beautifully designed.

Allison: Are there other classes where you’d be interested in trying the same type of fictional ethnography technique?

Rebecca: I think it could work in some other scenarios, but I like this because it’s in my intro class. It’s a nice doorway in. What I’m really interested in seeing is, when I have a couple of these students in the advanced class next time, if that impacts their ability to do some actual real audience research and use that research in context. I think I want to monitor that first before doing some of this other work. I like it in particular because it’s a beginning class even though it’s at the 300 level.

John: It sounds like a really fun project, and there’s nothing really wrong with making learning fun.

Rebecca: Yeah, I had a good time and we had some moments where you had to really practice the deadpan look, you know, be really serious about what it is that we’re doing… and that part was really fun.

Allison: …and that seems like an amazing turnaround on a class where you have to scrap the syllabus halfway through a semester.

Rebecca: Yeah, it was amazing… the community that was formed around the project… and the way that they were exchanging with one another and coming together was incredible, and I was so thankful.

[LAUGHTER]
There’s nothing worse than an off semester and you just want out. I think everybody wanted out and so I just said “We’re out. We’re gonna try something new” and it worked, so that was good.

John: I guess the next question is: “what are you going to do next?”

Rebecca: That’s a good question… I think that with this project I’m hoping to expand it a little bit… so I’m currently thinking through “are there things that I can eliminate that I was doing before that I could embed in this project or I just allow them to have the time and space to fully build things out?” They have really good ideas and pretty good plans and the execution is almost there and I’d like to be able to have them have that time for the “almost there” to be “there” and then also to do that reflection piece that I kind of half-assed.

John: Okay, well thank you for joining us and I guess we’ll see you again on our next episode… and back as a host.

Rebecca: I mean, that is, if you’ll have me back.

[LAUGHTER]

[Music]

John: If you’ve enjoyed this podcast, please subscribe and leave a review on iTunes or your favorite podcast service. To continue the conversation, join us on our Tea for Teaching Facebook page.

Rebecca: You can find show notes, transcripts, and other materials on teaforteaching.com. Music by Michael Gary Brewer.

[Music]

25. Service learning

Applied learning at the graduate level generally takes the form of traditional research projects, but other models can be successful. Linley Melhem, the Director of the International Teaching Assistant Program at Texas Tech University, joins us to discuss how service learning can challenge graduate students academically while building the capacity of an organization or department to take on a project or tackle a problem. The particular project discussed in this episode involves small teams of graduate students working with faculty and instructional designers to assist language faculty in transitioning existing face-to-face courses to a hybrid format.

Show Notes

Transcript

John: Applied learning at the graduate level generally takes the form of traditional research projects, but other models can be successful. In this episode, we’ll explore how service learning can challenge graduate students academically while building the capacity of an organization or department to take on a project or tackle a problem.

Thanks for joining us for Tea for Teaching, an informal discussion of innovative and effective practices in teaching and learning.

Rebecca: This podcast series is hosted by John Kane, an economist…

John: …and Rebecca Mushtare, a graphic designer.

Rebecca: Together we run the Center for Excellence in Learning and Teaching at the State University of New York at Oswego.

Today our guest is Linley Melhem, the Director of the International Teaching Assistant Program at Texas Tech University. Her background is in applied linguistics and teaching English as a second language. Welcome, Linley.

Linley: Thank you so much for having me.

John: Today, our teas are…

Linley: I am drinking a beverage that starts with “T,” but it’s Turkish coffee.

Rebecca: Alright.

John: Okay.

Rebecca: I like how you answered that. I’m with you.

John: That works.

Linley: I know, I know it’s important. I know it’s been an issue on your podcast in the past so I tried to meet you halfway.

Rebecca: We appreciate it.

John: So… your tea, Rebecca.

Rebecca: My tea today is Paris tea.

John: My tea is pomegranate green tea.

Rebecca: Although the Turkish coffee does sound good.

Linley: Well, it’s delicious.

John: Could you tell us a little bit about the Masters level applied linguistics course that you co-teach?

Linley: Yes, this semester at Texas Tech, we are offering a course called “Technology in Teaching Second Languages.” We have a group of about 15 masters-level applied linguistics students that are taking this course, and the applied linguistics program focuses on developing pedagogical skills for teaching a second or a foreign language. And this course specifically is looking at how we can integrate technology into that process. The course has been offered for some time, but this is the first semester that we’ve offered it as a service-learning course, and the course has always had some type of applied component and probably would have satisfied the service-learning requirements even beforehand, but we’ve just officially transitioned it into that space. And basically what we have going on in the course is these graduate students working in teams, and each of them have been assigned to a faculty member in our department who teaches a lower-level foreign language course… and they are helping develop some online tools and materials with those faculty members to help them transition those lower-level foreign language courses into a hybrid model. As our graduate students are learning about how to use computer assisted language learning, they’re directly applying that to projects with faculty in our department.

John: Were the faculty originally teaching face-to-face classes or online classes? …the classes that are being converted to the hybrid format.

Linley: Yes, those classes have traditionally been fully face-to-face and in the next year or so, we’re looking at moving them to a hybrid model. Most of those classes are five-hour courses, meeting daily five days a week and we’re looking at transitioning to three hours face-to-face a week, and then two hours online.

John: What prompted the change to a hybrid format?

Linley: Well, I think, like many institutions, the administration is the first to see: “Hey, we think there may be some benefit here not only to making these courses more flexible for students but also there are some other administrative advantages just logistically to that model.” These courses can be really effective and students often have a very positive experience with them. So, in this case, the administration is encouraging all of these basic level language courses to be moved to that format.

John: There was a major study not too long ago that indicated that hybrid classes outperformed both face-to-face and online classes. We can include a link to that in the show notes.

Linley: I’m honestly new to this as well. I’m just learning more and more about the benefits of these types of courses and some of the amazing advantages that they offer especially in the language learning environment and I think that lots of language teachers specifically are resistant to this type of of learning because they feel that while all learning… I think for many teachers… feel deeply relational… language learning especially feels very relational… that you’re creating a culture in your classroom that you’re oftentimes your students’ only connection to the sociolinguistic world that you’re introducing them to… and so there’s a lot of hesitation to remove any of that face-to-face time… and there’s an amazing body of literature that shows that there’s a lot we can do that’s highly effective in an online platform.

John: What are some of the changes that are being implemented in the hybrid format?

Linley: It will look a little bit different for every language in our case, because it depends a little bit on the text that different languages are using. So for instance, in the Spanish classroom, where they have already been using hybrid courses for some time at our institution, there is a wealth of options in terms of materials that publishers make available to instructors, whereas in some other languages like in Arabic, there are not quite so many materials available. So exactly what those changes look like will be slightly different for each language and of course, there’s some choice there for each instructor about exactly what they want to do. But we’re looking at making sure that our instructors are comfortable implementing a flipped model for these hybrid courses so that students are coming into class having already reviewed material that they can use in communicative activities in that face-to-face environment. And I think that’s what’s really exciting about a second language classroom or a foreign language classroom…. that we are always looking to increase the interactivity between students, so when we have the majority of rote-learning that is necessary for vocabulary building and things like that… when that’s taking place outside of the classroom, we can preserve a culture or a feel in the classroom that’s highly interactive from the first minute to the last, every time students show up in that face-to-face environment.

John: What type of assistance are your students providing to those instructors?

Linley: Some of the content in the course that they’re taking is introducing them to specific technology mediums that may be useful for language teaching and language learning. And then they are also working directly with the instructional designers that are available to all faculty in our e-learning program. That’s sort of a unique component… that some of what they’re doing is just introducing faculty to resources that already existed for them but that faculty weren’t sure how to access or maybe they felt they didn’t have time to work with those instructional designers. So, some of what our students are doing in this class… they’re sitting down with faculty, and the lingo that we’re using in this environment is that these teams of students are working with a client. So they’re referring to their community partner who is a faculty member, as a client. So they sit down with their client, and they say, “what are your concerns about moving to a hybrid model? What do you feel like you can do? What do you feel like you can’t do? What would you like to see accomplished by the end of this semester?” And each of those projects look slightly different, which is really exciting and lots of fun, but also certainly challenging because there are lots of different things in the works, but these students are meeting with those instructional designers… and then, in many of the courses, what they’re doing for the faculty is saying, “okay, let me take your existing syllabus and let’s transition this into modules that could be used in a hybrid course and let’s figure out what aspects of your content could be moved to an online format and what needs to stay face-to-face.”

Rebecca: Can you give a couple of examples of some specific things that the students are doing or the specific deliverables for reference?

Linley: Yes, for instance, our students right now, they actually have a case study that’s due on Saturday. So, I’m looking forward to reading those in full, but I’ve just started to look over some of them. So, the chapter that they read and their textbook was about listening comprehension, and some of what they worked on were designing listening comprehension activities using some sort of computer assisted language learning technology. So, for instance I believe students that were working on an Arabic course, they were taking some content that was based around learning terminology related to the weather, and so they took a video that was available online that was a weather forecast in Arabic… and so they developed audio recordings of the instructor who is describing this terminology in Arabic so that the students can get an ear for it in that simplified format before they then went and listened to an authentic weather forecast. So, material created for native Arabic speakers… not necessarily for Arabic learners… and then the students designed a quiz where the language learning students would be asked to identify which of the vocabulary that they had already learned were present in that weather forecast. So this would be a listening activity where they were listening for vocabulary that they had already learned the meaning of in an authentic setting. So that would be an example of an activity that an instructor could have students complete before they come to class where they did something interactive talking about the weather… they would first maybe do a listening activity like that online.

Rebecca: You can see how valuable it is to have these masters level students helping fill some of those gaps for your faculty just because it takes a long time to sift through the materials, find good examples, so that they have those good authentic experiences.

John: Has that eased the transition for some of the faculty who might have been apprehensive about moving to a hybrid format? Does the support that your grad students are providing make it a bit easier for them?

Linley: I think it has. I think also because faculty many times feel “oh, just by the nature of being a little bit older than the graduate students or even the students that I’m teaching. I’m inherently at a disadvantage. I’m not familiar with this type of technology.” But, we we know that actually graduates, and many undergraduate students, even if they’re interacting with technology on a regular basis… they may not be so savvy for using it for educational purposes. So, I think even that… lowering that barrier a little bit to show that actually these graduate students are having to learn how to use this technology as well so it can be done. So just watching someone else learn in front of them makes the whole thing a little bit more approachable and then certainly having some support, even just in someone else saying, “hey, I’m already dedicating some time, so I’ve developed a few activities.” And I think oftentimes instructors see that kind of gets the wheels turning to them and they say well I can do that, that’s not that complicated and I could replicate the same style of activity for number of content areas and so it makes the whole process much more approachable.

Rebecca: Sounds like a really sneaky way to do professional development to me.

Linley: Yes, that’s a really exciting thing… and that is one of the great benefits of service learning in general is that our graduate students are developing some wonderful skills in working with a client. So they are essentially material designers for a client and they are required to communicate with the client, to organize their schedules, and coordinate time. And one of the first things that we did in class was even talk about how to have a meeting with someone and how to deal with faculty that may have a lot of resistance to developing these types of materials or have great concern. And even some professional communication techniques about how to approach those meetings. So there are so many wonderful things happening at the same time.

Rebecca: Sounds really great… it also sounds like there’s a lot of moving parts. Having taught classes where there’s a lot of clients in the past, I know that that can be really complicated to manage and oversee. Do you have some strategies that you’re using to help everyone stay organized and to keep yourself organized. What’s your role in this project?

Linley: Yes, so as I mentioned this is the first time that we’re offering the course in exactly this format. So you’re hearing a very live perspective on how we’re figuring out how to manage this. But one advantage of the course is that I am co-teaching this course with Dr. Stephanie Borst and she has taught this course for years and has had great success with a number of different practical projects that they’ve taken on. I have been working on developing service-learning courses in our department, so that’s how I became involved when we decided to move it to a full service-learning model. And the advantage is that because there are two of us, that we can manage some of these projects. There are a lot of moving parts. We also probably would not have had so many students… we have 15 students in this course… we probably would not have taken on so many if there weren’t two of us. But, in this way we can serve a greater number of faculty members. But I think one thing that has been crucial is helping students develop an action plan at the beginning of this semester that they continually update. And because they’re all using a relatively standard format for an action plan… we provided a template but actually all the groups ended up developing a slightly different format, but because the format is mostly similar, we can sit down in class– and our class is actually a hybrid model as well, so we’re only meeting half-time face-to-face and then the rest of the time online. So when we do sit down face-to-face with our with our students, we can look at their action plans and get a sense of where they’re at and how they’re moving forward. And so having the ability to get a really quick snapshot of how they’re progressing I think has been key to providing feedback to them and helping them manage their relationships with their clients.

Rebecca: Is your action plan format something you’d be willing to share with our listeners?

Linley: Oh yeah, certainly.

John: Okay, we can put that in the show notes.

Rebecca: I think sometimes starting projects like this can be really challenging because you don’t quite have an idea of how to get organized and seeing models of how to stay organized is always really helpful.

John: And that relate back to the teachers making a transition to teaching hybrid, that there’s this big psychological barrier to trying something new but once they get started it’s not so bad… but you have to get through that initial thing. And it sounds like what you’re doing there is making it a little bit easier in the same way that this document perhaps might help other people thinking of doing the same thing.

Linley: Well we certainly hope so.

John: How have the faculty been reacting in terms of the tools they’re seeing. Do they see the usefulness of some of these online tools? And what are some examples of the online tools that might be used? You mentioned the project in terms of the weather reports and so forth, but are there any particular online learning approaches that you’re using that the faculty might not have considered before?

Linley: Yes, we started from a very theoretical standpoint in this course so we’re just now getting into some of the nitty-gritty of the actual tools that can be used in this environment. The faculty are reacting well. I think they are encouraged that they are receiving some support and getting some help and just because these students are kind of helping them get started, and even introducing them to (like I mentioned) some of the tools that already existed for faculty through instructional designers at our university, they’re saying “oh, okay there actually are templates to help me throughout this process, I can even online find something like a course design plan that helps me develop my material into a set of modules.” And it’s not that different from developing a syllabus, which most of them have done in the past. And so then they’re seeing some things like students may be introducing something. Most faculty are familiar with a discussion board for instance in an online course. However, they’re not sure how students will be able to practice maybe speaking in the target language, and then may see something like Flip Grid where students could essentially post a video of themselves and they say “oh, okay… so students can do speaking practice outside of the classroom…” that’s not something that we would lose in using a hybrid model.

Rebecca: VoiceThread would be another really great tool if you haven’t explored that one yet.

Linley: So I recently heard about that on other podcasts but I have yet to check it out myself.

John: FlipGrid is very similar, I believe, to Voicethread.

John: Yeah, I was thinking something like VoiceThread or FlipGrid would be a really good online approach. Have they done any other direct interactions online — with other native speakers, for example?

Linley: Well that’s an interesting idea because that is actually something that many faculty members are already facilitating in their face-to-face courses. They are connecting learners to native speakers in various countries across the world, but that’s typically on a at-choice basis, so maybe for extra credit or just for students that are highly motivated. So I think instructors are seeing that they’re actually already using some techniques that could be more fully integrated into a hybrid course in a way that would be really beneficial for all students. So, there are some really interesting literature about the benefits of that type of approach. Obviously you run into issues especially because we’re talking about at this level, lower-level language courses, so these are students that would really be struggling to communicate at a very basic level. But there are some opportunities for them to connect to native speakers in the countries that speak those languages that are really exciting and that tend to really motivate students to learn and engage in more extensive language learning like study abroad.

John: One of the things we do in SUNY is… we have something called COIL which is Cooperative Online International Learning program. Where courses in the U.S. pair up with courses in other countries. In the U.S. most of the course end up being taught in English because most SUNY students don’t have as much of a background in foreign languages, but many of the partner schools are doing it primarily to help the students acquire English skills. And I was thinking if you were doing some upper-level courses something similar could work in the other direction; where if you had more advanced language students working with students on projects dealing with culture or cross-cultural comparisons… might be an interesting sort of pairing.

Linley: That would be phenomenal.

Rebecca: So it’s really unusual to hear about service learning at the Masters level and you mentioned that this was the first semester that you were doing the service-learning component with this course. Can you talk a little bit about that decision and what motivated you to use this particular methodology?

Linley: Yes, as I mentioned I had the opportunity to participate in a service-learning fellowship about a year ago. And I was initially looking at developing some service-learning courses in our department for undergraduate students. And honestly the idea came about as I was listening to my colleagues discuss some of their concerns about implementing a hybrid model in their courses, and so I knew that this technology in teaching second language course existed and I knew that many actually of the teaching assistants in those foreign language classes were enrolled in the applied linguistics program. And so many of them took that course and I thought well, we have this group of students that’s developing this knowledge… we have these faculty members who are needing some support and this type of knowledge… why couldn’t we just put these together. And so there were obvious gains, like you mentioned Rebecca, in terms of the professional development… for the Master’s level students to get some practical experience, so it seemed like a no-brainer to try and put those together.

Rebecca: Related to that in terms of a professional skill for graduate students… I can imagine that it would be really easy for their clients to want this project to just get bigger and bigger and bigger and have crazy scope creep.How are you making sure that these projects don’t get too big?

Linley: That’s exactly right, and we are facing that issue… and part of the problem is that because the faculty are not familiar with exactly what’s involved in transitioning to a hybrid model, they don’t sometimes know what they’re asking for or how time-consuming certain tasks would be for the graduate students. I think that is one of the great outcomes of the course… that the students are having to learn how to negotiate that with a client. These are our faculty members in our department they are clients but the students are having to say, “Wow, that sounds like a great idea. I think what we could definitely do for you this semester might look a little bit more like this which is a bit more narrow in scope, our goal would be to provide something that’s really helpful to you but we may not be able to accomplish all of that this semester…” which is challenging in terms of professional communication. But I think one of the really important aspects of that is making sure that our students know how much we expect of them in terms of that they are well-informed about how much time they should be spending on this type of task, and that is something that we’re having to continually negotiate. And we have had some students take on too much and they have had to go back and say “okay, we may not be able to do quite that much….” or they’ve met with an e-learning course designer who’s accustomed to working with faculty on a really tight deadline and so they said “okay, why don’t you go work on this piece let’s meet again next week,” and you have this big chunk of work done and the students aren’t only doing the service-learning project, they also have coursework related to this course and so they’ve had to say to the instructional designer: “Actually, could we meet in two weeks instead?” So they’re figuring out some of those professional communication and time management issues in managing the scope of their own projects, which has been highly beneficial. But there has there has been a lot of back-and-forth negotiation and that is something that my co-instructor and I are observing and as we look at those action plans that’s something we’re talking about… are you biting off more than you can chew? And how can we figure out how to integrate what you’re already doing in the course into the deliverables for your client to make sure that we’re not overwhelming our students with too much.

Rebecca: I can imagine that in this situation having a co-teacher could be really helpful to bounce ideas off of each other, but that also is another layer of complexity. I’m wondering how you’re also managing that… to make sure that your collaboration with Stephanie is also running smoothly?

Linley: Yes. So she’s at a disadvantage because she’s not here to see the results so I’ll speak for both of us. But I think it’s going quite smoothly, I wasn’t sure what that would look like initially. We’ve never worked together in this capacity before and I’ve never co-taught a course before, so I had no idea what that would look like. However, because this is a hybrid course and a lot of what we do face-to-face is more in a workshop type setting, I think the co-instructor model works quite well because we’re not really lecturing to the students or there’s not a concern about making sure that we’re on the same page because she and I can have lots of those discussions between the two of us as we prepare content that will be put online… things like that… developing rubrics… those kinds of issues. So I would say, one issue for instance that came up is even ensuring that we’re both interpreting a rubrics that we’re using the same way because we take turns may be grading certain types of assignments, so wanting to be consistent in the implementation of those rubrics. But because a lot of that communication is happening via email or over Blackboard, then we can see how the other person is responding to those types of issues and so anything where it seems like we’re not on the same page, it’s been pretty simple to iron out, outside of that face-to-face environment. But it’s honestly been much smoother than I thought it might be. Stephanie is fantastic to work with but I really thought “I’m not sure what this will look like,” but it’s been easier than I thought it might be it.

Rebecca: Sounds to me like it in some ways you end up learning a lot more about your colleagues and how they grade and what they value by co-teaching with them and then at the same time in this particular situation you’ve got two people to put out fires.

Linley: Exactly, and I think that at first maybe the students weren’t sure what to make of having two instructors… that they weren’t sure whom to go with with concerns and things like that. But as I mentioned, if we’re having these conversations over email then they just copy both of us and whoever responds first then the students I think seem to like that model because they probably tend to get a response a bit quicker than if it were just one of us. And then also I do think we develop our own areas of focus, so I am more leaning towards management of the service-learning project and Stephanie is most familiar with the content of the course. So while we both speak into both of those things we kind of have our areas of expertise.

JONE: How many students are working with each instructor? How big are the groups?

Linley: So the groups are different sizes, our smallest is two people… so, actually we have two groups of two that are working in different environments. I will say one other unique thing about this course of that our group of students is highly diverse. So we have lots of international students in the applied linguistics program, so they speak lots of different languages. That’s a great advantage because as they work on the materials for these different foreign language classes, they may have a great deal of knowledge about that language. That’s also kind of spoken to how we divided those groups up. We do have a couple of groups… for instance, we have two students who are helping develop materials for a German class and neither one of those students speak German, but they’ve had great success in the instructional design component. So, that’s another challenge that has arisen in this particular context. But then we have another group of four students who’s working on a project. And so you asked earlier about scope, the size of the group, and how many people are contributing also influences how great the scope of what they can take on is.

John: What benefits do your students get from this type of class format… the service-learning and the hybrid nature… that they might not have received in a more traditional class setting?

Linley: I think one of the greatest benefits that they are getting out of this setting is in working directly with a faculty member who intends to actually implement these materials with students, is that they are giving a sense of material design that’s not only evidence-based but constrained by the real-world environment. The students are applied linguistics programs tend to get lots of wonderful information and lots of great ideas about best practices for teaching a language, but they may struggle with gaining a sense of how to implement that in only a 50 minute face-to-face class. So, those are some of the real-world constraints that that are ironed out as they work with a faculty member who has tons of experience working with real students in the real classroom. So, if the student designs this activity that’s elaborate and meaningful and evidence-based and wonderful, but it would be way too time-consuming for students to actually accomplish, or maybe it would be too advanced for students at this level, which graduate students may not have a clear sense of exactly what that would look like. Then the faculty member is saying, “ I don’t think my students could do that or this would take way too much time.” So it’s building in an awareness of some real-world constraints that may not be so evident to our graduate students otherwise. And then additionally, as we mentioned earlier, they’re developing some of those professional skills that they would never otherwise be able to develop. They’re working on communicating with a client, they’re working together in a group, they are negotiating roles… all different kinds of things that we tend to face when we enter the workforce in general.

Rebecca: Great.

Linley: One thing that I really love about service-learning is the emphasis on civic engagement and the awareness of diversity and different types of issues that come up in the real world. And I think that it’s interesting to see how our students are becoming more sensitive to the different types of students that we have at Texas Tech University and their different experiences of the college classroom. There are different experiences of technology, there are different aspect of resources, so I am excited to see how in this service learning environment students are becoming more aware of who student populations really are and to some of the diverse challenges that face those two populations. I think that sort of awareness raising is really exciting. And then additionally, I like the idea that students will be graduating and entering the workforce with this idea of cooperation, because they’re working together as a group and they’re working with all of these faculty members as opposed to moving into an educational environment, where we often have a tendency to work in a silo. They’re having some experience bridging those gaps and reaching across the aisle and saying “O kay, what are you doing here? How can we use those strategy” in the areas that we’re trying to operate. So I think they are walking away with a greater sense of cooperation, but I hope they will carry into the institutions where they either continue their graduate work or are working as professionals.

John: One thing we have to ask is about your podcast. What started you on the podcast? I see you’ve got a pretty big audience there in terms of the number of downloads for the podcast. Could you tell us a little about it?

Linley: Yes. I wanted to start a podcast because I love podcasts, I really enjoy listening to them, they are a big part of my personal learning and they’re one of those things that I find the more I listen the more creative I feel…. that I’m just exposed to lots of different ideas. And I started looking around for English content that would be useful to some of my other students. I also teach English as a second language mostly for graduate international students who will be teaching in their various content areas but using English as the mode of instruction. And so, what I realized is that there are obviously tons of podcasts in English but some them are pretty… well they’re definitely designed for native speakers, so there’s no support for language learning or they’re designed for people who are very early language learners… so, just focusing on lots of vocabulary building. So I noticed that there was a bit of a gap there in terms of something that was designed for intermediate or advanced speakers of English, but with just a little support for language learning. So I thought let’s just create it… let’s try it out. So that’s what we did and I think like these projects that we’re describing the exciting thing about something like a podcast is that you really can dive in with not a lot of experience or complicated resources. So most of the episodes that we have on the podcast are recorded on my iPhone, and I’ve had family members on the podcast, we’ve had different individuals from around the university, and the students in my classroom have responded well. I’ve been able to take some of the content that we were developing for that podcast and use it in my classroom, which is always exciting when you can get double use out of any project that you’re working on. And we did have we have seen a positive response internationally where it seems like people all over the globe are excited to have this type of content. So at its height, we had a good number of people listening in Benin, in Africa, and I have no idea how they found out about it, but we had quite a following there for a while. And I’ve taken a bit of a break in producing content as I’ve focused on some other projects, but I have been looking into how I can make use of some other resources on campus in terms of maybe having an intern or developing some type of service-learning course where students could help me, especially on the technical side, because I don’t mind talking, I don’t mind conducting an interview, but the editing is more time-consuming than I would like.

John: We have noticed that too.

Linley: It’s remarkable.

John: Your podcast seems like a great resource for graduate students because you deal with a lot of topics like how to understand slang or Texas accents, for example, or in similar topics. For grad students who’ve learned English formally in their countries… coming to a new institution… coming to a new country… it might be helpful for them to fill in some of the gaps that might not otherwise have been done in their instruction. I was I was really impressed by it.

Linley: Well thank you.

Rebecca: What also seems nice about a podcast is that if it’s a gap in their knowledge, but they don’t want people to know that it’s a gap in their knowledge, you can listen to a podcast without anyone really knowing. So, you can fill those gaps easily.

Linley: Yeah exactly.

John: You could be listening to it at the gym… while driving… while walking…. or when you’re sitting at home.

Linley: That’s exactly right.

John: We normally ask as the last question: what are you going to do next?

Linley: Oh, well, that’s a great question. So I’ve mentioned that on a personal level I’m expecting a baby soon, so that has taken up lots of head space in terms of what I’ll be doing next. I’m not sure how my personal life will be changing but professionally, I am definitely interested in continuing to examine ways that service learning can be used in the classroom. So I would love to see me in my ESL courses (English as a second language courses) see ways that international graduate students can be contributing meaningful service to our community while learning English. And I could see lots of amazing ways that could take place. Our international students on campus are usually here because they are so bright. They have a lot to contribute to scholarship and research… In general. But, oftentimes, as they struggle to communicate in English at the same level as a native speaker they’re often underestimated. So I think if we could look at ways of incorporating service-learning courses where students were learning English and then contributing some of the things they’re really great at doing, it would have a wonderful impact on our university, our community, and international students. So that’s one thing I would like to look at developing and certainly getting back into the podcast game. So as I mentioned, I haven’t produced new content in a while so I would really like to to get back into that, to come up with some new ideas for how we can contribute to English learners all across the globe.

Rebecca: Well sounds like we have two different we have you back to talk about later.

Linley: I would love it.

John: Well thank you very much, it’s been a pleasure talking to you

Rebecca: Yeah it’s really great hearing about what you’re up to and and how it’s coming along.

Linley: Well thank you so much for having me and I have really enjoyed listening to your podcast. I found the episode on online teaching especially relevant to things that I’m working on and thinking about these days. So, thank you so much for for all that you’re doing.

John: It’s been a lot of fun.

Rebecca: Yeah, thank you.

John: Thank you.

Linley: All right, thank you.

John: If you’ve enjoyed this podcast, please subscribe and leave a review on iTunes or your favorite podcast service. To continue the conversation, join us on our Tea for Teaching Facebook page.

Rebecca: You can find show notes, transcripts, and other materials on teaforteaching.com. Music by Michael Gary Brewer.

23. Teaching with comics

Looking for ways to increase student confidence in their ability to learn? Or their ability to see themselves as professionals in the field? In this episode, Carly Tribulli, a Biology Professor at SUNY-Farmingdale, joins us to discuss how comics may be created and used to meet students where they’re at, draw them in, and help them develop mental models of complicated processes and concepts.

We discuss Carly’s plans to create an OER biology textbook in which biological processes are represented using comic strips, her planned research on the effectiveness of instructional use of comics, as well the positive role model that she provides in Carly’s Adventures in Waspland, an instructional comic that Carly created for the American Museum of Natural History during her graduate study there.

Show Notes

Carly’s Work

Topics mentioned in the podcast (in order of their appearance):

Economics comic books:

STEM web comics recommended by Carly:

Transcript

Rebecca: Looking for ways to increase student confidence in their ability to learn? Or their ability to see themselves as professionals in the field? In this episode, we’ll explore how one faculty member uses comics to meet students where they’re at, draw them in, and help them develop mental models of complicated processes and concepts.

John: Thanks for joining us for Tea for Teaching, an informal discussion of innovative and effective practices in teaching and learning.

Rebecca: This podcast series is hosted by John Kane, an economist…

John: …and Rebecca Mushtare, a graphic designer.

Rebecca: Together we run the Center for Excellence in Learning and Teaching at the State University of New York at Oswego.

Rebecca: Today our guest is Carly Tribull, an assistant professor at Farmingdale State College, where she mostly teaches general biology for non major students in entomology. Her interests include bugs, biology, and of course, comics. Welcome, Carly.

Carly: Hi, nice to meet you guys.

John: Welcome. Today our teas are…

Carly: I’m actually drinking… a kind of cold coffee. But, but it’s good. I like it.

John: Yeah.

Rebecca: …and it used to be warm.

Carly: It used to be warm. I got it about an hour ago, so I knew this was going to happen, but I was like “You know, this is my only opportunity to get coffee, and I know you guys like to talk about what we’re drinking…”, and I was like “ooh, yeah a coffee, cool… I could have lied…”

Rebecca: That’s true. I have a Paris tea.

John: and I have blueberry green tea.

Rebecca: So, Carly, can you tell us a little bit about how you’ve been able to combine your interests in art and biology in your educational and career paths?

Carly: So, I’ve always been interested in both art and biology ever since I was a little kid. I grew up in a very science-forward family. There was a lot of interest in me becoming a biologist and my parents were both very encouraging, and my dad always sat and watched those sort of Wild Animal channel, Discovery Channel shows when I was a kid, with all like this farming animals and stuff like that. So, I was always interested in the animals and eventually that led to drawing animals. By the time that I was in high school, I was taking formal training in art and doing AP art and things like that, but also very much maintaining my biology education. By the time I was later in high school, I was drawing comics. I had discovered comics around early high school. I read a lot of manga, and then I started reading more graphic novels, never a lot of the superhero comics, but more of the weird offbeat stuff like the Sandman, and a bunch of manga series. So I started drawing comics, and I drew a bunch of weird comics and then I entered college at UC Berkeley, and I was a double major in art and biology, and I just continued that path all the way through. And I was really stubborn about not giving up art, despite the fact that I had chosen not to go to a traditional art school. I knew at that point I was going to go into biology, but I was very much stubbornly holding on to art, and so what happened when I was at Berkeley, is that I was actually able to do biological illustration as an undergraduate researcher. And that was the very first research experience I ever had, doing biological illustration for a paleontology lab. This has always made sense to me as a biologist, because there’s a really, really huge history of biology and art meeting together. Especially in entomology, when you consider the work of Maria Sybilla Marian, who is one the famous female entomologists of her time (probably the only major female entomologist of her time) and she was really the first person to study metamorphosis. And much of the way she shared that information, since this was obviously way before photography, was by these really elaborate illustrations that were shared with other entomologists at the time. So to me, it’s always made sense that there is some sort of crossover between biology and art, and I think while I was in college I was very stubbornly imagining myself as becoming that type of natural historian. And then when I was in graduate school there was a lot of encouragement for me to continue doing comics, weirdly enough.

John: Could you tell us a little bit about your graduate program?

Carly: I went to the Richard Gilder graduate school at the American Museum of Natural History, and that’s a pretty long name, but historically the museum has always funded graduate students from the City University of New York, and from the Bronx Botanical Gardens, and from NYU and Columbia, but only within the past seven or eight years or so, did they decide to start their own in-house PhD program. So, we still have all of those students that are coming from other institutions, but only recently where we like, we’re going to create our own graduate program. It was very, very, very different from your standard evolutionary biology PhD program. Usually the big state public schools, and a few of the private schools that are strong in the sciences, have an evolution in ecology, biology grad program that you spend five to six years and that you TA undergraduates to support your stipend. But at the AMNH, because it’s a museum, there are no undergraduates for you to TA. and you also have to finish in four years. So, because you had no formal TAships, and the funding was very good so you didn’t really need them, you were very much encouraged to do these informal teaching assistantships, and to find your way into the outreach education side of the museum, or working on exhibits and making yourself part of the contributing community to the museum. That is basically how the grad school ran, and I did my PhD in the evolutionary systematics of these parasitoid wasps that I study.

John: It sounded like a really natural blend of your interest and a superb educational path for you, in terms of giving you a way of continuing your earlier interest.

Rebecca: Before we jump forward I’m really curious, Carly, as an art faculty member, if you could talk a little bit about that first project, that first opportunity you had as a student and how you got that opportunity to combine your interests. Was it something that you pursued or was it something that your faculty helped to nurture?

Carly: Kind of a combination of both. My freshman year at Berkeley, I took an undergraduate symposium with Kevin Padian, who is a vertebrate paleontologist, and it was very much your standard freshman seminar. It was actually very small, it was only about 10 students. We did some readings, we did some talking, and around that time I think I was looking for research opportunities, and so I started talking with him and I started trying to get myself into the lab as an undergraduate researcher for future semesters, and it came up that I’m a biological illustrator, or that I was interested in biological illustration, and I think at some point he was like “okay, show me what you got, go draw the T-Rex,” because there’s a big T-Rex in the center floor of the Valley Life Sciences Building at Berkeley. And I went down and I drew it as best as I could and apparently he was pretty satisfied with my work. So, I joined the lab, and I was assigned to a current PhD student at the time named Katie Brakora, and I actually drew some of the images that were used in her dissertation. And that was excellent. I didn’t become Kevin Padian’s biological illustrator, but I was working with grad students that were going through grad student life, finishing their work… and at the same time I was taking the core art classes, because I was a double major and I knew I was going to be a double major for my freshman year. So, I was doing all of your standard intro to drawing, intro to painting, techniques classes, and things like that and it actually worked out really well for me to be a biological illustrator, as sort of a side biology undergraduate researcher, because Berkeley’s art program isn’t really focused on illustration or comics. It’s actually much more of a fine arts program. So, sometimes I was actually butting heads with the other art faculty, because I was very illustration focused and they’re very studio fine arts, and I was like not all of us are going to become studio painters. So, illustration seems like a skill that I should be investing in.

Rebecca: What a great story. Thanks, Carly.

John: While you’re in grad school, one of your projects was developing Carly’s Adventures in Wasp Land, and we’ve looked through that and it’s superbly drawn and fascinating. Could you tell us a little bit more about some of your work with illustrations and developing comics while you were at the American Museum?

Carly: I guess this goes back to how Carly’s Adventures in Wasp Land started, which by the way is not the title I came up with it, that was the title that the museum folks came up with it, I was just like, “okay.”

John: Did you have a title?

Carly: No, I did not have a title, that was probably an error on my part. I was opening myself up there, I think it’s a fine title. It’s a little bit goofy that it has my own name in it, but, whatever. In my interview to get into grad school, I had actually brought my portfolio in biological illustration, which was very unusual. Of course, evolutionary biology does attract people who can draw, but I think I was the first person who had come to that relatively new program with a portfolio. [LAUGHTER] I was kind of a scrappy undergraduate. I didn’t do that great in my courses. I’m a terrible memorizer, which allows me to sympathize with other students that aren’t doing that great in intro biology, especially my own students, because I actually didn’t do all that well for the first two years. And part of making myself an attractive student to graduate schools, was actually building up my research curriculum. I did a lot of research with Marvelee Wake at Berkeley after the Padian lab, and then also building up this biological illustration thing early on. I interviewed with Jim Carpenter, he accepted me to his lab, and I think he was very impressed with the fact that I did illustration and apparently it stuck with him enough that when he got a grant from the NSF, he came to me about helping him out with the broader impact section of that grant, and broader impacts is where you actually have to make your grant meaningful outside of academia. So, it’s where you would have outreach education. He remembered from my interview that I like to draw, he came to me and he was like “do you want to work with the digital outreach education side of the museum, and create a project with them? “And I was like “yeah, sure,” and as long as it was about teaching kids about wasps, and the different types of wasps, I pretty much had free rein. I started working with Ology, which is the digital outreach section of the museum, and a lot of what would happen is collaboration between me, Jim, and the Ology folks, especially when it came to writing the script for that comic, because the Ology folks have way more experience in writing for middle school readers than I did. So there was a lot of modification of my script but mostly I had free reign when it came to the illustration side of things, and I also mostly had free reign when it came to the creative decisions, like the decisions to make the wasps anthropomorphic and have them talking with you, that was something I decided on, even though it isn’t truly a hundred percent scientifically accurate. It was something that both the Ology folks and Jim signed off on.

John: I liked it.

Rebecca: I thought it worked well for adults too, I don’t think it’s just for middle schoolers. I’m just saying… I know way more about wasps now than I did before I read it.

John: Me too, and it was much more engaging than reading a textbook description of those things.

Carly: Thank you so much!

Rebecca: I also just really love that you’re like a superhero in the story. What a great way for little girls and boys to see a strong female scientist… taking on the wasp. I just thought it was a really great way to frame the story.

Carly: Yeah, and I think the first chapter in Carly’s Adventures in Wasp Land doesn’t actually talk about wasps but it sort of talks about me and how I became an entomologist. That wasn’t part of the original plan, but me and the folks at Ology, and eventually Jim was totally on board with this, felt that it was important that part of the broader impacts, should be showing young girls that they too could be an entomologist, this field that is commonly associated (at least by other people who are outside of entomology) as being male-dominated and being a career for boys… showing them that, that’s not necessarily the case. So, that’s when the strengths of comics especially when it comes to showing girls and underrepresented minority students that they can envision themselves also as scientists. That’s one of the things you can do with comics that I find really engaging… is that, in your choice of narrator, you can make those decisions.

John: I believe you’re releasing some of your materials under an OER license. Is that correct?

Carly: Yes, not Carly’s Adventures in Wasp Land. That is an OER in that it’s freely available, but it’s going to stick with the museum’s website for the time being (as far as I know). What I’m putting on an OER license is actually the comic textbook that I’m going to be eventually making for the Farmingdale State general biology students, but it’s certainly going to be available to any SUNY professor or any professor anywhere.

John: Have you requested an grant for that or are you doing this on your own?

Carly: So, I’ve requested a summer stipend and I should be finding out about that soon. As you might guess drawing and writing comics takes a lot of time, much longer than say a written textbook would take, and there are certainly many professors that are working on written OERs for their class. So, I’ve requested a summer stipend and SUNY Farmingdale has recently announced that there’s going to be an OER incentive grant, so I’ll be applying for that too.

John: Excellent.

Rebecca: You’ve also done some writing about using comics for science specifically, can you talk a little bit about the research that you’ve done in this area?

Carly: Yeah, so I think when I accepted the job at Farmingdale, I knew that I was going to be very, very, interested in making comics and researching the impact of comics… part of the research that I do for my tenure decision… and luckily the faculty here have been very supportive of that. Farmingdale is a primarily undergraduate institution, so there’s actually lots of professors that are also not only researching their scientific field or their artistic field, but are also researching educational techniques in their field. Part of preparing for that was actually some work that I did last year. I was actually invited to an open access issue from the Entomological Society of America, on educational communication in the sciences …and they had known over the years, because I kept presenting on comics, that my interest really lied in the use of comics as outreach education. So, I began actually searching through the literature because this was something I wanted to continue doing as a professor once I moved to Farmingdale, and it was also something that I just wanted to continue just as someone who was going to keep making educational comics regardless. And so what I found in doing this big review paper called “Sequential Science” is that there is much research in how comics impact the interest and attitudes towards the material, at students at a variety of levels, but there isn’t so much research in actually measuring their gains in content knowledge. So there’s lots of research to show that comics makes students at all levels more interested in the material, but not a lot showing and quantifying how much more they’re learning and retaining. So, I think that’s an area that I actually want to put more research into myself… but yeah I spent a lot of time for that paper reading a bunch of other papers about studies that had been conducted.

John: Have you started this research or is this a plan for future research?

Carly:This is definitely a plan for future. So the development of the OER textbook for gen bio is just happening right now, and anecdotally I’ve certainly seen students are more interested, so I do incorporate comics into my slides right now. They’re not my comics necessarily, they’re comics from a lot of different sources like Beatrice the Biologist or Your Wildlife, those are popular webcomics that are biology focused. I also make some drawings for them for the slides as well. In reality, any comic is just a set of sequential images. So, I can draw a set of sequential images that are explaining mitosis and meiosis. My students might not necessarily read those as comics or recognize them as comics, but they’re still comics because they’re telling an ordered set of events. So when I do that, anecdotally, I can tell you that the students are more interested… especially if there’s just been a slide with the textbook image and some complicated information, if I can show them that slide and then be like “oh let me break it down into these steps that I’ve drawn out” it seems to help them. But have I actually started measuring the impacts? No, not yet.

John: So do you have a research plan on that?

Carly: Yeah, so as the OER textbook is going to take some time to make. It’s probably going to take a couple of years to finish in its entirety, but there’s no reason that I can’t start exposing the students to the chapters as I complete them. So, until the OER is finished in its entirety, and given that I usually teach multiple sections of gen bio, I’m going to start setting up testing control groups just looking at small chapters, as I complete them. So, one class will receive the comics, the other class won’t receive the comics, and since both classes have the same test, I can actually see if there’s any improvement. Now, once the comic is finished in its entirety, that’s when I’ll actually begin the full-scale research… and what’s going to happen there is… again I teach multiple sections of gen bio… I can set up a test group and a control group. The test group will get the comic textbook and then the control group would get a traditional OER (probably the OpenStax gen bio textbook) and I can give them the whole textbook at that point and measure what their differences are in terms of performance using their midterms and their quizzes and their homework assignments. But I also plan on surveying them on interest, because although the interest and the attitudes might not seem as strong a topic as actual performance, I think when you’re teaching non major biology students (many of them who feel like they’re just there to check off a box), many of them who have prevailing biases against science… many of them who don’t feel like they can connect to science… I think it’s so important to measure those attitude changes.

Rebecca: Why does a sequential format work so well for a topic like biology? What do you see the benefit of being sequential in that way? This sequential art form.

Carly: So even in general biology, intro biology for non-majors, there’s still lots of processes that are multiple steps. So, I don’t know if either of you remember learning the Krebs cycle or photosynthesis. These are very complicated multi-step processes where something has to happen and then there’s a result… and then another thing happens and then there’s some sort of result. So, there’s plenty of stuff, even in the entry level biology classes, that lend themselves really well to a narrative. Comics really are any progression of images that build a narrative… now, that narrative doesn’t have to be fiction. The point is that there’s an order of events and together that order of events makes sense. You actually don’t have to add words for it to be considered a comic, but obviously the words help in the context of a biology class. I think given that there are so many multi-step processes whether you’re studying the Krebs cycle… or photosynthesis… or mitosis… or meiosis… or even natural selection or ecology… sequential comics… so these images, where you have processes that are laid out in order and broken down into steps, really help intro students.

John: Do you have an anticipated timespan on your textbook project?

Carly: I suspect that it’s going to be this summer. I probably have two and a half months that I’m not actually teaching, but I’ll also be doing research on my scientific stuff (on my wasp studies) at the same time. I suspect that I’ll be able to draft out the first half of the textbook and probably be able to complete about three to four chapters of it. So, I’ll have those chapters ready for the fall semester and then I’ll try to get some work done during the fall semester and keep building that project. I suspect in total it’s going to take me at least two summers and also the semesters between, where I’m actually doing much more work on sort of my regular school requirements to actually finish it.

John: Do you have any people who’ll be working with you on reviewing this and giving feedback?

Carly: Not yet, but I recognize the need for that. I want to have this textbook be one of the contributions that I have for getting tenure. Making a textbook is a common contribution for the tenure package, but to make a textbook you actually have to have some form of peer review if you’re going to go through a publisher. So, when you’re making your own OER and you’re publishing it on your own website, you might lose some of that aspect of peer review. The plan right now is to actually enlist a set of beta readers who are also science educators in their own field and have criticism from them. This isn’t quite the same as having peer review, but I think for now it’s the very best that I can do, but I’m certainly open to suggestion and open to constructive criticism and changing things up. One of the challenges of creating your own OER is that at some point you might lose the more rigorous aspects of submitting a textbook to a standard publishing company.

Rebecca: Will you have an editor working with you for this project?

Carly: Currently no one is lined up, but that’s a valid suggestion, to actually pay an editor… probably someone who works in science textbooks. But, I think before I can even get to that point, I actually have to have a fairly large body of material to show them in the first place.

John: I would think that one thing that would be useful is, once you have this material, adoptions and response from adopters could be used in place of the peer review.

Carly: Oh yes, certainly. And when I put it up on the website there’s definitely going to be a forum for educators to be like “You know what, this didn’t make a lot of sense. Can you change the wording on this?” So, treating this as a living body of work instead of: “oh, I published that, it’s done…” because there’s no cost associated with changing and the material outside of my own time cost because there’s no physical version. So, it actually wouldn’t be all that difficult for me to have those changes be something that’s constantly happening, especially as we find out better ways to teach say homologous chromosomes, or mitosis, or things like that. But even before I launch it, I still want to have beta readers that can give it a read-through even before that, but having the ability for educators to constantly give me comments would be something that’s on the main website.

Rebecca: What software are you using to manage the process?

Carly: The website build itself is through SquareSpace and that is because I have absolutely no training in making a website, whatsoever. So that’s the actual platform that I’m building the website through. In terms of drawing, I start a lot of stuff out by hand and then I usually draw it in Photoshop on a tablet. Certainly, there are times when my tablet is down and I have to draw it by hand, and then scan it… that’s also a possibility. There is something else I’m interested in and this is more of a conversation about OER versus publishers. On the major publishers textbooks right now… so, McGraw-Hill, Pearson, Cengage, stuff like that… I think they’ve recognized that students can get OERs for free, professors can get OERs for free. So, what these publishers are doing now is that they’re offering adaptive learning systems, where you have assignments that get harder or easier as the student does better or worse, where the grades go automatically into the professor’s LMS which (if you’re at a school that doesn’t have grad students) is great because you don’t have a TA to do your grading. The publishers are offering these adaptive learning systems that go seamlessly into your Blackboard or your Angel (or whatever you’re using), but if you’re developing an OER you don’t have that capability. You can make standard multiple choice quizzes on Blackboard and give them to your students, but that’s not the same thing as an adaptive learning system that tracks your students progress. So, I would also be interested in working with someone (or maybe even SUNY at large) to develop platforms that actually make these adaptive learning systems… because then I think they’ll actually be able to convince more professors to adopt OERs.

John: Some of the publishers do have that. I know that Cengage, Pearson, and McGraw-Hill have been putting together packages of OER materials, where they add other resources to them (including some adaptive learning tools) that they release under a fairly inexpensive license. Another option might be to investigate Lumen Learning. Lumen Learning works with OpenStax and they package OER materials with some other materials they’ve created through a variety of grant-funded activities. But that might be worth doing and SUNY does have a contract with Lumen Learning on these things.

Carly: Yeah, I would like to work with someone that is not just SUNY…

John: Right..

Carly: I’m a SUNY professor but I would like people at the University of California system to be able to use my comics.

John: Lumen Learning is not restricted to SUNY.

Carly: OK.

John: SUNY happens to have a contract where they get a discounted price on the bundles when colleges adopt the Lumen Learning platform, but it’s basically a bundling platform that works with OpenStax and other OER materials.

Carly: Yeah, so that’s worth considering, because not only do I want to make the comic, I also want to make assessment tools… so that whenever professors are using my comic they also have a test bank… a way to create these adaptive learning assignments and things like that. So, this is something I’ve talked about before in my presentations at the Entomological Society of America… that you can’t just make a comic and put it out there for educators, you actually have to provide study tools, study guides, teaching plans, teaching lessons, to actually make it useful for educators.
I really like the idea of there being a platform where a professor could create their own test bank and then assign levels and topics to those questions and then just be able to import those into something that is automatically going to make adaptive learning assignments.

John: I don’t think we’ve got that yet, but there are a couple platforms out there: CogBooks and Acrobatiq. Both are do-it-yourself platforms for creating adaptive learning solutions and based on the Carnegie Mellon system,… which they’ve been doing for quite a while there. But it’s a lot of work, and it automates some of the process so you don’t actually have to do the programming, but you still have to work through most of the structure yourself. I noticed that you give students the option of making their own comics for extra credit. Could you tell us about that? how have students responded? and how has that worked?

Carly: Sure, so this has really come out of a desire to actually start generating and using comics in my class while getting the OER ready… because I have people who are asking me “What results do you have already? How have students responded?” And I’m like, “I haven’t finished the comic yet.” So, I’m aware of that and so that’s where incorporating comics into the classroom right now, while I’m preparing, comes from. General biology is a very difficult course for most incoming freshmen (which is the vast majority of the students I have). What it feels like to me is that I give all of my students the benefit of the doubt… I assume that they’re all studying… and when they do poorly on their first test I don’t say to them “Oh, it’s cause you guys didn’t study enough.” I say to them “No one has taught you how to study.” So a lot of my students, when they do poorly on their exams and they come to me during office hours, I ask them how did you study? And inevitably the answer I get is “I reread the PowerPoint notes, I reread the slides,” and so I’m like “No, no that’s not how you study, that’s just reading”. I try to emphasize that studying is the active reorganization and recontextualization of all of the information sources I’m giving you, not just my PowerPoint slides, but the lecture notes your hopefully taking in class, the textbook itself, the homework assignments. There are all these different forms of information that I’m giving you, and what I’m hoping you’re doing is actively reorganizing it. So, we talk about rewriting your notes. We talk about how to actually make flashcards that are effective. We talk about making flowcharts… and really from that last one… making flowcharts… that’s kind of like making a comic already. With the making comics as an extra credit, I’m really just encouraging to do another form of studying, where they have to take all this material for a midterm and they have to draw their own comic. So, usually what I do is I start the first couple of pages for them. So, on my Twitter right now I can actually send you an image of this first page I’ve made to kickstart their own process. So, spring break is coming up and they have a midterm, not the day after spring break that would be cruel, but the Thursday after spring break. That midterm is going to cover mitosis, meiosis, inheritance, and DNA transcription and translation. And these all seem like different topics but in reality they’re all very interconnected topics. You really can’t talk about mitosis until you can talk about alleles, and genes, and Mendelian inheritance and things like that. So I’m trying to encourage the students to conceptualize that these are all interrelated things because I think that I’ll actually help them memorize things better than just treating them as separate slides that they’re just reading through. At the end of next week’s Thursday lecture, the one right before spring break I’m going to introduce this project and hopefully I get some results from it. Previously I had done this at my last teaching position, which was at Sam Houston State University. I was a visiting assistant professor there, and for extra credit, I offered students the opportunity to make a comic on the same set of materials and I get responses… but the problem is that I get responses usually from the students who don’t need the extra credit. I think this is something that’s a common problem with offering extra credit… that inevitably many, many, many times it’s the students that don’t actually need the extra credit that turn in the extra credit assignments. Now. I still enjoy reading them and they still say that it was helpful and it’s a new study technique that they’re going to do, but reaching out to the other students is one of the challenges I’m facing as a young professor.

John: We all do that, it’s not just related to age. I know in my class I give them lots of chances to retake tests… the people who do it the most are the students who are already doing best in class. So, it increases the variance in the outcomes quite a bit when that’s not entirely the goal, you’d like to have everyone rise up but not necessarily spread out further on that continuum.

Rebecca: So, I’m curious with a project like this, do you use the opportunity as being a scientist who also as an artist to sneak in some art teaching as well? Do you use things like Scott McCloud’s Understanding Comics or anything as a tool to help students understand how to put together a comic and the medium of a comic?

Carly: I love Understanding Comics, it was like one of my foundational books when I was an undergraduate taking my first comic drawing class. I actually tried to avoid situations like that because I don’t want to discourage the students that feel like they don’t know how to draw. Which is a silly thing because everyone can draw… drawing well is a different thing. I don’t want them to get hung up on how good their drawings are. I want them to get hung up on how much conceptual sense that it makes. So certainly Scott McCloud talks about this, about how you can still have a comic that’s just stick figures. And so for me, I don’t want them to freak out about the fact that I’m an artist, and that I’m pretty decent at drawing, and that I expect them also to be pretty decent at drawing. But the funny thing about teaching non-majors is that inevitably some of them are art majors. So, that’s that’s always fun, they’re always surprised to find out when they come to my office and they see that I have paintings that I made as an undergraduate up on my walls and things like that. I would love to refer classic comic making literature, but it’s just something that I don’t have enough time when I’m just spending five minutes to introduce something. But, certainly… the students that come to office hours… we do talk about you know what makes a comic because I also have students that read a lot of comics. I have lots of students that are going on the Manga reading websites and a lot of students that talk about superhero comics with me when they find out that I like comics. So it does come up, but it’s usually not something I have time to make part of my already jam-packed lecture.

John: Students often have this perspective that they’re either creative or they’re good at quantitative skills in STEM fields, and it’s really nice that you’re modeling the possibility that you can be both.. That they’re not mutually exclusive.

Rebecca: That’s also why I like McCloud as a reference book too, because it’s not really about fine art in the traditional sense but rather about how to tell a story. Which is interesting and helpful and doesn’t really necessarily emphasize being able to draw.

Carly: Yeah, I think he has that… what does an expression look like, and it’s just like two dots for eyes, and then eyebrows, and then a line for a mouth, and you can get the full range of human emotion. And then I show students comics like XKCD, that is just stick figures and it’s really effective so, yeah. I try to avoid things where they feel like they have to be a professional artist, not to say that’s what McCloud does, you just pointed out that it doesn’t do that. But I try to focus more on the conceptual – like how does this help you study, you’re not just making this to impress me. And you get that a lot with extra credits, sometimes you feel like students are just doing those projects to get extra credit. Instead I’m trying to be like “Mo, no this is a study tool. This benefits you.”

Rebecca: Have you had any students follow in your footsteps and develop a love of both art and science and pursued you as a mentor?

Carly: At Sam Houston State, I certainly had students that like to come and chat with me and sort of explore those topics. But unfortunately, I had to leave there to start the position I have at Farmingdale, and unfortunately I just haven’t been here long enough to build those connections. One of the things I want to do, as I’m at Farmingdale a bit longer, and I get settled in, is actually propose a biological illustration class. So we have the ability as biology faculty to offer these topics in biology courses, and one of the ones I really want to do is biological illustration… especially since we share our building with art, or rather… I think it’s design communications… whatever the technical college…

Rebecca: Communications design… probably.

Carly: Yeah… but they’re still students taking drawing and watercolor and painting so..

Rebecca: How cool. That would be so fun.

Carly: Yeah, and you know what I actually kind of taught that course at Berkeley. When I was an undergrad at Berkeley, there was this thing where students could actually teach one-credit non-graded courses. So, I actually offered a biological illustration course. Sort of one of those things to build my resume and make up for my not-so-great GPA, but I actually really loved doing it and it seemed like as long as you can get some specimens, and you can sit down, and you have a studio space, you can come up with some amazing work, and luckily I’m still a research associate at the Museum of Natural History, so hopefully they’ll let me borrow some animal mounts. But there’s also insects. Insects are great… they’re cheap and I’m also the entomology professor so it could just become entomological illustration and then of course Farmingdale also has a huge Horticulture Department and botanical illustration has always historically… much like art has been a big part of biology… art has been a big part of botany for a long time. So I think we have the ability to do this, and that there would be interest, and it’d be a cool collaboration with these two departments that are both in Hale Hall.

John: How have your colleagues responded?

Carly: I would say positively… extremely positively. I’ve been thinking more about transitioning into… not fully being a pedagogy researcher… but having it be a large part of what I do on the research side. So, I still plan on doing my usual wasp entomology taxonomy research, but I also want to do a lot of research that’s in comics and the use of comics. That was something that came up in my interview and I think it overall was a helpful thing, and even while I’ve been here I’ve talked about it a lot with my chair and she’s been extremely supportive, and my other colleagues have also been supportive. I haven’t received any negative pushback… which I think was something that I was expecting… because when you look at the literature about educators… whether they or not they want to use comics, there’s this fear… that comics have this bias against them. And so a lot of educators at the primary and secondary levels are kind of afraid of assigning them, and they’re afraid they’re going to be looked down upon by parents and by other educators. But I’ve been extremely fortunate, and I have faced none of that and largely the faculty have been very supportive.

Rebecca: I wonder if some people maybe perceive comics as just being not very rigorous. Which is crazy,because you can provide so much more information… because there’s a visual element as well as a text element. So they might actually be more rigorous.

Carly: Yeah. We talk about lack of rigor and lack of detail in textbooks anyways. If you look at a non major biology textbook it’s obviously not going to be as detailed as a major’s introductory biology textbook, and there’s a reason for that. You’re not teaching people who are going to continue in biology for the most part, so there’s less detail. But, still people harp on the lack of information and the lack of rigor. So, I feel like that’s going to be an argument that comes up no matter what assigned reading you’re going to use. Certainly with comics there’s another bias and that there’s a bunch of superhero comics… but comics are actually a lot more diverse these days.

Rebecca: Comics are probably a really great way to help students understand those basic concepts so that they can build their mental model because they probably come with all sorts of assumptions and things that are not correct, and I could see how demonstrating visually could help overcome some of that.

Carly: Yeah, certainly, and for me it really comes down to what is the point of general biology? What am I aiming to do? I still want my students to learn about photosynthesis, and the Krebs cycle, and mitosis, and meiosis. But I also want them to come away with an appreciation and a sense that they are able to understand it. I want them to walk away from the class with positive feelings towards science and not just- it’s a collection of facts I had to memorize.

John: I wish I had had a class like this when I was in college. it seems like a fascinating way of addressing this

Rebecca: It goes back to what we were talking about earlier. I didn’t know I wanted to know about wasps, but maybe I want to know more now after reading your comic.

Carly: Yeah. So these are all like my lofty aspirations as an educator, but I’m pretty sure I’m still making common mistakes and it’s still a bunch of facts that they have to memorize, sometimes. But I feel an awareness of these of these issues is helping and hopefully I only get better at that process.

John: …and there’s nothing wrong with it being fun for them to learn those facts. ..

Carly: Yeah.

John: … they do need to learn facts but there’s nothing saying it can’t be engaging.

Rebecca: Well, providing those sequences might make it easier to remember, because you have a clearer understanding of how the things connect. The visual representation can help provide those connections that words don’t always help because it’s too abstract.

Carly: I think with biology, especially at the introductory level, especially when you’re a professor that doesn’t have graduate student instructors or TAs, you don’t have a lot of time. So we always talk about wanting to have critical thinking questions and essays, but inevitably just because of time constrictions it does largely become scantron multiple-choice questions, and in that way it does become a lot of memorization. Now I still think that memorization is valid. I still think it’s important to know the steps and the processes and be able to call up that knowledge. But for me, the struggle is making that memorization easier. And if comics make that easier then I’m accomplishing my goal…

John: One of the things that really impressed me, though just following you on Twitter recently since I saw your work, is how engaged you are in the scholarship of learning and teaching in your discipline. It’s nice to see people starting their careers doing that. What got you interested in doing research on teaching and learning?

Carly: I think it actually comes down to who professors are. Professors tend to have PhDs, and in my case, I didn’t take any classes about how to teach. So I think most of us are just kind of thrown into this process and we learned slowly along the way. I was like “Well, there’s a whole body of research out there…” and I started reading some papers about how to be a more effective teacher. We have our own center here for teaching that has workshops and stuff like that, and I think recognizing my lack of formal training, I have no teachers certification or anything like that, made me more interested

Carly: I’ve got the list of questions.

Rebecca: One of the things that I think is kind of interesting is the way that we started this whole conversation… and it ties nicely back to the scholarship of teaching and learning… is that your first research position was doing illustrations. And I think that in academia, we don’t often see those sorts of actions as being research. So I really love that that role was called researcher and brings all this sort of together. It doesn’t have to be traditional to be effective or useful.

Carly: Now certainly that first position as an illustrator in the Padian lab… I still wanted to do traditional types of research, but that experience (as someone who is already sort of hanging around on the graduate student level and hanging around the research labs) made me a person that was visible in a crowd of something like 2,000 undergraduate biology students. So from the Padian lab, I was actually able to transition into a more traditional research role that actually led me to parasitism, to studying parasitism, and that was in the Wake lab with Marvalee Wake, who is one of my most important mentors as an undergrad. But yes, my first research position I was called an undergraduate researcher was actually just doing illustration. And I learned a lot about vertebrate anatomy because that was what Katie Brakora studied.

Rebecca: People don’t realize that when you’re doing that kind of illustration work, what kind of attention to detail you need to pay, and how much you can actually learn by just looking at something very carefully.

Carly: Oh yeah, being able to measure something… getting proportions down correctly. There’s a lot of math that goes into biological illustration and serve a lot of rigor. And then you just spend hours stippling, and that was my life.

Carly: Yeah, I would just say if this sounds like something that a faculty member is listening to this podcast and they’re like, “Ah I want to either start making comics or I want to incorporate comics even into a STEM class, I have lots of resources and I can sort of talk ad nauseam about that. You know like, “What are some good comics if you’re teaching biochemistry? What are some good comics if you’re teaching literature?” So certainly if there’s anyone who’s interested in either making comics or choosing comics for their classroom, I’d be happy to talk to folks.
I think unless you’re a comic book reader you probably don’t realize just how much comics have grown outside of what you might have imagined they were twenty years ago, and you’d be surprised by the amount of some relatable materials… especially in the social studies classes… especially in history, there’s a lot of memoirs… a lot of historical memoirs right now in comics.

John: Actually right now, I can think of at least a couple of examples in economics of comic book series that were created for instructional purposes. The Federal Reserve Bank of New York created a series of comic books to help provide middle- and high-school students with information about the monetary system and the role of the Federal Reserve Board; the other, a series of comic books created featuring Captain Euro… this was originally created to provide support for the introduction of the Euro and for the European Union in general.

Carly: Medicine has really moved with this, especially when they’re thinking about “How do we make information that transcends language barriers?” I follow a Twitter that is just medical graphics and there are conferences on medical comics as well. So I think that’s a field that’s really sort of latched on to making comics as a way to share information with patients, and there’s actually been some research showing that it’s more effective.

Rebecca: It’s used a lot in areas where there might be outreach for really low income or people in poverty who need important information about health or resources and things, and that’s where literacy might be an issue, and so sequential images are often used in those contexts as well. When I was doing a project in India, I discovered all of these really interesting graphics that were used… sequential graphics… to get people to do all sorts of things because there’s so many different languages… to kind of overcome that barrier. It was really interesting.
So we usually wrap up our interviews with the question of what are you gonna do next, you’ve already talked about a number of things that are on the horizon, but is there anything specific you want to share as your your next step, whatever it is that you want to research or do?

Carly: Yeah, so we’ve talked a lot about comics, but I can tell you a couple of other things that are on the horizon for me. My field season… the actual going out and studying wasps that I do that’s going to start up in the summer… and I’m hopefully going to bring an undergraduate or two with me, and then hopefully bring that undergraduate to present at the Entomological Society of America. So, that’s sort of the science side of my life, but sort of the swing back I’ve been talking a lot at the Entomological Society of America about using comics in entomology research… and sort of more in line with what you guys do generally, my next thing is actually proposing a symposium on education for undergraduates. Since most entomologists that are at a university don’t just teach entomology, we also generally teach any biology courses. So, kind of swinging more strictly into undergraduate education instead of the broader community outreach education that I’ve been doing with comics outside of academia. So, that’s exactly next on the horizon for me outside of just keeping working on comics.

Rebecca: So, where do your wasps take you this summer?

Carly: They’re going to take me hopefully to Puerto Rico for about a week, down to Florida for probably a week or two, and also local collecting. There hasn’t been a lot done around the Northeast, so going out to the Pine Barrens on Long Island and then probably making it up as far up as you guys and things like that and further up and down the East Coast.

John: Well if you do get up here let us know

Rebecca: Yeah.

John: … and we’ll take you out to lunch or dinner.

Carly: Oh, thank you. Yeah. This has been great guys, thanks for having me and inviting me to this.

Rebecca: Yeah, thanks for sharing all that you’re doing it sounds really exciting, I can’t wait to see it all happen.

John: It’s great to have you here, and you’re doing some wonderful work.

Rebecca: And you have two fans here and two advocates here.

Carly: Oh thank you, that’s important. I want to like tour all of the centers for teaching and learning excellence, however it’s called at every university, and you know be like “Comics, comics, comics, comics!”

[MUSIC]

John: If you’ve enjoyed this podcast, please subscribe and leave a review on iTunes or your favorite podcast service. To continue the conversation, join us on our Tea for Teaching Facebook page.

Rebecca: You can find show notes, transcripts, and other materials on teaforteaching.com. Music by Michael Gary Brewer.

22. Transhumanism

Does teaching a course with a team of three instructors across two continents seem like an impossible task? Now imagine that same course examining how the boundaries between humans and machines are increasingly blurred? In this episode, Damian Schofield joins us to discuss an interdisciplinary intercontinental collaboration in which students from opposite sides of the globe examine what it means to be human.

Show Notes

Transcript

John: Does teaching a course with a team of three instructors across two continents seem like an impossible task? Now imagine that same course examining how the boundaries between humans and machines are increasingly blurred? In this episode, we’ll look at one interdisciplinary intercontinental collaboration.

Thanks for joining us for Tea for Teaching, an informal discussion of innovative and effective practices in teaching and learning.

Rebecca: This podcast series is hosted by John Kane, an economist…

John: …and Rebecca Mushtare, a graphic designer.

Rebecca: Together we run the Center for Excellence in Learning and Teaching at the State University of New York at Oswego.

John: Our guest today is Damian Schofield, who is a Professor in the Computer Science department at SUNY Oswego, and he is also the Director of the Master’s Program in Human Computer Interaction here. Welcome, Damian.

Damian: Thank you.

John: Ginger peach white tea.

Damian: I’m drinking Yorkshire Tea (because I’m English) with milk.

Rebecca: Of course. [LAUGHTER] There’s no other way, right? I’m drinking a turmeric ginger green tea.

Damian: See, I would argue that those aren’t teas. They’re warm fruit beverages.

Rebecca: Yeah… Well, you know, that’s sometimes what you need.

John: A few times now, you’ve offered a course in transhumanism, which involved collaboration across departments and across continents. Could you tell us a little bit about that course?

Damian: Well, first what most people ask me is what is transhumanism?

John: …and I suppose that’s a good place to start.

Damian: So, transhumanism is the study of how, in the future, humans will merge with technology. It’s already happening to some degree. We often use the word cyborgs. I would argue that most of us are already cyborgs. Wearing glasses, you’re augmenting one of your senses, and it changes fundamentally who you are as a human being having that augmentation. Having a device in your hand that connects you to all the knowledge in the world, changes who you are. But in this class, we look into the future. With the ever accelerating rate of technology development, how we are going to merge with that technology and each other, and actually change from being human to what we call post-human. Humans are going to evolve into another species through technology eventually, and very few people are talking about this. So, that’s what the course involves.

I’ve been obsessed with this technology for a long time. I even have a computer chip implanted in my hand, so I wanted to do this course and when I tried to set it up I came up with this idea to do something a little bit special by interacting with multiple departments, with other universities, with international collaborators, and to run a course that was probably something different to anything we’ve seen on this campus before. Patrick Murphy, from the English department here at SUNY Oswego, did some lecturing on the course and he mainly dealt with philosophical aspects of transhumanism. We also linked with Lisa Dethridge from RMIT University in Australia, and she mainly dealt a lot with the media aspects of the technology.

John: What was the mix of students in terms of their backgrounds?

Damian: The first year we ran it, there was a mix of students from the English department and from the Computer Science department, and they were predominantly graduate students. Over the years we’ve evolved the program, and last time I ran it, they were predominantly from Computer Science, but we allowed undergraduates to take it as well, as an advanced topics course.

John: …and what were some of the things you did in the course? I seem to remember something about robots?

[LAUGHTER]

Damian: …a lot about robots. It was a fun course to teach because we make the students read science fiction. We watch a lot of science fiction movies. We use episodes from Black Mirror, before it was on Netflix and famous. We do a lot of teaching computer science theory about artificial intelligence and robots, but we also teach a lot about philosophy… media…. So, it’s a truly multidisciplinary course, with different aspects taught by different professors.

John: …and it pulled all the students out of their comfort zones at some of the times.

Damian: Absolutely… way beyond. It receives some of the highest feedback we’ve ever got for any class in the department. The students… the way the response of the class… One of them came up to see me the day after a class, and said: “I left the building and walked straight past my car, and carried on walking. I walked halfway across campus before I realized, because I was too in depth, thinking about what we’ve done in the class.” …and there was another student who was very quiet in the class and I remembered talking to her towards the end of the semester, asking if she was enjoying the course, and she said my mind is blown seven times every class. I just don’t feel I can say anything. I’m thinking too much. So, it really got them. They always told me that after each class they thought: “Well, he can’t beat that one…” [LAUGHTER] …and doing something else in every class… we’d take them somewhere further into this topic.

John: So, it was probably a bit of a stretch for people who were majoring in Computer Science or Human Computer Interaction to study philosophy, and then that reversed a little bit later, from what I remember.

Damian: I love taking students out of their comfort zones. In my introduction to HCI class, when I’m teaching colour, I teach it using art theory… which all the Computer Science students having to study paintings…. It’s a challenge for them. It’s something they’re not used to. It takes them out of that comfort zone, but I like that kind of bringing in these other disciplines. So what surprised me with the philosophy was how much the Computer Science students embraced it, and when Patrick would come in and and talk philosophy, the students would surround him at the end of class full of questions…. and we’d give them extra readings and they would read it all, and then come back with questions every time. A lot of the course ran through a kind of flipped classroom mechanic, where we were handing out readings and then discussing them in class. It runs in a graduate seminar format and it always amazed me that everyone in the class read every reading, and even the undergraduates. I’m used to it with grad students, but undergrads sometimes don’t always do the readings, but in this class they did.

Rebecca: In addition to discussions in class, what else did students do? …with the information? What were their outputs?

Damian: The traditional research paper was part of it, but one of the interesting things we started doing in this class, especially working with Lisa, is working on film scripts. So the students take some of the issues that they’ve been dealing with in the class, and have to write intelligent thoughtful narratives that deal with those issues that can be filmed… and we set different topics every year… and that’s where they work with the Australian students… on generating these scripts. …and then, in a number of years, we’ve actually made the films. Mostly the films involve our robots, and we use the robots as actors. One of the interesting kind of research outputs from this that we’ve published on quite a bit, it’s that if I talk about the play Romeo and Juliet, most people immediately imagine young, white, teenagers… male and female. If we remove the race.. remove the gender… remove the age… remove all of those cultural factors and you’re left with two non gender nonspecific robots, what happens to the play? Does it change? …and we challenge those questions a lot in this course.

John: So, the students had to learn (at least some of them had to learn) how to program the robots, and how to write scripts, and how to produce videos.

Damian: Exactly. Some of the students had to learn how to program the robots. Fortunately, there’s an easy-to-use drag-and-drop interface that they can learn rather than a programming language… and we don’t ask them to do too much of that, because this is not a programming course this is a theory… philosophical course… thinking about the nature of humanity and how it’s going to change. But, being able to do something practical as well is always an interesting thing for the students to experience.

Rebecca: You spark some people’s fancy about what transhumanism is, like what would you encourage them to read?

Damian: I’m a little biased because I have my favourites. So, the work of William Gibson, which is old now… but things like Mona Lisa Overdrive, Neuromancer, and were the ones that started everything… and Neal Stephenson Snow Crash. They’re the classic novels in this area. The film The Matrix was completely based on the works of William Gibson. So, if you’re interested in that sort of thing, those would be the ones to look up.

John: We’ll include links to these in the show notes, as well as some of those papers that you mentioned. Now, one aspect of this was that international collaboration. How did you manage a collaboration across the globe?

Damian: Well, I used to live in Australia and I used to work with Lisa Dethridge, our collaborator, so we have a good personal relationship. We know each other and trust each other, which always helps when you’re doing these sort of international collaborations. The kind of problems we encounter though, are… the main one being Australia is 16 hours time difference ahead… anywhere between 14 and 16 hours depending on daylight saving. So, it’s very hard to schedule synchronous time for Lisa to talk to my students or for the students to talk to each other. The students here at SUNY Oswego have been great, though. What we normally do is we schedule additional evening classes around 6:00 [or] 7:00 at night, which is early morning in Australia, and the majority of the students turn up to those classes to talk to the Australians. A few obviously can’t due to family commitments, but there’s no real way around this… that’s the only way to do it. Also getting the students to work together is very difficult, because I can’t just add the Australian students on BlackBoard or into some collaborative environment, so I personally use Canvas which means I can control who is within the learning management system. So, we can put the Australian students and the American students together. During each semester we do four or five video conference calls between the students, where the students talk to each other. It’s always worthwhile having two or three options in case some technology doesn’t work. So, we use Skype sometimes… we use the Canvas collaboration tool… and sometimes we use GoToMeeting. It’s always good when the students have that kind of ice breaking session where they meet each other and talk about their respective cultures, and we try and get them to do some… even on the video conferencing… some discussion of their culture as well as the academic activities… and to get to know each other a little bit, which becomes important later on when we run the study abroads.

John: So do the students collaborate in small groups, or individually in addition to the group collaboration or?

Damian: Absolutely, that’s how you the group assignments work. They’re assigned into teams with some Australian students and some US students, and they’re given assignments… and different years we’ve done different assignments. One year was working on film scripts. Actually the last time I run it… was writing robot scripts together to do little robot performances, and collaboratively, which the Australians being media students, really enjoyed that they were working on these robots. …and then, of course, once the robots perform the actions that they created, we had a video conference where they could watch the robots performing the scripts they’d written together.

John: …and, I think you recorded some of those too, didn’t you?

Damian: Yeah, we have a number of little robot films and videos, we also have little documentaries we’ve made about the collaboration, and so there’s a whole set of those we can…

John: So, if it’s okay, we’ll include the links to those in the show notes as well.

Rebecca: Is Lisa’s class the same subject matter? What is her class actually studying?

Damian: Her class is a design class, but it’s focused towards technology and culture, technology and society, and particularly looking at designing for the future. It fits in very well. However, it’s very difficult in these situations to co-teach with an international collaborator for a full semester, because the curriculums have to line up enough for you to do that. With something like this just over two or three weeks, four or five videoconferences, it can be just a small chunk of your semester, where you can still get through all your other curricula during the semester.

John: …and you mentioned some travel…have you generally run travel at the end as an option for students?

Damian: Three times we’ve run this course, and every time at the of that, we run a study abroad to Australia. We usually have a group, between seven and ten students, who go on that. All three trips have been very successful. The students have really enjoyed themselves.

John: I’ve seen some other photos.

Damian: You’ve seen the photos… Yeah, I’ve put all the photos on Facebook. The students generally go for two weeks although some students choose to stay longer and explore other parts of Australia. The way I run it, I’m under no illusions, I mean we call it a study abroad but the students are going because they want to see kangaroos and koalas. So, we do around three four days work with the Australian students, and what’s really important is that the American students get to spend time with the Australian students. The work they do in three or four days is fairly trivial. It’s more important that they have the experience of spending time with the Australian students… and we then give them three or four days of what we call cultural activities, which are the kangaroos and the koalas. We take them on the world’s greatest drive, the Great Ocean Road, and we go and see some Aboriginal sculpture, and things like that. …and they also get around a week of their own time to explore and go around. And what has been really good is the American students make friends with the Australian students and in that week spend time getting to know the Australians and exploring the city and the culture with people who live there… which has been really good. This last time, a group of students went surfing, which the Australians thought was crazy because it was nearly the winter there, but of course these kids are from New York… [LAUGHTER]… they can handle the weather.

John: Didn’t some of the students do some later collaborations with Lisa Dethridge?

Damian: Yeah, we’ve worked on a number of projects with Lisa. Probably one of the most interesting ones was her dark luminance project. She created a set of digital two-dimensional and three-dimensional art works in an art gallery in Melbourne, Australia… in the city itself, in a physical gallery. …and people were going in and these artworks were interactive. You could touch them and they’d change. She then flew to New York City and an art gallery in Manhattan put the same artworks… where you could interact and switch them. …and then, she had an online virtual gallery where you could go in and interact with the artworks and touch them. And the interesting thing was if you were in Australia and touched a painting it changed in New York City and on the virtual world as well. And what my students did was they basically watched what people did in these galleries… and which artworks they interacted with… and why they interacted with some, and not others… and what did they do with the artworks… and how did they experience them in a different way virtually to the physical artworks. And we published a couple of books chapters and two journal articles on that, I think. It was a very successful project for the students who worked on that.

John: …an interesting form of human-computer interaction.

Damian: ….very interesting form…. It was a fascinating project. The actual idea for this project actually came from Lisa and I sitting in a bar in Australia, discussing the dimensionality of vision which then led us into this idea of the dimensionality of interaction with artworks and that’s what most of the papers talked about.

John: So, this course was offered as one of the COIL courses in the SUNY system (and COIL stands for Collaborative Online International Learning).

Damian: Yeah, the SUNY system, through SUNY Global, has this initiative for promoting collaboration with international colleagues in teaching. And we’ve started a number of COIL courses here at SUNY Oswego. I believe this was one of the first ones we did. And the COIL Center has this whole set of resources to help you set these up, and also to meet international partners, and help you get through the mechanics of physically doing something like this. However, I’ll reiterate again that if you are going to do something like a COIL course, you’d need to get to know the person you’re working with. It’s kind of crucial that you have a good relationship with the person overseas for this to work. The other thing I’d recommend by international collaboration, which made things a lot simpler, was separating assessments, so that I don’t assess the Australian students… Lisa doesn’t assess all students. From a administrative point of view, it just keeps everything a lot simpler.

John: When I taught a COIL course a couple of years ago, I did the same sort of thing. It’s much easier if you grade your own students, because each program. each institution, each department has their own grading standards. And it’s much simpler for you to apply those individually . I’d also like to re-emphasize the importance of having that good relationship. When I was working with my partner we were working on this course, we meet online for at least an hour every week to talk about how things were going, what we needed to change, and how to adapt things based on what was happening in the course. It’s really important to have that discussion because I know we’ve had some other COIL courses where those communications broke down and it didn’t go quite as well.

Rebecca: So we usually wrap up with questions about what you might be doing next. So do you have any new plans related to this class or other international collaborations?

Damian: What we’re trying to do at the moment… we run the trip to Australia every second year. It’s not something you can run every year because the same students are still in the system. So, in the year in-between we run different collaborations… couple of years ago, students went to Spain. This year we’re taking students to work with Jolanda Tromp, who used to work here in Computer Science, and we’re taking them to work in her virtual reality lab in Vietnam. So, we’ll be going over there in May with a group of students and we’ll be working on medical VR systems over in Vietnam this summer.

Rebecca: That sounds really exciting.

Damian: Yeah, it should be fun.

John: Jolanda is still working with a lot of people, she’s part of a SUNY task group on mixed reality and she’s been very active in that.. despite the time difference.

Damian: Yes, Jolanda’s still very involved in our department. She’s still supervising research students, and even delivering some summer courses for us.

John: Excellent.

Rebecca: Well, thanks so much for sharing your experience and hopefully inspiring other faculty to think about international collaborations.

Damian: You’re welcome.

John: If you’ve enjoyed this podcast, please subscribe and leave a review on iTunes or your favorite podcast service. To continue the conversation, join us on our Tea for Teaching Facebook page.

Rebecca: You can find show notes, transcripts, and other materials on teaforteaching.com. Music by Michael Gary Brewer.

21. Project-based learning

Big, complex, and messy problems provide rich learning experiences for students, but can be overwhelming if not properly scaffolded. In this episode, Jeff Bradbury joins us to discuss a semester-long sound-replacement project that his students complete in a course on Sound for Television and Film.

Show Notes

  • BRC 308 – Sound for Television and Film – course description
  • BRC 3089 – Sound for Television and Film II – course description

Transcript

Rebecca: Big, complex, and messy problems are rich learning experiences for students but can be overwhelming if not properly scaffolded. In this episode, we’ll focus on how to organize a class around a single big project.

John: Thanks for joining us for Tea for Teaching, an informal discussion of innovative and effective practices in teaching and learning.

Rebecca: This podcast series is hosted by John Kane, an economist…

John: …and Rebecca Mushtare, a graphic designer.

Rebecca: Together we run the Center for Excellence in Learning and Teaching at the State University of New York at Oswego.

John: Our guest today is Jeff Bradbury. Jeff is a Visiting Assistant Professor at SUNY Oswego. He teaches classes in audio production.

Rebecca: Welcome, Jeff.

John: Welcome, Jeff.

Jeff: Well, thank you. Glad to be here.

Rebecca: Today our teas are:

John: Ginger peach whole leaf tea.

Jeff: I missed that one, but I got some really delicious black raspberry green tea that I’m really digging..

Rebecca: I’m drinking exotic mango and ginger green tea.

Jeff: That’s impressive.

Rebecca: From Twinings.

John: Oh! Twinings, okay, okay.

Jeff: These people are serious about their tea here. It’s…

John: I forgot that we had that.

Jeff: …impressive.

John: What classes do you normally teach?

Jeff: Well, I teach a number of different audio classes here at SUNY Oswego. The most basic class I teach is a class in radio production, and that I treat more or less like a basic audio production class. Just the real basics of which end of a microphone to speak into… just basic broadcast performance stuff. I’m not an on-air broadcaster myself, but just basic things like how to sit up straight, project your voice… this kind of stuff makes a difference when you’re recording your voice, and then I teach my signature class here at Oswego… a course called BRC 308, and that is Sound for Television and Film. I also teach a successor to that one, which is BRC 309, which is very creatively called Sound for Television and Film II.

[LAUGHTER]

Rebecca: Yeah, we have similar classes with Graphic Design I and II.

Jeff: Yes, yeah.

John: So when we talked about your work in these classes earlier, one of the things you mentioned is that you have a project where students rescore cartoons. Could you tell us a little bit about that?

Jeff: Yeah, definitely. The course I teach… BRC 308… some students do cartoons… more or less these days you have these all the animated films… the 3D animated films that are so popular… and a lot of times those work really good for… basically what the project is, is a sound replacement project. So, they take a scene probably anywhere from a minute and 30 seconds to three minutes, and we dump all of the sound, which includes dialogue, sound effects, music, ambiance, all that kind of stuff… They dump all that, and they recreate everything themselves from scratch… and it isn’t actually just cartoons, or animated stuff — they can do live-action TV shows or films as well. I always tell the students probably one of the biggest things that you’ll take away from this class is how much goes in to the sound side of any…even just dramatic television shows, episodic television, especially films… I mean there’s there’s so much to it… If you can imagine in your mind’s eye, when they mix the sound for a major motion picture, they’re sitting in what looks like a movie theater, and they’re sitting in front of a console that is generally about… probably anywhere from fifteen to thirty feet long… and there are anywhere from two to three to maybe even four people sitting at literally hundreds of faders mixing every single little element… perhaps different instruments from from an orchestra… from a score… or you have… every time somebody sets a coffee cup on a table… and every little sound and dialogue and clothing movement and stuff like that that they have to reproduce. So, when you say a semester project replacing the sound for one minute and 30 second clip from a film sounds like: “Oh, that’s gonna be a snap.” …actually it’s not. When there’s so when their sound is that dense, I have students who who end up with projects with anywhere from 25 or 30 to up to 60 or more tracks of audio that they’re mixing all simultaneously with different processing and all this kind of stuff to make this work. So, there’s there’s a lot to it, and they learn really quickly. They’re like, “Wow” …because I always tell them… I say: “Can you imagine doing this for the full two-hour film?“ …and they just shake their heads. Because they spend about about ten weeks working on their final project.

Rebecca: Is the goal of the project to respond to what they’re seeing, and make the soundtrack? Or is it to replicate what was there before?

Jeff: Since this is their first stab at this, I have them bring into their project the original audio from the film, that’s what I refer to as the reference audio. Usually what they try to do is replicate what they hear and what was done before, but I always try to tell them “That is an interpretation of what the sound should sound like, that doesn’t necessarily mean that it has to be that way.” …and I show them examples… that you can take something …an explosion or something… and you can have two completely different sounds and it’ll still work. The viewer, or the the audience member, will accept what you give them as long as it’s within a certain realm… and you can really, really affect the feel and the outcome of a scene… even just what sound effects you choose. But yeah, I always tell them: “Don’t be afraid to try something different than what you hear.” What’s amazing about major motion pictures and television shows and whatnot is that they don’t always represent everything… so, I tell them: “Look what’s happening there.” …or even better yet… a lot of times there’s things that probably are happening but you don’t see it in the plane of the screen. For example, on a city street… and you see a certain view of a car parked on a city street and there’s dialogue happening or something… there could be a truck backing up behind you and if you put that sound in the scene, it’s completely believable that that’s there. That’s one of the things about sound that I teach them and show them… it’s so awesome… it’s 360 degrees wherever you believe you are in this motion picture there’s also any sound from anywhere even if you can’t see it is acceptable… and a lot of times you need that. When you’re in city in the distance… honking cars and sirens and that kind of stuff. You can’t see them, but hearing those make that seem believable.

Rebecca: That’s a big project, you’re talking about all the layers and the complexity of it. How do you help students scaffold something like that, and guide them through that process? At first it seems like: “Oh, it’s a small project… we have all semester to do it,” but then I’m sure very quickly it becomes very apparent to the students that: “Oh crap, this is a gigantic project and I have no idea how I’m gonna get this done.”

Jeff: There’s perhaps two answers to that question. Oftentimes, students when they pick their projects, they immediately go for the most climactic scene of the movie. And so I tell them… and I hold the veto power and I always jokingly say… and it’s a joke now but I had a student present… wanted to do… I haven’t seen the movie in some time but there’s the movie Gladiator, and I think an opening battle scene of Gladiator… “No… No. You’re not gonna do that… at the end of this class you’ll understand why, but that is way too complex. There’s too many layers of things going on. You can’t do that. I try to tell them so that they don’t bite off more than they can chew. I say: “Okay, if you want to do a scene from your favorite movie or something like that, that’s great. That’s a great place to start.” I tell them: “Try to find those moments in the film that are in between the most climactic parts of it, because you may watch it… and you may listen to it… and you may say: “Well, this is kind of simple.” Trust me, there’s a lot more going on there sonically then you know about… So, that’s one way… I try to coach them so they don’t bite off more than they can chew. Then, from there what we do is I have them fill out what’s called spotting sheets. So, let’s say they choose a two minute piece of a film. I capture that film piece and then give them what’s called a window dub… and the window dub has, and you may have seen this… if you’ve ever seen behind the scenes videos and stuff… it basically has the timecode – hours, minutes, seconds, frames – burned into the actual picture. This gives them a reference. I have a copy of this… they have a copy of this. They work in teams or sometimes even groups of three on these projects. They all have copies of this. They carry them around on their phone. They can communicate with each other and say: “Well, there’s that punch at one minute thirty:two seconds and four frames and I’m not really sure what to do with that.” Everybody else can look at the same video and know exactly what they’re talking about. But what they start off with is… they go through their entire project and they list according to that timecode the sound, then what the timecode is, and then some notes on how they think they need to acquire that asset. Do they need to go out in the real world and record it with a portable field recorder? Do they need to do that in our Foley room – which is a quiet space that we have to record? And a last resort… because I prefer that the students record everything themselves… when they do that, I think it’s something that they’re very, very proud of when they do it that way… but sometimes they have sounds that it’s not feasible for them to acquire themselves, for instance, any sort of firearms. So we have an extensive sound-effects library that they can go in to capture some sound effects. Some people think that’s cheating. It’s not really because the sound effects never fit… just plug and play… There’s always some sort of editing, manipulation, chopping, multiplying, that has to be done to make them fit.

Rebecca: Encouraging students to pick those in-between spaces also seems like a good opportunity for them to be a little more creative than they would be able to otherwise. Those climatic scenes people have specific expectations because they’ve seen the movie, but those in-between spaces are probably ones where they can be a little more experimental and try some different things and feel safe doing so.

Jeff: I think so, yeah. What’s interesting to me is that I’ve found so many cool TV shows and films that I never heard of or seen before when students bring in some of their ideas… and I think you’re right. At first, they want to do something really big… and more is more… but when they do search and find these these moments in between the climactic scenes, I think that… yeah, it does give them a chance to… actually what I think works best is that… because there’s not so much layering going on as when you’re doing a climactic scene… there’s always tons of sound happening all at the same time. You have more individual sounds happening, and so they can focus on this.
One of the best projects that a student has done yet was a student… if you’re familiar with the film The Breakfast Club… there’s a great scene in The Breakfast Club where they’re all at their first day of Saturday detention or whatever it is there… I guess the whole film is one day… and they’re eating their lunch. There’s this great moment where they all sit down and one student brings out all this different stuff… one girl making her lunch… and there and there’s very little dialogue. It’s perfect for this class… it’s like a three-minute thing… and this student who did this… it was an immense amount of work, but it was so great because each sound that happens is… one thing happens… then the next thing… then the next thing… then the next thing. So it really allows them to focus on the individual sounds… how they capture them and stuff like that.

Rebecca: Hmmm.

Jeff: Yeah.

Rebecca: That’s interesting.

John: Do you have the students record the dialogue as well?

Jeff: I do. One thing that a lot of people don’t know about major motion pictures is that a lot of these big-budget major motion pictures, even television shows… most of the dialogue is typically replaced… The principal actor shoots a scene on location and unless it’s an environment where they can get a boom mic or something… or a well-hidden lavalier microphone… unless they can get it recorded really clean on set… they take that same actor and they go in to a quiet studio later on… and that same actor re-does their lines to get them clean. They refer to that as ADR. And ADR stands for Automated Dialogue Replacement.

Rebecca: Doesn’t sound that automated…

Jeff: I know.

[LAUGHTER]

There’s parts of it that can be automated, as far as they the start and stop of when they do it… and a lot of times it’s also referred to as looping, and so what they would do is the actor gets several tapes and I think that’s where they get the automated from, I’m not really sure. So that’s a part of it… replacing dialogue. So, I have them do the dialogue. I also try to coach them to not pick scenes that are really dialogue heavy because that can be a challenge, because you have to find somebody who can say those lines convincingly.

John: When you first started teaching this class, was this something you introduced right away, or did this evolve out of some earlier work?

Jeff: The first time that I taught Sound for Television and Film I did teach it this way… with this project. When I was in graduate school at Syracuse University, I was one of two students who were teaching assistants that helped in the audio classes. My main background with audio is on the music recording side. So I started off recording bands and all that kind of stuff… and I was the the TA for the music recording class. The other class that was also offered was this sound design kind of a class and that’s basically the project that they did… so that’s where I got the ideas. I knew that they did this sound replacement, but I had never taken that class. I just figured well that’s probably the best way to go about it. So, I just kind of started off…I just… “Let’s do this.” It’s been far too many years that I’ve been teaching this…. I’ve taught this class here at Oswego, I have taught the class at Syracuse University, I also taught a version of the same class at Ithaca College. So I’ve been honing, and perfecting, and altering this for many years.

Rebecca: What are some of the biggest changes that you’ve made to the class from this trial and error revision process?

Jeff: I would say the big things are the guidelines that I impose on how they choose a project because when I first started doing it, I had no idea… and then what I noticed was happening is students were choosing the most climactic moments in the films. I think the lightbulb went off for me when a student tried to do the scene from Titanic where the ship hits the iceberg, and unfortunately their project went the way of the Titanic…

[LAUGHTER]

…and I thought to myself “Okay, did this student really fail or did they just bite off more than they could chew?” And so I think that’s probably the big one there. I’m trying to think other things that…

Rebecca: Have you added more check-in points or things like that?

Jeff: Yeah, I have. Because one thing that I’ve found over the years is that if you just give the students an open-ended: “Okay, start now and it’s eight weeks from now or ten weeks from now the project is due…” You know where this is going… they’re gonna wait until a week before it’s due and try to finish it all… And that just will not work with something like this… they’ll die. About four weeks before the end of the of the project… before the end of the semester… I say “Okay, give us a progress report.” That’s worth twenty percent of their grade. The final project is worth forty percent… this is worth twenty percent… and I say these are the following things that you have to show if you want the twenty percent in your progress. There’s a laundry list… so, you have to have all your sound effects at least basically recorded… you have to have all your dialogue done… So, that helps immensely… because it forces them to get started on it rather than just waiting until the end.

John: So if someone were to stop in on one of your classes what would it look like, or what would it sound like?

Jeff: So, that’s really interesting… and it varies every single day. The first six weeks of the class, of the course is really a boot camp… for recording… using Pro Tools… I mean… Pro Tools, the application we use is an extremely deep robust program. I’ve gotten pretty good at sort of boiling it down to the need-to-know basis… like “Look, this will get you started, anything else you need to know, just ask me and I’ll show you on a need-to-know basis.”… and that seems to work pretty good.
So, gosh, what would somebody see if they walked in my class? The first six weeks when we’re just sort of in bootcamp mode, it looks like a regular class… I’m teaching them stuff, I have structured lectures… I have them try things like, “Okay now I’ve showed you” or “I’ve given an example, now you try it” …then I walk around and make sure everybody’s getting the basic set of skills. Once we get to the midterm, the second half of the class is basically class time…. it’s just work time. And so usually students work in pairs on a project. So, you might see one group of students sitting there making notes, looking at the computer, sort of figuring out what their game plan is… another group of students working on headphones across the hall from the classroom… we have our basic production studio where they can go in there where they where they manage recording. Then there’s a quiet space on the other side where they have a screen. It looks very professional… It looks like it’s done in the industry… and they’re in there recording clothing movements… or dialogue… or all this kind of stuff to the moving image… and me, I’m generally just running around answering questions… a lot of times putting out fires. Thank God, my previous existence as far as career-wise, I was a computer consultant, because I’m really adept and knowledgeable of computers… hard drives… when things go wrong… because that’s the space we live in. The students have to buy their own hard drives. They’re constantly having file management issues…

Rebecca: …sounds really familiar.

Jeff: Exactly, right?

[LAUGHTER]

When you work in anything creative these days, you know the more about computers and hardware and especially file management… And honestly, can I just say on a side note, I’ve noticed that it’s so much more difficult nowadays to teach that stuff and I think the main reason is… look at what most technology the students have nowadays. Phones, there’s no file management to them, right? Basic… like what folder… what directory… and if you don’t know that stuff cold… in the world I live, anyway, it’s like you die. I swear to god, that’s one of the hardest things I deal with… is having to teach them that basic stuff and when they screw that up, it screws everything up. They spend a whole day working and they didn’t import something the right way, then they come back the next day… it’s all missing.

John: Smartphones are getting a bit better than that. Android had a file structure from the beginning that was somewhat transparent although not easily accessible, and now there is a files app on iOS 11.

Rebecca: Yeah.

John: You can access things but it’s not a very easy-to-use file…

Rebecca: Yeah.

John: …it’s not very hierarchical.

Rebecca: It’s not like when you were using older operating systems where you were actively getting into directories and out of directories, right?

Jeff: Right, yeah.

Rebecca: So, if you come from that perspective, it’s a lot easier to know how to file manage, right? Whereas a lot of our students I think, rely on searching… Like, “I don’t know where it went, it just went somewhere magically and I don’t remember what I called it… so, can you wave your magic wand and find it for me?”
[LAUGHTER]

Jeff: Right. Right, one of the things that I do out of necessity is I spend a number of classes in the beginning of the semester, and I apologized to all them up front. I say, “Okay, look, I don’t want to treat anybody like a kindergartener, but we’re going to kindergarten for a couple days, okay? Lesson number one: this is a file, this is a folder, this is how you look at your folder and file management in a hierarchy way.” All this kind of stuff …and ‘cause some of the kids know it and they get it, but others have just not. For us too, because we’re working on Macs, there’s a certain number of students who are PC-based in their experience and so they’re trying to wrap their head around using a Mac. But, I wish they could all come in just knowing all that stuff cold and we could just jump right into it. But I’ve found, and that’s another thing perhaps in the question you asked earlier “what have you changed,” is I found, that if I don’t spend a certain amount of time back in kindergarten (I know that’s probably not the best way to talk about it) we all really pay for it later.

Rebecca: Yeah.

John: But that’s a realistic learning experience because these are issues they’d face when they’re out there doing this type of job.

Jeff: Absolutely.

John: …and it sounds like they’re getting us some background in all aspects of the job that they might have if they were going to work in this field from recording to mixing.

Jeff: Yeah.

Rebecca: The reality is you got to meet students where they’re at.

Jeff: Absolutely

Rebecca: …and so, if they have no idea how to structure their files, and that’s key to what you’re doing, you got to start there.

Jeff: Yeah well, and I do explain to them too, I say, “This may be very simplistic to you,” but I’d give them sort of the story of like, “okay, let’s say that you’re gonna go and actually break into this field and do this for a living. Generally speaking, the way people start off, if you’re gonna be working in post-production sound, is you start off as an assistant.” …and assistants, basically what they do is they work in 100% file management. They take recordings that were done in the field… they do like a basic chop and an edit… and they’re given what’s usually referred to in the industry as a “Bible,” and they have naming conventions: this is how you name it, this is where you put it, this is the metadata information you’re to put with that. Because on a typical major motion picture, when the sound team is going out and collecting sound effects in the fields like that, they’ll have, a lot of times, a database of over a hundred thousand distinct audio files that the senior audio designers are gonna try to call from to build these scenes and stuff. So, I tell them that, “that’s where you start… so, even though you might look at it as a little bit boring, you’re gonna be doing that for a while before you’re ever gonna become the sound designer guy.

John: I know you got a license for a set of royalty-free sounds some that have been cleared of copyright. Are there any copyright issues with the project?

Jeff: That’s an interesting question. Basically, the students are grabbing a scene from a film or a television show, something that’s copyrighted, but for learning purposes… So, I think it’s really a fair use example. We’re stripping the sound and then they’re doing the best job they can to recreate the sound for that scene. There have been a couple of times the student has tried… they’ve been so proud of their work, they’ve tried to upload their project to YouTube and of course, I think automatic filters that they have… they say, “uh-uh, you can’t put a scene from such-and-such a film” which actually surprises me because I never realized this until the students do it… When I have them look and suggest to see possible scenes that they might want to pick for their project, you can basically just go on YouTube and you can search for like, oh the “dinner scene of Shrek…” it’ll come up. Somebody put it up there… it’s there. It’s kind of interesting that all this stuff is out there. But I’ve never had any issues with copyright and I tell the students, I say, “look, the final product that you’re gonna end up with here is a portfolio piece… and so in other words, it’s not something that you’re going to be trying to sell or trying to put out into any sort of public domain in any way… any shape, anyway. If you want to get a job in this field, you’re gonna show this to somebody in an intimate setting.” Say, “I did the sound replacement for this” and they’re hopefully gonna be impressed and so it’s not going to be a copyright issue I think per se.

Rebecca: So, it might be like a demo reel or a demo behind a password or something like that anyways.

Jeff: Yeah, exactly.

John: So, how have students responded to this type of project?

Jeff: Students absolutely love doing this. I mean, it’s the one thing that gets me out of bed and keeps me doing this kind of stuff. Because I witness a transformation. Now I sort of enjoy the fact that there’s a bit of a reputation that the class is cool and it’s fun and maybe even a little bit that the professor is kind of cool, I don’t know. It’s a difficult class to get into… it fills up really really quickly. But I see so many times like students I think, were kind of interested in the topic… But by the end of the semester, I think every semester, every section I teach, I have at least one student is who’s like, “this is what I want to do with my life.” …and I think that’s really cool… when they get into it. When you go out… a lot of times, what they have to do is they have to get like one of the portable recorders… I see that you have a zoom recorded on the table. We have something similar to that. We have some Tascam recorders… and then, of course, they have to go out in the field and… a lot of times… record sounds in the real world that they’re gonna bring in and edit and then put in. I cannot explain to you how rewarding it is when you go out and you spend a lot of time getting just the right sound that you capture… you bring it in… and you spot the sound …which basically means you just put the sound on the timeline and you line it up in the right timing and you play it and it works. It is so satisfying, it is so satisfying… and I see them the first time they’ve done that, the first time they’ve recorded their own sound and they put it into the project… they’re giddy… For a lot of students, once they do it once, they’re hooked and so they can’t wait to go grab the recorder, go record some more sounds, and put them back in. …and yeah, it’s one of those things where it is a lot of work, but the pride they feel in the finished product… I don’t know if it’s maybe because students are just getting better… or I’d like to think that I’m getting better teaching the class but I think semester after semester after semester and the projects keep getting better and better and better.

I actually had a student who did a scene from one of the Pirates of the Caribbean movies and I initially told this particular student: “I don’t know, that’s some dense sound.” It wasn’t the most climactic scene, but it was there was a lot happening. He said, “no, I can do it” and I always tried to defer to their judgment when that happens. I’m like, “if you really think you can do it, I’ll let you do it.” He did such an exceptional job. This was the my favorite story and I always tell this to the students. He took the project home after the end of the semester and he said he played it for his older brother. He said, “hey, check this out, I want to play something.” So he did the right thing, he didn’t tell him what it was, he just played the scene with his sound replacement and it was the ultimate compliment when he said, “yeah so it’s the scene from… that scene from Pirates of the Caribbean.” He’s like, “you liked it?” He’s like, “well yeah, I mean I like the movie” and he’s like, “I dumped all the sound and replaced everything” and he’s like, “No way.” He couldn’t distinguish it from the original film and I thought that’s an accomplishment because there was some complex sounds that were going on in there and this student just really busted their you-know-what to do this. One of the things that a lot of students want to do is… if I had a nickel for every time they want to change the little girl in a scene’s voice to a big burly man, right? Isn’t that funny? The big burly man sounds like a little girl and I tell them “no, I’m not gonna…” because they think it would be funny… I say, “well here’s the deal, ultimately I want you to try to make something that will not fool, but just like that last example I played, you want to play this for somebody, you don’t want them to to know about it.” As soon as you do something in the scene that doesn’t fit, it immediately calls the listener or the viewer to the fact that something’s been done with the sound so you break the…

Rebecca: The smoke and mirrors, right?

Jeff: Right. Right, you ruin it for them. So I tell them, “I absolutely forbid that from happening. If you can’t find a little girl to replace that dialogue with, don’t do the scene.” Just a little side note.

Rebecca: So, you’ve talked about revising how you teach, so what are you gonna do next?

Jeff: One of the things that, in the successor to this class, it’s Sound for Television and Film II… Basically, that course is… students take what they’ve learned from doing it the first time… choose another scene… and do it again. But this time, they choose a little bit longer scene, and they get to start right out from the beginning and have a lot more time to work on it. I’ve had, a few times… students actually were able to pick actual short animations from real creators and have a chance to do it for real. I’d like to be able to find ways to do more of that, but it’s really challenging to try to find original work that needs this level of work… that’s not too much… it’s really kind of a hard space to grab.
What’s next for me is to really try to figure out how to get students to do it for real. I’ve got one of my students from years ago who is now working out in Los Angeles and doing this for real… and I keep threatening him that I’m gonna send him a student or two too as an intern… and where he works, they actually they have a formalized internship process… but it’s funny, it’s hard to get students who are willing to go out there… be able to live…and be able to start at the bottom. Because basically you have to start as an unpaid intern at a place like this… and start from the bottom… and move their way up.

John: Okay, well thank you, this was fascinating.

Rebecca: Yeah, thanks for sharing your story.

Jeff: Yeah, thank you for having me.

John: If you’ve enjoyed this podcast, please subscribe and leave a review on iTunes or your favorite podcast service. To continue the conversation, join us on our Tea for Teaching Facebook page.

Rebecca: You can find show notes, transcripts, and other materials on teaforteaching.com. Music by Michael Gary Brewer.