Scenario’s for workshop @Eden conference in Porto
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This document presents a framework for different types of online learning tools and activities, organized by level of synchronous (real-time) vs asynchronous (individual) interaction and by level of cognitive challenge. It then provides four scenarios involving online course design and asks which tools from the framework would be best to address the needs in each scenario. The scenarios involve large statistics lectures, a film studies trip to Rome, feedback on literature concept maps, and an art history course for part-time students.
Scenario’s for workshop @Eden conference in Porto
- 1. Clive Young (UCL) and Sylvia Moes (VU)
- 2. A-synchronous (individual) Synchronous (online group) (A)-Synchronous (virtual class) Remembering/Understan ding Applying/Analyzing Evaluating/Creating Lecture capture from start- to end (classic) Weblecture Knowledge clips Slidecasts Editted/cuttin g Screencast Studio-based (Flip)camera e.g. iTunes U YouTube edu e.g. Academic Earth Videolectures.net Self produced (partly) Re-used e.g. iTunes U YouTube edu e.g. Academic Earth Videolectures.net producing Enrichedwithtasks,quizes,etc. Enrichedwithobjects Self produced (partly) Re-used Instruction clips Live lecture capture or video conferencing High level of interaction Student generated (knowlegde) clips Webinar Quizes Tasks Discussions Tagging Polling Lecture capture (classic/chapters) Tasks Practise Assessment Screencast Fieldwork Studio-based Tutorial Studio-based e.g. Screencast-o- matic and MIT OCW Self produced + + Virtual classroom FLIPPING THE CLASSROOM (Flip)camera Weblecture Slidecasts e.g. iTunes U YouTube edu e.g. Academic Earth Videolectures.net
- 3. • Conditions: – You have 1200 students for a course on statistics – Most of the time students asks questions about the software programme SPSS, because it’s to complicated for them to understand by themselves. – Result: You do not have time during the lectures to reach the level which is necesarry for this course. • What would you do? Which of the samples in the framework should you chose and why?
- 4. • Conditions: – You are planning a study trip to Rome with 20 students, coming out of different universities, in the field of history of film. – You have two weeks effectively for this trip in Rome. – Because of the small time frame, it’s needed that your students have prior knowledge of 3 main theories on film analyses. • In the first week they have to watch 15 films recorded in Rome, related to these theories. • In the second week students have to do research on the locations in Rome where these movies have been shot. You give the task to students to find angles of camera’s on film locations in Rome. • Students have to work out their findings of research, location based (with geographical information), in a presentation at the end of the course. – What would you do? Which of the samples in the framework should you chose and why?
- 5. • Conditions: you have a group of 80 students in the field of literature study. – Your goal is that your students better understand the elements which are used in the field of literature. • You have the plan to let them work out concepts in small groups with “skeleton concept maps”. • Skills needed from students: understand software programme Mindjet manager. • You are searching for a effective way to give the students feedback on the maps they have created in groups at the end of the course. • 4 hours face to face time for teachers and students per week – What would you do? Which of the samples in the framework should you chose and why?
- 6. Distance learning (via VLE) in the field art history 20 part time students 1 x per week face to face time Different level of knowlegde Assignment: presentation of findings of analyses of painters in the renesaince • What would you do? Which of the samples in the framework should you chose and why?
- 7. Distance learning (via VLE) in the field art history 20 part time students 1 x per week face to face time Different level of knowlegde Assignment: presentation of findings of analyses of painters in the renesaince • What would you do? Which of the samples in the framework should you chose and why?