Sunday, May 30, 2021

Pedagogical Possibilities: If You're Drawing a Blank on Canvas

Sad or overwhelmed Black man in white shirt, with hands on head, in front of laptop.
Change is stressful, technological change doubly so. Photo by Keira Burton.

It seems like everything is coming up Canvas these days-- many schools and businesses have been using it for years, either directly or as a framework for their own learning management system (LMS). And now, the University of Illinois has joined their number, with the campus switching away from Blackboard and Moodle to Canvas this year. 

This is understandably stressful to a lot of folks! Everyone just got used to using all the LMS technology that, let's be honest, many instructors I know avoided using much when teaching in person, and now there's a new change, a new system to deal with, and a whole set of materials and assumptions about how things work in your classes that may need to be rethought. The post linked gives some helpful resources to get started with Canvas, but I since I know this blog is most widely read by my graduate teacher colleagues, I want to offer up some ideas about how to get cozy with Canvas as you prepare for your upcoming courses.

  • Don't panic. Canvas, in my opinion, is fairly friendly and offers you some pretty powerful options for managing assignments and information in your course. I actually find it more intuitive than the two earlier options, but YMMV.
  • Think about your style. Will you be teaching mostly in person, with readings distributed online and that's about it? Or will you be using the LMS to its fullest extent? Do you like the centrality and low paper usage of grading online, or are you going to be grading long papers that need to be printed and stapled and turned in and perhaps shared with a colleague or supervisor? The answers to these questions may determine what aspects of the LMS you want to invest your energy into figuring out. The majority of folks can choose the tools they find most intuitive or useful, and leave the rest to figure out later.
  • Think pedagogically. There's a reason for the assignments you give, right? You want students to understand a concept, practice analyzing or remembering something, or collaborate to create or compare something. What's the best way to use the features the LMS offers to enhance that effect? If a tool doesn't work with your pedagogical goals, consider another tool or assignment to get at those goals. Conversely, don't be afraid to take the backwards route, looking at a tool and figuring out what goals that tool could work well in supporting-- this can not only spark creativity in your course planning but also sometimes help you figure out that the tool actually won't work well for your course.
  • Don't be afraid to take advantage of resources available. As you may remember from an earlier post, U of I folks have access to LinkedIn Learning for free, which just happens to offer a couple of introductory courses for Canvas that I've found very helpful, especially since Learning is easy to access on your phone when you have a few spare minutes. If you can, you might get a practice space in Canvas that you can use to follow along with the instructor, creating assignments and announcements as he explains how to do them-- I've found this helpful. There's also a Canvas 101 training, available through the U of I. This training is particularly useful for two reasons: one, it uses the Canvas platform itself, so you can get a feel for it from the student side, and two, it has some specifically useful information for U of I users, like Canvas integrations with Zoom and Illinois MediaSpace. There are also an absolute ton of workshops and open office hours where you can drop in for hands-on tutorials or help.
Marrying items 3 and 4 can be a challenge-- many people become bogged down in the details of what's possible and lose sight of what their teaching goals are, or are so convinced that their existing teaching plan is the most pedagogically sound that it cannot be changed to accommodate change in technological frameworks. To aid with this linking, I must plug the upcoming "What You Need to Know: Essentials of Course Design," a recurrent summer workshop series by Lucas Anderson and the CITL Grad Affiliates (which would be a great band name). The series will focus on the pedagogical elements of designing a course, using backward course design as a guiding framework, and each session will feature a concluding segment where participants can explore the tools within Canvas that support the session's theme. Although I won't be participating in delivering the series this year, I encourage everyone who's available to attend one or all of the sessions-- it's sure to be a growth experience whether you've taught one time or twelve.

I wish you the best of luck with the transition, and I hope you'll all let me know how it goes for you! 
 

Friday, April 30, 2021

Current Project: History SoTL and Diversity, Equity, and Inclusion

Some personal news: I've defended and deposited my dissertation. Hooray! As my time at the University of Illinois comes to a close, I decided to go for one last goal: finishing the requirements for the Center for Innovation in Teaching & Learning's Teacher Scholar Certificate, which you may remember from my teaching resolutions for 2019. As the deadline approached, the last thing on my list was (perhaps unsurprisingly) the longest one: a semiformal review of five to six articles about some aspect of teaching in my home discipline. This is necessarily a very preliminary look at the subject of DEI in History SoTL, and could certainly include many works which I either omitted for space or didn't come across in my searches. However, I was pretty interested in what I found in the literature, so I'm sharing it below. 

Empty desks and chairs in a classroom.
Empty desks and chairs in a classroom. Photo by MChe Lee on Unsplash.

In this review, I explore the way in which diversity, equity, and inclusion (DEI) are addressed within the literature on history teaching and learning, with a particular focus on race and ethnicity. Although these topics are integral to every discipline, they are especially significant within history courses, as not only are students themselves approaching the topic from a variety of backgrounds but there is also an expectation that our course material will include histories of, at the very least, race, gender, and class. Doing both of these projects well—DEI within the curriculum and within the classroom population—is critical, and they are intertwined, but an instructor doing one well does not mean that they are necessarily doing the other well. In my survey of the literature on scholarship of teaching and learning (SoTL) in history, I have found far more attention to the second topic than the first; that is, historians working on these topics have paid more attention to incorporating diverse voices into the curriculum than to contemplating how to teach effectively in a diverse classroom and how to create a culture of equity and inclusivity in history courses. However, some of the most effective pieces showed the connections between these two themes, showing how the content and the classroom methods of DEI in history teaching are interwoven.

First, it is useful to look at two foundational pieces which set the stage for these two discussions to set some foundational elements of the discussion. The first gives a sense of what an inquiry into classroom diversity might entail. Mark A. Chesler’s “Perceptions of Faculty Behavior by Students of Color” deals with the experiences of students in the classroom, reporting concerns and negative experiences by students of color as well as things that made them feel welcome and encouraged. Negative experiences included singling students of color out as “experts” in racial/ethnic issues in class and assumptions about heritage, class, parental background. These examples stood out to me as particularly relevant to history courses. Faculty often want to engage students by helping them find relationships between their own lives and backgrounds and the material being covered; however, doing so uncritically can lead an instructor to assume connections that are not actually present or that the student does not wish to publicly engage with. Many in the focus groups also highlighted more broadly ineffective pedagogy as a key concern, and Chesler uses this information to contend that some of the examples seem to be “apparently race-neutral behavior that white students as well as students of color may object to or find ineffective. However, students of color may be especially vulnerable to alienated from the emotionally distant, impersonal and bureaucratic educational approach reflected in most large lecture classes.”[1] Thus, this article sets up the important claim that good pedagogy—engaged, personal, adaptable, and student-focused—is a key element of classroom DEI work.

The second foundational piece explores the functions and practices of history SoTL and takes up the duality of knowledge and its teaching. In “The Amateur in the Operating Room: History and the Scholarship of Teaching and Learning,” David Pace delineates the current boundaries and potential future of a scholarship of teaching and learning of history. While historical research practices have become ever more sophisticated, Pace suggests that historians’ approach to teaching history has failed to keep pace, and many write lectures and plan course material in isolation. Historians’ meticulous devotion to research did not translate into learning strategies for effective teaching from educational research or methodical observation, even when they cared deeply about teaching; there seems to be a notion afoot that one’s historical knowledge is the font from which good teaching flows. Pace suggests that these are separate considerations; that “behind every act of teaching there are two different forms of knowledge: knowledge of the subject matter, and knowledge of how it may be taught and learned.”[2] Considering questions that educational research considers can offer benefits, he contends, particularly if historians study their own applications of these principles in the context of history and come to some conclusions about effective strategies for the discipline; for example, in not assuming that students enter the classroom a blank slate, but rather knowing that they come in with a host of beliefs and experiences that cannot be assumed. This work is broad, not particularly focused on DEI topics; yet its emphasis on the distinction between the content and the execution of the content in a classroom setting, as well as the claim that students’ incoming knowledge and experiences will impact the way they experience and learn material, are foundational to considerations of DEI in a history learning context.

The literature I reviewed suggests that simply dropping more diverse historical figures into the curriculum has little efficacy, either as a useful depiction of the past and of the discipline of history or as a solution for the ills of U.S. racism. William L. Smith and Ryan M. Crowley argue that Barack Obama’s 2008 “A More Perfect Union” speech has not only been used widely in classrooms to explore the history of race in America and promote racial literacy among students but also contains features that make it particularly valuable for that purpose. As part of this work, the authors contrast this approach with the common inclusion model, or adding more diverse figures to the course of study; they note that “Adding black and brown faces into the pantheon of curricular heroes does little to interrogate the function of ‘hero-worshipping’ as educational practice or how these historical figures may serve political purposes in the present.”[3] In other words, it is not enough to incorporate historical figures of color into the curriculum; instructors must use course material thoughtfully to provoke deeper understanding of race and racism. They set out to show how material like Obama’s speech provide current political and personal connections to students of race and racism in history and can serve as a more useful past for the purposes of history teaching than the inclusion model. However, they also emphasize that this does not necessarily follow just from using the speech in class. Many of the lesson plans they examine which use the speech do not actually encourage students to think structurally about racism or emphasize “fixing” the problem of racism rather than spending time in analyzing its function and its impacts.[4]

Some authors suggest that course material that incorporates diverse experiences and connects the historical to the personal can increase student engagement and encourage letting students’ personal interests lead some of the inquiries in their history learning. Writing for Teaching History, Joanne Philpott and Daniel Guiney discuss the power of personal narratives in history teaching, highlighting how such stories can compel an audience not only to listen and engage but also to think analytically about a period.[5] Yet to compel students personally also requires attention to the integral features of their personal lives; that is, diverse students need diverse stories. The authors set out to integrate these sorts of stories into an existing educational trip to World War I sites for Grade 10 students in Norfolk. Previously, the trip had been designed without much attention to the meaning students could find in and connect with the sites, either personally or culturally. The authors redesigned the experience to focus on local connections, diverse sites and stories (including ethnic, religious, and cultural diversity, with a particular eye to how the demographics of Norfolk had changed in recent years), and making remembrance personally meaningful, rather than focusing on military tactics or politics exclusively. Overall, Philpott and Guiney’s work showcases the significance of course content as a site for diversity, equity, and inclusion, making course material—even that which seems as informal as a field trip—incorporate a range of experiences. This inclusivity in material not only gave a fuller, more accurate picture of the war itself, it also engaged students in the project of history, showing that they and people like them—or, for some students, both people like and people very different from themselves—were part of the making of the past.

Another piece explores the interwoven nature of the personal and the historical, as well as effective ways to construct a classroom that enables all students to feel safe in tracing that connection. Maia G. Sheppard writes her article “Creating a Caring Classroom in which to Teach Difficult Histories” as an ethnography of an undergraduate history classroom in which one professor of African history blended the personal and the historical in her pedagogical practice to “create a place where the local and the global, the abstract and the particular, are in constant communication as students are encouraged to construct new images and understandings about each other and the history of Africa.”[6] This description places the personal and the historical on equal footing—the project of the course is not merely to learn history in a safe environment, as Sheppard interprets it, but also to offer students the chance to construct a new point of view on their immediate lives. The pseudonymous Professor Lake encourages her students to bring personal experience into their analyses of the material and shared her own experiences and emotions in turn.

The limitation of the approach to linking the personal and the historical in each of these works to address DEI issues is that it elides the ways in which many ways we inhabit the classroom are not merely treatments of the course material—that is, that treating historical material with sensitivity and intellectual dexterity does not necessarily correlate with equitable classroom practices, and that encouraging students’ personal connection with the material, when done too strongly, may lead instructors to presume that students have experiences that they do not actually have, or to force disclosure of information students would rather not share. One potential solution to this is Philpott and Guiney’s plans for future trips, in which they hoped to incorporate greater student input into the planning and preliminary research of the trip through the selection of a diverse group of students to explore the options. They noticed that many students wished to return with their own families, and some had done their own research prior to the trip about things they wanted to see and aspects of their own family history which connected with the sites. Institutionalizing that creative energy and incorporating a diverse range of students into a planning and research committee for future years, they contend, would build in student involvement in diversifying the trip and helping draw personal connections to the sites. Likewise, the emphasis on blending the personal into the historical does not address the small details students mention in Chesler’s paper that should be of concern to history instructors concerned about equity and inclusion, like teachers only chatting and joking with white students before or after class or seeming afraid of their students of color; that is, it elides interactions that are unrelated to the course content but still make up critical parts of the course experience.

Overall, then, future work in History SoTL could further take up explicit questions of identity and power within the classroom as well as within our course materials. It seems almost as if many historians who teach assume that they may need help with content but are sure they have classroom management and implicit biases under control. Yet, in comparing experiences I have seen in history classrooms with the incidents disclosed by students in Chesler’s 1997 paper, many of these ways of relating to students of color are alive and well in the history classroom. Moreover, our courses grapple with deeply “felt histories” which still impact students and spark national debates; these necessarily demand more than good sources, but also good approaches to structuring discussions about them.[7] Perhaps, then, the approach taken by Philpott and Guiney and the teacher referenced in Sheppard’s article of interweaving the personal and the historical is more than just a method to engage students; it also engages history instructors to think about both content and classroom interactions—a small step, but a step nonetheless.



[1] Mark A. Chesler, “Perceptions of Faculty Behavior by Students of Color.” CLRT Occasional Papers, University of Michigan, no. 7, 1997, 4.

[2] David Pace, “The Amateur in the Operating Room: History and the Scholarship of Teaching and Learning,” The American Historical Review 109, no. 4 (October 1, 2004): 1171.

[3] William L. Smith and Ryan M. Crowley, “Barack Obama, Racial Literacy, and Lessons from ‘A More Perfect Union,’” The History Teacher 51, no. 3 (May 2018): 450.

[4] Smith and Crowley, “Barack Obama,” 459.

[5] Joanne Philpott and Daniel Guiney, “Exploring Diversity at GCSE: Making a First World War Battlefields Visit Meaningful to All Students,” Teaching History, no. 144 (2011): 26–33.

[6] Maia G. Sheppard, “Creating a Caring Classroom in Which to Teach Difficult Histories,” The History Teacher 43, no. 3 (May 2010): 413.

[7] Robert Penn Warren, The Legacy of the Civil War (Lincoln: University of Nebraska Press, 1961, 2015), 1.


PS: If you have thoughts on this literature or reading recommendations on the intersection of DEI and SoTL, I'd love to hear them, so send them my way! 

Wednesday, March 31, 2021

Current Project: Portfolio Page

 Collage of images related to the below content, including book and periodical covers, screenshots of workshops and technology



This month's update is less a post and more a page: The blog now has a portfolio page, including samples of my work both on and off the blog. Check it out there, or see the contents below; if you have suggestions about content or features to add, feel free to reach out.

Workshop creation and facilitation

Mini-lecture

Voiceover

Writing

Teaching Materials 

Technology 

Updated September 2021

Sunday, February 28, 2021

Pedagogical Possibilities: Quick Accessibility Tips for Text

Fact: It is one million percent easier to make something accessible from the outset than it is to make it retroactively accessible. Yet a lot of university instructors don't receive any training on how to make our course materials accessible; instead, we assume that no one in our classes will need "anything special" (which, if a course never enrolls any students with disabilities, that speaks of a concerning broader failure of access and opportunity). If anyone does need accommodations, this mindset goes, we'll worry about it when it comes up, and ideally it will be "someone else's job" to figure all this out. Your institution may have access to services to help with this, but they can often be difficult to access themselves, with long waits for materials and the need to prove the necessity of providing the material. There are also always things that instructors create and deliver themselves, often in the midst of the course, with no time to have someone else remediate them.  

Fortunately, there are many things instructors can do to make their teaching more accessible from the outset, and in ways that will save both you and your students a lot of logistical headaches down the line. In this post, I'll lay out three quick ways you can begin creating or remediating accessible course content, all of which include not only resources for instructors to create course materials but also strategies for involving students in the creation of accessible materials. This post focuses on text, but in future posts I'll take up other kinds of content. This is by no means a list of everything that needs to be done to make everything accessible to everyone. However, if you're unsure of where to start in thinking about accessible course materials, here are a few ideas.

Ensure that your foreground and background colors contrast.

Anyone else get a little too enthusiastic with the Powerpoint colors and then wonder if anyone will actually be able to read your slides? I use this Colour Contrast Analyzer a lot-- its super easy to download and use its eyedropper tool to compare the color of the text and background in any program to make sure there's enough contrast to fit WCAG guidelines. The ease of this program means that you can also encourage students to download the program and check materials they create.

For digital readings, confirm that your texts are actually full of text. 


An image of text: Screen readers can't read this text because it's embedded in an image.
As this image (from Monotype) suggests, if your text is an image, it's not accessible. 

Your lovingly created and curated readings are simply not going to inform anyone who cannot read them. How can you tell? Try highlighting the text in your pdf using the text selection tool as if you were going to copy and paste it somewhere. If you can't do it, your reading is just a series of images, meaning that screen readers cannot tell what it says; this state of affairs also makes it challenging for students to digitally highlight sections of the piece while reading for later reference. You can remedy this situation in several ways:

  • Getting new scans of the text with Optical Character Recognition (OCR). Your library may be able to help with this. 
  • OCRing your existing scans in Adobe Acrobat (if the quality is good enough). 
  • Branching out to new material. Is there something that you can use in place of the older text that already has accessibility features, like a journal article instead of a scanned book chapter? Or, could you offer students the option of the reading or a podcast on the same topic?

If you still have scanned book pages with no text content in your course, make a goal to replace them (even if one at a time!) with texts that all students can access.

Use the "Check Accessibility" feature. 

There's a handy button in most Microsoft Office software which collects potential issues with access in documents like Powerpoint slide decks and Word files. Although these are far from perfect at catching issues, it can be particularly useful for things like confirming that parts of a slide will be read in the order that makes the most sense, or that sections have unique headings which will help users navigate the document.

If all of this seems like a lot, it's okay to do this a step at a time! As with most things in life, it's better to make incremental steps towards a goal than to never try to attain it at all.

Related links: 

I learned a lot of these great ideas from these courses: The Accessibility MOOC: Inclusive Online Course Design and An Introduction to Accessiblity and Inclusive Design

If you aren't familiar with the context of disability rights, the different models of thinking about disability, and how each of these inform education, the Vanderbilt Center for Teaching's Creating Accessible Learning Environments frames these in a useful, informative way, as well as offering a host of links to other tools and strategies for accessible courses. 

The presentation standards at Society for Disability Studies offer useful guidelines for presentations, but many of them are helpful for other formats of conveying content to an audience as well.

Sunday, January 31, 2021

Flashback Post: My Approach to the Lesson Plan

Next month, I'll be delivering a workshop on Lesson Planning for Discussion Sections (which UIUC folks should feel free to join me for--register here!) This post from early 2019 was the jumping-off point for me thinking about this topic, so I'm reposting it in preparation; I'd love to hear about which aspects of lesson planning for discussion sections you think should be included, or want to know more about, in the comments. 

A slide reading :Objectives!Or, by the end of this workshop you will be able to…Understand the benefits of lesson planning for teaching assistants leading discussion sections; Evaluate potential aspects of a lesson plan to determine which are applicable to your courses; Create a lesson plan that will streamline your sections
A sneak peek of the objectives for February 8th's workshop.

Here is a confession from me: I am repeatedly skeptical of things and then, eventually, adopt them wholeheartedly. Here is a partial list:
  • Asparagus
  • Exercise
  • Southwest Airlines
  • Budgeting
  • Casual gaming
  • Savings accounts
  • E-books
  • Looking at the weather before you leave the house
  • Bran
  • Going for walks
  • Rubrics (more on this another day)

So it should come as no surprise that I have come to appreciate the wonders of the lesson plan. Because there’s a variety of approaches to lesson planning, I had trouble figuring out what the point was in my early days of teaching, especially while TAing, in which many of the decisions about readings and course structure have already been made for you. So although I dabbled in the creation of lesson plans while I was a teaching assistant, they were generally brief lists of questions and activities scribbled on a piece of scrap paper on the way into my section. We read the reading; now let’s talk about it! Simple.

The year I taught two Reacting to the Past courses was similar in some ways— the structure of the games is either planned for you in the book or run by the students, so there are comparatively few days for which a lesson plan is useful. It wasn’t until my Fiction and the Historical Imagination course that I became infatuated with the lesson plan, and although I fell off the wagon a few times as the semester stretched on, I used a particular strategy to great effect. 

Here’s an example of a week of lesson plans from the middle of this course:





Let's take a walk through their components.



Up top: the week and day, to stay on track. Then, the purpose: what is the goal of the day? I’ll admit to being less than enamored with too much agonizing over long lists of objectives, but I find it really useful to have a straightforward statement of what we should be aiming for by the end of the period.

Then, a time breakdown of each step, beginning always with five minutes at beginning and end for hellos, roll, housekeeping, etcetera. This is great for reminding you that in fact, a fifty minute class often ends up being much less because of the small tasks that have to be done before one can start the film, begin the quizzes, or instigate group discussion. Likewise, it encourages you to think about the real factors that may delay your plans. If you are going from a lecture to assigned groups, how long will it take the class to move from A to B? If you allow for that in your plan you’ll save yourself some grief.

As I lay out each segment of class, I like to include both the length of time allotted to each and the time of day it should be at the beginning and end of that segment. I don’t follow this exactly while in class, of course— there are a million reasons why you might choose to follow a rabbit trail of discussion or allow a bit of time to review a reading that will throw you off of this path. But including both allows you the flexibility to go off path and then to see exactly how far off you are and make quick decisions about how to handle it.

As I mentioned above, I always end with at least five minutes for reminders and other housekeeping. This is useful to both students and instructor because it allows for checking in about ongoing or upcoming assignments; it also encourages you to end class on time, which I consider a mark of respect and professionalism.

Perhaps the most important thing about the lesson plan is that I print the plans for the week — even if unfinished— at the beginning of the week and carry them around. Then as I am leading class, working on other things, or reviewing course readings, I can write in changes or additions to future days. I also sometimes annotate them while class is ongoing, noting how I diverged from the plan. I still have a stack of lesson plans from last semester; I plan at some point to update the files using my annotations to use again for future courses.



Do you lesson plan? What things do you include or leave out?



Related links:

Some other approaches to lesson planning at The Chronicle of Higher Education and Algonquin College.

If you're interested in learning outcomes and objectives, check out the National Institute for Learning Outcomes Assessment.

New addition: If you want to talk about lesson planning or anything else with other UIUC TAs and grad instructors, I also host an informal TA Talks Virtual Happy Hour for CITL the first Wednesday of every month. Shoot me a message for the registration link! 





Wednesday, December 30, 2020

Year in Review: So Long, 2020!

Like many people, I'm feeling unusually reflective as the year winds down. Perhaps because of the stark differences between the first two months of the year and the last ten, everything seems exceptionally memorable. I thought I'd take the occasion to institute a new end of year tradition for Lesson Spotted and round up the posts of the past year.



P.S. I made this page of links with some rudimentary HTML/CSS experimentation, which I am still very new at-- so, if you are a screenreader user or HTML expert, I'm happy to hear about anything broken, messy, or incomprehensible. 

Monday, November 30, 2020

Pedagogical Possibilities: Teachers and Learners and MOOCs, Oh My

An graphic that uses small images to break down the acronym MOOC: Massive, Open, Online, Course
MOOCs: Massive! Open! Online! Course! Image from Renewables Liberia

It's incredibly important for people who teach to be open to learning. The pandemic has presented an extreme version of this. Transitioning conventional in-person classes to online, blended, or socially-distanced versions of themselves requires more than an investment of time or effort; for most, it requires a willingness to think about something in a new way. However, even when we are teaching entirely within our wheelhouse, in a format we are comfortable with, having an identity as a learner as well as a teacher provides critical perspective. This doesn't mean that one should overwork themselves learning everything under the sun, but it does mean that one can't effectively appreciate how hard learning is--and thus be cognizant of their students' experiences-- if they haven't been willing to be a vulnerable, new learner at something in a while.

Because of that, it can be really helpful to take a chance on learning something in a way that may not be familiar. There are a lot of ways to embrace being a learner, even without a lot of time on your hands. My go-to this fall: MOOCs. (If you're not sure what a MOOC is, take a quick look at the Beginners Guide to Massive Open Online Courses (MOOCs) at Class Central, which provides a short intro.)  I have long been a fan of MOOCs (even as, yes, there are limitations to them, and they cannot replace all other types of courses). In this post, I'm not analyzing trends, predicting the future, or discussing how to make a MOOC or whether one should make a MOOC; rather, I want to talk about how I've found them useful in my attempts to improve my teaching through being a consistent learner. 

First, an aside: where am I getting all this stuff? Illinois folks: I only learned this year that we have access to two resources for picking up new skills online for free: LinkedIn Learning (formerly Lynda) and Coursera for Illinois. (Of course, many things on Coursera are available for free, and you can in fact access a good portion of the material in Coursera for Illinois courses even if you aren't affiliated; Illinois affiliated folks, however, can earn the certificate for these courses for free.) 

Both platforms have a variety of online courses on various topics. From Coursera for Illinois, I've worked my way through several courses on instructional design, one on leadership, and one on accessibility and inclusive design, but there are also offerings in poetry, computer science, sustainability, finance, and race and cultural diversity, among others. From LinkedIn Learning, I've been slowly poking through an HTML course as well as a few learning and design-related offerings, but there are lots of topics like figure drawing, effective listening, social media management, just about every programming language you might imagine, and using specific software like OneNote, Powerpoint, Adobe Captivate, etcetera. Other popular options for free or low-cost online learning are Khan Academy, EdX, and Udacity, though I haven't explored any of these very much. 

MOOCs offer a great deal of flexibility (only have five minutes at a time? No problem!) combined with a structure that makes it easier for me to mentally organize information and find it again later on (unlike, say, reading multiple articles or watching a few YouTube videos on a topic). Many of these also have phone apps, so I've been able to spend a few minutes here and there that I might have spent doomscrolling on learning something new instead. There are so many things I want to learn that I didn’t take formal classes on that can be picked up through these resources. 

Not everything can be effectively learned or taught this way, of course; however, it is also true that this method of learning makes some content-- important content-- that I might never have the opportunity to learn in a formal class available to me. Making online content accessible, for example, is something that I'm constantly trying to do better in the work I do as a scholar, a presenter, an educational developer, and an online writer; yet it is seldom taught (or indeed practiced) in courses that I have taken in person. I have been pleasantly surprised by the online courses available which focus on this or incorporate an awareness of it into their content. (For example: the first MOOC I ever took, The Accessibility MOOC: Inclusive Online Course Design, which sadly seems to be defunct; Coursera for Illinois's An Introduction to Accessibility and Inclusive Design; and the HTML Essential Training course on LinkedIn Learning, in which designer and developer advocate Jen Simmons clearly explains why thoughtful, accurate markup is so critical for disabled web users.)

Learning new skills is nice, of course, but there's another plus to taking a look at these kinds of courses: they offer the opportunity for you to see what works best for your own learning, and imagine how you might be able to use some of these strategies for your own teaching. 

For example, you may notice that you retain information more easily when you're able to read along with a transcript as the lecture video plays than by either reading or watching alone (this was true for me, and quite a revelation, though I suppose I shouldn't have been so surprised). If you have an auto-generated transcript available from your video lecture, you might consider cleaning up the errors and making it available to the class, or you might be inspired to create an outline for students to focus on as they watch.

Or, you may realize that one platform's style suits you over the other for your own goals-- LinkedIn Learning tends to use a series of extremely brief videos divided into micro topics and arranged into subsections with multiple-choice quizzes; Coursera at Illinois courses tend toward fewer, longer videos with a wider variety of assessments. (So, if you have minuscule amounts of time to fill with knowledge, LinkedIn Learning might be a good bet for you). This may then lead you to think about the amount of time you want your students to spend on various activities, and edit videos or assign activities accordingly. 

Or, if you're feeling critical of the course you're taking, you might ask yourself why, and find an answer that allows you to avoid similar pitfalls. Do the instructions for a skill or assignment not make sense to you, or do they make sense but you disagree with their relevance? Does a multiple choice question seem unduly picky, or offer multiple answers that seem correct? This kind of reflection can help you pinpoint what kinds of questions will actually help you to assess student learning in your courses, and which will get in the way of that process.  

Again, this post is not designed to suggest that you spend ten hours a week learning a passel of new skills, nor is it even an exhortation to go take a MOOC! But if you want to remember how it feels to be a learner, spending a little time trying to understand something new might give you a few ideas. 


Related Links:

Class Central is a search engine that can help you find MOOCs on subjects or specific topics you're interested in (though a lot of these cost money). 

If you're interested in learning more about HTML, CSS, or Twine for free, one sort of "mini-course" I found really helpful when I got started with Twine was Adam Hammond's A Total Beginner's Guide to HTML and CSS and  A Total Beginners Guide to Twine, which includes some simple, fun code that you can play around with to actually practice the ideas presented. 

Although there's lots of free info on the internet, a lot of online courses are paid, which can be prohibitive. Feel free to send along any widely available free courses you're familiar with! 

Friday, October 23, 2020

Enough About Me: Happy Three Years to Lesson Spotted!

It's this blog's third birthday! Three years ago I started writing about the connections between teaching history and everyday life. It's hard not to fall into cliche here; things are obviously very different since I sat down in the middle of a bus-, plane-, train-, and car-filled research year to write my first post, one about my travels and how they connected to my former classes.

Me 2017 vs. me 2020: different hair, different glasses, same affinity for cozy sweaters.

If you want to take a peek back at the history of this blog with me, click the button (a slight variation on this widget) for a random post. 

Thanks for joining me for the last three years of experimentation and change! I have no doubt the next three will be just as full of growth (though, let's hope, slightly less difficult for us all)!

Monday, September 28, 2020

Enough About Me: Using Interactive Fiction Tools for Source Analysis, Part II

    

The time has come: It's part II. In my last post, I introduced an activity made in Twine which can be adapted for various sources, allowing students to undertake a source analysis. In this post, I'll show how how it came together. 

How Did You Make This?

Good question! I'll break it down. 

First, I popped open my Twine application, which looks like this: 

Screenshot of my Twine archive. 

To start a new story, I clicked the green button on the right. Then, a blank canvas awaited! I added the first passage. 

The first passage of Source Analysis I, in Twine. 
(Note: the story format I used for this project is called Chapbook.
More on this, and why it's important, below.) 

Each passage represents a different page of text. As you may have noticed, there are a few parts to this passage. The title at the top, which is not seen by the player. The tag section, which I'll ignore for now because I rarely use it. And the text section, which is where you put the words you want students/players to see. 

You may have also noticed a couple of codey-looking things here in the text section. First, the double asterisks (**) surrounding some phrases, which makes them bold. Secondly, the double brackets; these are the most important things you need to make a Twine. Every double bracket makes a link somewhere else, usually to another passage. If you put a double bracket around some text, it creates a link to another passage and titles it with that text. Twine then puts an arrow connecting the first passage to the new passage. (You may also notice the external link above-- more on that later.) After completing Source Analysis I, I had a structure that looked like this: 

The entire structure of Source Analysis I, in Twine. 

You also may have noticed that the two different paths available in Source Analysis I have the same questions, but one allows text inputs and one doesn't. Here's the passage for the first set of questions without text input: 

"there were many that corrupted the service of the Lord" passage, in Twine.

The only code here is {back link}, which provides a link back to the previous passage labelled "Back."

For comparison, here is the corresponding passage from the other track of the activity with the text inputs: 

"service2" passage with text input code, in Twine. 

All that was needed for me to put in the text input boxes was to pop in a bracket ([), tell Twine I wanted a text box (text input for:), specify a variable ('serviceA'), and close with a bracket. I also opted to make them optional (required: false), so that students could move back and forth between pages as much as they wanted. Each of the text input boxes throughout the activity has a different variable attached to the information that the student puts in that box.

I also chose to relabel the "Back" links on these pages, to reassure players that this responses would be saved if they went back (label: 'Save and go back to excerpt').

The last critical piece of this activity is the final page, which returns all of the variables I set on the other pages and lets students know how to turn in their answers:

"Submission Instructions" passage with variables, in Twine. 

When I completed this activity (putting in some truly solid answers if I do say so myself), skipping some questions and answering others, this was what my final page looked like, with the answers I gave replacing the variables on the page above and the unanswered questions simply printing the name of that variable. 

Screenshot of final passage with example answers, in itch.io.

Finally, I published the game to an HTML file by going to the name of the game at the bottom left, clicking on it to bring up a menu, then clicking the last option:

Source Analysis I structure with menu open, in Twine. 

Limitations...

In the last post, I focused on goals and benefits of using this activity or something like it. Now I want to highlight a few limitations and things to consider if you want to use something like this for yourself. 

...of this activity

  • You may notice that if you choose Passage I, the option in which you type nothing, or if you don't put text in a box, the final page shows the variable for the empty boxes instead of just being blank. There are ways in which to make this display differently, but I wanted to keep this example relatively simple. If you're curious, feel free to reach out. 
  • I noticed that Print To PDF for the end page did not work well on itch.io, but it did all right when I tried a version of the game posted within an LMS. So, your mileage may vary on being able to capture the last page in a PDF versus other methods like screenshots or copying and pasting the text. 

...of Twine

  • Twine remembers things in the browser. As the beginning screen of this activity notes, that means that someone who wants to do this activity needs to use the same browser all the time. They should not use incognito mode if they want to save their progress (and depending on the game, it may not work in incognito at all). This also means that anyone opening the same browser on that computer will open the activity to the same point and with the same information still saved in the input boxes, so remember this if you have anyone sharing devices. 
  • Depending on how you host your Twine, it may not show up on mobile, or display awkwardly. (You used to be able to use philome.la and it was so easy--- but alas, it is no more. Here's hoping someone picks up this torch). To ameliorate this issue, there are a couple of things you can do; I'll offer what I think are the two easiest.
    • You can upload Twine files to an LMS and play right within the LMS page-- different systems all handle this slightly differently. I tried with this game on an old Compass page and it seemed to work well in both the Blackboard Instructor app and in a mobile browser. 
    • You can also upload your game/activity/interactive whatnot to itch.io. After you create an account, you can upload games and activities' HTML files (which is what Twine gives you when you publish your activity). This is where, as you may have noticed, this activity is hosted. Itch.io offers a lot of options-- you can fiddle with the size of the display (Source Analysis I is 650x900), check a box to enable mobile-friendliness, etc. Lots of Twine games are hosted there.
  • Lastly, Twine can incorporate photos and audio, but the image and audio files themselves can't live within the game file, which can get a bit tricky. I would rate incorporating those things as a bit more advanced than you may want to experiment with on your first go-round, but it is doable. 

I want to experiment with Twine! 

Hooray! Just visit https://twinery.org/ to get started. You can use the tool in your browser, which will save your work to the browser, or you can use the downloaded version (I prefer this). 

Please note: Like player progress, Twine also saves your projects in progress themselves in your browser (whether you use the desktop version or not), meaning that deleting your history, cookies, etc can wipe away your games too. To avoid disaster, archive often: From the story list, click the "Archive" button on the right, then save the resulting file to a location you can find later. This will bring your entire library back if you lose it!

I want to make something like this or edit this to make my own thing!

Hooray! Feel free to use this framework in your classes,  and change it however works for you. (If you publicly post any versions, a linkback here would be nice, and I'd love to hear about your project!) All the text in the project can be found here (so if the screenshots above are difficult to read, you can find all the text they display here as well).

Please note: There are multiple story formats (that is, highly specific programming languages) for Twine, meaning that depending on which one your Twine is set to,  some commands or features are done differently. This activity uses the Chapbook story format, which is relatively new and easier to learn than older formats. If you'd like to use Chapbook, set that as your format by clicking the title of your game while you're editing it, then clicking "Change Story Format" and selecting Chapbook. If you want to learn more about what you can do in Chapbook, see the Chapbook Story Format Guide.

However, all story formats will let you use double brackets to let you link between passages; for example, [[Passage I]]. If that's all you want to do, you don't need to worry about story formats.

Questions? Ideas for using Twine in other ways? Let me know!