February 29, 2012
Article: Bloom's Digital Taxonomy
1. The original version of Bloom's taxonomy
- Used different categories although with some slight modification, three of them are similar.
- The concepts were revised in 2001.
- Used simple one word descriptors for the actions (i.e., recall, describe, interpret, contrast, measure, design).
- Was set in the cognitive domain.
2. General reactions for current version:
- Updated to reflect the technology age by use of latest Web 2.0 tools (i.e., Social Networking: FaceBook, blogging, Wiki, etc.)
- Adding "ing" to the ending of each action verb.
- Set in the affective learning domain.
********
February 22, 2012
Article: How to Steal Like an Artist
Precepts used (Followed) in the Past:
1. Be Nice. (The world is a small town)
A. Doing something for some one; they will reciprocate in kind one day when you need their assistance.
Example: As a new member of a newly merged company, a new co-worker of the former bank helped me with getting up to speed on the process used by the previous organization and showed me a process I did not know and needed to learn very quickly. She was her thorough in her presentation and I learned a lot from her. On a future project we worked on as a team with others, she fell behind on her assigned section. Unfortunately, her section was first in line to be presented in the training program. She was not on schedule as she mispresented herself as being on time with her due dates. She was not liked very much by other team members and no one wanted to help her. I stepped up and offered to help her get on track and meet the due date since my project was the last section to be presented in the sequence of trainng sessions and I was pretty much on target with my deadlines.
2. Steal Like an Artist.
A. "Every new ideas is just a mashup or a rework of previous ideas." "Steal things and save them for later."
Why reinvent the the wheel. Build off what others have done, make it better. A template is useful, so use it.
3. Fake it 'Til you make it.
"Fake it til’ you make it, as in, pretend to be making something until you actually make something."
A. I have used this fake it until you make something happen .as a placeholder. For example I have used, "blah, blah, blah" in a few sentences or whole paragraphs when developing and writing a segment of a training program where I did not have the material needed, or the subject matter expert (sme) had not given me information, or when I could not think of something applicable at the time. Then when I got what I needed, I backtracked and filled in the blanks.
It also helps to alleviate the white page or screen syndrome.
Precepts I would consider in the future:
1. Creativity is subtraction.
A. Documents do not always have to be filled with everything. Less is more. Maybe by applying a picture that is better at getting the point across than a thousand words.
2. Dont wait until you know who you are to make things.
A. Just do it. Plunge in. Sometimes trying to figure out who you are causes impediments.
3. Garbage in, garbage out.
A. Apply the ability to filter out unnecessary and irrelevant information. You wont know your capabality(ies) until you try.
****************
February 15, 2012
Mayer Interview
1. Q. What is your cognitive theory of multimedia learning, and how does it relate to the design of on-line instruction?
A. He mentioned that there are five main cognitive processes in the cognitive theory of multimeadia learning (selecting words, selecting images, organizaing words, organizing images, and integrating).
As I read what he described about these five main cognitive processes, I am reminded of when I am watching a foreign film with subtitles. There is the action going on in the film, there is the dialogue between the actors (spoken in a foreign language, sometimes in multiple languages), there is either music or some type of sound effects, and then there is the subtitle at the bottom of the screen in words. These are a lot of balls to keep up in the air, and at the same time when all these things are occurring, as the viewer, not only do I have to (try and) understand what is going on but I have to watch most of the movement (action).
So, he talks about the learner converting sounds in the verbal channel of working memory, organizing images and selecting pictorial model... a coherent structure to build visual channel...with prior knowledge from long-term memory.
For example, if I am watching a french film, and the setting is in and around Paris. Even if the film has not yet shown any visuals of something symbolic (i.e., Eiffel Tower, the Louvre, Nortre Dame cathedral, etc.), because of these pictorial models and with prior knowledge from my long-term memory, I already can generate some cognition of the theme or something relevant to move me along quicker. Even if I have missed some of the reading on the bottom of the screen, I get the gist and can fill in the blank(s).
The goal/challenge of the instructional design as he says is "to present material in a way that promotes generative processing without overloading the capacity of the learner's information processing system." Keeping this in mind, as the designer, I would employ this method carefully with the learner in mind and not to try and dazzle the learner with my artistic ability with multimedia.
2. Q. Is instruction technology centered or learner centered?
A. - "Begin with what is known about how people learn and then try to employ technology. Technology is a learning tool that is adjusted to fit the needs of learners."
I agree here. This is where applying both a needs assessment and learner assessment can help the designer develop a suitable match for both content and technology applications. The environment may dictate the type of technology used. The assessment may reveal that low tech is more amenable to the environment than high tech with bells and whistles that is not transferrable.
3. Q. Do games teach?
A. "A major challange in using games as instructional devices concerns how to encourage the learner to engage in reflection and other forms of deep cognitive processing while learning."
I think if the games are built to mirror the environment (i.e., on-the-job skill, classroom lesson, etc.) and not for the sake of "playing a game," the mental and cognitive skills along with memory will engage the learner and the transfer will occur.
XXXXXXXX
February 8, 2012
I. Article: e-Learning: Promise and Pitfalls
- A large share of companies training have been moving and growing into online training and virtual classrooms.
- Using the three design architectures (receptive, directive, and guided discovery) can help you, the designer, to shape how to design the learning. Knowing what your goals are (which the needs assessment will indicate) will help you build the learning to target the specific design architecture of your program.
- Discussion about close to one-third of workforce learning is delivered electronically. This was in 2006. I would venture a guess that it is nearing 50%.
- Glad to know that not all skills are delivered via virtual training. Skills such as sales, customer service, interpersonal skills training still need the face-to-face interaction that a computer would not be able to transfer.
- Cost savings may not necessarily materialized if the e-learning does not "effectively build the skills required." If the quality of the program does not do the job, the company will spend additional money to retrain the employee, thus creating redundancy.
- Tranferability -- not all CBI training provides training to be transferred back on the job. Some are to build or offer awareness, such as Harassment training. General soft skills training fit here.
- For over 50 years, it has been proven that training provided by film does not do better than classroom instruction. There is no superiority.The film helps to visualize. The Steamboat Willie clip for example, helped seeing the moving parts that normally would have taken for granted. So it was both informing and building an awareness.
- When the quality of the course uses sound instructional methods to cause learning to take place, the delivery method does not matter.
- It is better to have a near transfer (perform procedure) that mirrors on-the-job activities. This is especially relevant for the technical level.
II. Individual Project:
Topic: "Understanding Technical Writing"
1. The Problem: Poor writing skills are evident in the business environment. Results: poor communication. Employers need employees who can articulate and get their points across in an efficient manner. Technical manuals and procedures are not written in plain language.
2. The Need:
- Inability to convey logical thoughts
- To write clearly to be understood
- Get to the point quickly
3. The Audience: The audience for this program will be instructional designers, curriculum developers, practitioners in training and performance, technical writers, supervisors/managers, and others who write instructional manuals, users guides, procedures, reports, etc., and teachers,
Characteristics: They are college graduates with a bachelors or masters degree. English is the standard language used for business communication.
4. Objective/Assessment: The content taught will be specifically on how to write procedures (memos, proposals, etc.)
Learning objectives:
By the end of this program, the student will be able to:
a. Identify the three main parts of the writing process (prewriting, writing, rewriting)
b. Explain the importance of document design (chunking, order, access, variety, graphics)
c. Develop efficiency in planning and writing techniques
Assessment:
- Task analysis
- Assess environment
- Content review/research
5. Content: The content taught will be specifically on how to write procedures (memos, reports, and proposals).
6. Instructional Strategies: The instructional strategy will be computer-based instruction. It will be written in a Flash environment with interactivity. Using media elements such as words, graphics/pictures, audio, and possibly videos.
7. Additional Materials: Expert resources: i.,e, subject matter experts (smes); professional graphic designers;
&&&&&&&
February 1, 2012
I. Individual Project:
"Understanding Technical Writing"
Summary:
- Technical writing is intended to communicate to a specific audience for a specific purpose. Technical writing is important to success in business and technology.
Content:
The program will discuss the importance of technical writing.
A. Purpose:
- technicians write mantenance procedures
- computer technicians write instructioins for user manuals
- marketing specialists who promote a service or product
- business people who report on job-related travel, weekly sales calls, meeeting minutes
- continuous improvement activities (TQM =total quality management)
B. Know Your Audience (clarify your audience):
Ask: who is my reader? High tech, low tech, lay reader? Why are you writing?
Goal is to serve the needs of your readers
Six Techniques for Success
- define terminology
- use short, well-written sentences
- use brief paragraphs
- strive for coherence
- interpret all data
- employ (use) frequent closure
C. Tone:
- personalized (use of pronouns)
- contractions (make technical writing more approachable and more friendly--although English teachers frown on them)
Learning objectives:
By the end of this program, you will be able to:
a. Identify the three main parts of the writing process (prewriting, writing, rewriting)
b. Explain the importance of document design (chunking, order, access, variety, graphics)
Instructional design:
- Task analysis
- Assess environment
- Content
II. Article: Learning with Media
A. General reactions:
- Books are stable; t.v. is transient, depicts motion; multimedia connects mental models to the real world
- Schemata (highly developed or not)
- Depending on the level of expertise of the learner, they will selectively read information
- Use of pictures with text increase recall--particular with poor readers
- I found it suprising that "visual attention... decreases during adulthood."
B. What is useful for designing computer-based instruction?
- Use of pictures with text to increase recall; visual learners can use pictures to fill in the missing link ("map mental representations...of the real world." "For knowledeable readers, picturs should be placed early in the text."
- Know the characteristics of the learner (discovery made from the needs assessment); determine learner profile.
- Find out what do the learners already know (prior domain knowledge).
- Chunk(s)-- based on cognitive domain (i.e., beginner, intermediate, advanced).
- "Novice learners benefit from structured experiences of progressive complexity which help them build and dlaborate their mental models."
XXXXXXX
January 25, 2012
I. Brainpop Animation
Selection: Reading Music -- deciphering the Language of Music
(Arts & Music / Learning Music)
Description: There are two (2) characters in this animation. Moby, a robot and Tim, the human-like narrator/guide. Tim does all of the talking while Moby beeps his reactions. Somehow Tim appears to understand and can translate Moby's reactions. It seems to be the same for Moby.
Instructional goal / content:
- Learn to read music
- Define musical terms
- Explanation of how the notes are used
- Learn how to tell a B flat from a bass clef
- Identify the difference between a staff and a sixteen note
- Introduction to different symbols used in musical notation
- Show how music writers use them to denote pitch, tempo, and rhythm
Chronology:
-
Opening Scene: (wide shot)
- Banner reads "The Mysteries of Life" (top)
- Rectangle frame with lines containing musical note
- Robot (Moby) is sitting in front of and at the same time playing the piano with Tim sitting and leaning in front of pianio. Tim is holding what looks like a piece of paper in his hand.
- Title wedged under rectangle reads "with Tim & Moby"
- As Moby plays the piano, the musical notes are moving across a set of five (5) lines on top filling in the rectangle. This continues with the second set of lines on the bottom filling in the rectangle with other notes being added but partially filled in.
- Scene 2: (close up of Tim)
- Tim ( is speaking) "Wow, that's pretty good. When did you learn to play the paino?"
- Scene 3: (wide shot showing Moby, Tim, and piano)
- Moby stops playing and takes a CD rom from his mouth.
- Scene 4: (close up of CD rom in Moby's hand and Tim's head)
- Tim speaks, "Fountleroy R. Kranstonian plays Beethoven."
- Scene 5: (wide shot of Moby holding CD in hand, still at the piano w/Tim resting on the piano with a piece of paper in hand)
- Tim speaks, "You don't know how to play the piano at all, do you?"
- Scene 6: (close up/head shot) of Moby makes a beeping sound.
- Scene 7: (wide shot of all). Tim asks, "What do you sometimes?"
- Scene 8: (close up of a letter with written text. Tim is heard reading the text. It reads:
"Dear Tim and Moby,
I want to start a band, but I don't know how to read music.
Can you guys teach me?
Courtney"
- Scene 9: (head shot of Tim saying) "Well Courteny, I don't think we have time to teach you everything."
- Scene 10: (wide shot) Time says, "But we can definitely go over the basics."
- Scene 11:
- A set of musical notes moves along the screen. There are two (2) sets of five (5) lines filled with various notes. One set of 5 lines on top and another set on the bottom. They are linked by a straight running vertocal line running from the top set tp the bottom set of t lines.
- As these lines move from left to right along the screen, Tim explains that "musical notation is kind of like a language or code..."
- Scene 12: (close up/head shot of Tim) Talking: "it maybe hard to grasp at first...but will become second nature."
- Scene 13: A graph showing five (5) lines.
-Voice of Tim explaining that all music is written on 5 lines called a staff.
- Beneath the lines a label appears with the word "staff," bottom right, in white letters on black a background.
- Then flying in from the left, a big musical note is filled in on the (5 lines) staff (along with the numbers 2 and 4 stacked on top of each other filling up the staff.
- A red arrow is pointing to the musical note below the lines on the left corner; a bar labelling the note as a "treble clef (g clef) as Tim narrates and explain each one.
- Scene 14: (head shot) Tim explains about what the note is based on.
- Scene 15: The treble clef appears along with two 4's stacked horzontally with the label in left corner bottom
- Tim narrates that "music on this staff will have a fairly high pitch."
- The music begins to dance across the screen to the left with more notes moving left and the sound of the piano playing the notes at a high pitch.
- Scene 16: A new set of staff (bar with 5 lines) appears showing new symbols along with 2 horizantal 4s
- Tim narrates that "This is a bass clef."
- The label appears at the top left corner - stating that music on this staff will have a fairly low pitch.
- Sound of Moby beeping.
- Scene 17: Screen is chocolate brown backgraound.
- Musical note appear on staff (lines) at the bottom with a partially hidden white one at the left top - not on any lines.
- Tims says, "Yep, those do-dads you see on the screen are the all mighty notes."
- Label in upper right reads "notes."
- The notes are multicolor appearing in black, white, and light brown.
- Scene 18: White background with a set of notes starting from below the 5th line and ascending up to the 3rd line from a left to right, uphill manner.
- Tim explains that "most Western music is made out of 7 different whole tones or notes."
- A flicker of color (brown) ascend from the first note (at the bottom) to the last (top).
- Scene 19: Notes appear as O's ascending from bottom to top. The first one has a line drawn through it.
- Then as Tim explains about what these notes mean, the color highlights each one ascending.
- Tim says, "They are often referred to a do- re- mi- fa- so- la- ti-."
- While he is talking, a two-letter representation appears above the top of the staff areas above each note.
- As he calls out each one, they fill in brown lettering across from left to right.
- At the same time, the notes below are highlighted in brown (the color of the note(s) return to black) and at the same time, you hear the sound of the piano playing each note.
- Scene 20: The same screen as in 19, but everything is in black.
- Tim narrates that "musical notations are named after the first 7 letters of the alphabet.
- At the same time, the letters, C, D, E, F, G, A, B run across the bottom of the screen below each of the respective notes.
Scene 21: Letters (alphabet) turns black.
- Scene 22: (screen) Scrolls up to show piano keys and positions of alphabet/piano keys below/ notes in top middle.
- Tim speaks while pressing the C, D, E, F, G, A, B keys/notes.
- The keys turn yellow and you hear the sound.
- He says that "you can hear the notes getting higher as you move up the staff."
- Scene 23: (head shot of) Tim talking.
- Scene 24: (wide shot of Moby, piano, Tim)
- Moby beeps.
- Tim speaks, "a whole 'nother language."
- Scene 25: Shot of g clef and double 4's on staff.
- Tim says, "Oh, those numbers, that's called a time signature."
- A red arrow points to the double 4's.
- A label (time signature) appears on line 3 of the staff on the right hand side.
- Scene 26: An animation of a stick-like figure swaying (rhytmically) from left to right.
- The numbers, 1, 2, 3, 4 appear upper right.
-The sound of a ticking clock.
- Tim explains about the time signature.
- Scene 27: 2 sets of bars - label measures in middle
- Tim narrates; "written music is written into measures
- Scene 28: Animation of figure on top swaying to beats in each measure.
- Highlighted in yellow each measure.
- Label appears in middle
- Top of double 4's highlighted in brown.
- Tim is explaining, "bottom half tells what kind of note gets one beat."
- Scene 29: (head shot) Moby beeping.
- Scene 30: Tim is talking while:
- Chocolate background, multicolors moving from left to right.
- He says, "Several different kinds of notes named for how long they last."
- Scene 31: A whole note appears
- Tim is speaking
- Piano plays notes
- Ticking clock,
- 2 1/2 notes appear with label
- Piano plays notes
- Tim explains that, "each one is played half as long as a whole note
- Then fours 1/4 notes appear with label, (ascending downward)
- Piano plays them
- They are quickly highlighted in brown
- Then 2 different sets of 1/8th notes appear w/label
- Tim explains, "played 1/8th as long as a whole note." (ascending upward)
- Highlighted in brown
- Piano plays
- Clock ticks faster while piano plays faster
- Scene 32: (head shot) Moby beeps.
- Scene 33: Tim speaks, "a lot of music is written 4/4 time
- Staff appears with notes
-Top number is 4 = means 4 beats in each measure
- 4 stick figures appear in yellow demonstrating the beats and measures
-Screen moves down bottom of page showing:
-1/4 notes
- Scene34: 6/8 notes appear
- Talk about beats also
- Scene 35: 2/2
- Talk about 2 beats in a measure
- Scene 36: (wide shot) Moby and Tim
- Moby beeps
- Tim speaks
- More musical notes appear
- Scene 37: Symbols of g clef, double 4's and additional notes are shown.
- Symbols in brown ontop called (on left) rests.
- Rests tells when to rest, Tim says.
- Additional symbols are shown to demonstrate where the rests placements are
- Scene 38: Brown background
- label "flat"; b note symbol--the color is light brown; note sharp symbol; label "sharp"--the color of white
-Tim speaks saying that "lastly, we have sharps and flats."
- Scene 39: Tim explains sharp symbol
- Piano sound; yellow key highlighted 'F' = brown letter
-Tim explains, "means have to play a step higher or sharper n the note it is next to.
- F# is colored in brown and appears in between the F and G keys
- Piano plays the F# key
- Scene 40: B flat symbol appears
- Tim says, "symbol b flat label,
- piano sound
- Physical key on piano is highlighted in yellow
- The alphabet 'F' is highlighted in brown
- finger showing where the b is located (between the A and B) he says to play half step lower,
- brown highlighted
- Scene 41: (wide shot) Moby beeps. Tim speaks about "basics, takes a lot of practice to become proficient in the language of music. "
- Scene: 42: (head shot of Moby) Puts the CD back in its mouth.
- Closing Scene: Moby resumes playing piano.
- Tim says, "unless you have a CD player built in your head."
II. Article: Personalization Principle
A. Reaction/comments/thoughts:
- I learned that it is okay not to be formal all the time. The e-Learning environment is more conducive to the conversational style: presenting content in a first and second person construction
- Learners transfer the information better when they learned it in a personalized version versus in a formal version (studies performed)
- Razzle/dazzle presentation does not necessarily convey learning to the student. This type of information may prove useless
- When using personalization, it should not be distracting to inhibit learning
- While use of onscreen agents foster a more informal style and increase the learners participation, the designer needs to keep in mind that the agents "serve a valid instructional purpose."
B. Applying principles to students and instruction:
- Adding a pedagogical "agent" (onscreen tutor) will engage the learner so they feel as though they have a partner and retains a higher percentage of the informaton presented
- Instruction should not only present information but also prime the appropriate cognitive processing in the learner
- Using a conversational style of communication by incorporating words such as "you," "I, "me," "we," and "my" to personalize the content and engage the learner
- Consider tone used so as to create interest and not to distract the learner
- The capacity increases for students to learn more from the use and sound of a human rendered voice rather than a machine-simulated one (from studies) for instructional effectiveness
- Use agents to provide instruction rather than to entertain
- Match the appropriate agent to the content (i.e., avatar,cartoon, lifelike, etc.)
