Category: Time

Creating Spaces for Creativity

These articles were originally published on PBK.com in 2017.

What are Creation Spaces?

Creation spaces are spaces that facilitate creativity among their users. As technology creates opportunities for building and making new things that were previously the domain of industrial concerns, these spaces give students the ability to create tangible objects as part of their learning journeys. The traditional version of this kind of space is the art studio, which maintains its relevance and is enhanced through the addition of new technologies. However, new kinds of spaces are emerging to support specific kinds of creation. On the software side, One-Button Studios allow students to create videos and other multimedia content easily. On the hardware side, a wide range of MakerSpace environments allow students to create everything from robots to sculpture to furniture in a single environment.

How big an Investment are Creation Spaces?

Investments in creativity spaces can range broadly from a few hundred dollars to millions of dollars for a fully outfitted MakerSpace. Space considerations range from a few dozen square feet for an in-class Creation Station to 15,000-20,000 square feet for a Fabrication Lab that has a large functional range extending to woodshop and metalshop services. Staffing costs also range from practically nothing in a One-Button Studio to a specialized instructor required to maintain safety in a woodshop-type environment. Middle-of-the road environments like the Design Lab allow institutions to right-size facilities to maximize resources to their students while minimizing costs and overhead.

In all of these spaces, costs for equipment have declined steeply over time as equipment previously requiring specialized staffing is becoming increasingly automated. Parallel to this, safety concerns have declined as that same equipment has become simpler to use and safer to operate, necessitating a less specialized staffing model. For instance, laser cutters can perform many functions that used to have to be done by bandsaws, jigsaws, and other cutting equipment. Laser cutters are automated and therefore require less manual skill to operate. They are also enclosed and pose few safety concerns. These trends expand access to creativity enhancing tools to a wider audience and cost institutions less and less money to build and operate.

What are the benefits to instruction?

The economic logic driving down costs in technology and staffing are also driving change in the private sector and making skills acquired in this kind of environment very desirable on the job market. Companies are recognizing the benefits of having in-house design and fabrication over the delays and costs traditionally associated with prototyping. In addition, we are seeing a wide range of entrepreneurial activities rising in response to the low startup costs associated with many of these technologies. Learning by doing and the development of a portfolio is a very desirable educational outcome facilitated by these kinds of spaces.

One of the key aspects of creativity is that of access to the tools. You can’t control when good ideas happen. These spaces help students of all ages execute on their inspiration, whatever that might be. Therefore, those spaces need to be accessible when the magic happens, whether that is in the context of classroom environment or in a dedicated space. As mentioned in the previous section, that challenge has become easier as the tools become more accessible to non-craftspeople. However, the effectiveness of those tools is blunted if they are not easily accessible.
Another aspect that is important, especially at higher grade levels and in higher education, is the potential for these spaces to become interdisciplinary environments where students learn to work in complementary teams. As Frans Johannson points out in The Medici Effect, the Renaissance was in large measure a product of patrons such as the Medici bringing diverse thinkers from a broad range of disciplines together. The Industrial Age reversed this trend as people became more specialized within their disciplined. However, the Post-Industrial Age is reversing that trend yet again. Creation Spaces can become hubs where budding artists, entrepreneurs, engineers and scientists can come together to realize their collective visions.

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Creation Station

Easily Accessible Basic Tools Can Broaden Horizons, Sharpen Skills

What is it?

A Creation Station is a micro-MakerSpace designed to fit within the confines of a classroom space. The idea is to allow for spontaneous creativity and support of programmatic activities within the classroom. The equipment is tailored to be accessible and unobtrusive when not in use,  but to give teachers and students easy access to Maker tools.

How big an Investment are Creation Stations?
The idea behind these spaces is to maximize access to Maker tools to as many students as possible. The Creation Station is designed to fit into any traditional or NextGen learning space, giving instant access to the tools available there. Depending on the age of the students everything from a basic vinyl cutter ($200-300) a sub-$500 3D printer, craft supplies, some Raspberry Pi’s or Arduinos (inexpensive microcomputers and controllers that can be used for a range of educational projects), and a large set of Legos would support most projects at the K-5 level and beyond. Coupled with existing desktop space, this kind of space could be deployed on top of a 4’X8’ table with room for storage underneath. Some teacher training will likely be necessary to maximize the utility of these kinds of spaces but no specialized personnel other than the usual IT support would be necessary.
Careful selection of the tools available is critical to the success and utility of a Creation Space. Since these spaces are designed to be accessed by non-specialized teaching staff, barriers to entry should be a primary consideration. We have seen too many un-used 3D printers that have either proven themselves to be hard to program or difficult to keep in operation. Newer 3D printers are designed to be accessible to a wider audience. Other devices like basic vinyl cutters such as the Cameo system also provide easily accessible Making with minimal training and skills. The focus of the instructor should always be on the instructional goals, not messing with the technology.

What are the benefits to instruction?

Introducing a Creation Station available in a classroom environment gives a teacher the ability to introduce directed, experiential activities on the fly. This has significant impacts on learning outcomes. Professor Michael Prince, in a review of the Active Learning literature, writes, “Introducing activity into lectures can significantly improve recall of information while extensive evidence supports the benefits of student engagement.” (Prince, Michael, “Does Active Learning Work? A Review of the Research, Journal of Engineering Education, July 2004)

Having Maker capability also aids in the fusion of disciplines, a critical skill in the future workforce. Robert and Michele Root Bernstein said in a recent article in the Association for Supervision and Curriculum Development that, “finding ways to foster arts education alongside science education—and, even better, finding ways to integrate the two—must become a high priority for any school that wants to produce students capable of creative participation in a science-dominated society like ours.”
Having ready access to a carefully selected set of tools within the classroom will give teachers and students the ability to express or understand critical concepts through making. Some of these items might fall under what we traditionally see as arts and crafts but new tools such as automated 3D printers and vinyl cutters increase the complexity of projects that were traditionally the province of scissors, colored paper, and clay. They also begin to introduce students to concepts like coding and design that they can build on in later grades. Software tools like TinkerCAD and Scratch provide easy avenues for students to access these advanced tools.

Sample Equipment List (approximate cost $1500-3000 per room):

  • 3D Printers (Quantity 2)
  • Silhouette Curio Vinyl Cutting Tool (Quantity 1)
  • Arduino Starter Kit (Quantity 1)
  • Raspberry Pi Starter Kits (Quantity 3)
  • PCs or laptops (Quantity 1-3)
  • 650 Piece Lego Basic Bricks (or equivalent) (Quantity 1)
  • Little Bits Electronic Base Kit (Quantity 1-3)
  • Misc. Supplies (Filament, Vinyl, etc.)
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Design Lab

What is it?

A Design Lab is a lightweight MakerSpace designed to fit into a classroom-sized space. Through a careful selection of tools it can perform many of the functions of a full-sized Fabrication Lab without the specialized infrastructure and safety concerns of a more robust setup. Another critical feature is that the space should be as accessible (and visible) to the campus as possible. Students will be curious about the activities taking place there and will want to participate, but only if they know that it exists.

Accessibility must be coupled to that visibility. While some programmatic activity is desirable, at the end of the day this has to be a project-driven space. Therefore, it must be accessible when students have the time and inspiration to work on their projects. Additionally, within the bounds of safety, students need to be given maximum freedom to explore projects. What seems like a silly T-shirt design today might lead to a complex 3D-printed artifact tomorrow. The experience of doing will lead to learning.
The library offers a good access model and one model might be to convert part of an existing library into such a space. However, it has to be realized that the Design Lab is not a quiet space and so if that is a priority in a school’s library it might make sense to put the lab into a separate space.

How big an Investment  is a Design Lab?

The idea behind the D-Lab is to assemble a usable set of light tools into a resource space. Typically, 700-1000 square feet is sufficient to achieve this task. It is important to leave a portion of the space available for people to spread out their projects. Heavy-duty (hard surface or butcher block) tables are recommended for this area. A selection of 3D printers is usually expected. Other equipment can include vinyl cutters, PCs, soldering irons, miscellaneous electronic components, and a standard set of hardware tools. If minimal ventilation is possible then a laser cutter is a good tool to have in this space as well. All told the equipment in this space should total no more than $20,000-30,000. Adequate power is critical. If this is a conversion project, a computer lab is a good choice for a basic space as those spaces typically have sufficient power for the various devices in the space. If not, then electrical upgrades through the addition of outlets might be required.

Ongoing expenses are fairly manageable. While it is important to have a full-time staff member overseeing the space, part-time student workers and even volunteers can be used to staff out the space. Minimal skills are necessary to run equipment in this kind of space, and many of them will likely have to be learned on the job in any case.

As far as supplies are concerned, a small supply budget is appropriate for programmatic activities and demonstration projects. However, the expectation for students is that they bring their own supplies into the space. At the college level, college bookstores will often stock 3D filament. Filament is also widely available online from vendors like Amazon. Other supplies will commonly be found in home improvement stores like Home Depot and Lowes.

What are the benefits to instruction?

The Department of Education says, “Through making, educators enable students to immerse themselves in problem-solving and the continuous refinement of their projects while learning essential 21st-century career skills, such as critical thinking, planning, and communication.” The benefits to having a space such as the D-Lab in every school, particularly at the Middle and High School levels are significant. What is even more exciting is that every one of these kinds of spaces that we have created have generated unexpected ideas and benefits to both the users and the schools in which they are located. Students have developed innovative solutions to everything from school signage to food production. They are essential breeding grounds of ideas in the 21st Century.

A student-built Food Computer at Houston Community College’s Alief D-Lab

RESOURCES:

 

SAMPLE EQUIPMENT LIST:

  • 3D Printers (6-8 of various types)
  • Laser Cutter (optional) – Glowforge could be a game changer in this area because it doesn’t require additional ventilation like more traditional laser cutters
  • PCs (6-8)
  • USCutter 34” Vinyl Cutter (1)
  • Arduino Kits (1)
  • Little Bits Kits (2-4 various kits)
  • Raspberry Pi’s (10-12) – students often purchase their own
  • Toolbox and basic tool set (1)
  • Butcher block or other hard surface work tables (3-5)
  • Misc. Supplies (filament, vinyl, etc.)

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Fabrication Lab

What is it?

The Fabrication Lab is more typical of what most people think of when they hear the term “MakerSpace.” In addition to the tools typically found the Design Lab these kinds of spaces will also typically include advanced fabrication areas such as Metal Shops, Wood Shops, and Machine Shops that require safety protocols and specialized staffing.

The challenge is figuring out what that audience of collaborators needs and how best to design and set up a space to meet those needs. There are a number of developed models, both on the educational and for-profit side. On the educational side MIT has developed its FabLab concept and on the for-profit side TechShop maintains a network of 10 for-profit MakerSpacesthroughout the country. Both models are designed to create environments where a broad spectrum of tinkerers and artisans can come together. 
Generally speaking, the Fabrication Lab is most appropriate for older learners in High School or Higher Education. It contains many pieces of equipment normally found in CTE spaces. Schools should consider the benefits of creating MakerSpaces to replace traditional CTE spaces as technology is rapidly moving toward a more generalized toolset and students would be better served through access to such a space. The US Department of Education recently sponsored a competition to help High Schools and Colleges convert existing CTE spaces to the MakerSpace format.
One additional factor that needs to be considered is to what extent this space will be open to the community. Opening up the space to the community carries with it many benefits, not the least of which is bringing in talent with the capacity to enrich and broaden the learning experience for all concerned.

How big an Investment is a Fabrication Lab?

The investment in a Fabrication Lab is not trivial and schools need to go into the development of this space with an understanding of the staffing needs required to successfully operate such a space. Like other MakerSpaces, the Fabrication is most useful when it is treated as a resource like a library and is accessible to the community (either inside or outside the school) as much as possible. It should be treated as a collection of tools designed to facilitate creative activity. The TechShop design is a creative approach that allows for the segregation of low-risk equipment, generally following the model of the Design Lab from the more dangerous wood shop, metal shop, or machine shop components. The MakerSpace at the West Houston Institute was designed using this model.

The West Houston Institute MakerSpace. Areas in Green are generally accessible and contain equipment that can be facilitated by part-time employees. Access is limited to the areas in red because they contain equipment that could be hazardous and need to overseen by specialists in the operation of that equipment. We would anticipate over time that equipment will increasingly be deployed into “green” areas and provision should be made to convert one or more of the “red” areas into a more accessible zone.

Generally speaking, a MakerSpace containing all of the aforementioned components should take up 12,000-15,000 square feet. Maximum flexibility is required so that equipment can be swapped out as it becomes redundant or obsolete. This requires a robust power network and/or one that allows power to be easily moved from one part of the space to the other. Easy access to a street or driveway with a garage or a loading dock is important in order to allow equipment or materials to be moved in and out of the space. Access to an outside work yard is also a benefit to many kinds of projects.

The Fabrication Lab has the greatest flexibility when it comes to the final components in the design and can be highly customized for programmatic purposes. For instance, a metal shop or wood shop might not make sense for some structures but perhaps an expanded machine shop or a specialized area focused on automotive technology could be substituted for those areas in the plan.

Issues of access also need to be considered from a safety standpoint. Increasingly, you can do with a very safe laser cutter what was previously the province of much more dangerous tools like bandsaws and jigsaws. Ultimately, the space may need to be reconfigured to allow greater access to areas that have become substantially safer to operate.

The Main Assembly Area of the West Houston Institute before equipment is installed. Note the flexible ceiling power and the open deck that allows for maximum flexibility for future equipment changes. The Wood and Machine Shops are on the far side of this space but still visible through windows. The idea is to allow for scaffolding users from less complex tasks taking place in the Main Assembly Area (3D Printing, Electronics, Laser Cutting, etc.) into the more complex areas.

Equipment costs are falling rapidly and through the strategic selection of tools the basic infrastructure of tools can be assembled for this space for under $1 million. In some cases, such as 3D printers, the more expensive ones are actually not as useful to the vast majority of users. This is because of the learning curve necessary to operate them is particularly steep and the output is not significantly more useful than the much cheaper models. In many cases, supplies are also more expensive and difficult to obtain the more costly the piece of equipment is. Some of the more complex pieces of equipment might be appropriate in a Production Space but might not find much use in a space designed for maximum accessibility. Tools always need to be adapted to programmatic needs.

Wherever possible, accessibility of the tools needs to be considered when drawing up an equipment list. Finally, as tool costs are dropping rapidly and the technology is shifting so fast, equipment should be one of the final items purchased in any building process. This is because the costs of many of these technologies can drop significantly from the time of specification to the time of purchase. For instance, similar 3D printers dropped in price from $3500 to $500 over the course of the development of the West Houston Institute MakerSpace. These kinds of price adjustments, coupled with the emergence of new technologies that could do the same kinds of jobs at a fraction of the cost of the original solution, resulted in an overall savings of between 40 and 50% in the equipment budget of the project totaling almost half a million dollars.

Staffing is also more complex in these kinds of spaces. In the “safe” zones, staffing the area with part-time students is still an option but the more complex areas such as the wood shop, metal shop, and machine shop will require specialized staffing, usually faculty, trained in the safe operation of the equipment there. The more staffing, the more accessible the space will be, and therefore evening or night staffing might prove necessary. Certified volunteers might be an option in some areas, especially if you intend to allow community access to the space during non-instructional hours.

If your model allows it, off-hour use can become a profit center for the space. Arizona State University has developed a partnership with TechShop in Phoenix to operate such a space shared by students and entrepreneurs from the community. It is possible to replicate this model without a private partner and different economic models may be appropriate for different circumstances.

What are the benefits to instruction?

We have already discussed the benefits of Making extensively in the sections on Creation Spaces, Design Labs, and in the blog Hacking School. Creating a broader set of tools will benefit a wider range of programs and curricula than the less complex spaces. At the High School level, CTE programs can and should be rethought with Making in mind as Making creates a more flexible path toward the same learning outcomes. It also future-proofs the spaces far more effectively than more technologically (and architecturally) rigid spaces do. At the college level, more advanced programs in the STEAM fields will be given access to a wider range of potential projects for their students. Additionally, bringing in entrepreneurs, engineers, artisans, and craftspeople from the community brings in a whole range of “teachers” capable of providing valuable lessons and even partnerships for students working in the space.

RESOURCES:

EQUIPMENT LIST: There are many configurations for Fabrication Labs and this will have a significant impact on the equipment list. The best way to approach the equipment list is to develop a floor and then customize based on programmatic needs. MIT has developed just such a floor through its Fab Lab Standard. This equipment list can be found at:https://docs.google.com/spreadsheets/d/1U-jcBWOJEjBT5A0N84IUubtcHKMEMtndQPLCkZCkVsU/pub?single=true&gid=0&output=html

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The One-Button Studio

A One-Button Studio at Houston Community College

What is it?

Penn State University originally created the One Button Studio as a solution to eliminate barriers to multimedia production, especially video, workflow. Its design is meant to provide students and faculty who have little experience in video production with the ability to seamlessly produce high-quality content for assignments, podcasts, online learning, and a host of other uses.

The workflow is designed to be extremely simple. The user enters the room with a USB flash drive and inserts it into a reader. There is literally a button that is pushed which fires up the lights, turns on the camera, and starts a countdown timer. The user positions him or herself in front of the camera and makes a presentation. At the end of the session, the button is hit a second time and the system encodes the video into a compressed file. In a few seconds users have a finished video on their flash drives that can be immediately uploaded to a wide range of online platforms.

The system consists of a ceiling mounted lighting system, a Mac Mini computer, a microphone, and a digital video recorder. All of these are tied together with a simple set of controllers borrowed from home automation systems.

The biggest design/budget question institutions have to ask themselves is what kind of display system they want to give users of the system. The simplest solutions put up a green screen (Rotoscope) or a background for the speaker. A wide throw projector, however, when coupled with a second PC, gives users access to PowerPoint, the Internet, and other technologies to enrich their videos. Adding touch through a system such as an Epson Brightlink interactive projector allows users to seamlessly interact with that content.

How big an Investment is The One-Button Studio?

In its simplest configuration you can set up a One-Button Studio in 80-100 square feet. Some electrical work is usually required to mount the lights to the ceiling and, if necessary, to mount the projection system. Electrical outlets will be needed for the computer(s) that drive the system as well. With those pieces in place the technology is relatively inexpensive. A basic system with a simple backdrop will cost around $7000. Adding a second computer and projection system adds $3000-5000 to that cost.

Since most of the components in this system are off-the-shelf computer components most IT personnel will be able to support this system with minimal training. The operation of the system requires little or no staff. One institution we have worked with simply has a key to the room at the front desk of the library and students are responsible for checking it in and out. The system is self-operating so no dedicated staff is required.

What are the benefits to instruction?

“We live and work in a visually sophisticated world, so we must be sophisticated in using all the forms of communication, not just the written word.” – George Lucas

New state and national educational standards are emphasizing the importance of creating across a broad range of media using technologies that are increasingly available to students. The problem to this point has been one of access, both in terms of cost and the skills required to operate video equipment. Full-blown studios can cost more than a million dollars and require specialized staff to operate them. Most institutions cannot afford this kind of investment at scale. As a result, students are unable to access professional video production. The One Button Studio solves the access problem by providing a relatively inexpensive solution that doesn’t require specialized staff, yet produces professional-looking content.

The uses of this technology in instruction are expansive. At Penn State in the first two academic years after constructing the One Button Studio, over 8,800 students – more than 10% of the main-campus’ student body per year – recorded well over 13,000 videos equating to a staggering 658 hours of recording. At other institutions students have created entrepreneurship pitch videos, mini lectures (teaching is one of the most effective ways of learning), club announcement, and many other kinds of videos. Faculty members have recorded short videos of particularly thorny instructional items such as solutions to complex equations or explaining the technicalities of the Senate committee structure. These examples clearly demonstrate that the One Button Studio represents a tool that can be applied to a wide range of educational challenges and needs.

Unbound: Teaching in the New Media Landscape

(Originally published on the nmc.org website February-September 2013)

In the Spring Semester of 2013 I embarked on an experiment to see if I could teach a government class based on the principles that I have been advocating:

  1. Create opportunities for collaboration and teamwork among the students
  2. Allow the students to explore the material for themselves
  3. Create an iterative, yet cumulative, format that allowed students to be creative, to take risks, fail without “failing” and build on that for later success in class
  4. Gamify the course to create positive incentives for the students to push themselves
  5. Focus on skills mastery rather than content mastery

This series of four blogs under the broad rubric of “Unbound” chronicle that experience and analyze the outcomes.

 

Unbound: The Role of Textbooks in the New Media Environment


Unbound: Observations on the Structure of the Class

As you may recall from my column in January, I launched a radical redesign of my American Government class this semester. I always start out the semester with a certain spirit of optimism, but I felt it was important in this case to talk about what worked and what didn’t work as I tried to leverage New Media to reshape how I teach.

I structured this class with five goals in mind:

  1. Create opportunities for collaboration and teamwork among the students
  2. Allow the students to explore the material for themselves
  3. Create an iterative, yet cumulative, format that allowed students to be creative, to take risks, fail without “failing” and build on that for later success in class
  4. Gamify the course to create positive incentives for the students to push themselves
  5. Focus on skills mastery rather than content mastery

 

In this installment, I’ll focus on my pursuits to meet the first three objectives. In addressing the first goal, my aim was to create incentives for my students to prepare for the kind of collaboration that they are likely to encounter in the professional world. Very few things in the real world effectively reflect the individualism of what we ask them to do in class. With the interconnectedness of social technology, this is becoming even more pronounced. Therefore, with the exception of the final portfolio, I randomly assigned students to groups. I reshuffled those groups four times over the course of the semester.

So, how well did this work? Getting students to work effectively in groups has been one of my greatest struggles. There is a lot of data to suggest that peer learning is one of the most effective teaching methods. My own experience validates this. I had a class once (in a mythical fairy land – no really) that spontaneously formed study groups and pulled each other along. As a group, they made higher grades than any class I’ve ever taught, before or since.

This was a spontaneous result of the chemistry of the class. I have never been able to make this happen. More often, typical groupwork can be summed up with this graphic from Endless Origami.

To evaluate group work, I used ballots and self-evaluation techniques. However, students tended to inflate everyone’s grades, giving even the biggest slacker full points. This was not a good way to figure out who was pulling their weight in the group. So, in classic economic fashion (I am a social scientist after all), I introduced scarcity into the equation. I limited the number of points that any individual could give out to less than the number of other group members. It turns out that my students would have made excellent communists. Their response was to aggregate the points the group had as a whole and distribute them equally throughout the group.

Considering the self-avowed conservatism of most of my students, I think this sheds an interesting light on the relative value that they place on educational incentives. Grades are so disconnected from financial goals that they assume little or no value in the minds of most students. I could be reading too much into this considering the small sample size (and I’ve had other classes that behaved quite differently), but it’s a point worth considering.

The students’ unwillingness to give each other meaningful evaluations didn’t stop them from complaining about the efforts of the other members of their group who did not pull their own weight, making it extremely hard to evaluate the internal workings of a particular group. As a consequence most of the learning here was of a soft variety. It consisted mainly of counseling students about how to handle these kinds of situations based on my own experiences.

Regrettably, the group work scenarios did not inspire students through their shared sense of purpose or the competitive incentives I’d laid out to explore educationally. In other words, I once again failed to recreate the effect of the class that pulled itself along collectively.

The second major departure in the class structure I implemented was to eliminate the requirement for a standard textbook. Instead, I gave them information frameworks such as my class notes and Wikipedia and then encouraged them to explore more widely. My goal was to give them open-ended information with a basic structure to allow them to follow their creative impulses.

I set this up on the very first day of class, by engaging the class in a discussion of creativity, the role of information and education in today’s world. I then showed them Ken Robinson’s video on education and creativity.

We then discussed how we could construct the course so that artificial boundaries, such as those imposed by a standard textbook, did not limit our creative efforts. For structure I provided my standard Study Guide, which is simply a list of questions organized by topics from the course as well the class notes, which answer those questions.

As I discovered the last time I did this, giving the students the freedom to map their own intellectual journeys is usually a recipe for them not leaving home. While I set minimum work requirements, students continued to do the minimum necessary. For instance, they would post a random articles without meaningful commentary. Many students failed to even look at the basic starting points in my notes or Wikipedia. Then they complained about a lack of structure in the course. Over the course of the semester, the situation improved, although there were some students who never understood or took advantage of the freedom to let their curiosity guide their educational path.

This issue relates to a basic dilemma I seem to face every time I deviate from the standard course structure. Students are unprepared for novelty. They have been well trained in “this is what a college course looks like.” In theory, they love the idea of freedom from their shackles but relatively few of them know what to do with their freedom once it is given to them. This is a fundamental cultural issue we all face as we try to innovate our way out of some of the contradictions of the educational system we have created. Change in this area is likely to come slowly, especially among those students who have never understood the purpose of education or their responsibilities to their own educational enterprise.

The third structural element I built into the course comes from the insights of Dan Ariely’s work in The Upside of Irrationality and his discussion of motivation. He discovered that relatively meaningless tasks discourage people even if they are incentivized with extrinsic rewards such as grades (or money).

I tried to address this issue in two ways. First, I created a point system that was completely cumulative in nature. Students could accumulate points, but they were never taken away. No assignment was graded as a ratio of achieved points/possible points. Second, I constructed the course so that the pieces would theoretically build upon one another. The weekly assignments led to the four projects and the work produced in the course contributed to the Final Portfolio assignment, which I deliberately put in a format that was both public and would persist after the course was over. I also provided incentives for going back and citing earlier student work on Google+ in later postings or presentations.

Getting students to look above the individual task effort and to take a longer view over the course of the semester has always been a challenge. I usually attempt this in some form, but this is first time I explicitly wove it into the structure of the class. I was also hoping that the relative permanence and openness of the Final Portfolio would make it more of a tangible object than something that ends up in my filing cabinet.

It was a mixed success. On the negative side, students, like in my more traditional classes, failed to use the earlier parts of the class to gain insights into the later parts of the class such as recognizing how the priorities of Congressmen tend to undermine long-term goals in foreign or economic policy. Furthermore, almost none of them cited their fellow classmates’ prior work. Even when I relaxed the rules and allowed students to go back and post in earlier topics on Google+ in order to bring up their point totals, very few of them exercised that option.

On the other hand, I was pleasantly surprised by the quality of the effort on the Final Portfolios (web pages). On the whole, the students improved their performance as they created their individual web pages. No one did worse on this assignment than they had done previously in their presentations and Google+ postings and a significant number of them did considerably better. This is in marked contrast to the traditional finals I had given in previous iterations of the class where students did not typically raise their overall grades through that one assessment.

Overall, the structure of the course did not significantly improve learning outcomes, but it also did not harm them. The class did about as well as past classes did in terms of what they learned and retained from the class. It was my hope, however, that the strong emphasis on group work, the focus on creative exploration, and the open-ended structure of the syllabus would foster better outcomes. Although quite a few students commented that they liked the class and had more fun with it, this was not, for the most part, reflected in the quality of their work. In the future, I may build on the one clear success, the Final Portfolio/web page, to create more assignments like this.

I am still scratching my head, however, about how to incite peer learning and group work as well as how to propel students to outline their own educational journeys. In the next installment of this series, I will discuss my experience and related struggles in creating a more explicit assessment rubric with the goal of gamifying extrinsic motivators for learning.

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The Grader’s Dilemma


Unbound: Teaching Questioning Instead of Answering

Digital Space and Time

(Originally Published on pbk.com October 2017)

I was reading an interesting blog entry recently. In it Ryan O’Connor argued that one of the dictums of modern architecture, “form follows function,” should be replaced by “structure follows strategy.” Read full article here. In other words, he was saying that in a digital world function is no longer a guide to form. He was making an argument about user interface design and the virtual world but in the last decade we have seen the virtual world encroach upon the physical world in ways that will profoundly impact how we work, live, and learn. Furthermore, arguably architecture is an exercise, on a vast scale, of user interface design. Technology is creating a world that is vastly more customizable and subject to change in very short timeframes than ever before in human experience. This presents significant opportunities and challenges for both education and the architecture that supports it.

A telephone existed for one reason. It was there for sending voice signals from Point A to Point B.  “Form follows function” certainly applied to these kinds of analog technologies. The shape of a Walkman was driven by the cassette tape in it. The shape of the cassette in turn was driven by the nature of the magnetic tape that formed its core.

The digital age explodes all of these constraints and, over the last decade, has increasingly encroached on tangible, physical technologies from telephones to cars to buildings themselves. The implications of this will be profound. When everything is reducible to zeros and ones the shape of anything can suddenly be changed. The ripples of this new reality extend far beyond computers or even the iPods that replaced the cassette and CD Walkmans. Those were just the first step.

These shifts have implications for both architecture and education. Consider how much of education has been driven by the necessity of seeing the chalkboard (or whiteboard or display) at the front of the room and the limits that this technology imposed on a teacher trying to convey information. In turn, the necessity of moving large groups of students through the school day is driven in part by the constraints of putting them into distinct learning spaces driven in large part by an immobile blackboard. As a consequence, learning, hard enough in an unconstrained environment, is now required to happen according to schedule. The logistical need to segregate also feeds specialization in the academic environment. From 10-11 am you are in History, not English.

Taking this to a more abstract level, consider how much learning is driven by the medium of the book. The linear narrative of the textbook drives classes. Tests come as a seemingly natural consequence of that linear narrative.

In this way the textbook drives the structure of learning in a school and that, in turn, can drive the very structure of the building itself. We have specialized boxes that we call classrooms. They are a direct product of the technologies of the blackboard and the book in much the same way as a cassette Walkman was the product of the cassette tape.

Despite the literature emphasizing the importance of communities of learning, classrooms often serve to divide communities as much as create them, especially in the older grades where specialization becomes pronounced. However, the logic of the schedule, the textbook, and test-centric instruction continue to drive the design of schools.

The fundamental assumptions we make as we consider what learning spaces should be are all subject to disruption in a digital age. There is less and less logic to having a physical textbook and the information it contains can easily be acquired through digital means that are much cheaper and more adaptable to the needs of the teacher and learner [here is another article on the changing role of textbooks]. While the blackboard/whiteboard are still very useful tools they can easily be supplemented and/or replaced by other means of transmitting information to the learner. The digital age effectively decouples information exchange from the physical space, allowing us to optimize those spaces with the human element as the primary consideration. This can happen either within the context of a particular space (digital displays, interactive touch, augmented reality) or by leveraging the cloud to put those environments onto mobile devices.

These technologies allow us to create buildings that can functionally disconnect what we traditionally understand as a classroom from the learning experience. Learning spaces can become more communal and less driven by specialization. In essence the school can become a bazaar of interconnecting ideas rather than egg carton of disconnected concepts.

The world of work is being driven by increased demand for diverse skillsets. The need for highly specialized workers is declining and those with broad ranging skillsets are in high demand. Working backward from this fact, does it still make sense to teach in a segregated, highly-specialized environment represented by the classroom [click here for more on this subject]? Instead, we need to mold the tools around the needs of the teacher and the learner, not the reverse. Strategies of teaching and learning should drive the technology and space design that supports it. The rationale for constraining education based on technological limitations makes less and less sense every day.

We also have to be mindful that strategies of teaching and learning are still very much in flux. Schools are driven by the concerns of today even as they struggle with the implications of building for tomorrow.

Therefore, the other key takeaway from these technological shifts is that we need to build for flexibility wherever possible. Teaching and learning are likely to change considerably over the lifetime of the spaces we are now creating. We need to recognize the limitations driven by technology that we impose on our structures and constantly re-evaluate whether or not they are still relevant. Furthermore, we need to recognize that these constraints are likely to be eliminated at an exponential rate going forward. Schools will need to adapt to innovations just like everyone else and the extent to which we can create spaces that can be easily adapted over time will determine the long-term vitality of the structure.

Adaptable Technology is giving people a vast range of choices and this can become overwhelming, especially to those with many other decisions to make in their day-to-day existence. The strategy behind mastering these new realities is to focus on the intent of the activity and to do so critically. While the technological means may be constantly shifting, the ends typically don’t change much. We want learners to emerge from schooling with the knowledge, skillsets, and mindsets that will help them succeed in life. Let’s put that up front and build backwards from there. We have the tools to do it.

The Visualization Gap

(Originally Published on nmc.org in August 2015)

I was recently reading Bryan Alexander’s excellent post about making effective use of PowerPoint. This got me thinking about the much bigger challenge lurking out there, of which bad presentations are only the tip of the iceberg: Visualization Literacy. This theme has concerned me for some years now. Indeed, arguably it spans the 30 years of my photographic experience, as photography is a struggle to achieve a particular form of visual storytelling. I have given photography presentations in which I discuss photographic composition as a form of visual narrative. There are also many issues that overlap with my yearlong discussion of technology design, which relates to my struggles to both teach and master visual literacy myself.

My presentation on narrative photography on Slideshare

Calling on one of my favorite quotes, Marshall McLuhan said in The Medium is the Message, “The serious artist is the only person able to encounter technology with impunity, just because he is an expert aware of the changes in sense perception.” This is because technology inevitably forces us to reframe our perspectives in ways that are uncomfortable to those who are used to the linear forms imposed on us by industrial and textual narratives. McLuhan dissected this mode of thinking in much of his work, which was written at the beginning of the electronic age and highlighted how the emerging media of the time, especially visual media, had reshaped the largely linear textual landscape. Film, television, and photography were often perceived as lower art forms in part because visualization was perceived as literally “cartoonish.”

The academic and literary elite saw the book as the highest form of art. This has resulted in an inbred bias against visual communication, in higher education particularly. We don’t teach our students how to visualize in part because the vast majority of faculty went through textual training in their undergraduate and, especially in, their graduate experience. That was certainly the case for me.

You see this deficit in a vast range of areas from the aforementioned presentations to textbooks littered with bad visualizations. There are exceptions to this and some disciplines are more forced, by necessity, to visualize their content. Outside of dedicated programs, however, there is little training in visual information creation and presentation. “Technology” programs often teach the mechanics of using software such as PowerPoint, Illustrator, or Photoshop, but there is often little thought given to the purpose and the power of these software packages to reshape narrative.

Why is this suddenly an issue? We now have increasing power to create visual narratives ourselves, and it is in our power to lift dialog out of the linear tyranny of text. This is my attempt to show what I can do with a visual creation tool. It has both a narrative and metanarrative function of illustrating what I’m talking about. It also demonstrates my (and its) limitations in trying to convey exactly what I’m talking about.

Going back to an insight from a great American technologist, Vannevar Bush, one of the key motivations for the computing revolution was to keep up with the increasingly complex, non-linear problems that were confronting society. While the Simple Linear path of text is the shortest route between thinking and understanding, more and more of our problems lie along the path that requires Holistic and Contextual thinking. Visual media are much better at creating an understandable representation of that complexity.

Textual narrative assumes there is a beginning, middle, and end to a story, argument, or problem. Visual narrative is far more fluid. It does a better job of showing the intertwingled nature of many of today’s problems. To cite just one example, there is no beginning, middle, or end of the global warming crisis. There are myriad inputs, combinations of solutions, and outcomes that are often poorly expressed in linear format. This is precisely the kind of problem that motivated Vannevar Bush, Doug Engelbart, JCR Licklider, and Ted Nelson to think about technology in the first place. Yet, we still approach learning and communication in much the same way as was done when they were writing decades ago.
So, how do we begin to address this critical challenge? First, we should enlist the talents of visual artists to explain the potential and unique challenges of visual storytelling. Scott McCloud makes a good start of this in his books and TEDtalk, which he gave a decade ago.
There are a lot of parallels between web comics and MindMaps as Randall Munro has repeatedly demonstrated. It’s all about manipulating perspective and visual representations, that when done well, fundamentally mess with your perspective on an issue. I often enlist my photography in my own visual storytelling, but this is just one way to create a visual narrative.

Graphics created through MindMapping software are a much simpler way to create a diagram or idea flow chart that can be incorporated into presentations. These can even be created live and on-the-fly during brainstorming sessions and meetings in order to capture the complex interrelationships of the discussions that happen (and that are often lost) in the linear albeit fragmented, nature of meeting minutes and notes. I am still looking for a truly collaborative way to make MindMaps. Some of the online mapping platforms such as MindMeister offer some promise for working collaboratively and persistently. There are still some frustrating limitations in this area, but I am confident that incremental improvements will increase the accessibility of visualization software.

The bigger problem, however, is our mental limitations in both teaching and thinking visually. Most classes that “teach” PowerPoint gloss over the narrative changes that it imposes on us through its transition from a linear textual narrative to a nonlinear visual one. They also fail to examine the information transfer capacities of various media. PowerPoint is software that complements a performance and often fails as a container for information. It needs to be augmented by more persistent visual and textual media. I’ve worked around this by creating websites as a mechanism to gloss my presentation; provide background linkages; and to create a persistent, living complement to what happens live. Slideshare fails to do this because it only gives you half of the presentation, the visual part, which may or may not stand on its own. Part of visual literacy is understanding how visual media complements other media, such as audio and text.

Finally, we need to start embedding design thinking into our processes. Design thinking is, by its very nature, closely tied to the visual. Not all design is based on images, but even textual design relies on layout and other visual composition techniques for its power. Most importantly, it teaches us to think about these issues in fundamentally different ways than simple critical thinking and textual composition do. These two strands need to be interwoven if we have any hope of preparing our students and ourselves for the coming challenges of the visual age.

In a sense, technology challenges us all to become serious artists. Those of us who teach or have taught have learned the power of a good visualization in presenting complex information to our students. As the world gets more complex, visualization becomes even more critical to our methods of teaching, learning, and communicating. The trick is not being afraid of it. Get out the finger paints. Try to tell your next story through pictures. If you mess up, play with it and refine it just like you would with text. Above all, apply a visual eye to your presentations, websites, and videos and be aware of the narrative shifts created by the media.

Just Let it Happen: Living With Open-Ended Outcomes

(Originally Published on nmc.org March 2016)

In “Teaching Creativity – Not Conformity,” I began by positing that we need to encourage exploration through questioning rather than providing answers to our students (and employees). Since then, Kevin Kelly has reemphasized the same theme by identifying the skill of questioning as one of the key trends that will shape humans in our technological future. We have been talking this talk for years now. The exciting thing is that technology is now giving us tools to start walking the walk.

In an age driven by “quantifiable” accountability, however, many of our present organizations continue to struggle with the concept of open-ended outcomes. If we stress a questioning approach, particularly in a programmatic context, it is often seen as a risk that is hard to quantify unless we provide some sort of predictable, often quantified, outcome. Uncertainty of outcomes is often viewed as not being scientific or data-driven. That is only true if we are looking for overly simplistic answers in defining success. We can still measure outcomes – but they are often tangential to the original creative exercise. Sounds a lot like teaching, does it not?[LINK: http://www.nmc.org/blog/teaching-creativity-not-conformity/]

In 2010, I began facilitating the New Media Seminar for faculty at HCC’s Northwest College, which focuses on how the world is changing and ways in which we as educators need to adapt to those changes. Initially, I was attracted to the concept developed by Gardner Campbell because I felt it provided a nice venue for free discussion about technology and the development of pedagogy. What I did not realize at the time was the extent to which it developed questioning about the status quo of what we are doing in the classroom. Many faculty members who have participated in the seminar found it a strangely liberating experience from their daily experience precisely because of its open-ended nature. It was always a challenge, however, to explain that power to those looking at the course from the outside.

I am often surprised at how unwilling people are to question the seemingly predictable flow of their existence in order to leave room for the unexpected outcome. I always start my undergraduate government classes asking my students why they are there. It amazes me how few of them have even pondered the question. A lack of purpose turns college into essentially a hazing experience whose main purpose is to demonstrate perseverance, not learning, and all too often faculty aid and abet that by passing them through classes without giving them a clear reason to engage in learning. Furthermore, as we design courses and programs it is often easier to just go with the flow rather than risk the unexpected or ambiguous. Like training, answers give us neat little boxes in which to put everything. Teaching has the power to augment us as human beings. Giving students and faculty the freedom to creatively explore without a set purpose is liberating to some, incomprehensible to some, and threatening to others.

Makerspaces perhaps pose the biggest threat to the status quo: if they live up to the true ideals of making, outcomes are truly uncertain. In January 2016 we opened the D-Lab, the first of our makerspaces at Northwest College. The critical aspect that characterizes our D-Lab is that it is essentially a “rule-free” zone designed to promote creative problem solving. Questioning is driving the very development of the space, as we have added and adapted equipment and supplies based on community inquiries. Many of our spaces are being designed around the concept of project-based learning and our new building, the West Houston Institute, was explicitly designed to foster innovation and creative thinking. [LINKhttp://ideaspaces.net] The goal is to lower the barriers to entry as much as possible and then get out of the way.

The D-Lab –  Photo by Tom Haymes

We also recognize that all of these plans will falter if we cannot work to move HCC’s culture away from the rigidity that characterizes industrial modes of education. Training is a natural outcome of this kind of thinking. The D-Lab forms a gateway to a post-industrial mode that nurtures creative thought that is liberated by good teaching. To be clear, this is a hard task that will take years to manifest any appreciable impact institution-wide. Meanwhile, we are already seeing people gravitate to the freedom of the D-Lab in unexpected and unconventional ways.

Recently, my lab techs decided to build a virtual sandtable using an old projector and an Xbox Connect. They improvised this rig using zip ties and rubber bands. Believing it looked unsafe, our AV contractor offered to provide a proper mounting solution (costing hundreds, if not thousands, of dollars and taking months to implement, no doubt). I don’t blame him. He’s never seen activity like this at our college before. The space is generating a new form of agile activity not previously seen at our college.

Virtual Sand Table in the D-Lab – Photo by Tom Haymes

The D-Lab has shown me that there is a genuine hunger for independent thought and the creativeenterprise. Technology merely provides the mechanism to escape the rigid structures of the industrial world. This creativehunger is precisely what we need to harness bothinternally and for our students if we want to be successful in a world characterized by automation and increasingly complex problems. We are all creative teachers and learners. We just need to have that unlocked. I am seeing that happen every day in spaces like the D-Lab. It gives me hope that we will finally move away from the training mode to the creativemode.

We are currently in the process of developing business plans for the programs we envision at our new building, the West Houston Institute. Unlike the New Media Seminar, which cost relatively little other than time, and the D-Lab, which came together out of spare project funds, the Institute is a $50 million project before staffing costs. With scale comes scrutiny and a search for clarity by decision makers. While this approach is completely understandableand a responsible use of taxpayer money, a space designed around open-ended inquiry and uncertain, creative outcomes often challenges this kind of thinking.

It is relatively easy to figure out a hard set of numbers around a Collaboratoriumor conference space that can be rented out to business. At the same time, it is more difficult to demonstrate concrete outcomes around how these kinds of spaces also foster open-ended activities such as brainstorming projects and technology competitions. Activities in the makerspace or informal collaboration areas face similar challenges. If they are not associated with a particular program, it can be difficult for people to wrap their heads around the spaces’ purpose. Is the idea to let people play around? To what end? Quantifying qualitative outcomes is one of the central challenges of educational measurement and it is particularly acute in these kinds of circumstances.

The best argument to make is that this creates a very compelling learning environment, is a fun way to teach, and, perhaps most of all, creates critical 21stCentury skillsets in our students (and faculty). This approach fits into of the overall trend of refocusing around demonstrating skills rather than credentialing that is starting to be discussed throughout education.

One of my pet projects, the Teaching Innovation Lab (TIL) [LINK: http://ideaspaces.net/2016-innovation-loops-ideaspaces-presentation], addresses this challenge as well. The purpose of the TIL is to build upon the success of the New Media Seminar to create an open-ended venue for faculty to “play” with their teaching and share those experiences with their colleagues both inside and outside HCC. We also introduce rigor through data collection and analysis as well as structured workshops and other activities. Where faculty take it from there is up to them, however. Unlike many professional development projects, there is no defined fixed outcome. If it makes things better, it is a win.

I am excited about the potential for creative unpredictability of all of these efforts, but I can see where it runs counter to desires to establish standards around “good teaching” by accrediting agencies and state education boards. I do not believe there is one “right” way to teach, or at least I do not believe we are anywhere close to understanding what that is yet. Putting that notion into a business plan for the TIL is therefore presenting unique challenges. Some flexible thinking will be required all around. It is difficult to imagine quantifying exploration and unexpected outcomes. We can build a runway, but where flight takes our faculty and students is their magic, not ours. In other words, we can measure results in the context of skills acquired, but not necessarily predict them. That sounds amazingly like teaching to me.

 

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