The jigsaw classroom is a research-based cooperative learning technique invented and developed in the early 1970s by Elliot Aronson and his students at the University of Texas and the University of California. Since 1971, thousands of classrooms have used jigsaw with great success.
STEP ONE
Divide students into 5- or 6-person jigsaw groups.
The groups should be diverse in terms of gender, ethnicity, race, and ability.
STEP TWO
Appoint one student from each group as the leader.
Initially, this person should be the most mature student in the group.
STEP THREE
Divide the day’s lesson into 5-6 segments.
For example, if you want history students to learn about Eleanor Roosevelt, you might divide a short biography of her into stand-alone segments on: (1) Her childhood, (2) Her family life with Franklin and their children, (3) Her life after Franklin contracted polio, (4) Her work in the White House as First Lady, and (5) Her life and work after Franklin’s death.
STEP FOUR
Assign each student to learn one segment.
Make sure students have direct access only to their own segment.
STEP FIVE
Give students time to read over their segment at least twice and become familiar with it.
There is no need for them to memorize it.
STEP SIX
Form temporary “expert groups” by having one student from each jigsaw group join other students assigned to the same segment.
Give students in these expert groups time to discuss the main points of their segment and to rehearse the presentations they will make to their jigsaw group.
STEP SEVEN
Bring the students back into their jigsaw groups.
STEP EIGHT
Ask each student to present her or his segment to the group.
Encourage others in the group to ask questions for clarification.
STEP NINE
Float from group to group, observing the process.
If any group is having trouble (e.g., a member is dominating or disruptive), make an appropriate intervention. Eventually, it’s best for the group leader to handle this task. Leaders can be trained by whispering an instruction on how to intervene, until the leader gets the hang of it.
STEP TEN
At the end of the session, give a quiz on the material.
Students quickly come to realize that these sessions are not just fun and games but really count.
Britney Spears does have more appeal than most quadratic equations. With thousands of dollars of high-tech digital engineering spent on every word uttered, or in this case, sung, how can the typical college professor compete?
MTV Learners are seeking warp-speed answers to their life issues. They want to know: “What does this information (your course) have to do with me (self-actualization)?” and “What does this information (your course) have to do with my career (my choice of vocation)?”
Be democratic, not autocratic. Instead of management by fiat, try taking regular opinion polls and surveys of your students to determine the specific methods of teaching your course.
Try to eliminate the lecture-test, lecture-test, lecture-test format and substitute other learning models that accentuate the choices of the MTV Learner. Focus on the quality of your syllabus as a giant “master operating agreement” that presents the learning objectives of your course and related policies in a manner that is as clear and as easy to understand as possible. Without sounding too litigious on your syllabus, present the consequences of missed absences, overdue work, incomplete assignments, and the like.
Gamification can be approached in at least two ways. First, as a general process in which games and playful experiences are understood as essential components of society and culture.
Sebastian Deterding, Rilla
Khaled, Lennart Nacke and Dan Dixon have proposed a tentative history of
the term: “ ‘gamification’ as a term originated in the digital media industry.
The first documented use dates back to 2008, but gamification only entered
widespread adoption in the second half of 2010”
Jane McGonigal’s work, expounded in her contribution at the TED
Talk series in 2010, is also concerned with “selling” gamification to corporations.
In her book Reality is Broken. p.9 In her understanding, gamification is a concept that describes a new age where gamers can collectively use their problem-solving skills not only
to solve puzzles within a digital game but also to approach social and political
issues in the real world. Gaming, according to McGonigal’s vision,
could and should play a redeeming role. Game designers could become the
new social entrepreneurs, and citizens become gamers. From this perspective,
gamification thus becomes a technique for enabling greatly ambitious
change.
p. 10 Consumer loyalty, issues related to finance and governance, workers’ productivity, training and development – these are only some of the areas that are allegedly being positively revolu tionised by the emergence of gamification
As outlined by Ian Bogost in several contexts (2011a, 2011b), gamificatio has little to do with the design of games (or an allegedly salvific process), and much more with the exploitation of consumers. It frustrates the practice of game design and reduces playing to a stimulus-response experience
p. 11 Niklas Schrape proposes looking, through Foucault, at how gamification might work as a method to regulate individuals and their social lives. It also works as a pleasant regulator of behaviour because it offers positive feedback (rewards, leaderboards, etc.) rather than
negative penalties (fines, prison, etc.).
Ruffino looks at the work of Tim Ingold and his reading of Bergson and Heidegger and argues that participation, dwelling and co-existence could be seen as alternative ways of thinking about engagement: less as a transitive process that goes from games to their players and more as an in transitive status that needs to be narrated in order to be of any value
Foursquare alters the experience of moving about on the streets of a city and establishes a form of communication based on bodily proximity
p. 12 Joost Raessens examines how gamification could be seen in the context of a more general “ludic turn”, which affects society and culture at many different levels. This century, Raessens notes, has seen several different kinds of “turns”: We have seen the linguistic turn, the digital, followed by the material one and many others. To what extent could we say that we are now experiencing a playful turnp.
Counter-gamification is not a precise practice; it is not defined in guidebooks, workshops, or tutorials. It is instead a form of appropriation of playful elements by artists in order to promote radical and oppositional values.
p. 15 Fizek’s proposal is to expand the concept of play and fun and to introduce new forms of engagement in the practice of gamification
If the endgame approach were applied to gamification, Nicholson argues, we could see very different ways of designing and playing. The author explores these alternative modes of gamifying things through a text that offers both a theoretical understanding of gamification and exceptionally useful suggestions for designers.
p. 16 an eudaimonic view of gamification could bring a “good” way of living and
playing, one where joy and satisfaction are at the centre of a responsible practice. Gamification, according to Deterding, could become the name of a play practice that truly helps human beings in fulfilling their own lives and those of others
Iris Murdoch on Storytelling, Why Art Is Essential for Democracy, and the Key to Good Writing
“A good society contains many different artists doing many different things. A bad society coerces artists because it knows that they can reveal all kinds of truths.”
BY MARIA POPOVA
“Storytelling is a tool for knowing who we are and what we want.” Ursula K. Le Guin
philosopher and novelist Iris Murdoch (July 15, 1919–February 8, 1999) — one of the most lucid and luminous minds of the twentieth century — explored in a long, deep, immensely insightful 1977 conversation with the British broadcaster and philosopher Bryan McGee, which aired on McGee’s television series Men of Ideas.
There is always more bad art around than good art, and more people like bad art than like good art.
James Baldwin wielded the double-edged sword of the artist’s duty to society, Murdoch insists on this largeness: The artist’s duty is to art, to truth-telling in his own medium, the writer’s duty is to produce the best literary work of which he is capable, and he must find out how this can be done.
“Social: The New Media.” So I got to work, curating a playlist of videos on topics I wanted them to explore—such as the well-publicised problems with social media platforms and false news
Technology is a branch of moral philosophy, not of science
The process of making technology is design
Design is a branch of moral philosophy, not of a science
System design reflects the designer’s values and the cultural content
Andreas Orphanides
Fulbright BOYD
Byzantine history professor Bulgarian – all that is 200 years old is politics, not history
Access, privacy, equity, values for the prof organization ARLD.
Mike Monteiro
This is how bad design makes it out into the world, not due to mailcioius intent, but whith nbo intent at all
Cody Hanson
Our expertise, our service ethic, and our values remain our greatest strengths. But for us to have the impat we seek into the lives of our users, we must encode our services and our values in to the software
Ethical design.
Design interprets the world to crate useful objects. Ethical design closes the loop, imaging how those object will affect the world.
A good science fiction story should be able to predict not the automobile, ut the traffics jam. Frederic Pohl
Victor Papanek The designer’s social and moral judgement must be brought into play long before she begins to design.
We need to fear the consequences of our work more than we love the cleverness of our ideas Mike Monteiro
Analytics
Qual and quan data – lirarainas love data, usage, ILL, course reserves, data – QQLM.
IDEO – the goal of design research isn’t to collect data, I tis to synthesize information and provide insight and guidance that leads to action.
Google Analytics: the trade off. besides privacy concners. sometimes data and analytics is the only thing we can see.
Frank CHimero – remove a person;s humanity and she is just a curiosity, a pinpoint on a map, a line in a list, an entry in a dbase. a person turns into a granular but of information.
by designing for yourself or your team, you are potentially building discrimination right into your product Erica Hall.
Search algorithms.
what is relevance. the relevance of the ranking algorithm. for whom (what patron). crummy searches.
reckless associsations – made by humans or computers – can do very real harm especially when they appear in supposedly neutral environments.
Donna Lanclos and Andrew Asher Ethonography should be core to the business of the library.
technology as information ecology. co-evolve. prepare to start asking questions to see the effect of our design choices.
ethnography of library: touch point tours – a student to give a tour to the librarians or draw a map of the library , give a sense what spaces they use, what is important. ethnographish
Q from the audience: if instructors warn against Google and Wikipedia and steer students to library and dbases, how do you now warn about the perils of the dbases bias? A: put fires down, and systematically, try to build into existing initiatives: bi-annual magazine, as many places as can
Drew Gilpin Faust, Harvard University’s first and only female president
1) Do It For The Right Reasons.
As a history professor early in her career, Drew never envisioned crossing over to university administration, “what my faculty colleagues call the ‘dark side.’” She would raise her hand for leadership tasks not because she wanted to get noticed, but because she felt it was “good citizenship to serve others.”
2) Don’t Be Afraid To Take The Leap.
3) Define Yourself Publicly, Or Others Will Do It For You.
“If you don’t define yourself publicly, someone else will, and it will likely be according to stereotypes,”
4) Gender Is Always An Issue, But Don’t Let It Derail You.
5) Understand That True Leadership Happens In The “Grey Space.”
Being the head of an organization often involves picking between the best of two imperfect choices, forging a path without having all of the facts, or breaking a tie between two competing factions.
6) Spend Political Capital To Plow The Path For Authentic Diversity And Inclusion.