Searching for "instructional technology"

bibliography list of peer-reviewed literature on “flipped classroom”

list of peer reviewed literature on “flipped classroom”

Findlay-Thompson, S., & Mombourquette, P. (2013). EVALUATION OF A FLIPPED CLASSROOM IN AN UNDERGRADUATE BUSINESS COURSE. Global Conference On Business & Finance Proceedings, 8(2), 138-145.
http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip&db=buh&AN=89496806

Davies, R., Dean, D., & Ball, N. (2013). Flipping the classroom and instructional technology integration in a college-level information systems spreadsheet course. Educational Technology http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip&db=keh&AN=88785048

Davies, R., Dean, D., & Ball, N. (2013). Flipping the classroom and instructional technology integration in a college-level information systems spreadsheet course. Educational Technology Research & Development, 61(4), 563-580. doi:10.1007/s11423-013-9305-6
http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip&db=keh&AN=88785048

Missildine, K., Fountain, R., Summers, L., & Gosselin, K. (2013). Flipping the Classroom to Improve Student Performance and Satisfaction. Journal Of Nursing Education, 52(10), 597-599. doi:10.3928/01484834-20130919-03
http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip&db=rzh&AN=2012318677

Butt, A. (2014). STUDENT VIEWS ON THE USE OF A FLIPPED CLASSROOM APPROACH: EVIDENCE FROM AUSTRALIA. Business Education & Accreditation, 6(1), 33-43.
http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip&db=buh&AN=90567007

Strayer, J. F. (2012). How Learning in an Inverted Classroom Influences Cooperation, Innovation and Task Orientation. Learning Environments Research, 15(2), 171-193.
http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip&db=eric&AN=EJ977852

Critz, C. M., & Knight, D. (2013). Using the Flipped Classroom in Graduate Nursing Education. Nurse Educator, 38(5), 210-213. doi:10.1097/NNE.0b013e3182a0e56a
http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip&db=rzh&AN=2012296027

Herreid, C., & Schiller, N. A. (2013). Case Studies and the Flipped Classroom. Journal Of College Science Teaching, 42(5), 62-66.
http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip&db=keh&AN=86988365

Jottings by Saquarrah. (2013). Medical Teacher, 35(6), 532-533.
http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip&db=aph&AN=89131643

search.ebscohost.com/login.aspx?direct=true&AuthType=ip&db=tfh&AN=85672747

Brunsell, E., & Horejsi, M. (2013). Science 2.0. Science Teacher, 80(2), 8.
http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip&db=sch&AN=85127911

 

Blended Learning Course Design: A Boot Camp for Instructors

Blended Learning Course Design: A Boot Camp for Instructors
http://bit.ly/12V6NzN

Madison, WI
July 29 – 30, 2013

This intensive two-day workshop offers one-to-one instruction and consultation from top innovators in blended learning. It’s a hands-on, working workshop. You bring a syllabus, exams, other course materials, and a computer. You leave with an action plan for a blended course that will keep you on the cutting edge of pedagogy.

Through this process, you will:

– Take one of your existing face-to-face courses and convert it into a blended format
– Feel comfortable and confident with the technology so that IT becomes an aid rather than a barrier to communicating with your students
– Learn the most pedagogically effective ways to blend instructional technology, course content, and course activities to promote interaction of students with each other, the instructor, and the content

You will finish with an understanding of how to balance what happens before class, what happens in class, and what happens after class. You will learn how to organize your own Learning Management System (LMS), and you will be exposed to the very best technology tools to support student learning.

Topics explored during this event include course design principles, pedagogical considerations, technology how-to’s, and student engagement strategies.

LEARN MORE AT http://bit.ly/12V6NzN

Enquiries: support@magnapubs.com

subtitles screencast coursecapture

Below is informative exchange on how to subtitle course capture (screencast):

Are we talking Camtasia Studio or Relay?

 

Relay no longer publishes to Flash – it was replaced with MP4 and a “Smart Player” – and the subtitling is stored in an XML file that is dynamically read by the Smart Player.

 

I can confirm that Studio burns the captions into an MP4, as Steve points out.

 

-Jeremy

 

   Jeremy Anderson

Instructional Technologist

203.582.3792 | jjanderson@quinnipiac.edu

From: The EDUCAUSE Blended and Online Learning Constituent Group Listserv [mailto:BLEND-ONLINE@LISTSERV.EDUCAUSE.EDU] On Behalf Of Covello, Steve
Sent: Friday, May 10, 2013 2:52 PM
To: BLEND-ONLINE@LISTSERV.EDUCAUSE.EDU
Subject: Re: [BLEND-ONLINE] Subtitling Screencasts

 

Camtasia captioning is burn-in, as far as I know (at least in Mac 2). So I don’t think Flash is an aspect of it unless that is the format you are exporting it as.

 

– Steve

 

Steve Covello

Rich Media Specialist/Online Instructor

Granite State College

603-513-1346

Skype: steve.granitestate

Scheduling: http://meetme.so/stevecovello

 

 

From: Frank Lowney <frank.lowney@GCSU.EDU>
Reply-To: The EDUCAUSE Blended and Online Learning Constituent Group Listserv <BLEND-ONLINE@LISTSERV.EDUCAUSE.EDU>
Date: Friday, May 10, 2013 2:42 PM
To: BLEND-ONLINE@LISTSERV.EDUCAUSE.EDU” <BLEND-ONLINE@LISTSERV.EDUCAUSE.EDU>
Subject: Re: [BLEND-ONLINE] Subtitling Screencasts

 

 

Both ScreenFlow (Mac-only) and Camtasia (Mac/Win) support subtitling.  Both are excellent screencast applications but I prefer ScreenFlow because it creates MPEG-4 files whereas Camtasia requires Flash for subtitles and that pretty much rules out mobile.

 

If these screencastsare made with some other, less expensive apps, I suggest using free, open source apps.  There are many but I prefer Jubler for creating subtitles and Subler for installing them in MPEG-4 files. These are Mac apps.

 

I’ve recently come across CapScribe which is free to education and plan to look it over carefully.  It looks very promising: http://www.inclusivemedia.ca/services/capscribe.shtml This is also Mac-only.

 

 

On May 10, 2013, at 12:00 AM, BLEND-ONLINE automatic digest system <LISTSERV@LISTSERV.EDUCAUSE.EDU> wrote:

 

Hello!

In creating accessible online and blended courses, one of the challenges we
are dealing with is making sure faculty created videos (narrated
PowerPoints, screencasts, etc.) are accessible.  I would love to hear how
others are handling this.  Do you recommend/require that these videos be
closed captioned?  If so, who is responsible for creating the closed
captions?  Do you have staff on campus that do this or is it the faculty
member’s responsibility?  Or do you use a service?  Can you recommend any
software that helps someone easily create closed captions or a service that
can provide this?

Thank you so much,
Andrea

Andrea Milligan
Director of Instructional Technology and Design
North Shore Community College
1 Ferncroft Road
Danvers, MA 01923
978-739-5425

==================================================================

Dr. Frank Lowney  Georgia College & State University

Projects Coordinator, Digital Innovation Group @ Georgia College

   Chappell Hall 212 (CBX 106)

Web SiteBlog, GCSU Email, iCloud Email

My latest book: The Coming ePublishing Revolution in Higher Education

Voice: (478) 445-1344

NOTICE: Please be advised that I am hearing impaired and communicate most effectively via e-mail.  Follow-up summaries of telephone conversations by e-mail are most appreciated.

 

basics of design: new handout

The new, 10th edition of “instructional Technology and Media for Learning” by Smaldino et al is out. on p. 191 there is a good layout of the basics for design as discuss during the design session of January 22, 2013. Link to the handouts of that session here:  https://blog.stcloudstate.edu/ims/2013/01/22/basics-of-design/

This is the link to a scanned copy of the pages related to visual design: http://web.stcloudstate.edu/informedia/design/visual_design_smaldino.pdf

personalized learning and achievement gap

https://www.edsurge.com/news/2022-03-28-can-personalized-learning-be-scaled-to-ease-teacher-burdens-and-close-achievement-gaps

McGraw Hill Plus, a new tool, Focusing first on math and then expanding to ELA and science, its objective is to make personalized learning scalable.

Smith: The modern classroom sits at the intersection of blended learning, competency-based learning and personalized learning.

reimagine instructional time and use technology to scale personalized learning.

First, pulling data into one place is the key fundamental driver that will change the teacher workflow. Second, we need to manipulate that data into some advanced data visualization tools, so it’s easy for teachers to understand and use. Third, we need to be able to visualize student performance and take action on it.
Using these data analytics, we can drive personalized learning based on student performance. And the last thing is the automation of teacher workflow.

eachers get data visualization from different sources, such as an adaptive software solution like our ALEKS program, our Redbird Mathematics, or our recently acquired Achieve3000 Literacy.

Hottest Edtech Topics for 2022 by ISTE

The Hottest Topics in Edtech for 2022

https://www.iste.org/explore/education-leadership/hottest-topics-edtech-2022

8. Augmented, mixed and virtual reality
7. Social-emotional learning
6. Equity and inclusion
5. Online tools and apps
4. Distance, online, blended learning
3. Computer science and computational thinking
2. Instructional design and delivery
1. Project-based learning

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5 Emerging Technology Trends Higher Ed Is Watching for in 2022

https://edtechmagazine.com/higher/article/2021/12/5-emerging-technology-trends-higher-ed-watching-2022

  1. Increased Adoption of Learning Analytics and Adaptive Learning
  2. Growth of Mobile Learning in Higher Ed
  3. Smarter Artificial Intelligence–Powered Tutors
  4. The Rise of Short-Form, Video-Based Learning
  5. Advanced VR and Immersive Learning Technologies

practise medicine in VR

Virtual reality has found a new role: Teaching doctors to deal with patients

Medical students and junior doctors are increasingly learning to practise medicine in VR

https://blog.stcloudstate.edu/ims/2021/03/10/journal-of-applied-instructional-design-jaid/

While COVID is driving clinical learning to VR, the teaching of human anatomy — which typically takes place in the early years of a medical degree — has already shifted to virtual reality in some universities. Case Western Reserve University’s medical school, for example, had been teaching anatomy on campus through content on Microsoft Hololens, rather than by dissecting cadavers as many universities do. Now, with students unable to come onto campus, the university has shipped headsets to students at home so they can continue learning at home.

++++++++++++++++++
more on immersive in this IMS blog
https://blog.stcloudstate.edu/ims?s=immersive

redefine learning

https://www.edsurge.com/news/2020-12-16-now-is-the-time-to-redefine-learning-not-recreate-traditional-school-online

The vast majority of emergent virtual and hybrid learning models appear to be “stuck at substitution”—that is, they seek to recreate or translate the brick-and-mortar school experience into the cloud without stopping to ask which aspects of those models may not truly serve students in the time of COVID-19 or beyond.

When we say “stuck at substitution,” some readers may recognize the SAMR model of education technology integration. The SAMR framework describes four different levels of technology use, from Substitution to Augmentation, Modification and Redefinition (SAMR). At its most basic level, education technology can be used to simply substitute: to replace traditional methods of teaching and learning with ones that are digitally mediated, but are still based on the same basic structure and pedagogy.

SAMR

 

edtech can be used for augmentation, to bring some other affordance or benefit to the teaching and learning experience—for example, when that worksheet becomes a shared Google Doc that allows for collaboration and increased critical thinking.

Redefinition means thinking beyond existing paradigms and schedules that are built for an on-campus experience. It is the opportunity to imagine entirely new ways of teaching and learning—for example, attendance policies that emphasize engagement versus seat time, blended learning models that leverage technology for anywhere, anytime learning, and instructional design that allows increased student choice and participation.

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more on online learning in this IMS blog
https://blog.stcloudstate.edu/ims?s=online+learning

learning paradigms

Radianti, J., Majchrzak, T. A., Fromm, J., & Wohlgenannt, I. (2020). A systematic review of immersive virtual reality applications for higher education: Design elements, lessons learned, and research agenda. Computers & Education, 147, 103778. https://doi.org/10.1016/j.compedu.2019.103778

p. 3

2.2. Learning paradigms

An understanding of the existing learning paradigms is essential for performing an analysis of the current state of VR applications in higher education. Thus, we introduce the main ideas behind the existing learning paradigms. Literature distinguishes between behaviorism, cognitivism, and constructivism (Schunk, 2012). Other scholars also include experiential learning (Kolb & Kolb, 2012) to this list and, recently, connectivism has been introduced as a new learning paradigm (Kathleen Dunaway, 2011; Siemens, 2014). Each learning paradigm has developed various theories about educational goals and outcomes (Schunk, 2012). Each of these theories also offers a different perspective on the learning goals, motivational process, learning performance, transfer of knowledge process, the role of emotions, and implications for the teaching methods.

Behaviorism assumes that knowledge is a repertoire of behavioral responses to environmental stimuli (Shuell, 1986; Skinner, 1989). Thus, learning is considered to be a passive absorption of a predefined body of knowledge by the learner. According to this paradigm, learning requires repetition and learning motivation is extrinsic, involving positive and negative reinforcement. The teacher serves as a role model who transfers the correct behavioral response.

Cognitivism understands the acquisition of knowledge systems as actively constructed by learners based on pre-existing prior knowledge structures. Hence, the proponents of cognitivism view learning as an active, constructive, and goal-oriented process, which involves active assimilation and accommodation of new information to an existing body of knowledge. The learning motivation is intrinsic and learners should be capable of defining their own goals and motivating themselves to learn. Learning is supported by providing an environment that encourages discovery and assimilation or accommodation of knowledge (Shuell, 1986),RN23. Cognitivism views learning as more complex cognitive processes such as thinking, problem-solving, verbal information, concept formation, and information processing. It addresses the issues of how information is received, organized, stored, and retrieved by the mind. Knowledge acquisition is a mental activity consisting of internal coding and structuring by the learner. Digital media, including VR-based learning can strengthen cognitivist learning design (Dede, 2008). Cognitive strategies such as schematic organization, analogical reasoning, and algorithmic problem solving will fit learning tasks requiring an increased level of processing, e.g. classifications, rule or procedural executions (Ertmer & Newby, 1993) and be supported by digital media (Dede, 2008).

Constructivism posits that learning is an active, constructive process. Learners serve as information constructors who actively construct their subjective representations and comprehensions of reality. New information is linked to the prior knowledge of each learner and, thus, mental representations are subjective (Fosnot, 2013; Fosnot & Perry, 1996). Therefore, constructivists argue that the instructional learning design has to provide macro and micro support to assist the learners in constructing their knowledge and engaging them for meaningful learning. The macro support tools include related cases, information resources, cognitive tools, conversation, and collaboration tools, and social or contextual support. A micro strategy makes use of multimedia and principles such as the spatial contiguity principle, coherence principle, modality principle, and redundancy principle to strengthen the learning process. VR-based learning fits the constructivist learning design (Lee & Wong, 2008; Sharma, Agada, & Ruffin, 2013). Constructivist strategies such as situated learning, cognitive apprenticeships, and social negotiation are appropriate for learning tasks demanding high levels of processing, for instance, heuristic problem solving, personal selection, and monitoring of cognitive strategies (Ertmer & Newby, 1993).

Experientialism describes learning as following a cycle of experiential stages, from concrete experience, observation and reflection, and abstract conceptualization to testing concepts in new situations. Experientialism adopts the constructivist’s point of view to some extent—e.g., that learning should be drawn from a learner’s personal experience. The teacher takes on the role of a facilitator to motivate learners to address the various stages of the learning cycle (Kolb & Kolb, 2012).

Connectivism takes into account the digital-age by assuming that people process information by forming connections. This newly introduced paradigm suggests that people do not stop learning after completing their formal education. They continue to search for and gain knowledge outside of traditional education channels, such as job skills, networking, experience, and access to information, by making use of new technology tools (Siemens, 2014).

Hamlet on the HoloDeck

Murray, J. H. (1997). Hamlet on the holodeck: The future of narrative in cyberspace. Free Press.
https://mnpals-scs.primo.exlibrisgroup.com/permalink/01MNPALS_SCS/qoo6di/alma990011592830104318
Since 1992 I have been teaching a course on how to write electronics section. My students include freshman, writing majors, and media lab graduate students.
As I watch the yearly growth in ingenuity among my students, I find myself anticipating a new kind of storyteller, one who is half hacker, half bard. The spirit of the hacker is one of the great creative wellspring Safari time, causing the in animate circuits to sync with ever more individualized and quirky voices; the spirit of the bard is eternal and irreplaceable, telling us what we are doing here in about we mean to one another.
p. 12 A New Medium of Storytelling
p. 18 Aldous Huxley Brave New World
(more on it here https://blog.stcloudstate.edu/ims?s=huxley)
Set 600 years from now, describes a society that science has dehumanized by eliminating love, parenthood, and the family in favor of generating engineering, test tube delivery, and state indoctrination. Books are banned, and science has come up with a substitute form of storytelling to delete the masses.
p. 20 Ray Bradbury Fahrenheit 451
p. 22 this accounts of a digital dystopia but eroticize and demonize the computer. Cyberpunks surfers are like Cowboys on the new frontier motorcycle hoodlums with a joystick in their hand instead of a motorcycle between their legs. They are outlaw pirates on an endless voyage of exploration throughout the virtual world riding and plundering among the invisible data hoards of the world in many states by the stronger pirate parents who reach in and reprogram their minds.
p. 22 William Gibson Neurmancer
p. 28 The Harbinger on the the Holodeck
The technical in economic cultivation of this freestyle new medium of communication has led to several new varieties of narrative entertainment. This new storytelling formats very from the shoot them up video game in the virtual dungeons of Internet role-playing games to the post modern literary hypertext. This wide range of narrative art holds the promise of a new medium of expression that is S varied SD printed book or the movie picture.
Books printed before 1501 or cold incunabula; the word is derived from the Latin for swaddling clothes and is used to indicate that this books are the work of a technology still in its infancy.
The garish video games in tangled websites of the current digital environment or part of a similar period of technical evolution, part of a similar struggle for the conventions of coherent communication.
p. 29 now, in the incunabular days of the narrative computer. We can see how 20th century novels, films, and please have been steadily pushing against the boundaries of linear storytelling. We therefore have to start our survey of the harbingers of the holiday back with a look at multiform stories, that is, linear narrative straining against the boundary of pre-digital media like a two dimensional picture trying to burst of its frame.
p. 30 The multiform story
Frank Capra’s It’s a wonderful life
p. 34 Robert Zemeskis Back to the Future
p. 35 Harold Ramis’s Groundhog Day
Multi forms stories often reflect different points of view of the same event.  p. 37 Kurosawa Rashomon, the same crime is narrated by four different people: a rape victim; her husband, who is murdered; the bandit who attacked them; and a bystander.
p. 37 Milorad Pavic’s Dictionary of the Khazars
p. 37 Multi form narrative attempts to give a simultaneous form to this possibilities, to allow us to hold in our minds at the same time multiple contradictory alternatives.
p. 38  active audience
When the writer expands the story to include multiple possibilities, the reader assumes a more active role.
p. 40 although television viewers have long been accused of being less active engaged in readers or theatergoers, research on thin culture provides considerable evidence that viewers actively appropriate the stories of their favorite series. In addition to sharing critical commentary and gossip, fans create their own stories by taking characters and situations from the series and developing them in ways closer to their own concerns.
p. 42 role playing games or theatrical in a non-traditional but thrilling way. Players are both actors and audience for one another, and events the purple tree often have the media seat of personal experience.
p. 43 Live theater has been incorporating the same qualities of spontaneity and audience involvement for some time.
p. 43 MUDs have allowed distant players on the Internet to share a common virtual space in which they can chat with one another in real time. A the social psychologist Sherry Turkle has persuasively demonstrated, mods are intensely “evocative” environments for fantasy play that allow people to create and sustain elaborate fictional personas.
p. 44 movies three dimensions
p. 51 dramatic storytelling in electronic games
p. 55 story webs
p. 59 computer scientist as storytellers
p. 65 Chapter 3 From Additive to Expressive Form
beyond multimedia
Sept 28, 1895 Arrival of the Train at La Ciotat Station
p. 66 photoplays
p. 67 one of the lessons we can learn from the history of film is that additive formulations like photo play or the contemporary catshall ‘multimedia” or a sign that the medium is in an early stage of development and it is still depending on the format derived from earlier technologies instead of exploiting its own expressive power. Today the derivative mindset is apparent in the conception of cyber space is the place to view “pages” of print or “clips” of moving video end of cedar rooms is offering “extended books.”
p. 60 ELIZA, 1966 Joseph Weizenbaum
p. 71 the four essential properties of digital environments
Digital environments are procedural
Digital environments are participatory
Digital environments are spacial
Digital environments are encyclopedic
p. 90 Digital structures of complexity
p. 95 part to the aesthetics of the medium
chapter 4 immersion
definition
The experience of being transported to an elaborate please simulator please it’s pleasurable in itself regarding of the fantasy contact. we Refer to this experience as immersion. Immersion is a metaphorical term derived from the physical experience of being submerged in water. We seek the same feeling from a psychologically immersive experience that we do from a plunge in the ocean or swimming pool: the sensation of being surrounded by a completely other reality, as different is water is from air, that takes over all of our attention, our whole perceptual apparatus.
p/ 99 entering the enchanted place
my note: ghost in the machine
The computer itself, even without any fantasy content, is an enchanted object. Sometimes it can act like an autonomous, animate being, sensing it’s environment in carrying out internally generated processes, yet it can also seem like an extension of our own consciousness, capturing our words through the keyboard in displaying them on the screen as fast as we can thank them.
p. 110 the active creation of belief
In digital environments we have new opportunities to practice this active creation of belief. For instance, in an interactive video program set in Paris that may research group designed in the 1980s for language learners, we included a working telephone, represented by a photograph of a phone who’s keypad could be clicked on .
p. 112 structuring participation with a mask .
p. 119 regulating arousal According to Winnicott, “the pleasurable element in playing Carris whit eight employee Kasian that the instructional a razzle is not excessive”; that is, the object of the imaginary world should not be too enticing, scary, or real let the immersive trance be broken. This is true in any medium. If a horror movie is too frightening, we cover our eyes or turn away from the screen.
p. 126 chapter Agency
Agency is the satisfying power to take meaningful action and see the results of our decisions and choices. We expect to feel agency on the computer when we double click on a file and seat open before us or when we enter numbers in a spreadsheet and see the totals readjust. However, we do not usually expect to experience agency within a narrative environment.
p. 129 the pleasures of navigation
One form of agency not dependent on the game structure yet characteristic of digital environment is spatial navigation. The ability to move through virtual landscapes can be pleasurable in itself, independent of the content of the spaces.
p. 130 the story of the maze
the adventure maze embodies a classic fair-tale narrative of danger and salvation. as a format for electronic narrative, the maze is a more active version of the immersive visit (chapter 4).
p. 134 Giving Shape to Anxiety
p. 137 The Journey Story and the Pleasure of Problem Solving
p. 140 Games into Stories
p. 142 Games as Symbolic Dramas

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