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Presentation at Coe College, November 5, 2010


<ul><li> 1. E-Portfolios in Higher Education: Engagement and Communication Dr. Helen Barrett November 5, 2010 </li></ul><p> 2. Key Concepts Definitions Portfolios for Lifelong Learning Balancing the 2 Faces of E-Portfolios Identity Development Online Professional Branding Reflection, Motivation &amp; Engagement Digital Storytelling and Reflection 3. Legacy from the Portfolio Literature Much to learn from the literature on paper-based portfolios As adult learners, we have much to learn from how children approach portfolios Everything I know about portfolios was confirmed working with a kindergartener 4. The Power of Portfolios what children can teach us about learning and assessment Author: Elizabeth Hebert Publisher: Jossey-Bass Picture courtesy of 5. The Power of Portfolios Author: Dr. Elizabeth Hebert, Principal Crow Island School, Winnetka, Illinois Picture taken by Helen Barrett at AERA, Seattle, April, 2001 6. From the Preface (1) Portfolios have been with us for a very long time. Those of us who grew up in the 1950s or earlier recognize portfolios as reincarnations of the large memory boxes or drawers where our parents collected starred spelling tests, lacy valentines, science fair posters, early attempts at poetry, and (of course) the obligatory set of plaster hands. Each item was selected by our parents because it represented our acquisition of a new skill or our feelings of accomplishment. Perhaps an entry was accompanied by a special notation of praise from a teacher or maybe it was placed in the box just because we did it. Hebert, Elizabeth (2001) The Power of Portfolios. Jossey-Bass, p.ix 7. From the Preface (2) We formed part of our identity from the contents of these memory boxes. We recognized each piece and its association with a particular time or experience. We shared these collections with grandparents to reinforce feelings of pride and we reexamined them on rainy days when friends were unavailable for play. Reflecting on the collection allowed us to attribute importance to these artifacts, and by extension to ourselves, as they gave witness to the story of our early school experiences. Hebert, Elizabeth (2001) The Power of Portfolios. Jossey-Bass, p.ix 8. From the Preface (3) Our parents couldnt possibly envision that these memory boxes would be the inspiration for an innovative way of thinking about childrens learning. These collections, lovingly stored away on our behalf, are the genuine exemplar for documenting childrens learning over time. But now these memory boxes have a different meaning. Its not purely private or personal, although the personal is what gives power to what they can mean. Hebert, Elizabeth (2001) The Power of Portfolios. Jossey-Bass, p.ix-x 9. Lets get personal Think for a minute about: Something about your COLLECTIONS: Suggested topics: If you are a parent, what you saved for your children What your parents saved for you What you collect Why you collect 10. Some issues to consider What do your collections say about what you value? Is there a difference between what you purposefully save and what you cant throw away? How can we use our personal collections experiences to help learners as they develop their portfolios? The power of portfolios [to support deep learning] is personal. 11. Portfolio One Word, Many Meanings 12. DEFINITIONS What is a Portfolio? Who was the first famous folio keeper? 13. What is a Portfolio? Dictionary definition: a flat, portable case for carrying loose papers, drawings, etc. Financial portfolio: document accumulation of fiscal capital Educational portfolio: document development of human capital 14. What is a Portfolio in Education? A portfolio is a purposeful collection of [academic] work that exhibits the [learner/workers] efforts, progress and achievements in one or more areas [over time]. (Northwest Evaluation Association, 1990) 15. +Electronic digital artifacts organized online combining various media (audio/video/text/images) 16. Purpose The overarching purpose of portfolios is to create a sense of personal ownership over ones accomplishments, because ownership engenders feelings of pride, responsibility, and dedication. (p.10) Paris, S &amp; Ayres, L. (1994) Becoming Reflective Students and Teachers. American Psychological Association 17. Four key pillars of Lifelong Learning (Barbara Stuble, Curtin University of Technology, Australia) 18. Knowing the learner (Self-awareness) Understanding prior knowledge Motivation for and attitudes toward learning Help learners understand themselves See their growth over time 19. Planning for learning (Self management) Setting goals Develop a plan to achieve these goals 20. Understanding how to learn (Meta-learning) Awareness of learners to different approaches to learning Deep vs. Surface Learning, Rote vs. Meaningful Learning Different Learning Styles Help learners recognize success Accommodate approaches that are not successful 21. Evaluating learning (Self monitoring) Systematic analysis of learners performance Responsibility to construct meaning Be reflective &amp; think critically Learners construct meaning, monitor learning, evaluate own outcomes 22. Deep Learning involves reflection, is developmental, is integrative, is self-directive, and is lifelong Cambridge (2004) 23. Know Thyself Temple at Delphi 24. Managing Oneself Success in the knowledge economy comes to those who know themselves their strengths, their values, and how best they perform. New Purpose: Use ePortfolios for managing knowledge workers' career development What are my strengths? How do I perform? What are my values? Where do I belong? What should I contribute? Responsibility for Relationships The Second Half of your Life Peter Drucker, (2005) Harvard Business Review 25. DEFINITIONS What is an electronic portfolio? 26. QUOTE The e-portfolio is the central and common point for the student learning experience It is a reflection of the student as a person undergoing continuous personal development, not just a store of evidence. -Geoff Rebbeck, e-Learning Coordinator, Thanet College, quoted in JISC, 2008, Effective Practice with e-Portfolios 27. Lifelong Context for ePortfolios 28. E-Portfolio Components &lt; Multiple Portfolios for Multiple Purposes -Celebrating Learning -Personal Planning -Transition/entry to courses -Employment applications -Accountability/Assessment &lt; Multiple Tools to Support Processes -Capturing &amp; storing evidence -Reflecting -Giving &amp; receiving feedback -Planning &amp; setting goals -Collaborating -Presenting to an audience &lt; Digital Repository (Becta, 2007; JISC, 2008) 29. Multiple Purposes from Hidden Assumptions What are yours? Showcase Assessment Learning 346082.png 30. Multiple Purposes of E-Portfolios in Education Learning/ Process/ Planning Marketing/ Showcase/ Employment Assessment/ Accountability "The Blind Men and the Elephant by John Godfrey Saxe 31. ePortfolio designs/strategies for different purposes Showcase Portfolios (Employment, Self-marketing) Organized thematically (position requirements) Focus of Reflection: Suitability for position Tools: Choice of portfolio owner personalized web pages digital footprint Personal online branding 32. ePortfolio designs/strategies for different purposes Assessment/Accountability Portfolios (Summative assessment) Organized thematically (outcomes, goals or standards) Focus of Reflection: Achievement of Standards (rationale) Tools: Assessment system with data from scoring rubrics Faculty role: Evaluation 33. Forms of Assessment Formative Assessments Provides insights for the teacher Assessment FOR Learning Provides insights for the learner Summative Assessments (Assessment OF Learning or Evaluation) Provides insights (and data) for the institution Nick Rate (2008) Assessment for Learning &amp; ePortfolios, NZ Ministry of Ed 34. Two Paradigms of Assessment (Ewell, 2008) Assessment for Continuous Improvement Assessment for Accountability Strategic Dimensions: Purpose Stance Predominant Ethos Application Choices: Instrumentation Nature of Evidence Reference Points Communication of Results Uses of Results Formative (Improvement) Internal Engagement Multiple/Triangulation Quantitative and Qualitative Over Time, Comparative, Established Goal Multiple Internal Channels and Media Multiple Feedback Loops Summative (Judgment) External Compliance Standardized Quantitative Comparative or Fixed Standard Public Communication Reporting Ewell, P. (2008) Assessment and Accountability in America Today: Background and Content. P.170 35. Opportunity Cost The alternative you give up when you make a decision The cost of an alternative that must be forgone in order to pursue a certain action What is the opportunity cost of emphasizing accountability in portfolios over reflection, deep learning, and continuous improvement? 36. Goal: Balance in Electronic Portfolios Accountability (Institution-Centered) Improvement (Student-Centered) (Or Course-Centered) Opportunity Cost ?? ?? Purpose Along a Continuum 37. Goal: Balance in Electronic Portfolios Accountability Highly Structured Uniformity and Standardization Required Assignments Faculty Evaluation Complexity Checklist Data! Improvement Opportunity Cost Engagement Deep Learning Personalization Choice and Voice Lifelong Skills Ease of Use Ownership Time Purpose 38. Goal: Balance in Electronic Portfolios Accountability Opportunity Cost Faculty Time Ease of Scoring Collection of Data for Accountability Institutional Support &amp; Funding? Improvement Flexible Structure Self-Assessment &amp; Feedback Lifelong Learning Skills More Social Learning Personalization Choice and Voice Engagement Story Purpose 39. Goal: Balance in Electronic Portfolios Accountability Faculty Feedback Uniformity Flexible Requirements Data Program Improvement Improvement Self-Assessment Personalization Choice and Voice Student Engagement Increased Achievement Opportunity Cost Social LearningFaculty Time Involvement Complexity Purpose 40. ePortfolio designs/strategies for different purposes Learning Portfolios Organized chronologically Focus of Reflection: Learning Activities &amp; Artifacts Tools: Reflective Journal (blog) Faculty/peer role: Feedback on artifacts and reflection 41. Portfolio Learning Figure 2 A model of e-portfolio-based learning, adapted from Kolb (1984) JISC, 2008, Effective Practice with e-Portfolios, p. 9 Experience Understanding FeelingReviewing Reflecting Publishing &amp; Receiving Feedback Sharing &amp; Collaborating Dialogue Selecting Synthesizing Recording Organizing Planning Conceptualizing &amp; Constructing Meaning 42. ePortfolio Mash-up ePortfolio Mash-up Small pieces, loosely joined Lifetime Personal Web Space 43. Creating Digital Identity YouTube and other social media can mitigate the cultural tension between teens conflicting needs for independence and community by offering them connection without constraints. What looks like narcissism and individuality is actually a search for identity and recognition. Wesch: In a society that doesnt automatically grant identity and recognition, you have to create your own. PopTech: Michael Wesch on Using Social Networking For Good, September 23, 2010 44. Digital Identity 45. Some Basic Concepts ePortfolio is both process and product Process: A series of events (time and effort) to produce a result - From Old French proces (journey) Product: the outcome/results or thinginess of an activity/process - Destination 46. Balancing the 2 Faces of E-Portfolios 47. Types of E-Portfolio Implementation Working Portfolio The Collection The Digital Archive Repository of Artifacts Reflective Journal Collaboration Space Portfolio as Process -- Workspace (PLE)shoebox Presentation Portfolio(s) The Story or Narrative Multiple Views (public/private) Varied Audiences (varied permissions) Varied Purposes Portfolio as Product -- Showcase 48. Structure of E-Portfolio Types Portfolio as Process/ Workspace Organization: Chronological eDOL (Electronic Documentation of Learning U. of Calgary) Documenting growth over time for both internal and external audiences Primary Purpose: Learning or Reflection Reflection: immediate focus on artifact or learning experience Portfolio as Product/ Showcase Organization: Thematic Documenting achievement of Standards, Goals or Learning Outcomes for primarily external audiences Primary Purpose: Accountability or Employment or Showcase Reflection: retrospective focus on Standards, Goals or Learning Outcomes (Themes) 49. Boundaries Blurring (between e-portfolios &amp; social networks) Structured Accountability Systems? or Lifelong interactive portfolios Mash-ups Flickr YouTubeblogs wikis Twitter Picasa Facebook Ning 50. Electronic Portfolios almost two decades (since 1991) used primarily in education to store documents reflect on learning feedback for improvement showcase achievements for accountability or employment 51. Social networks last five years store documents and share experiences, showcase accomplishments, communicate and collaborate facilitate employment searches 52. 53 Processes Portfolio Collection Selection Reflection Direction/Goals Presentation Feedback Technology Archiving Linking/Thinking Digital Storytelling Collaborating Publishing Social Networking Connect (Friending) Listen (Reading) Respond (Commenting) Share (linking/tagging) 53. Think! Engagement Factors? Social networks? ePortfolios? 54. The Future? Future of Personal Metadata in the cloud World Economic Forum: potential impact on human capital development and economic implications. (Quite big picture!) (Paul Kim, Stanford University) PrPl and PCB: a new e-portfolio environment in th 55. Portfolios Can help learners find their Voice and explore their Purpose and Passions through Choice! 56. ePortfolios should be more Conversation than Presentation (or Checklist) Because Conversation transforms! 57. Do Your e-Portfolios have CHOICE and VOICE? Individual Identity Reflection Meaning Making 21st Century Literacy 58. Voice 6+1 Trait Definition Voice is the writer coming through the words, the sense that a real person is speaking to us and cares about the message. It is the heart and soul of the writing, the magic, the wit, the feeling, the life and breath. When the writer is engaged personally with the topic, he/she imparts a personal tone and flavor to the piece that is unmistakably his/hers alone. And it is that individual somethingdifferent from the mark of all other writersthat we call Voice. 59. Strategies for Helping...</p>