Subject topics:
Subject: Re: TEACHING - Methods for Assessing Large Classes
Subject: Re: Complex-Level Thinking Skills (fwd)
Subject: ESSAY - #7: My Course In Creativity
Subject: Competency Matrices
Subject: CoRT and teaching (2)
Subject: Re: Benefits of Concept Maps
Walter Derzko
wderzko@epas.utoronto.ca
============================================================================
From: Jeff Tanner <Jeff_Tanner@BAYLOR.EDU>
Subject: Re: TEACHING - Methods for Assessing Large Classes
I use concept mapping, too, but somewhat differently. I have students
draw a concept map at the end of a section (perhaps two lectures).
Then they get in groups of three or four and develop a group map,
discussing why their maps are what they are. Sometimes I find two or
three dominant patterns, which can indicate that I've not communicated
as I intended or can indicate the richness of the concepts, depending
on the situation.
Concept maps do not work well, I've found, when you are discussing
processes (such as the new product development process) but work best
when discussing theories (such as organizational buying).
Again, I've used them to help students understand and assess my
effectiveness, rather than to assess the students' knowledge, but that
seems like a reasonable use, too.
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Date: Sun, 29 Oct 95 08:48 EST
From: "Dale Cyphert" <DXC20@PSUVM.PSU.EDU>
Subject: Re: Complex-Level Thinking Skills (fwd)
This is an interesting question. It sounds as though you are looking for an
"off the shelf" model of critical thinking, and I'm not altogether sure there
is such an animal. At least, not one that is empirically based AND allows for
the cultural pressures to use and value certain aspects of cognition. One
runner up is Kuhn, Amsel and O'Loughlin, _The Development of Scientific and
Thinking Skills_. In order to make the analytics accessible to real students,
though, who do not all come from the academic elite, I would recommend any
number of explorations into "learning style". The more substantial cognitive
discussions can be a bit abstract (Horning, _The Psycholoinguistics of
Readable Writing_; Olson and Torrance, _Literacy and Orality_; Loeng &
Randhawa, _Understanding Literacy and Cognition_) but they can get you
thinking about what it takes to start "where the students are."
Regards,
Dale Cyphert
dxc20@psuvm.psu.edu
Department of Speech Communication
Penn State Univ
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From: SRAMOCKI@grog.ric.edu
Date: Thu, 09 Nov 1995 14:52:01 -0500 (EST)
Subject: ESSAY - #7: My Course In Creativity
After dealing with the associated concepts for a number of years I
decided it was time to develop a course in creativity. from the
onset, however, it must be pointed out that creativity must be
integrated throughout the curriculum. Thus, one course is only one
course and, since we have likened learning creativity to learning a
foreign language, one course is insufficient. This will be discussed
further in another session. There have been problems encountered
along the way, as you might imagine. This segment broaches the
salient problems, and discusses the approach I use in the course
itself.
The Problems
The problems I have encountered revolve around two areas. The first
is that there really were not sufficient materials around with which
to construct the course, at least not that jumped out at me as obvious
candidates. To some extent this is still the case. However, given
that the subject is creativity, this should not overly befuddle or
frustrate one! The second major problem was/is that of sanctioning
the course. Most of this session will be spent on the former, but
before we proceed I want to mention a few of the latter implications.
One issue that immediately surfaced was the insistence that the course
carry a marketing label. Flak emerged that we couldn't just teach a
course called creativity in the business department. Thus I had to
name it marketing creativity, which actually is a misnomer. Some of
the issues and examples involve marketing, management etc. but my
thesis is that marketing (and business) students just need to learn to
be creative; then they can worry about what domains will receive their
attentions. But for whatever reason (I suspect it has to do with the
traditionally entrenched educational process) my colleagues think that
all courses need a distinct tag. Furthermore, the same problem is
encountered when the course gets to the college curriculum committee,
where turf protection becomes an issue. I also have not been
successful in convincing the other areas (management, economics,
accounting, etc.) to allow the course to count as a restrictive
elective in the major. This is very consistent, of course, with what
always accompanies novelty and creative endeavor - much balking and
resistance. It "jars my preserves" no end, however, to deal with the
fact that they just can't see the marginal advantages of creative
development over an extra course in the traditional major. In any
case you must be prepared to deal with these and related problems.
All right, enough on the political front; let's get to the
construction of the actual course. Concerning a textbook (which one
could possibly do without) I use The Nature of Creativity -
Contemporary Psychological Perspectives (Sternberg, *1988). This is
an edited book of perspectives from many prominent psychologists who
have studied creativity over the last thirty years. Although some of
the articles are tedious, at least half are profound and provide
excellent handles on the constructs which must be cognitively
entertained. I supplement the text with a number of articles:
*Sternberg's and Lubart's "Investment Theory of Creativity" (in my
judgement the best overall article written on creativity) 1991b;
Sternberg *1986 where he differentiates among wisdom, intelligence,
and creativity; Perkins, D.N. "Thinking Frames: An Integrative
Perspective on Teaching Cognitive Skills," a chapter in Teaching
Thinking Skills: Theory and Practice, Joan Boykoff Baron and Robert J.
Sternberg, eds. New York: W.H. Freeman and Co. (1987). Those
constitute the nucleus so far. I also try to include some
contemporary short articles that appear in newspapers, magazines, etc.
I currently am reading a book which may hold some promise in the
organizational directions: Creative Action in Organizations by Ford
and Gioia (1995); Sage Publications. The lack of research and
applications towards organizations represent some of the apprehension
on the parts of the faculty as far as sanctioning the course in their
respective majors; so this type of book may help to bridge that gap.
But, as I believe I alluded in an early session, don't hold your
breath as far as great insight into the organizational dilemmas of
creativity. I do interject the topic periodically, but it's
complicated enough from the perspective of the individual (isn't it?);
plus the topic for what has been attempted really is in the embrionic
stages.
An Individual Project
As behavior is critical to the development of creativity, a major
portion of the course revolves around the student embarking upon an
original venture of whatever sort. This accounts for about 50% of the
evaluation. Evaluation can detract from creativity so its very use
poses a dilemma. I believe that it's the process that must be
evaluated moreso than the product, and I'm not alone on that front
(Baloche et. al. 1992). The goal is to encourage the student to
employ the creative process, which naturally is novel to him/her, to
reach towards a creative product which may or may not completely
emerge by the end of the course. Again, it's the thought and behavior
that count. How do students conceive the initial directions in which
they might go? Sometimes a student thinks of a problem directly that
must be solved. That's certainly valid, though I try to discourage
that approach; I like more confusion and ambiguity in this stage of
the process. Sometimes they start with one of the models that has
been discussed; I try to get to these early on. They may just tinker
with a concept from one of their courses and distort it or enlarge
upon it. They may force themselves to bridge two or three apparently
independent concepts or domains in order to generate an idea. They
get a couple of chances to demonstrate their processes in front of the
class, to get feedback etc., before the final report and presentation.
Examples of products that have emerged with various degrees of polish
are: a new boardgame; new automobile antitheft concept; a new teaching
strategy; a career counseling strategy; the list goes on. That's just
another reason I don't like to tag the course with an adjectival
label. Creativity is relevant in all domains in one form or another.
Examinations
I don't stress the exams as much, although there is logic to ensuring
the student has grasped some of the cognitive material. Thus I
usually give one exam (it may not be a final per se) that covers the
major concepts that have been discussed and assigned. This is
weighted about 30%. I also require students to hand in an outline
that covers the concepts they think are critical to creative behavior
and output. One student accomplished this in the form of a mobile.
Hey, I just said to design an outline; I carefully avoided assigning a
specific structure. I naturally gave it an "A." In fact it's still
hanging in my office. These are some of the behaviors that
(hopefully) happen and come to be appreciated. Class participation
also is part of the total assessment, as are short exercises which
teach the models, etc. Sometimes I require these in written form;
othertimes notes are sufficient for the classroom discussion.
So overall my weighting is about as follows: project 50%; exam 30%;
outline 10%; participation 10%. I have taught the course twice, and
the students love it, especially their project. It's probably the
first time that they have been able to accomplish or initiate
something that is quite unrestrained and to experience the
accompanying internal gratification of the process. They realize that
they can rise to the occasion again! Once more, this is my thesis.
Creative development is the skill which will grant students real long
run advantages over others lacking such skill.
Preview of Essay #8
Integrating Creativity Throughout The Curriculum
-- Peter Palij Internet: pbp1@columbia.edu Columbia University, Graduate School of Business 804 Uris Hall Moderator: elmar@columbia.edu New York NY 10027 elmar questions to: elmar-request@columbia.edu----------------------------------------------------------------------------
From: Jim Clauson <CLAUSON_JR@A1.RSCC.CC.TN.US> Subject: Competency Matrices
TQL-ers -- we are indeed lucky to have a new subscriber - Myron Tribus - who coincidently has been co-developing the matrices we have been discussing. Following is his first message:
In the last day or so there have been several messages about the Competency Matrices which David Langford and I have been working on for about six years.
The educational philosophy which undergirds the matrix should be understood if the power of these Matrices is to be realized. A key element is the distinction between learning OBJECTIVES and the PROCESS whereby the objectives are to be met.
REGARDING OBJECTIVES Young students generally are not in a position to determine learning objectives for themselves. Rather they are set by adults who think they understand the requirements of the outside world. As students mature, they are given more and more responsibility to determine what these requirements are. That idea is not new. It is the concept behind the current educational system of restricted and free electives. Adults decide for themselves what they will learn, though if they seek a professional degree they are not entirely free regarding content and competency.
PROCESS On the other hand, students have a great deal to say about the learning PROCESS. Common sense tells us that if they find the process joyful, they will learn better. Just like the workers in a factory, the students know better than the teacher what is working and what is not.
If a class is conducted in a quality way, students will participate with the instructor in determining HOW they will learn. Of course, if they are to thus participate, there needs to be a way for:
a) The students to test for themselves if they have learned what they should. b) The teacher to be able to determine of the students have learned. c) Third parties to be reassured that they have spent their time and resources well.
MATRICES Two kinds of matrices are involved. The first is a Resource Matrix and the second is a Competency Matrix. David has found that spread sheet technology is a great boon in the development of these matrices. They are developed in much the same way that a Quality Function Deployment matrix is developed. That is, the subject to be studied is analyzed using a tree structure, to identify the various concepts, relationships, methods, techniques, factual basis, etc., etc., of which the subject is comprised. These "bytes" of knowledge form the rows of the matrix. For example, if the subject was "How to Facilitate a Quality Improvement Team" it would not take too much imagination to visualize the major categories such as:
1. Understanding the quality philosophy 1.1 Who are the important leaders? 1.1.1 Deming 1.1.1.1 The 14 points 1.1.1.2 System of profound Knowledge 1.1.2 Juran 1.1.3 Ishikawa
1.2 What did they espouse?
etc., etc.
These items are used in the rows of the matrix.
RESOURCE MATRIX In the Resource Matrix, the columns represent the various resources which are available for learning the items described in the rows. Typical entries in the columns might be: a) Lecture by teacher, b) Videos c) Textbook d) Reference Books e) Visiting lecturer f) Laboratory Experiments g) Field Trips
The Resource Matrix is used by both students and teacher to evaluate the usefulness of these resources to the objectives of the course. At each intersection, the teacher puts a number to indicate how well the teacher thinks this resource helps each that objective. We propose that a numbering system such as
0 = no bearing on the topic 1 = some bearing 2= very significant.
Students are encouraged to give their evaluation as well. The teacher can use computer technology to develop a rating by the students as to how well the resource helped them learn. This can then lead to improvement in selection of resources. By studying the mean scores and the variance for each resource, the teacher can decide how useful the resource has been and may be able to see how to use it in a better way.
THE COMPETENCY MATRIX The Resource Matrix cannot be used effectively unless a Competency Matrix is developed. In this matrix the same topics appear in the rows, but now the columns represent levels of competence. Teachers who are familiar with Bloom's Taxonomy will have no difficulty in understanding what goes in the columns. David and I propose, however, that much better results will be obtained if the students and teacher discuss and negotiate the definitions. Here, in a simplified way, is a set of definitions of levels of accomplishment:
Level Nature of Accomplishment Obtained by =============================================== =================== 1 I know what other people are talking about Reading a book, listening 2 I can explain it in my own wods Discussion, study 3 I can solve routine problems Solving set problems 4 I can recognize and solve problems Facing real situations 5 I can teach someone else Helping others
There are many reference works which discuss variations on Bloom's taxonomy. We urge that students and teachers work them out for themselves.
For each level, it is important that the students and teacher answer these questions:
a) How will I, the student know when I am at one or another level? b) How will the teacher know? c) How will we demonstrate this to a third party?
Further, for each level, teacher and student should understand:
a) What the teacher is supposed to do b) What the student is supposed to do
With all this discussion and negotiation behind them, the students and teacher can now go on to the development of the competency matrix. The columns are labeled with the level of competence, 1,2,3,... from left to right.
When the student has achieved a particular level in any topic, the student colors in the appropriate box (including boxes to the left). In this way, the teacher can tell at a glance what the student's profile is. Each student is expected to be able to use one of the 3d's, that is, document, defend or demonstrate any claimed level of competence.
The key to success in this approach is the development of a sense of mutual objective between teacher and learner. Therefore, in addition to developing these matrices, it is important that the students engage in some "action research" to prove to themselve that what they are required to learn is meaningful.
That's a whole other topic and I shall not go into it now, other than to point out that Joel Barker, the futurist, has been touting what he calls the EFG curriculum, in which everything that is taught is linked to the E)nvironment, the F)uture and to G)lobal concerns. Through this kind of linkage he believes the students will come to recognize the importance of what they are expected to learn and will be more motivated to learn.
Myron Tribus mtribus@hooked.net 350 Britto Terrace, Fremont, CA 94539 Ph: (510) 651 3641 Fax: (510) 656 9875 How do you explain that you are not crazy to someone who is?
------------------------------------------------------------------------ From: Barbara Wood <bwood@ELMIRA.TWCABLE.COM> Subject: CoRT and teaching
------------------------------------- Name: Bob Wood E-mail: Bob Wood<bwood@elmira.twcable.com> Date: 10/30/95 Time: 19:31:42
This message was sent by Chameleon ------------------------------------- Hello to all. This is my first time on the DeBono list. I've been interested to read about DeBono's lateral thinking and CoRT thinking skills as they are being used in business. I am an elementary teacher and have been teaching CoRT skills such as PMI, CAF, FIP, OPV and others to 2nd-6th graders for the last 15 years. I have students who are now in college come back to visit me and tell me that CoRT thinking skills are one of the most useful things they learned in school, very helpful to survival in college. I would love to hear about other elementary teachers using CoRT and lateral thinking activities. I also have a question: I have heard that DeBono has a movie out. Is this true? If so, what is the title? Where can one go to see it? What is it about? Thanks for your help. Barb --------------------------------------------------------------------------- Subject: Re: CoRT and teaching
Welcome Barb !
> graders for the last 15 years. I have students who are now in college come > back to visit me and tell me that CoRT thinking skills are one of the most > useful things they learned in school, very helpful to survival in college.
A number of entrepreneurship programs (at the college level) make lateral thinking a required skill, such as the New Entreprise Store concept developed by Prof Gene Luczkiw <eluczkiw@spartan.ac.brocku.ca> at Brock University.
> I would love to hear about other elementary teachers using CoRT and lateral > thinking activities. I also have a question: I have heard that DeBono has > a movie out. Is this true? If so, what is the title? Where can one go to
The movie is called 2040 and premiered in Indianapolis about two weeks ago.
> see it? What is it about? Thanks for your help. Barb >
I haven't heard if it's out in general distribution yet.
Walter Derzko wderzko@epas.utoronto.ca ---------------------------------------------------------------------------- From: bwood@ELMIRA.TWCABLE.COM Subject: Re: Benefits of Concept Maps
I am in agreement that concept mapping can be very beneficial. I have many students who have been able to identify relationships among seemingly isolated facts and who also have been able to better retain content after discovering through concept mapping relationships to previously learned material. Concept mapping seems to be particularly useful for those of us who are visual/spatial. When I have a student who responds with what seems to be a far out answer to a question, I ask him/her to concept map the issue/idea and lo and beyond, they can usually show me how their answer does relate to the question. In the past I might have just rejected in my own mind that initial response. On the other hand, reviewing a student's concept map often shows me not only where their misconceptions lie but also how they got the misconception. This can be very helpful in the reteaching process. Barb