Assessment, feedback and technology

In a new open access book from the Bloomsbury Learning Environment, Sarah Sherman and Leo Havemann look at the role of technology in educational assessment and what looks set to change.

Assessment lies at the heart of formal learning, and therefore at the heart of our work as educational technology practitioners. For our students in higher education institutions throughout Bloomsbury and the wider sector, undertaking coursework typically involves the use of online services and software to research and produce digital documents which are then submitted via a virtual learning environment (in our case, Moodle). Increasingly, marking and feedback also takes place online. These changes to assessment practices have been brought about through dialogue, collaboration and investment of precious time by academics, administrative staff and learning technologists, and by and large, the results appear to be welcomed by both students and staff. Yet this is not the full story of the role technology already and potentially plays in assessment. Online submission and marking of digital documents represents a digitisation of offline practices, which brings various new affordances (and of course removes others), but is not necessarily transformative.

Student attainment and satisfaction are sector-wide concerns, leading to calls from influential agencies such as the HEA and Jisc to enhance and transform assessment practices. The Bloomsbury Learning Environment (BLE) agreed in 2014 to focus the consortium’s shared activities on the ways in which learning technologies can enhance and support assessment and feedback. We wanted to gain an overview of current practices throughout Bloomsbury, and at the same time uncover and share examples of people making use of learning technologies in ways which go beyond the norm of digitised offline practice. Over the two subsequent academic years, we organised a programme of online and face-to-face events, conducted research, and collected case studies highlighting good practice.

In our experience, teaching staff often do not have much opportunity to find out what their peers are doing. Therefore, we have now published the written outputs of our enhancement theme as a freely available, open access ebook entitled Assessment, Feedback and Technology: Contexts and Case Studies in Bloomsbury. The ebook contains three research papers, which capture macro-level snapshots of current practice across the BLE partner institutions, as well as a wide range of pedagogic and technical case studies. These chapters have been contributed by academics, learning technologists, administrators and consultants, bringing a variety of perspectives to the topic. In developing this collection, our aim is therefore to offer an overview of current assessment practices, and hopefully some inspiration and ideas for making better use of technology.

The research presented in the first three chapters of the book include specific examples of practice at the BLE partner institutions from which broad recommendations have been drawn to help inform wider practice. These papers focus on:

  1. The use of technology across the assessment lifecycle
  2. The roles played by administrative staff in assessment processes
  3. Technology-supported assessment in distance learning

The first chapter introduces the assessment lifecycle model, developed by Manchester Metropolitan University and Jisc, which helps to contextualise the Bloomsbury landscape. The chapter was prompted by a wide-ranging survey conducted by each partner member to gauge how assessment practices were delivered and supported with technology. The second chapter offers administrative perspectives of the processes involved in assessment, and the research provides insight into how course administrators manage their responsibility in the workflow. We explore their pain points and consider improvements. Finally, the third chapter describes the assessment and feedback practices in the Bloomsbury programmes which offer distance learning (DL). Although it specifically considered DL, the findings and recommendations in this chapter are applicable for all teaching models.

The subsequent chapters are case studies of digital assessment and feedback practices, which operate at the micro-level of specific modules, offering an understanding of the pedagogy underlying the adoption of particular tools, and the associated benefits and challenges. The practice described does not simply replicate standard offline practices in a digital way, but extends the role of assessment and feedback. The case studies are categorised into five themes:

  • Alternative Tasks and Formats
  • Students Feeding Back
  • Assessing at Scale
  • Multimedia Approaches
  • Technical Developments

The final section contains three case studies of technical developments, which have been undertaken locally to support or enhance aspects of practice. The book acknowledges the inspiring work of our colleagues but also contributes to the wider discussion in the education community regarding improvements to assessment and feedback. Most of all, we hope this collection will be of interest to academics throughout Bloomsbury and beyond who are curious to learn about and develop new assessment approaches.

Further information: http://www.ble.ac.uk/ebook.html

Authors:
Sarah Sherman, BLE Service Manager, Bloomsbury Learning Environment @BLE1
Leo Havemann, Learning Technologist, Birkbeck, University of London @leohavemann

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What will it take to stop extreme climate change?

Birkbeck graduate Leo Barasi discusses his new book, The Climate Majority: apathy and action in an age of nationalism, which confronts the reality of climate change and the need for ordinary people to take action. 

You could look at the news and think climate disaster is now inevitable. Each of the last three years has, one by one, been the hottest on record. A consequence of that was visible with Hurricanes Harvey and Irma, which were made more destructive by oceans that had been warmed by human emissions. All of this has happened with the world only having warmed by perhaps a third of what it will this century if emissions don’t fall.

But you could also look around and think the world is finally dealing with climate change. For the first time, global emissions have stopped increasing, not because of a recession, but because of efforts to deal with the threat. Nearly every country has committed to limit their emissions, in an agreement that anticipates national commitments will strengthen over time.

Both views are right. Climate change is now here and is killing people. And the world is dealing with it more seriously than ever before. But which path will win out? Will the world eliminate emissions within a generation as it should if it is to prevent dangerous warming? Or will its efforts falter, emissions continue at their current rate (or even increase), and the planet respond with increasingly ferocious storms, heatwaves and droughts?

My book, The Climate Majority: apathy and action in an age of nationalism, looks at one of the factors that could make the difference – and how those of us who are worried about climate change could swing the balance.

While the world has done better than many predicted in halting the increase in emissions, its progress has depended on changes that have imposed little burden on most people. The most important of these has been the closure of coal power plants, and cancellation of new plants, which are increasingly being replaced by lower-carbon sources like gas and renewables.

But eventually, the world will exhaust relatively painless changes like this. At some point, the only remaining emissions cuts – which will be crucial for avoiding dangerous warming – will be from activities that directly affect many people in their day-to-day lives.

Two of the most challenging of these are flying and meat-eating. The world is going to have to radically cut emissions from both – but in the two areas, emissions look set to increase. Without action, either could effectively make it impossible for the world to prevent dangerous warming.

Achieving these harder, but essential, emission cuts won’t be possible without public support. Yet, at the moment, that support wouldn’t be forthcoming. It’s not that many people deny climate change: no more than 20% do, even in the US. The more important problem is that many people, perhaps half the population, understand that climate change is real and a threat, but just don’t think about it very much and don’t understand why they would need to change their lives to deal with it. Without their support, crucial emission-cutting measures will fail.

My book looks at the people who are apathetic about climate change and investigates why they think what they do. It explores how human psychology and the ways climate change is often described have made the problem seem distant, unthreatening, and a special interest of left-wing liberals.

And the book looks at what we can do to overcome apathy. There’s no magic word that will make the world act on climate change, but there are ways we can persuade those who are apathetic that it is worth making the effort to deal with the threat. It’s still possible to tip the balance away from disaster.

The Climate Majority: Apathy and Action in an Age of Nationalism by Leo Barasi is published by New Internationalist on 21 September

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Building a hive mind through immersive art

Lily Hunter Green, Birkbeck’s next Artist in Residence, discusses the project she will be undertaking during her tenure: Bee Composed Live. The residency supports collaboration between academics and artists and will culminate in May with an exhibition of Lily’s work and a symposium.

I first began my work with honey bees in 2014. At the time I was working as a Sound Artist, exploring resonant and sustained sounds within different structures and spaces. As a pianist, I was anatomising the inner workings of my piano. By chance, a bee flew inside. The sound produced was resounding and alveolated, unlike anything I had heard before. I immediately began researching the bees. I was surprised that I didn’t know more about the pollination crisis, especially given the severity of the problem.

My previous piece, Bee Composed (2014), involved transforming a piano into a working beehive in which bees dwelled while an installed audio-visual recording device captured the harmonics of their interaction with the piano strings. One of the central aims of Bee Composed was to raise awareness about the human-caused threat to the honey bees and, as a result, to us too, if we don’t do something to stop their decline. I have since begun to develop Bee Composed Live, the work that my residency at Birkbeck will be focused on: that is, a live performance piece that combines music, dance and original audio-visual compositions in a bid to explore the ways in which we can artistically and critically draw attention to our rapidly changing ecology, and our role within it.

I believe that the role of the artist is to present an alternative way of experiencing the subject. One that provokes new ways of thinking, feeling and responding. Art as a creative transformer, as a catalyst for change, if you like. My primary objective in terms of Bee Composed Live is to present audiences with an alternative way of experiencing and interacting with nature via a series of immersive creative strategies. This will include the creation of a simulacrum ‘hive mind’, a unique microcosmic space, or ‘super-organism’, that enables audience members to experience the inner dynamics and scientific happenings of the hive. The concept of the ‘collective consciousness’ or ‘hive mind’ is itself an appropriation of how the worker bees administrate the hive.

As such, Bee Composed Live is dynamic collaboration. It represents togetherness, the power of collective thinking and action, and the importance of community.

This residency provides a unique opportunity for me to develop my creative thinking and practice within a new and challenging environment. To develop Bee Composed Live, I will work closely with the Birkbeck Centre for Contemporary Theatre, a space in which theatre makers, critics and audiences gather to share knowledge, ideas and practices.  I also hope to explore collaborative opportunities with other academic departments that intersect with my work, such as the Department of Earth and Planetary Sciences, the Department of Film, Media and Cultural Studies and Birkbeck Research in Aesthetics of Kinship and Community. As someone who usually works in isolation, I am hugely excited at the prospect of working with such a range of creative practitioners and academics.

Most of the 10-month residency will be spent within The Centre for Contemporary Theatre. During this time students will have the opportunity to engage with a range of creative activities extending from inter-disciplinary workshops, digital screenings and seminars, through to the final performance and exhibition. My ambition is to inspire students and academics of all ages and disciplines to think ‘outside of the box’ and consider new ways of working with artists and creative forms, potentially creating new opportunities and collaborations across a range of disciplines, and thereby transforming complicated, often ‘dry’ scientific fact and theory, into a more accessible, digestible and dynamic form.

Another dimension of the residency will be to involve local communities and the wider public in Bee Composed Live: whether as active participants or as passive observers. Diversity is at the heart of my creative practice. As such, I am keen to ensure that as many people as possible are able to engage with this project in some way. As a consequence, every effort will be made to create a piece of work that can eventually go out into the community, by physically in a touring capacity, and/or, via a digital platform.

Collaboration and participation will be key to the success of this residency. I hope as many people as possible will become part of this creative hive mind.

 

 

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Animating medieval manuscripts

Professor of Medieval Studies Anthony Bale discusses his work with Birkbeck’s artist in residence, animator Shay Hamias. Together, they are developing a new interface between contemporary digital animation and medieval studies.

This year Birkbeck received one of only 19 prestigious Leverhulme Trust Artist-in-Residence awards. The residency is supporting animation artist Shay Hamias to work with me in Birkbeck’s School of Arts. Hamias is an animation director, with experience working on short and feature films, advertisements, and the museum and heritage sectors. Hamias’ work creatively explores the visual possibilities of design, motion and narrative, seeking new ways to interpret the medium. Hamias had long been fascinated by the artistry of medieval manuscripts, their combination of the written word and visual effects, and their engagement with religious belief. So the Leverhulme Artist-in-Residence award provided a superb opportunity to develop a completely new interface between contemporary digital animation and medieval studies.

Hamias and I share an interest in the meanings of images and symbolism, in particular, the religious symbolism in Christianity and Judaism. Our project has sought to put modern design in conversation with medieval artefacts in a bold new way. We have tried to test that idea, proposed by many scholars of medieval culture, that the pages of medieval books are ‘alive’ and animate, full of ‘active’ visual and mnemonic effects for the reader. Can contemporary animation engage in a fruitful and stimulating encounter with the often perplexing but beautiful images we find in medieval manuscripts? In medieval manuscripts, design and illustration are provided as tools for the viewer/reader to enable them to decode biblical narratives, using a visual language that would resonate with them and locate them mentally.

In the creative process, the artist looks at a subject from a personal point of engagement with it, combined with established ways of seeing.  Animation lends itself to translating inner thought and inner states, in a creative process based on lateral approaches to thinking and the use of associative emotions and imagination. Hamias and I have been thinking about how parallels might be drawn between modern visual language and medieval visuals. Might traditional techniques be applied to modern narratives, in a creative anachronism?

Formally, medieval manuscripts have much in common with modern animation: both condense time and space, through discontinuous visual and verbal narrative; both can rapidly illustrate change over a long period and produce memorable narrative through a ‘familiar’ iconography and media in service of popularly-held or generally-endorsed views; both can reveal metamorphosis and sudden change, sudden effects which are accepted by audiences because of their familiarity with the world created by the medium.

The emphasis of the residency is on Hamias’ artistic and creative freedom to respond to medieval sources in his own distinctive way. Hamias and I have met at least weekly during the residency, sometimes in libraries and archives with medieval manuscripts in front of us. The first animation project we have produced focusses on pilgrimage and visual movement. We have taken the idea of ‘visual storytelling’ and given it a contemporary take. We feel that our methodology remains ‘medieval’: our project is constructed entirely from things we have read in medieval texts or found in medieval visual culture. Moreover, Hamias put himself in a similar position to the medieval artist, who was imagining things based largely on received stories and depictions. Our first short animated film is called ‘The Matter of Jerusalem’, after William Wey’s 1460s manuscript book which describes the journey from Venice to Jerusalem.

We now have plans to develop this film and to collaborate on an exhibition about Birkbeck’s own medieval books in summer 2018.

You can follow Anthony and Shay’s project on their Instagram page @animatedpage

 

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