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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Birkbeck’s Published Alumni Series: Nadim Safdar

This post was contributed by Valeria Melchioretto. This summer the Birkbeck Creative Writing department launched its new website The Mechanics’ Institute Review Online. This year marks a huge success for the Creative Writing MA as ten alumni have novels coming out this year.

To celebrate these achievements we are profiling a selection of the authors and extracts from their upcoming novels will appear on MIROnline. Here, Valeria speaks with alumnus Nadim Safdar, about his debut novel, Akram’s War (Atlantic, May 2016)

Read an extract of the book at MIROnline

VM: Firstly, congratulations on your debut novel Akram’s War which has just been published by Atlantic and thanks for taking part in this interview. We are keen to learn about your career so far. If you had to pick the most significant learning experience from your entire MA, what would it be?

NS: I feel fortunate that I come from a scientific background in which what we were taught was empirical and fact. It is not so different in the Creative Arts – the idea of form, structure, characterization and whether or not a situation or scene or phrase has been earned – these things I had to be taught. I listened carefully and writing the book, I built a shed in the rear of the garden and having sacrificed the day-job, I thought of little else for over four years. My day would begin around 10 at night when (my now wife) would go to bed and I’d work through.

Image credit: Sahar Afzal

Image credit: Sahar Afzal

Debut novels are famously thought to be, at least in parts, autobiographical. How much inspiration have you drawn from firsthand experience and how much is down to research or fiction?

It is surprising how you live within the character and indeed, how much of your character(s) live in you. There are two main characters in the book, Akram and Grace and during the four years of writing them, I often found myself (in real life) at a point of decision-making and wondered – what would Akram or Grace have done?

It won’t come as a surprise to me that readers’ might ask what I have in common with Akram (a Pakistani male). We men think we know how to fight but there are some battles we are not equipped for.

I therefore had to find the character Grace – and through her express the story of someone at the mercy of a system she is not equipped to deal with. I had to make the story of losing one’s child (or even the ever-present day-to-day threat of that loss) acceptable to the reader and for that to be believable it could only be expressed through the eyes of a woman.

We all have lived experience: have loved, fought, wounded others and scarred ourselves. You might want to but you can’t just blurt it out – writing is about finding a form in which to put it.

Your book has a strong message about the radicalisation of British Muslims. Over the last couple of years the topic has become ever more pressing, with the rise of ISIS etc. Could you see it coming?

Although no one could see it coming, I don’t think anyone could say, in retrospect, that the unfolding events weren’t inevitable.

The first Muslim has been sworn in as London’s new Mayor. Do you think he might be a role model for young British Muslims and could this event mark a turning point for radicalisation? Or what do you think it all means?

I think it means that the majority of Londoner’s are relatively poor and prefer the socialist candidate.

There is a whole genre of novels based on politically and socially urgent topics. I am sure you are familiar with the work of Lionel Shriver and so on. There is often talk about writers having an obligation to make social comments. How important is it for a writer to pick a relevant subject that features in the media or do you think that topics pick their writers and it’s about following one’s hunch whatever the subject matter?

Lionel Shriver talks about writing about people who ‘are hard to love,’ and with a protagonist who is something of a loner and an outsider there is much more to explore and say. To me, such people are far more interesting. In terms of social commentary, why would a writer like myself want to be between two intractably opposed sides murdering each other with any means at their disposal. The book is a complete work of fiction and has to exist all by itself.

Nadim Safdar (Image credit: Sahar Afzal)

Nadim Safdar (Image credit: Sahar Afzal)

How do you know when you are onto something big? Moreover, when do you know the novel you are writing is finished?

I wrote down one single phrase, printed it out large and posted it to the wall. After that, I had to invent the character and somehow, through 80,000 or so words, make him earn that phrase. It might sound arrogant but knew I had it in that first phrase.

The end point was more prosaic, the character Akram had simply run his course and had nothing more meaningful to say.

Was there much more work that needed to be done on the novel after finding an agent?

I was fortunate in finding an excellent agent and publisher who really seemed to understand what I was getting at, but also and importantly, they represented the reader. Through their direction the published book is far better than the one I originally submitted. For me, from first submission to an acceptable draft took about a year.

The opening sentence of chapter one is an absolute classic and has the sharp directness that instantly engages a reader. Given that your book has such a serious content how did you find the right form for it?

The opening phrase that I posted on my wall was set in the present. To earn it I had to take my protagonist right back to childhood and, through twenty or so years of his life, work back up to it. Although the past was told in a sort of flashback narrative, those scenes originally started as a series of short story’s linked through inter-connected characters. Once I had those, I had to find a form or framework and so I set the entire novel over one night and discovered Grace, someone my protagonist could tell his story to.

Getting a book deal is any MA student’s ultimate dream. Do you now write on a full-time basis?

You don’t get paid enough to write on a full-time basis – or at least I don’t! Indeed, writing on a full-time basis almost drove me mad. A writer needs something else, whether it’s travel or family or teaching or a part time job. You need also to be out in the world.

Rumours have it that you are already working on your next novel The Journeyman which is about a boxer. Could you tell us a bit more about it?  

A journeyman is a boxer who’s prone to losing and fights weekly for a living wage. A journeyman can’t afford to getting knocked out or injured as he then has to lay off for a month or more. So a journeyman is a master in defense and evasion and if he is that good, what does it take for him to win?

Barely a quarter through the new book, I already feel like I’m sitting at the bar at the Hailstone in Rowley Regis with my characters and for that feeling, a sort of writers-magic that signals I’m on to something, I’m very grateful.

Akram’s War by Nadim Safdar (Atlantic) is available now for £ 12.99

Nadim Safdar was born to Pakistani parents and grew up in the Black Country. He is married with three young children and lives in London. His first novel, AKRAM’S WAR, was published by Atlantic in May 2016.

Valeria Melchioretto

Valeria Melchioretto

Valeria Melchioretto is the author of Podding Peas and The End of Limbo. She received a bursary from the Arts Council. In 2012 she represented Switzerland at the Poetry Olympics at the South Bank and won the ‘New Writing Ventures’. She holds an MA in Creative Writing from Birkbeck and a MA in Fine Art.

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Handbook on Gender and Health

This post was contributed by Dr Jasmine Gideon, senior lecturer in Development Studies at Birkbeck’s Department of Geography, Environment and Development Studies. Here, Dr Gideon offers an insight into her new book: The Handbook on Gender and Health

My monograph ‘Gender, Globalization and Health in a Latin American Context’ develops the idea of a gendered political economy of health and uses this framework to consider health reform in Chile. Compiling the Handbook on Gender and Health offered me an opportunity to develop my ideas further through directly engaging with a wide range of

Dr Gideon's book cover features an piece by Gambian artist Suelle Nachif titled 'Faj' ('heal')

Dr Gideon’s book cover features a piece by Gambian artist Suelle Nachif titled ‘Faj’ (‘heal’)

academics and policy makers working in this area.

The Handbook offered an opportunity to highlight empirical examples from across the globe and draw attention to case study analysis of specific issues that I was not able to include in my own book. Working on the Handbook was also a chance to think about what my ‘dream team’ of authors would look like and bring together a wide range of writers working on a variety of health-related issues, ranging from the historical development of health systems and how women and men are located within this to more ‘contemporary’ debates around migration, climate change and low paid labour which all have critical implications for health, particularly when viewed through a gender lens.

The Handbook brings together a wide range of disciplinary perspectives to consider four overarching themes, all constituting distinct but over-lapping elements of a broader gendered political economy of health. These are:

Gender equity vs gender equality

The first theme is the tension between ideas of gender equity and gender equality and how these translate in practice when applied to the health sector. Chapters explore the difference between ‘reductionist’ approaches where categories of women and men are not sufficiently explored, for example by failing to address how other axes of inequality (e.g. race/age/ class) can affect people’s ability to engage with health systems. In contrast a gender equality approach seeks to promote gender justice.

According to UN Women (2010), this entails ending the inequalities between women and men that are produced and reproduced in the family, the community, the market and the state. However, at the same time it requires that mainstream institutions are more accountable and transparent and points to the second theme discussed in the book.

Dr Jasmine Gideon

Dr Jasmine Gideon

The gendered nature of health systems

Several of the chapters reflect on the need to uncover the gendered nature of the health system itself and shed light on the diverse ways in which women’s interests are frequently marginalised or health policies work to reinforce women’s gendered roles and responsibilities.

Including marginalised voices

The third theme that is examined is the importance of incorporating the voices of excluded groups in policy processes as several chapters highlight the health costs of failing to engage with marginalised sectors of society.

Challenging ‘one size fits all’

Finally the fourth theme that emerges from a number of the chapters is the importance of appropriate policy responses and a move away from the ‘one size fits all’ approach, often espoused by international donors and global health discourses.

Within the Handbook authors from the Global North and South highlight how many of these challenges have wider relevance to all of our lives and that ‘gender’ remains central to any analysis of health, regardless of the level of development within the health system or wider economy.

Find out more

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Birkbeck’s Published Alumni Series: Elizabeth Fremantle

This post was contributed by Valeria Melchioretto. This summer the Birkbeck Creative Writing department launched its new website The Mechanics’ Institute Review Online. This year marks a huge success for the Creative Writing MA as ten alumni have novels coming out this year.

To celebrate these achievements we are profiling a selection of the authors and extracts from their upcoming novels will appear on MIROnline. Here, Valeria speaks with alumnus Elizabeth Fremantle, about her novel, The Girl in the Glass Tower (Penguin, June 2016)

Read an extract of the book at MIROnline

VM: Congratulations on your latest novel The Girl In The Glass Towerwhich is due out in June and thanks very much for taking the time to answer a few questions. All your novels are set in the Tudor era and focus on remarkable women who actually lived at that time. What made you write about these heroines in the first place?

TheGirlInGlassTowerEF: I became interested in early modern women when I was studying for my BA in English at Birkbeck. A course that explored women’s writing from the renaissance period opened my eyes to some of the first English women to publish their own original work. This helped me to understand the ways in which women were able to find their voices in a wholly misogynistic culture that expected female silence and obedience.

Katherine Parr, the protagonist of my first Tudor novel, was one of these women and I wanted to bust the notion of her as the dull nursemaid of popular Protestant myth and show her as the intelligent, courageous and dynamic woman she really was. All the women I write about lived remarkable lives that have been altered, or overlooked by a history that privileges male narratives and it has been my aim to, at least in some small way, redress that balance by reimagining their stories.

You must be a very prolific writer as this is your fourth published novel within just over two years. How did this extraordinary magnum opus come about? Did you approach an agent with all four novels ready to go or did you have one novel and wrote the other three as part of a publishing deal?

It’s misleading really, as it makes it seem as if I write two books a year. This is not actually the case. Queen’s Gambit was already finished when I signed my first three-book deal with Michael Joseph/Penguin in 2012 and by the time that was published a year later I had finished work on the next. My pattern is to write a book a year and The Girl in the Glass Tower is the first of a new four-book deal with the same publishers.

I already had an agent when I decided to work on the historical novels and had been, unsuccessfully, writing contemporary fiction. The change of focus helped me finally find my voice and I benefitted from a good deal of support and encouragement from my agent.

There is a huge demand on novels about the great and the good of the Tudor era, from the works of Sansom to Gregory and of course Mantel. Why do you think readers seem so keen to engross themselves into the lives of a well known elite from so long ago, or to put it differently, do you ever feel the pressure of having to fulfil readers’ expectations?

Why the Tudors continue to fascinate is a question people ask all the time and there is no single answer. The period marked the beginning of our modern world; it was a time of great upheaval, the Reformation forced people to reconsider beliefs that had gone unquestioned for hundreds of years and it marked a fundamental societal change. It was a time of great cultural flourishing in poetry and drama, which still resonates to this day, and also saw the first explorations to the New World.

As someone who is preoccupied with women’s stories I have found great inspiration from being able to listen in to authentic women’s voices from the first writings by women I mentioned above. For a writer it is a world in which the stakes are stratospherically high which creates a constant tension in any narrative.

There are of course the constraints of accuracy as the narrative arch is fixed by history itself. How do you manage to reclaim these characters and make them your own?

Elizabeth Fremantle

Elizabeth Fremantle

I don’t really think about that when I set out to write. I do a great deal of research and then set it all aside so I can build my characters from the inside out. Character is, after all, formed from inaccessible inner worlds. I may know some of the actions of the real life counterparts of my characters and the way they responded to others’ actions, or I may have read a line in a letter that sparks something in my mind, which in turn transforms into a trait that can be built on. But these people derive as much from my imagination as the historical record. I aim for accuracy in the overarching narrative but for me the historical facts are a framework on which to hang my characters.

How do you get so much writing done? Do you set yourself a daily word target or is it about having an ideal working environment? What’s your secret?

My secret is a very dull one: it’s nothing more mysterious than discipline. I work all the time and rarely take time off. There is nothing I’d rather be doing. I do find that a daily word count helps with my tight writing schedule. My absolute minimum is 1,000 words but if I haven’t written 1,500 in a day I’m not happy. I edit as I go along, reviewing the previous days’ work on the following morning and absolutely must be at my own desk, surrounded by all my reference books.

In which way do you think the MA has prepared you for your career as a writer?

I think one of the key things I derived from the MA was an understanding of the difficulty of the path I had chosen but also to take myself seriously as a writer. The truth is though, that it was only the beginning. The only way to develop ones craft is to practice it ceaselessly and that I did, for some time before I finally found my voice.

What has been the most challenging step on your way towards publication?

The decade of perpetual rejection, when I was writing but couldn’t find a home for my work. In hindsight I realize this period was an important part of my development as a writer but I could have done with it being less prolonged.

Your list of forthcoming events seems very busy at the moment. What is it like to come face to face with your readers?

It’s always a pleasure to meet the people who have read your work, though I get very nervous about public speaking.

Can you tell us about your forthcoming writing project(s)?

I’m working on a Jacobean thriller at the moment called The Poison Bed. It is set around the circumstances of a notorious murder in the Tower of London, which scandalized England and remains, to this day, something of a legal mystery. It will be my first crime novel. It is a new process for me as the structure and pace, as much as character, are key to making it work. Usually character is the cornerstone of my work, so this is different, though it has many of the characteristics of my other novels. I’m very excited about it and am thoroughly enjoying exploring a new genre and stretching myself creatively.

Also by Elizabeth Fremantle ‘Watch the Lady’, ‘Sisters of Treason’ and ‘Queen’s Gambit’ all published by Penguin.

Elizabeth Fremantle is the author of four novels all published by Penguin. She has a BA in English and an MA in creative writing from Birkbeck, University of London and has contributed to various publications including The Sunday Times, Vogue, Vanity Fair, The Financial Times and the Wall Street Journal. She also reviews fiction for The Sunday Express. She lives in London.

Valeria Melchioretto

Valeria Melchioretto

Valeria Melchioretto is the author of Podding Peas and The End of Limbo. She received a bursary from the Arts Council. In 2012 she represented Switzerland at the Poetry Olympics at the South Bank and won the ‘New Writing Ventures’. She holds an MA in Creative Writing from Birkbeck and a MA in Fine Art.

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