Tag: CE@UP

ANGEL: Certificate-Generating Tool Instructions

I met with a group of IDs and IPSs from Outreach to present on some work that I did while working on a solution for the PSU School of Nursing.

I have documented my overview, procedures, and implementation notes in an Evernote: “ANGEL: Certificate-Generating Tool Instructions“.

This project covers the design, development and implementation of a solution that was developed to automatically generate certificates-of-completion for participants taking online continuing education credits. Nurses in PA need to maintain professional development credits in an ongoing basis. PSU Outreach worked with the School of Nursing to develop self-paced online learning that would satisfy this need.

Equella access for CE@UP

I finally got back to Jamie about working on an Equella demo for CE@UP. Rick had asked me back in October 2009 (?) to create a list of Equella items of interest for Jeff Hand.Joe says that Equella can’t generate…

I finally got back to Jamie about working on an Equella demo for CE@UP. Rick had asked me back in October 2009 (?) to create a list of Equella items of interest for Jeff Hand.

Joe says that Equella can’t generate reports just yet, so I’ve been collating this data by hand from the search results I’ve begun. This document
Equella Objects of Interest to CE@UP.xlsx is just a subset of the entire list. Information that I’ve left out is:

  • [uploaded] date
  • version
  • status
  • keywords
  • unabridged descriptions

Rick responded: the two types of information that will be really helpful to Jeff and faculty would be: 1) Is it a full lesson that can be used in a course; and 2) Is it an interactive element that can be used in a course.

The first is probably more valuable. So I’d probably want to know what the lesson is about (short description) and how do I integrate it into my hybrid course.

Also, which lessons are related to existing WC courses. This would give the faculty an idea of how many lessons they may be able to draw upon for there course.

Jamie recommended a demo and I replied that was exactly what I had in mind to: to try to figure out what they would need access to, how they might use it, who might need access it in the future and when.

RHS 301 Student having problems Copying&Pasting from Word into MT4

I’ve been trading emails with a student who’s apparently having problems moving content generated in a desktop word processor, I think it is Word, into his MT4 blog. I just made a test and things look good for me. So…

I’ve been trading emails with a student who’s apparently having problems moving content generated in a desktop word processor, I think it is Word, into his MT4 blog. I just made a test and things look good for me. So I’ve asked for his URL and original document. He worked with the Helpdesk after speaking with Linas and suggested that he use WordPad as an intermediary. That apparently helped, but didn’t solve his problems. I won’t be able to offer any additional assistance unless I see his originals.

Anyone else having problems with copying and pasting docs from the desktop into MT4?

Example from this document (Blooms and Question Types.docx):

E-learning and Assessment

Version 4.

 

Reference http://wiscinfo.doit.wisc.edu/teaching-academy/Assistance/course/questions.htm

 

The education strategy (March 2004) has highlighted that Bristol University:-

1.    Is a “research intensive” university where the student learning experience is informed by research and is delivered by research active staff.

2.    Wishes to retain its high quality teaching.

3.    Needs to widen access and to look at diverse progression routes into HE.

4.    Needs to expand postgraduate numbers – particularly on taught masters programmes

5.    To retain their highly rated international research output and to deliver high quality teaching, requires that teaching is cost effective.

 

Whilst E-learning has a relevance to all of these points, this paper will focus on point 5 i.e. the requirement for teaching to be cost effective. The contribution of E-learning to assessment is a major area where substantial gains in efficiency can be achieved.

 

Currently staff spend a significant amount of time

1.    setting examinations

2.    ensuring that they match course learning objectives,

3.    liasing with the external examiner

4.    marking

5.    exam related student administration

 

Much of this activity is repeated at least twice per year and sadly the outcome is often only summative rather than formative. Several staff within the university have already adopted CAA (computer aided assessment) as a means of addressing this problem and have found pedagogic as well as efficiency gains. However this approach has not yet become embedded. Reasons for this limited uptake include:-

ART H 111: Ancient to Medieval Art

Ask Angela:The instructor is Heather McCune-Bruhn (hcm1).Do you mean ART H 111 “Ancient to Medieval Art”? YesThe schedule mentions 60+6 seats open, is the course really that large? No. The “60” refers to a resident instruction course. This course is…

Ask Angela:

  • The instructor is Heather McCune-Bruhn (hcm1).
  • Do you mean ART H 111 “Ancient to Medieval Art”? Yes
  • The schedule mentions 60+6 seats open, is the course really that large? No. The “60” refers to a resident instruction course. This course is open to a max of 24 students: 12 from CE@UP and 12 from Lewistown. Angela has “6” listed because she doesn’t want the UP-side to fill up entirely.
  • Has she taught for CE@UP before? Is she an adjunct or a faculty at one of our Academic Partners? Heather has not taught for CE@UP before, but has teaching experience with teaching courses at Arts & Architecture. She has an MA and PhD in Art History.
  • Could you get us a copy of Heather’s syllabus and/or detailed course outline? As of 3/3 the instructor was still working on her syllabus.
  • Is she all set with her materials and content? What is the development state of the course? I’m asking because the situation that she has a course designed for F2F delivery ready-to-go, is a different situation than if she’s still designing the syllabus or activities. She may have good contacts and resources from her connections to A&A, but I will verify. Hopefully she doesn’t have to re-create the wheel.
  • Would she need assistance digitizing content for use in her course?
  • You mentioned “2nd six week session,” does that mean this course is a blended learning, accelerated, videoconference delivered course? The course runs TR 6-9:30 PM, 7/1-8/10 in 119 OB. The instructor is concerned about 3.5 hour long lectures.
  • I’ll be a little facetious… is she a “game show host?” What I mean by that is, is she comfortable in front of a camera, is she able to work well “live,” and is she able to engage a remote audience? Angela says she’s comfortable in-front of a camera. Angela will be training her in the new 119 when the remodel is finished in May. Alice has been notified and will apparently assist with the orientation. There is also John here at UP and others at Lewistown that provide operational support evenings and on the weekend 🙂
  • Will Heather be expected to run the equipment on her own? See above… no she won’t.
  • If the course is blended, does that mean her course is using ANGEL as well?
  • What is her familiarity with ANGEL (if she is using it)?
  • Would she be relying on any other technology to deliver her course? Angela doesn’t know, she doesn’t think so.
  • Do you know if she’s worked with an instructional designer before?

Updated 3/11/10

  • Heather is already using welcome letters to orient students to the course and set expectations
  • the textbook has 12 chapters that will be covered in 12 class meetings; she averages 6 lectures/chapter
  • Student-generated presentations of museums and other venues -> based on online resources
  • she uses essay exams and papers w/ bonus points available
  • Google Earth to map locations of art pieces
  • “unknown slide” activity – apply skills on new content in an open forum, builds confidence and exercises higher order skills

Contacts across CE

Continuing Education at University Park (CE@UP)Jeff Hand, Interim Director of CE and Director of CE@UPAngela Simparosa, Registrar and guru, amh17@outreach.psu.edu, x5-3444Shawn Vashaw, GA, Faculty Portal, sjv3@psu.eduContinuing and Professional Education (CAPE)Wes Donahue, Director Business & Engineering, WF ED & Photovoltaics course,…

Continuing Education at University Park (CE@UP)

  • Jeff Hand, Interim Director of CE and Director of CE@UP
  • Angela Simparosa, Registrar and guru, amh17@outreach.psu.edu, x5-3444
  • Shawn Vashaw, GA, Faculty Portal, sjv3@psu.edu

Continuing and Professional Education (CAPE)

  • Wes Donahue, Director Business & Engineering, WF ED & Photovoltaics course, wed105@outreach.psu.edu, x5-6341
  • Ed Donovan, Director Education & Health
  • Wanda Bickel, Admin Asst to Ed Donovan, Nursing Online CE, wqb2@outreach.psu.edu, x3-6780
  • Erin Garthe, EPIC Program Manager, emb189@psu.edu, x5-9654

Statewide Continuing Education (SWCE)

  • Bill Curley, Director
  • Mary Cavanaugh, Admin Asst, mcc6@psu.edu, x5-6602

Conferences & Institutes (C&I) and Shavers Creek

  • minimal contact; have consulted for and worked on committees with Pam Driftmier (C&I)

PSU School of Nursing

  • Madeline Mattern, Coordinator of Outreach Programs
  • Heather Stover, Admin Asst, Nursing Online CE, hns10@psu.edu, x3-2239

CE Faculty Profile

DRAFTLarry Ragan and I met with Kate Miffitt, an ID from Liberal Arts, the other day and he led a conversation that described the complexities surrounding the typical CE instructors. I wanted to try and capture as many of these…

DRAFT

Larry Ragan and I met with Kate Miffitt, an ID from Liberal Arts, the other day and he led a conversation that described the complexities surrounding the typical CE instructors. I wanted to try and capture as many of these attributes as possible. I’m still waiting on a key research document from Larry that is an important source of these factors.

  1. Training – it is not clear when or how is the best way to provide CE faculty with training. Evenings seem to be a good time. Week days, working hours doesn’t work well for most. It’s important to have drinks and snacks budgeted and planned for these events.
    1. All-faculty Summer Event – I’ve spoken to others and we have agreed that the past to events were probably not that effective in the sense that they were primarily talking-heads rather than interactive events. I can say this because I have been apart of the last two years as a presenter or co-presenter. It has been said that if the faculty will take the time out of their busy schedules to meet up at the BJC, then the event should be focused on their needs. They want opportunities to meet with other faculty to work out issues related to their courses.
    2. New Faculty Orientation – I have not personally attended this event
    3. Technology: ANGEL Orientation provided by WC Helpdesk
    4. Weekend College Orientation – This session was run once with the help of Stephanie Edel-Malizia and featured Ike Shibley as a special guest to talk about blended learning.
  2. Material Resources – limited
    1. RI instructors may not receive the same level of resources for courses delivered outside of their own facilities or purview of their academic home
    2. Adjunct instructors are limited from using PSU resources since they may not have PSU ID’s or the time to access them
  3. Support
    1. Technical
    2. Instructional Design – currently only certain blended learning courses are being
  4. Delivery methods
    1. F2F
    2. Blended Learning
    3. Weekend College: Accelerated & Blended Learning
    4. Polycom: Videoconferencing
  5. Academic Partner and CE relationship – greatly varies depending upon the AP

What to consider when selecting a Photo-sharing service for your class?

An instructor recently contacted me about the option of using a photo-sharing service for her photography class with CE@UP. I don’t have a lot of details about the course and her expectations, but there are a few things to think…

An instructor recently contacted me about the option of using a photo-sharing service for her photography class with CE@UP. I don’t have a lot of details about the course and her expectations, but there are a few things to think about that would apply to a number of different situations (roughly in order of importance):

  • uploading options
  • organization of the content
  • storage limits
  • bandwidth limits
  • view options: full-screen slideshows
  • sharing options
  • log-in requirements
  • visitor requirements
  • privacy and permissions
  • metadata options
  • service reliability
  • read the fine-print
  • Web 2.0 framework
  • service popularity
  • licensing options
  • statistics
  • printing options

Cross-training/pollination with the Blue Team

I’ve been thinking about how I can work closer with the Blue Team or Learning Design as a whole. I’ve talked about it with El and briefly with Rick after he sent me an email:”we need to find a way…

I’ve been thinking about how I can work closer with the Blue Team or Learning Design as a whole. I’ve talked about it with El and briefly with Rick after he sent me an email:
“we need to find a way to do more cross-training, cross pollination of what you are working on with others on the Blue team. And likewise we need to get you more involved with some of the World Campus courses.”

El had made a great point that the more I can do to formulate a strategy, the better it will be because it’ll give Rick and other a starting point. Thinking about an approach, some of the first questions that come up are:

  • What do I need to be effective?
  • What do others need to be effective?
  • What does it mean to be cross-trained in CE programs?
  • Who are the important contacts at CE?

UPDATE: Mon 8 Feb
I spoke to Linas and he reminded me that a lot of our PM-stuff will eventually be handled by Quickbase. However, Quickbase is kind-of “hands-off” right now until Ti Team finishes their work on the database.

I was just thinking, “what would I want if I were to “step-in” and pick-up for Jen for a short period of time?” That depends on the task and length of time really. For shorter projects, I don’t need much background…

  • just contact information for the instructor
  • a quick background on the task at hand (pre-requisite tasks)
  • sense of the critical path
  • due date and
  • details about the actual task at hand.

(That’s not a lot of “background?”)

For projects that need more involvement, in addition to the above list I would like (in no particular order)

  • an overview of the program
  • list of the “usual suspects”
  • time tracking information
  • syllabus for the course
  • change log on the course and a way for me to record my edits
  • an all-paid trip to go relax at my parent’s home in Maui or go up to the Green Mountains “in-style”
  • a new, full-suspension, Trek Fuel mountain bike
  • clear expectations on both sides
  • to have fun

CE@UP Art 020 & 050 Syllabus Design

An instructor, John Mangan, just called me to request assistance with his syllabus for what appears to be his Art 020 and 050 classes. He’s teaching four-times a week right now. At least one of his classes goes past 10…

An instructor, John Mangan, just called me to request assistance with his syllabus for what appears to be his Art 020 and 050 classes. He’s teaching four-times a week right now. At least one of his classes goes past 10 PM (based on the availability and restraints of suitable instruction areas)!

I begin with a phone call to set up a 1-hour meeting, either in-person or by-phone, to discuss the scope of his request. I have plenty of resources related to syllabus development, so we should be all set there. I’ll have to determine what he is looking to accomplish, what kinds of instructional problems he might have, and any other possible resources he’s interested in.

I contacted Angela to discuss whether or not Becky needs to be notified and she didn’t see a pressing need to do so. From my perspective, as long as someone like Angela knows about the work, that’s good with me.

ART 020 (GA) Introduction to Drawing (3) Introductory experience in making of art through drawing media; designed for non-majors seeking general overview of studio practice.

ART 020 Introduction to Drawing (3)
(GA)

(BA) This course meets the Bachelor of Arts degree requirements.

ART 020 is intended as a general survey of the art of drawing for non-majors. As a studio offering, emphasis is placed on hands-on studio activities, which promote visual literacy and on the various conventions used in drawing. Students will be given the opportunity to briefly explore many of the traditional materials of drawing, including pencil, charcoal, conte, ink and ink wash, pastel, as well as experimental tools. As well, slide presentations, studio visits and museum critiques will augment studio exercises to facilitate a greater awareness of the cultural context in which drawing functions. As a general appreciation offering, emphasis is placed on active learning processes that involve students in basic studio materials and techniques. Since the School of Visual Arts now requires a portfolio review for Visual Arts majors to enroll in studio courses, ART 020 provides an opportunity for non-art majors to do studio work in conjunction with an exploration of art concepts.

General Education: GA
Diversity: None
Bachelor of Arts: Arts
Effective: Spring 2004

Note : Class size, frequency of offering, and evaluation methods will vary by location and instructor. For these details check the specific course syllabus.

ART 050 (GA) Introduction to Painting (3) Introductory experience in making of art through painting media; designed for non-majors seeking a general overview of studio practice.

ART 050 Introduction to Painting (3)
(GA)

(BA) This course meets the Bachelor of Arts degree requirements.

ART 050 is intended as a general survey of the art of painting for non-majors. As a studio offering, emphasis is placed on hands-on studio activities, which promote visual literacy and sensitivity to the various conventions used in the discipline of painting. Students are given the opportunity to briefly explore the various approaches to creating visual images by applying various painting materials, techniques, and concepts. As well, slide presentations, studio visits and museum critiques will augment studio exercises to facilitate a greater awareness of the cultural context in which the art of painting functions.

Students enrolled in this course will be required to participate in the following active learning components:

1. Studio Painting Assignments:
a) Visual concept development: students will be introduced to the various ways that artists create meanings through painting. b) Materials development: through a process of exploration and experimentation, students will learn how to apply various painterly media and tools in creating visual images.
c) Technique development: through a process of exploration, experimentation, and skill development students will learn how to render and model painterly images that range between abstract and realistic representations.

2. Creating a social and historical context for painting through slide presentations, studio visits and museum critiques:
a) Slide presentations: students will be asked to consider the concepts of their creative projects in relationship to paintings by historical and contemporary artists in order to understand the ways in which the two-dimensional aspects and various processes of painting convey meaning.
b) Studio visits: Students will visit the personal studios of local painters to learn how professional artists develop best practices as related to the basic approaches to painting outlined above. Additionally, they will explore and discuss with these artists the concepts expressed in their painted images.
c) Museum critiques: Museum visits will enable students to learn how to engage and respond to actual paintings as compared with those that they experience as slide and book/journal reproductions. The role of museums and galleries in exhibiting paintings will also be discussed.

Grading and evaluation:
Students’ painting projects will be evaluated according to the following criteria: 1) the uniqueness of the visual concepts developed in their studio assignments; 2) the strength of their visual compositions-their ability to communicate concepts clearly; 3) the quality of their craftsmanship-an effective use of materials and procedures and commitment to the studio assignments-the effort expended on each project; 4) Their willingness to participate in critique sessions-a thoughtful and informed interpretation of visual ideas in paintings produced by them in class as well as those discussed during slide presentations, studio visits, and museum critiques.

General Education: GA
Diversity: None
Bachelor of Arts: Arts
Effective: Fall 2004

Note : Class size, frequency of offering, and evaluation methods will vary by location and instructor. For these details check the specific course syllabus.