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The Graphic Syllabus: Communicating Your Course Creatively

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Title: The Graphic Syllabus: Communicating Your Course Creatively


1
The Graphic Syllabus Communicating Your
Course Creatively
  • Linda B. Nilson, Ph.D., Director

    Office of Teaching Effectiveness and Innovation
  • 864-656-4542 nilson_at_clemson.edu
    www.clemson.edu/OTEI
  • Steven N. Pyser, J.D., Assistant Professor
    (Practice)
  • Department of Human Resource Management, Fox
    School of Business
  • (215) 204-4281 SNPyser_at_temple.edu

2
Introduction
  • What if you could
  • directly and positively influence student
    learning and improve business education
  • visualize simply for students ambiguity,
    complexity and connections between course content
    and your design
  • (re)capture your passion for learning and link
    subject matter expertise with the energy and
    momentum of the Fox School 

3
"Too much light often blinds gentlemen of this
sort. They cannot see the forest for the trees."
Musarion 1768, Canto II
4
Workshop Inspiration Mentoring
Appreciation (Pyser)
http//chronicle.com/blogs/profhacker/graphic-disp
lay-of-student-learning-objectives/27863
5
Participant Objectives
  • By the end of this workshop, you will be able
    to communicate the topical organization of your
    course to your students by designing a graphic
    syllabus. In doing so, you will also facilitate
    their learning of the course material.

6
Can you relate?
7
Syllabus Review Foundation for Students
Evaluations
Will they be under/overwhelmed??
8
Applied Pracademics (Practice/Academics)
  • real-world practice and research driven academics
    (combining rigor AND pragmatism)
  • infuse critical thinking, problem solving and
    decision making into the daily thinking of
    business students and class interactions
  • engender understanding ? content mastery ? with
    a context to simulate "real-world" business
    environment students experience after graduation

9
Visual Graphic Syllabus and Communication
Perspective
  • What are we making together?
  • How are we making it?
  • What are we becoming as we make this?
  • How can we make better social worlds through
    histories, futures, and networks of classroom
    relationships?

http//www.cmminstitute.net/
10
Education as Social Experience
  • Social capital
  • institutions, relationships, norms that shape
    quality and quantity of a society's social
    interactions.
  • social cohesion is critical for societies to
    prosper
  • Social worlds (CMM)
  • allows faculty and students fertile ground to
    learn
  • graphic syllabus is visual communication
  • create synergies between human and academic sides
    of the classroom to build learning communities

http//www.russcomm.ru/eng/rca_biblio/p/pearce.sht
ml
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12
Why Design a Graphic Syllabus?
  • Text syllabi fail because they
  • 1. depict a complex structure of knowledge--a
    network of topics, concepts, and principles--as
    linear and
  • 2. require familiarity with the terms, which
    students lack, to understand.

13
How Some Students See a Syllabus
BLAH 300 Something I Gotta Take Week
1 Overview of Something I Gotta Take Week 2
The Composition of Apple Peel Week 3
Introduction to Giraffe Consciousness Week 4
Cooking with Sugar and Eggs Week 5 Sugar and
Eggs continued Week 6 The Modern Car The
Carburetor Week 7 The Modern Car Seat
Belts Week 8 Advanced Giraffe
Consciousness, Introduction to Pineapples Week
9 The Relationship between Pineapples and
Buses etc., etc., etc.
14
Why Design? continued
  • Learning styles visual, kinesthetic, concrete,
    holistic/global, Divergers, Intuitive Feelers
  • Better retention retrieval of material received
    1) in two modalities and 2) visually (more
    efficient, less working memory and fewer
    cognitive transformations)
  • Big picture of key concepts and their
    interrelationships ready-made structure for
    knowledge processing and storage

15
Why Design? continued
  • Model tool for enhancing cognitive activities
    involving memory, planning, and organizing.
  • For students note-taking, outlining, problem
    solving, and organizing summarizing material
  • For you re-examine and tighten your course
    design
  • and have some creative fun!

16
Graphic Syllabus
  • flowchart, diagram, or picture showing the
    organization of and interrelationships among your
    course topics that is, how your course
    structures the subject matter and its body of
    knowledge.

17
Types of Course Structures
  • Competition/Complementarity
  • Parallelism
  • Process
  • Chronology (Sequence)
  • Categorical Hierarchy
  • Self-Created

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21
HSCI 441 Community Program Planning, Dr. Vicki
Ebin
Introduction, Health Education and Behavior
Change Theories, Systems Theories (2/1-2/8)
Community Analysis (2/8-2/15)
Community Diagnosis Level II (2/15)
Community Diagnosis Level III (2/22)
Program Goals/Objectives Methods/Activities Interv
ention Strategies Implementation Evaluation
Targeted Surveys/ Analysis
Program Focus (3/1)
(3/8-3/15)
The Final Product (3/22-5/17)
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23
Steven N. Pyser (2012)
Fox School of Business,
Temple University
24
ME 404 Manufacturing Processes and Their
Application, Professor Laine Mears
DESIGN
INDUSTRIAL
MANUFACTURING
Integration
Interpretation
Quality
Time
  • QFD
  • GD T
  • Metrology
  • SPC
  • Push / Pull
  • Lean Mfg.

Design for X
Process Planning
PROCESSES
Material Removal
Material Transformation
Material Addition
Bulk Deform.
Casting Processes
Polymer Processes
Adhesion
Joining
Rapid Prototyping
Machining Processes
Sheet Metal
  • Turning
  • Milling
  • Drilling
  • other
  • Sand casting
  • Diecast
  • Investment
  • other
  • Forging
  • Rolling
  • Extrusion
  • Drawing
  • Bending
  • Stamping
  • Blanking
  • Punching
  • Inj. Molding
  • Blow molding
  • Rotomold
  • other
  • Welding
  • Brazing
  • SLA
  • SLS
  • 3D Printing
  • other

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27
CULTURE
Sharon Shaughnessy 2006, Univ. of Toronto
Study of Culture Psychology
Basic Dimensions of Cultural Variability
CULTURE
Self
Identity/Ethnicity
Social Systems
Research
Methods
Cognition
Development
Emotion
Personality
Social Behavior
Abnormal
28
Christine Burton 2006, Univ. of Toronto
Some history Why and how we study perception
Perceptual awareness and attention
The chemical senses Smell and taste
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Variations in Graphic Syllabi
  • Shape of enclosures
  • Shading of key enclosures, activities,
    assignments, etc.
  • Colors of enclosures and connecting lines
  • Type size, face, features (bold, italics)
  • Arrangements

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Graphic Metaphor
  • Type of graphic syllabus that compares topical
    course organization to some object.

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Cautions!
  • Avoid overcomplexity.
  • Course flows in ONE direction following TIME
    through semester.
  • No recursive relationships
  • Structure of course topics or the learning
    process not the field, a theory, a model, etc.
  • Dont forget to refer to it frequently!

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