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https://ecampusontario.pressbooks.pub/haidenstrentjourney/chapter/artefacts/#chapter-61-section-6
|
Artifact 1 → Trent Offer of Admission Email
My first artifact is my email of admission into the nursing program at Trent. I had applied and gotten into a few other places before receiving this email but hadn’t accepted any because Trent was my top choice. As the deadline for receiving an offer was getting closer I had let go of Trent as my dream school and accepted that I would be going somewhere else. Then just four days before the deadline, I got this email. To now be accepted into nursing was the first shock but to then find out I received a scholarship was even crazier to me! This email felt like all my hard work and determination was finally paying off and my dreams were becoming a reality. This artifact relates to nursing because it marks the beginning of my journey into the nursing profession.
Artifact 2 → Swim Instructor Certification
My next artifact is my swim instructor certificate, which I received after spending a weekend learning techniques to teach swimming lessons to children of all skill levels. After getting certified I spent the next year working as a swim instructor at my local YMCA. This job made me a much more patient person as kids often need lots of time to learn. I loved this job because it felt like I had the chance to actively help these kids. Most of the kids I taught were afraid of some aspect of swimming and I enjoyed being able to help those kids get over their fears and reach their goals.
This relates to nursing because making connects with patients to communicate and achieve goals is a large part of nursing. This certificate allowed me to start building the foundation for those skills. I also had to collaborate with my coworkers often and I learned the importance of collaboration, this is also an important aspect of the nursing profession.
Artifact 3 → My Stethoscope
My next artifact is my stethoscope, this is significant because it is the same stethoscope my mom used when she was in nursing school. My mom is an RPN at a nursing home. She didn’t pressure me into nursing and I wouldn’t say that she was the reason I went into nursing. However I think she really inspired me to help others, hearing about her experience with patients first hand I could see how she was actively making an impact in these people’s lives even if she never saw it as more than a job. This relates to the nursing profession because it represents the role that nursing has played in my life and how I was raised with values that correlate to the nursing profession such as compassion, empathy, and critical thinking. This passed down stethoscope also relates to nursing because I understand the sacrifice nurses often have to make in order to help others because my mom works irregular hours and has my entire life.
|
pressbooks
|
2025-03-22T05:09:28.369487
|
11-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://ecampusontario.pressbooks.pub/haidenstrentjourney/chapter/artefacts/#chapter-61-section-6",
"book_url": "https://ecampusontario.pressbooks.pub/haidenstrentjourney/front-matter/an-intro-to-my-journey/",
"title": "Haiden's Nursing Learning Journey",
"author": "Haiden Tasker",
"institution": "Trent University",
"subject": "Education"
}
|
https://ecampusontario.pressbooks.pub/haidenstrentjourney/chapter/artefacts/#chapter-61-section-7
|
Artifact 1 → Trent Offer of Admission Email
My first artifact is my email of admission into the nursing program at Trent. I had applied and gotten into a few other places before receiving this email but hadn’t accepted any because Trent was my top choice. As the deadline for receiving an offer was getting closer I had let go of Trent as my dream school and accepted that I would be going somewhere else. Then just four days before the deadline, I got this email. To now be accepted into nursing was the first shock but to then find out I received a scholarship was even crazier to me! This email felt like all my hard work and determination was finally paying off and my dreams were becoming a reality. This artifact relates to nursing because it marks the beginning of my journey into the nursing profession.
Artifact 2 → Swim Instructor Certification
My next artifact is my swim instructor certificate, which I received after spending a weekend learning techniques to teach swimming lessons to children of all skill levels. After getting certified I spent the next year working as a swim instructor at my local YMCA. This job made me a much more patient person as kids often need lots of time to learn. I loved this job because it felt like I had the chance to actively help these kids. Most of the kids I taught were afraid of some aspect of swimming and I enjoyed being able to help those kids get over their fears and reach their goals.
This relates to nursing because making connects with patients to communicate and achieve goals is a large part of nursing. This certificate allowed me to start building the foundation for those skills. I also had to collaborate with my coworkers often and I learned the importance of collaboration, this is also an important aspect of the nursing profession.
Artifact 3 → My Stethoscope
My next artifact is my stethoscope, this is significant because it is the same stethoscope my mom used when she was in nursing school. My mom is an RPN at a nursing home. She didn’t pressure me into nursing and I wouldn’t say that she was the reason I went into nursing. However I think she really inspired me to help others, hearing about her experience with patients first hand I could see how she was actively making an impact in these people’s lives even if she never saw it as more than a job. This relates to the nursing profession because it represents the role that nursing has played in my life and how I was raised with values that correlate to the nursing profession such as compassion, empathy, and critical thinking. This passed down stethoscope also relates to nursing because I understand the sacrifice nurses often have to make in order to help others because my mom works irregular hours and has my entire life.
|
pressbooks
|
2025-03-22T05:09:28.380609
|
11-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://ecampusontario.pressbooks.pub/haidenstrentjourney/chapter/artefacts/#chapter-61-section-7",
"book_url": "https://ecampusontario.pressbooks.pub/haidenstrentjourney/front-matter/an-intro-to-my-journey/",
"title": "Haiden's Nursing Learning Journey",
"author": "Haiden Tasker",
"institution": "Trent University",
"subject": "Education"
}
|
https://ecampusontario.pressbooks.pub/haileystimeattrent/chapter/chapter-1/
|
HUMN 1000 – Critical Thinking (Georgian College): Community Service Learning Project
- i) A description of your Community Service Partner:
Our community service partner is Huronia Transition Homes. Huronia Transition Homes is a non-profit organization that works to end all violence against women. They began this non-profit in 1984 with one program, La Maison Rosewood Shelter but they expanded quickly and they now fully operate four successful programs in Simcoe County that include: Athena’s Sexual Assault Counselling & Advocacy Center, Choices for Children, Operation Grow, and La Maison Rosewood Shelter. La Maison Rosewood Shelter was the first program that Huronia Transition Homes started, it was founded in 1985 as a 15 bed emergency shelter for women and their children in Midland Ontario, then in 2009 they added five more beds and introduced a few women support groups that help women develop an understanding of the impacts of trauma and abuse while also increasing self-esteem. (La Maison Rosewood Shelter, n.d.) Athena’s Sexual Assault Counselling & Advocacy Center began operating in October 1998 in Alliston, Barrie, Collingwood, Midland, and Orillia; the purpose of this program is to support women 16 years old and up who have experienced sexual abuse or watched it happen as children or adults. (Athena’s Sexual Assault Counseling & Advocacy Centre, n.d.) Choices for Children started in 2001, its purpose is to help children between the ages of 5 – 15 across Simcoe County who have been exposed to violence against their mothers. It’s a 10 week program for mothers and their children to strengthen their relationships and better understand the impacts the violence had on their lives. The program empowers families by teaching them knowledge and giving them tools with topics such as: emotions, communication & conflict, safety planning, responsibility, family changes, personal boundaries & consent, self-compassion, along with self-acceptance. (Choices for Children, n.d.) Operation Grow is a community-based social enterprise that tackles social isolation and poverty by empowering women through various classes and a cutting-edge vertical farm that helps the women in La Maison Rosewood Shelter grow different skills, employment opportunities, and access to safe produce, fostering improved well-being and community resilience. (Operation Grow, n.d.) All programs work within an intersectional feminist, harm reduction philosophy and community members are committed to educating individuals to help end gender-based violence. Huronia Transition Homes aims to understand women’s diverse life experiences and the impact of violence they have on their lives, they understand that everyone has different stories, that each event is unique, and that the same event could impact another individual completely differently.
- ii) Discuss the main social issue(s) addressed by the agency/organization?
Huronia Transition Homes addresses the issues of violence against women. The organization recognizes the diverse life experiences of women and the varied impacts of violence on all of their lives and how different each situation may be. By having multiple programs open such as La Maison Rosewood Shelter, Athena’s Sexual Assult and Counselling & Advocacy Center, Choices for Children, and Operation Grow, they take an inclusive approach to ending gender-based violence. These programs collectively cater to women-identifying individuals and their children, spanning different age groups
iii) Describe your specific project
According to OCRCC (The Ontario Coalition of Rape Crisis Centers) police-reported sexual assaults in Canada rose from 27.909 in 2018 to 33,242 in 2021 (Annelies, 2023). There seems to be a stigma that wearing revealing clothing invites non-consensual sexual encounters, blaming sexual assault on the victim’s choice of clothing. Our project aims to spread awareness about how the type of clothing you wear doesn’t cause assault; there is no excuse to assault someone. This will be demonstrated as an art installation that recreates outfits that an individual was wearing when they were sexually assaulted, highlighting the message that someone’s choice of clothing doesn’t give permission.
- iv) Identify two learning outcomes from the attached list and describe how your group is meeting these learning outcomes through your CSL project
- Appreciating Diversity
One of our goals of this project is to educate the community about appreciating diversity in victims of sexual assault. Specifically, the assumption that the clothing an individual is wearing is permission that they want to have a sexual encounter. We want to teach the community that everyone is to be treated the same no matter what. Specifically, no matter what clothing they are wearing.
- Clarified Values
Through this project, we want to help influence our community to make a change in the world when it comes to sexual assault. We are also wanting to teach the community what is happening around us. We are hoping that with our art exhibit, we can get individuals to channel their inner values & help spread awareness. The more people that are aware of the situation, hopefully, the more awareness & change will happen.
|
pressbooks
|
2025-03-22T05:09:28.395913
|
11-11-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://ecampusontario.pressbooks.pub/haileystimeattrent/chapter/chapter-1/",
"book_url": "https://ecampusontario.pressbooks.pub/haileystimeattrent/front-matter/an-intro-to-my-journey/",
"title": "Hailey's Nursing Portfolio",
"author": "haileyprescott",
"institution": "Trent University",
"subject": "Education"
}
|
https://ecampusontario.pressbooks.pub/haileystimeattrent/chapter/chapter-1/#chapter-24-section-1
|
HUMN 1000 – Critical Thinking (Georgian College): Community Service Learning Project
- i) A description of your Community Service Partner:
Our community service partner is Huronia Transition Homes. Huronia Transition Homes is a non-profit organization that works to end all violence against women. They began this non-profit in 1984 with one program, La Maison Rosewood Shelter but they expanded quickly and they now fully operate four successful programs in Simcoe County that include: Athena’s Sexual Assault Counselling & Advocacy Center, Choices for Children, Operation Grow, and La Maison Rosewood Shelter. La Maison Rosewood Shelter was the first program that Huronia Transition Homes started, it was founded in 1985 as a 15 bed emergency shelter for women and their children in Midland Ontario, then in 2009 they added five more beds and introduced a few women support groups that help women develop an understanding of the impacts of trauma and abuse while also increasing self-esteem. (La Maison Rosewood Shelter, n.d.) Athena’s Sexual Assault Counselling & Advocacy Center began operating in October 1998 in Alliston, Barrie, Collingwood, Midland, and Orillia; the purpose of this program is to support women 16 years old and up who have experienced sexual abuse or watched it happen as children or adults. (Athena’s Sexual Assault Counseling & Advocacy Centre, n.d.) Choices for Children started in 2001, its purpose is to help children between the ages of 5 – 15 across Simcoe County who have been exposed to violence against their mothers. It’s a 10 week program for mothers and their children to strengthen their relationships and better understand the impacts the violence had on their lives. The program empowers families by teaching them knowledge and giving them tools with topics such as: emotions, communication & conflict, safety planning, responsibility, family changes, personal boundaries & consent, self-compassion, along with self-acceptance. (Choices for Children, n.d.) Operation Grow is a community-based social enterprise that tackles social isolation and poverty by empowering women through various classes and a cutting-edge vertical farm that helps the women in La Maison Rosewood Shelter grow different skills, employment opportunities, and access to safe produce, fostering improved well-being and community resilience. (Operation Grow, n.d.) All programs work within an intersectional feminist, harm reduction philosophy and community members are committed to educating individuals to help end gender-based violence. Huronia Transition Homes aims to understand women’s diverse life experiences and the impact of violence they have on their lives, they understand that everyone has different stories, that each event is unique, and that the same event could impact another individual completely differently.
- ii) Discuss the main social issue(s) addressed by the agency/organization?
Huronia Transition Homes addresses the issues of violence against women. The organization recognizes the diverse life experiences of women and the varied impacts of violence on all of their lives and how different each situation may be. By having multiple programs open such as La Maison Rosewood Shelter, Athena’s Sexual Assult and Counselling & Advocacy Center, Choices for Children, and Operation Grow, they take an inclusive approach to ending gender-based violence. These programs collectively cater to women-identifying individuals and their children, spanning different age groups
iii) Describe your specific project
According to OCRCC (The Ontario Coalition of Rape Crisis Centers) police-reported sexual assaults in Canada rose from 27.909 in 2018 to 33,242 in 2021 (Annelies, 2023). There seems to be a stigma that wearing revealing clothing invites non-consensual sexual encounters, blaming sexual assault on the victim’s choice of clothing. Our project aims to spread awareness about how the type of clothing you wear doesn’t cause assault; there is no excuse to assault someone. This will be demonstrated as an art installation that recreates outfits that an individual was wearing when they were sexually assaulted, highlighting the message that someone’s choice of clothing doesn’t give permission.
- iv) Identify two learning outcomes from the attached list and describe how your group is meeting these learning outcomes through your CSL project
- Appreciating Diversity
One of our goals of this project is to educate the community about appreciating diversity in victims of sexual assault. Specifically, the assumption that the clothing an individual is wearing is permission that they want to have a sexual encounter. We want to teach the community that everyone is to be treated the same no matter what. Specifically, no matter what clothing they are wearing.
- Clarified Values
Through this project, we want to help influence our community to make a change in the world when it comes to sexual assault. We are also wanting to teach the community what is happening around us. We are hoping that with our art exhibit, we can get individuals to channel their inner values & help spread awareness. The more people that are aware of the situation, hopefully, the more awareness & change will happen.
|
pressbooks
|
2025-03-22T05:09:28.406537
|
11-11-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://ecampusontario.pressbooks.pub/haileystimeattrent/chapter/chapter-1/#chapter-24-section-1",
"book_url": "https://ecampusontario.pressbooks.pub/haileystimeattrent/front-matter/an-intro-to-my-journey/",
"title": "Hailey's Nursing Portfolio",
"author": "haileyprescott",
"institution": "Trent University",
"subject": "Education"
}
|
https://ecampusontario.pressbooks.pub/haileystimeattrent/chapter/add-more-assignments/
|
Add a new chapter for any time you need to add a new assignment or reflection. You can revisit the Pressbooks handbook for help on adding and editing chapters
License
Hailey's Nursing Portfolio Copyright © by haileyprescott is licensed under a Creative Commons Attribution 4.0 International License, except where otherwise noted.
|
pressbooks
|
2025-03-22T05:09:28.416672
|
11-11-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://ecampusontario.pressbooks.pub/haileystimeattrent/chapter/add-more-assignments/",
"book_url": "https://ecampusontario.pressbooks.pub/haileystimeattrent/front-matter/an-intro-to-my-journey/",
"title": "Hailey's Nursing Portfolio",
"author": "haileyprescott",
"institution": "Trent University",
"subject": "Education"
}
|
https://ecampusontario.pressbooks.pub/haileystimeattrent/chapter/course-reflection/
|
Use this space to write a short reflection on your experience in this course.
Here is Sarah’s reflection on completion of her first course.
Upon completing the “Introduction to Criminology” course, I am profoundly enriched by the knowledge and insights gained throughout the journey. The course surpassed my expectations, offering a comprehensive understanding of the multifaceted nature of crime, justice systems, and human behavior. Exploring diverse criminological theories has broadened my perspective, enabling me to dissect criminal motivations and societal responses with a critical eye. Engaging in thought-provoking discussions and delving into practical aspects of the criminal justice system has deepened my appreciation for the intricate balance between law enforcement, judicial processes, and rehabilitation. This course has not only equipped me with analytical tools but also inspired a commitment to contribute positively to a safer and more just society. I now embark on future endeavors with a greater understanding of criminology’s role in shaping our world.
|
pressbooks
|
2025-03-22T05:09:28.424704
|
11-11-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://ecampusontario.pressbooks.pub/haileystimeattrent/chapter/course-reflection/",
"book_url": "https://ecampusontario.pressbooks.pub/haileystimeattrent/front-matter/an-intro-to-my-journey/",
"title": "Hailey's Nursing Portfolio",
"author": "haileyprescott",
"institution": "Trent University",
"subject": "Education"
}
|
https://ecampusontario.pressbooks.pub/haileystimeattrent/chapter/course-2-assignment-add-assignment-title/
|
Donna Benns – My Hero
My Nana, Donna Benns’ story begins with her extraordinary mother, Violet Isabel Stewart, a woman who defied social norms. Violet grew up in Toronto, Ontario during The Great Depression. Violet was deeply involved in her church and her faith carried her through many challenging times. At just seventeen years old, Violet experienced a devastating and unexpected loss of her father, yet took on the challenge of supporting her family which included her younger brother who was only twelve years old at the time. Violet and her brother made sure to take care of each other as they continued to grow up together.
While Violet’s dream was to attend a nurse training program to become a nurse, Violet put her dreams on hold so that she could support her family first. While still in the downturn of the economy during the Great Depression, Violet was able to secure a job as a secretary, a job that provided enough for the family and also provided the opportunity to support her brother through university. When Violet’s brother graduated from university and began working, he returned the favour and financially supported Violet to attend nurse training so that she too could fulfil her career aspirations. Violet trained at Toronto East General Hospital and then graduated in the early 1950s when she was in her early 30s. Violet worked passionately as a nurse, and went on to expand her nursing career by becoming a nursing teacher, during which she taught urology.
Violet’s tenacity to grow her nursing career allowed her to be a self-sufficient single woman in her 30s so that she could move out of the school residence facility, and buy her own house in the early 1950s – which was very unusual for a single woman to do at that time period. Violet however did not stay single for long following her initial foray into home ownership. Violet found love and married in 1956.
Violet and her husband began to grow their family. My Nana, Donna, was the oldest of four children; she was born on July 4,1960, and only 17 months later, my Great Uncle Doug was born in 1961. My Nana was joined by two more children that Violet adopted: my Nana’s younger sister, Heather, born in 1963, and younger brother, Glenn born in 1969.
My Nana’s birth was a unique event that was a testament to her mother’s intertwined love for her family and for nursing. Violet had her nursing students in the delivery room to witness the birth of my Nana as a teachable moment. In the 1960s, it was not the norm to have fathers present in the delivery room, let alone a class of students! Violet’s students were in awe with her commitment to their education. About a decade later in 1970, my Nana’s mother retired from nursing and began teaching piano lessons to the neighbourhood children.
Growing up, my Nana, Donna had always looked up to her mother. Donna was influenced by her mother’s impactful role as a nursing teacher, wife, being an all-around good person. At 20 years old, Donna’s own journey took a significant turn when she married my grandfather, Papa Jeff, on July 12, 1980, subsequently welcoming my mom, Christine, and her brother, my Uncle Grant into the world. Navigating the world as a new and young mother of two children, while continuing to grow into her own values and passions in life, my Nana and Papa Jeff grew into conflicting versions of themselves that led to a divorce. During this time, my Nana found her vocational calling, leaving behind factory work to follow in her mom’s footsteps and enrolling in Durham College in 1990 to become a nurse. Shortly after, my Nana’s mom passed in 1991, leaving my Nana to grieve the loss of her mother, navigate a divorce, raise two small children, and pursue a new career all at the same time. I can only imagine how overwhelming this chapter of my Nana’s life would have been for her.
Around the same time, fate intervened, and Donna crossed paths with Doug through mutual friends. Both being separated, their friends saw in them being a perfect match. In 1994, Donna married Doug, and took on a new role – not just as a wife to Doug but also as a mother to Doug’s three children from his previous marriage: youngest daughter Megan, and older twin sons, Aaron and Nigel, blending together as a family of seven, with five children.
Donna’s resilience and capacity for love were truly remarkable as she embraced the challenges and joys of blended family life. Adjusting to life with five children between the ages of six to twelve had emotional highs and lows, with ebbs and flows between sibling bonding and sibling rivalry. Aaron and Nigel picked on their younger sister Megan, while Christine picked on her younger brother Grant. Donna’s daughter, my mother, and step-son, my uncle Aaron, often acted out in defiance as they adjusted to life with new siblings and new parenting styles, frequently verbally and physically challenging the boundaries set out by my Nana and Doug. Despite these challenges, my Nana held her head high and embraced the challenges that this new life brought her with unrivalled patience and grace.
My Nana only showed unconditional love for her family, which became extremely obvious when my mother, Christine faced a challenging separation from my dad while I was only X years old. My Nana and Papa Doug moved my mother and I in with them, providing a safe and welcoming space for us to live and heal. The bond that formed during the years of living with my Nana remains a cherished chapter in my life, and I will forever be so thankful to have the relationship that I have with my Nana and Papa Doug.
My mother and I eventually moved out from my Nana’s home, however, my Nana continued to show me what love looked like and felt like and helped me see the way I want to live my life. Ever since I was a child, my Nana shared amazing stories of the trials and triumphs of love between her and my Papa Doug, her career in nursing, her interest in gardening, and I have always wanted to live a life like hers.
My Nana is my rock, she is the person I go to for anything. She is the reason I strive to go into nursing. This past summer, my Nana brought me to her work at a hospital in the dialysis unit to shadow her for a day, and I immediately fell in love with the profession. Watching my Nana help people in need, and observing her caring and supportive approach with patients was very inspiring to me. This past Fall, my Nana accompanied me to a nursing school open house at a university and motivated me to apply to various Registered Practical Nursing (RPN) and Registered Nursing (RN) programs. With my Nana’s encouragement, I applied and have received early acceptance into both RPN and RN programs in Ontario. I’m so happy I get to follow in my Nana’s footsteps and I hope that one day I can be as amazing as her, and that one day my grandchildren will be writing a story like this about me.
Currently, my Nana lives in a small town in Ontario, called Kinmount, located in Kawartha Lakes. Donna holds an unbreakable bond with her three siblings and their families, her five children and their partners, and three grandchildren. Donna’s bond with her late mother also continues to exist as she and her siblings found a way to honour her legacy. Violet wrote poems and prayers throughout her life and my Nana and her siblings recently consolidated her writing and published a book with the hope that the book would find someone in need of encouragement to find inspiration in her stories, in the way that Violet’s life influenced my Nana’s life and consequently inspired mine.
My Nana’s story is one of resilience, growth, and love, and has taught me that it doesn’t matter what you have, it only matters who you have it with. I hope that one day I can grow old and tell my grandkids all the stories that my Nana has shared with me.
|
pressbooks
|
2025-03-22T05:09:28.437707
|
11-11-2024
|
{
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"url": "https://ecampusontario.pressbooks.pub/haileystimeattrent/chapter/course-2-assignment-add-assignment-title/",
"book_url": "https://ecampusontario.pressbooks.pub/haileystimeattrent/front-matter/an-intro-to-my-journey/",
"title": "Hailey's Nursing Portfolio",
"author": "haileyprescott",
"institution": "Trent University",
"subject": "Education"
}
|
https://ecampusontario.pressbooks.pub/haileystimeattrent/chapter/course-2-assignment-add-assignment-title/#chapter-31-section-1
|
Donna Benns – My Hero
My Nana, Donna Benns’ story begins with her extraordinary mother, Violet Isabel Stewart, a woman who defied social norms. Violet grew up in Toronto, Ontario during The Great Depression. Violet was deeply involved in her church and her faith carried her through many challenging times. At just seventeen years old, Violet experienced a devastating and unexpected loss of her father, yet took on the challenge of supporting her family which included her younger brother who was only twelve years old at the time. Violet and her brother made sure to take care of each other as they continued to grow up together.
While Violet’s dream was to attend a nurse training program to become a nurse, Violet put her dreams on hold so that she could support her family first. While still in the downturn of the economy during the Great Depression, Violet was able to secure a job as a secretary, a job that provided enough for the family and also provided the opportunity to support her brother through university. When Violet’s brother graduated from university and began working, he returned the favour and financially supported Violet to attend nurse training so that she too could fulfil her career aspirations. Violet trained at Toronto East General Hospital and then graduated in the early 1950s when she was in her early 30s. Violet worked passionately as a nurse, and went on to expand her nursing career by becoming a nursing teacher, during which she taught urology.
Violet’s tenacity to grow her nursing career allowed her to be a self-sufficient single woman in her 30s so that she could move out of the school residence facility, and buy her own house in the early 1950s – which was very unusual for a single woman to do at that time period. Violet however did not stay single for long following her initial foray into home ownership. Violet found love and married in 1956.
Violet and her husband began to grow their family. My Nana, Donna, was the oldest of four children; she was born on July 4,1960, and only 17 months later, my Great Uncle Doug was born in 1961. My Nana was joined by two more children that Violet adopted: my Nana’s younger sister, Heather, born in 1963, and younger brother, Glenn born in 1969.
My Nana’s birth was a unique event that was a testament to her mother’s intertwined love for her family and for nursing. Violet had her nursing students in the delivery room to witness the birth of my Nana as a teachable moment. In the 1960s, it was not the norm to have fathers present in the delivery room, let alone a class of students! Violet’s students were in awe with her commitment to their education. About a decade later in 1970, my Nana’s mother retired from nursing and began teaching piano lessons to the neighbourhood children.
Growing up, my Nana, Donna had always looked up to her mother. Donna was influenced by her mother’s impactful role as a nursing teacher, wife, being an all-around good person. At 20 years old, Donna’s own journey took a significant turn when she married my grandfather, Papa Jeff, on July 12, 1980, subsequently welcoming my mom, Christine, and her brother, my Uncle Grant into the world. Navigating the world as a new and young mother of two children, while continuing to grow into her own values and passions in life, my Nana and Papa Jeff grew into conflicting versions of themselves that led to a divorce. During this time, my Nana found her vocational calling, leaving behind factory work to follow in her mom’s footsteps and enrolling in Durham College in 1990 to become a nurse. Shortly after, my Nana’s mom passed in 1991, leaving my Nana to grieve the loss of her mother, navigate a divorce, raise two small children, and pursue a new career all at the same time. I can only imagine how overwhelming this chapter of my Nana’s life would have been for her.
Around the same time, fate intervened, and Donna crossed paths with Doug through mutual friends. Both being separated, their friends saw in them being a perfect match. In 1994, Donna married Doug, and took on a new role – not just as a wife to Doug but also as a mother to Doug’s three children from his previous marriage: youngest daughter Megan, and older twin sons, Aaron and Nigel, blending together as a family of seven, with five children.
Donna’s resilience and capacity for love were truly remarkable as she embraced the challenges and joys of blended family life. Adjusting to life with five children between the ages of six to twelve had emotional highs and lows, with ebbs and flows between sibling bonding and sibling rivalry. Aaron and Nigel picked on their younger sister Megan, while Christine picked on her younger brother Grant. Donna’s daughter, my mother, and step-son, my uncle Aaron, often acted out in defiance as they adjusted to life with new siblings and new parenting styles, frequently verbally and physically challenging the boundaries set out by my Nana and Doug. Despite these challenges, my Nana held her head high and embraced the challenges that this new life brought her with unrivalled patience and grace.
My Nana only showed unconditional love for her family, which became extremely obvious when my mother, Christine faced a challenging separation from my dad while I was only X years old. My Nana and Papa Doug moved my mother and I in with them, providing a safe and welcoming space for us to live and heal. The bond that formed during the years of living with my Nana remains a cherished chapter in my life, and I will forever be so thankful to have the relationship that I have with my Nana and Papa Doug.
My mother and I eventually moved out from my Nana’s home, however, my Nana continued to show me what love looked like and felt like and helped me see the way I want to live my life. Ever since I was a child, my Nana shared amazing stories of the trials and triumphs of love between her and my Papa Doug, her career in nursing, her interest in gardening, and I have always wanted to live a life like hers.
My Nana is my rock, she is the person I go to for anything. She is the reason I strive to go into nursing. This past summer, my Nana brought me to her work at a hospital in the dialysis unit to shadow her for a day, and I immediately fell in love with the profession. Watching my Nana help people in need, and observing her caring and supportive approach with patients was very inspiring to me. This past Fall, my Nana accompanied me to a nursing school open house at a university and motivated me to apply to various Registered Practical Nursing (RPN) and Registered Nursing (RN) programs. With my Nana’s encouragement, I applied and have received early acceptance into both RPN and RN programs in Ontario. I’m so happy I get to follow in my Nana’s footsteps and I hope that one day I can be as amazing as her, and that one day my grandchildren will be writing a story like this about me.
Currently, my Nana lives in a small town in Ontario, called Kinmount, located in Kawartha Lakes. Donna holds an unbreakable bond with her three siblings and their families, her five children and their partners, and three grandchildren. Donna’s bond with her late mother also continues to exist as she and her siblings found a way to honour her legacy. Violet wrote poems and prayers throughout her life and my Nana and her siblings recently consolidated her writing and published a book with the hope that the book would find someone in need of encouragement to find inspiration in her stories, in the way that Violet’s life influenced my Nana’s life and consequently inspired mine.
My Nana’s story is one of resilience, growth, and love, and has taught me that it doesn’t matter what you have, it only matters who you have it with. I hope that one day I can grow old and tell my grandkids all the stories that my Nana has shared with me.
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11-11-2024
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https://pressbooks.bccampus.ca/housekeeping/chapter/chapter-1/
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Main Body
In the first selection, entitled “Border Crossings in Marilynne Robinson’s Housekeeping,” William M. Burke describes the novel as “an unconventional primer on the mystical life, in which the basic accomplishment for both the protagonist, Ruth, and the reader is the expansion of consciousness through a series of border crossings –social, geographic, and perceptual.” Burke examines two competing impulses in the Foster family, as portrayed in Ruth’s narrative, one towards rootedness and domesticity, the other towards transience and “the shifting margins of experience.” Ruth and Lucille’s grandmother Sylvia Foster embodies the first tendency. For the Grandmother, as Burke notes, “the rooted and the circumscribed life produces the ‘resurrection of the ordinary’ . . . as life passes through its cycles, and nature brings daily its ‘familiar strangeness.’” The girls’ grandfather, Edmund Foster, embodies the opposing trait or tendency. It is his wanderlust that first brought the family to the shores of Lake Fingerbone, and as “a trainman he is the prototype for the family tendency toward rootlessness” (717). The conflict between these two tendencies is most evident in the rift that develops between Ruth and Lucille over Sylvie’s role in their lives, with Lucille aligning herself with her grandmother’s conventional, middle class values while Ruth follows both Sylvie and her grandfather’s example by embracing transience. Burke also draws attention to the epistemological dimensions of Robinson’s novel, noting that for Ruth “the shifting margins of the physical world serve warning that the visible world falsely signifies reality” (720). As Ruth herself remarks, “Everything that falls upon the eye is apparition, a sheet dropped over the world’s true working” (116). As surrogate mother and spiritual guide, Sylvie “educates Ruth . . . in the hard disciplines of instability, loneliness, uncertainty and change –the necessary conditions for seeing the true workings of the world” (721). In choosing transience over rootedness, a life of wandering over the comforts of home, Ruth aligns herself with the world of memory and desire. By burning down the family home and crossing the same bridge that had claimed the life of their grandfather Edmund Foster, Ruth and Sylvie are crossing from the world of appearances into a quasi-mystical realm where Ruth hopes to be reunited with her mother and her grandfather and all those other souls who now inhabit the depths of Lake Fingerbone.
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https://pressbooks.bccampus.ca/housekeeping/chapter/chapter-2-extending-the-american-range-marilynne-robinsons-housekeeping/
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Main Body
Chapter 2: Martha Ravitts, “Extending the American Range: Marilynne Robinson’s Housekeeping”
In “Extending the American Range: Marilynne Robinson’s Housekeeping,” Martha Ravitts examines the novel’s relation to the canon of classic American literature, defining the ways in which Robinson draws upon and augments many of the central themes in classic American fiction. Like others, Ravitts notes the many echoes of and allusions to earlier American writers in Housekeeping. However, she emphasizes the chief difference between Robinson’s novel and the work of her predecessors. While there are numerous American novels that trace the efforts of a young male protagonist to define himself by escaping the constraints of society, Robinson is among the few contemporary women writers to adapt so successfully this familiar narrative structure to the story of a young woman’s quest for identity. “In forging a bildungsroman about a female protagonist,” Ravitts writes, “Robinson brings a new perspective to bear on the dominant American myth about the developing individual freed from social constraints” (644). In the classic American novel of development, the hero typically must forge his identity by turning away from the feminizing influences of society and entering into a wilderness that tests his courage and his ingenuity. Often the hero is accompanied by a companion who becomes both an ally and a surrogate father on this quest for identity. One thinks of Natty Bumpo and Chingachook in The Last of the Mohicans, Ishmael and Queequag in Moby Dick, Huck and Jim in Adventures of Huckleberry Finn, or Ike McCaslin and the aptly named Sam Fathers in “The Bear.” In Housekeeping, as Ravitts notes, Robinson shifts the focus of this classic American myth from the male to the female protagonist and from the father-son to the mother-daughter relationship:
Ruth’s quest focuses long overdue attention on the individual’s resolution of feelings about the bond to the mother as the primary, requisite step in the ascension to selfhood. For the maturing female hero, it is the mother—missing, absent, but always present to the child’s imagination—who is the key to reality, in Whitman’s term, ‘the clef of the universes’ (649).
Martha Ravitts is one of many readers who regard Housekeeping from a feminist perspective. In an essay published in the South Atlantic Review in 1991, for instance, Maureen Ryan has described the novel’s narrator Ruth as a “new American Eve,” noting that at the end of Housekeeping Ruth and Sylvie follow the examples of their literary predecessors–Huck and Jim, Ismael and Queequag—by turning their back on society, or ‘sivilization,” to quote Twain’s young hero—but unlike their male counterparts, Ruth and Sylvie do not abandon one another. Instead, as Ryan observes, “Their flight from the . . . world of normalcy is an affirmation of female solidarity” (85). In yet another essay on the novel from 1990, Dana A. Heller claims that “through a reworking of the ‘lighting out’ motif that invokes elements of feminist literary and psychoanalytic theory, Robinson’s novel explores new images of female selfhood and new modes of female social involvement” (94). [1] And, as the list of further readings included at the end of this collection of essays indicates, there are many other critics who have read Robinson’s novels through the lenses of feminist and psychoanalytic theory. But not all such writers agree that Housekeeping is a feminist novel. In an essay published in Genders in 1990, for instance, Sian Mile has argued that in her portrayal of Ruth and Sylvie, and the disembodied forms of subjectivity they represent, Robinson’s novel runs counter to one of the dominant trends of contemporary feminist criticism, namely, the reclaiming of the female body from the phallocentric designs of patriarchy. According to Mile, Robinson’s novel “does not reclaim but writes off the female Body . . ., the material world, and the sexual self as useless in the process of defining a woman’s subjecthood” (129). [2]
[1] See Maureen Ryan, “Marilynne Robinson’s Housekeeping: The Subversive Narrative and the New American Eve.” South Atlantic Review 56 (Jan. 1991):79-86; and Dana Heller, “’Happily at Ease in the Dark: Marilynne Robinson’s Housekeeping.” In The Feminizatiion of Quest Romance. Durham: U of North Carolina P, 1990:93-104.
[2] See Sian Mile, Femme Foetal: The construction/destruction of female subjectivity in Housekeeping, or NOTHING GAINED Genders No. 8 Summer 1990: 129-36.
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Main Body
Chapter 3: Karen Kaviola, “The Pleasure and Perils of Merging: Female Subjectivity in Marilynne Robinson’s Housekeeping”
In “The Pleasures and Perils of Merging: Female Subjectivity in Marilynne Robinson’s Housekeeping,” Karen Kaivola attempts to balance these views by examining the ways in which Ruth’s narrative “supports responses both amenable and antithetical to feminism”(672). Kaivola acknowledges that, on the surface, Robinson’s novel seems to privilege Ruth and Sylvie’s transient lifestyle and their unconventional values and behavior over the more conventional lifestyle and values of Lucille, the home economics teacher Miss Royce, and the good women of Fingerbone. But she also notes that in its indeterminacy in blurring the boundaries between the internal and the external, the self and the other, Housekeeping elides questions that are crucial to many feminist readers, most notably concerning the complex relationship of female subjectivity, embodiment and sexuality. But for Kaivola, it is precisely this indeterminacy that makes Housekeeping such a challenging and rewarding text. Rather than fault Robinson for failing to adhere to the central tenets of contemporary feminist theory, she claims that “Housekeeping challenges the theoretical perspectives critics have imposed on it,” arguing that, given the novel’s commitment to inclusiveness, it is “not reducible to these theoretical perspectives, based as they are on the very exclusions and distinctions it refuses”(674). Thus, she focuses on the challenges readers face, regardless of their theoretical convictions, when confronted with the complexities and the contradictions in the text. Chief among these is Robinson’s representation of Ruth. On the one hand, as readers, we are encouraged to identify with her desire for a surrogate mother to fill the void left by her own mother’s suicide, and with her equally understandable desire to escape from the conservatism and conventional morality of Fingerbone. On the other hand, the alternatives to Fingerbone, and Ruth’s embrace of loneliness and a life of wandering or transience pose challenges that are not easily overlooked. As Kaivola puts it, “Ruth occupies a position few, if any readers, share”(682). Even more problematic is Ruth’s renunciation of the body, which as Kaivola and others have noted, is closely linked to her desire to merge her identity and her subjectivity both with Sylvie and with the natural world around her. While it is possible to see this merging of self and other as a positive goal, signalling psychological and spiritual fulfillment, it is equally possible to see it as a sort of death wish. Kaivola herself stresses that the positive and negative implications of Ruth’s desire for self expansion/abnegation cannot be separated. Thus, she concludes that “Robinson does not offer a new and politically promising female subjectivity.” Rather what she offers readers, according to Kaivola, is a novel that foregrounds both the pleasures and the perils of such a merging.
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https://pressbooks.bccampus.ca/housekeeping/chapter/chapter-4-nothing-left-to-lose-housekeepings-strange-freedoms/
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Main Body
Chapter 4: Christine Caver, “Nothing Left to Lose: Housekeeping’s Strange Freedoms”
Like Kaivola, Christine Caver also questions interpretations of Housekeeping that praise the novel as “a narrative of feminist freedom” (111). In “Nothing Left to Lose: Housekeeping’s Strange Freedoms,” Caver challenges this view and argues instead that Ruth’s story is best read as a trauma narrative. She acknowledges the presence of “feminist markers” in the novel, among the almost exclusive focus on female characters and female experience, the apparent escape of the two central characters, Ruth and Sylvie, from the constraints of patriarchal society, and the blurring of many of the categories that support that society. But Caver rejects the common view of Housekeeping as a feminist novel about the liberation of Ruth and Sylvie from the restrictions of traditional gender roles. “For all its suggestion of freedom from traditional female identities,” she writes, “this narrative is deeply rooted in the trauma of abandonment, which may better explain its characters’ rootlessness and difference than does Robinson’s supposed attempt to compose a ‘feminist fiction and theory’” (113). She goes on to explain the various ways in which the novel conforms to standard patterns found in trauma narratives, beginning with the curious passivity and lack of emotion that is so characteristic of Ruth’s narrative voice, and including the frequent intrusion of traumatic memories in her account of her experiences. Caver focuses on the “claustrophobic” and “suffocating” tone of the novel, and on the challenges Robinson faces in having Ruth narrate her story of loss and abandonment. As psychologists and trauma theorists have noted, trauma silences its victims, rendering them incapable of putting into words the terror and helplessness they feel. It also isolates them from others, who, they fear, will be unable to understand their experiences. Their mother’s suicide has precisely this effect on both Ruth and Lucille. Gradually, however, Lucille breaks free from this isolation, seeking comfort and security in the conventional values that Ruth and Sylvie ultimately reject. In contrast, Ruth remains a victim of trauma, as is evident in the paradoxical nature of her narrative: “she writes her family history by recording sophisticated interior monologues, yet she is barely able to speak to those around her” (116). In choosing a life of loneliness and wandering, however, Ruth is not simply breaking free from the constraints of middle-class life, she is breaking free from all human attachments and all human needs. Viewed from this perspective, the novel’s conclusion entails not an affirmation of feminist principles but a description of its central characters’ social death. “In Housekeeping’s world,” Caver observes, “the alternatives for women who long to escape from an abusive or repressive system are situated somewhere between madness and death. As in the film Thelma and Louise (1991), there is no place of welcome for female buddies who choose to live outside the social law” (114).
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2025-03-22T05:09:28.550507
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06-1-2020
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https://pressbooks.bccampus.ca/housekeeping/chapter/chapter-5/
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Main Body
Chapter 5: Erika Spohrer, “Translating from Language to Image in Bill Forsyth’s Housekeeping”
Robinson’s novel has inspired not only readers and critics but the Scottish filmmaker Bill Forsyth, who released a critically admired adaptation of Housekeeping in 1987. Shot in Nelson, and the Lower Mainland of British Columbia and starring Christine Lahti as Sylvie, Sara Walker as Ruth, and Andrea Burchill as Lucille, it offers a uniquely cinematic interpretation of the novel. In her essay “Translating from Language to Image in Bill Forsyth’s Housekeeping,” Erika Spohrer examines the various ways in which Forsyth translates Robinson’s richly allusive and poetic novel into the language of film. While she acknowledges the debate over “the practical feminist value” of Housekeeping’s representation of Ruth’s fluid and at times contradictory subjectivity, Spohrer regards the novel as a feminist text and argues that Forsyth has not only captured this dimension of the text but made it more visible. Drawing upon the work of feminist philosopher and theorist Judith Butler, she claims that Forsyth’s adaptation foregrounds the performative nature of gender by making viewers acutely aware of how both Sylvie and Ruth fail to perform the conventional gender roles assigned to them by the good people of Fingerbone. For Butler, gender roles are not simply socially constructed roles that individuals choose to embrace or reject, they are inherently performative in nature. As she writes in Gender Trouble: Feminism and the Subversion of Identity (1990), “Acts, gestures, enactments . . . are performative in the sense that the essence or identity that they purport to express are fabrications manufactured and sustained through corporeal signs and other discursive means” (qtd. in Spohrer 57). In his film adaptation of Robinson’s novel, Forsyth foregrounds both Sylvie and Ruth’s subversive performance of gender through his use of mise-en-scene, costumes and cinematography, often adding scenes and dialogue to draw our attention to Sylvie and Ruth’s “incongruous female bodies and [their] exaggerated performances” (57).
Spohrer traces the development of Sylvie, Ruth and Lucille over the course of Forsyth’s film, stressing that all three characters can best be understood as embodiments of Butler’s views on the performative nature of gender roles. Whereas Lucille embraces the gendered identity expected of her by the community, Sylvie and Ruth eventually reject the hegemonic and normative gender roles they have attempted unsuccessfully to perform and choose instead to free themselves from such restrictive identities. As Spohrer notes, however, the conclusion of Forsyth’s film differs significantly from the conclusion of Robinson’s novel. Rather than providing us with a coda in which Ruth describes herself and her aunt as drifters who continue to exist, like ghosts, on the margins of society, in the final frames of his film Forsyth portrays the pair crossing the bridge into darkness as we hear Lucille in a narrative voice-over claim of Ruth, “She’s always wandering away.” “By wandering away from Lucille’s voice,” Spohrer writes, “and in effect leaving the patriarchal institution that she has grown to represent, Sylvie and Ruth eliminate from their existence the audience that regulates their gender performances”(68).
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pressbooks
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2025-03-22T05:09:28.559971
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06-1-2020
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https://pressbooks.bccampus.ca/housekeeping/chapter/chapter-6-their-own-private-idaho-transience-in-marilynne-robinsons-housekeeping/
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Main Body
Chapter 6: Maggie Galehouse, “Their Own Private Idaho: Transience in Marilynne Robinson’s Housekeeping”
In “Their Own Private Idaho: Transience in Marilynne Robinson’s Housekeeping,” Maggie Galehouse approaches the novel from yet another perspective, situating it within the contexts of the contemporary critical discourse on homelessness and Emersonian Romanticism. As Galehouse notes, “the standard social text for vagrants . . . is almost always written from the vantage point of recuperation: How can people be housed? ask newspaper articles, case studies, and sociological surveys” (118). In the real as opposed to a fictional world, homelessness is associated with poverty, addiction, mental illness, spousal abuse, etc. In those rare instances when it is romanticized, as in the case of the mythical hobos of the Depression era, the subject is typically male and his wanderlust is regarded as a heroic refusal of regimented factory work in favor of seasonal agricultural jobs. Female hoboes, on the other hand, are rarely romanticized or idealized. Instead, they are regarded as a threat to the status quo “by reminding the non-transient population that women can and do exist outside the polarities of prostitution and domesticity . . . “(125). While acknowledging that Housekeeping is a work of fiction and not a “sociohistorical document,” Galehouse argues that Robinson has subtly refashioned “the standard associations of the transient or hobo” [by portraying] drifting as a kind of liberation . . . a casting-off of unnecessary objects and social responsibilities “(119). Like others, she describes Sylvie’s peculiar form of housekeeping as “a perversion of the ordinary” (128), focussing on the ways in which Sylvie’s laissez faire attitude toward keeping house results in a blurring of the boundaries between inside and outside, self and nature. “If the aim of housekeeping is to create an ordered universe where the objects associated with living are kept tidied and in their place by routine and discipline,” she writes, “then Sylvie undermines it by her inability (or refusal) to register internal or external boundaries” (130). For Galehouse, this character trait is related directly to Robinson’s reading of nineteenth-century American literature. As she notes, “Robinson shares with the American Romantics –Emerson especially–a reverence for the land and its spiritual, restorative qualities” (130). Like Emerson, she views nature as a force that is capable of evoking expanded forms of consciousness, and like Emerson, she clearly believes that to attain these altered forms of consciousness, one must turn away from the demands of society and immerse oneself instead in the natural environment. Whereas Emerson views nature as subordinate to the will of man, Robinson regards it as a “protean force” which ultimately cannot be contained. As Galehouse notes, “Robinson revises Emerson’s notion of the dominion of man in her presentation of Sylvie, who is conducted by nature as often as she conducts it” (131).
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pressbooks
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2025-03-22T05:09:28.569499
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06-1-2020
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"title": "Housekeeping (by Marilynne Robinson)",
"author": "Paul Tyndall",
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|
https://pressbooks.bccampus.ca/housekeeping/chapter/chapter-7-the-ungraspable-phantom-of-life-incompletion-and-abjection-in-moby-dick-and-housekeeping/
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Main Body
Chapter 7: Laura Barrett, “‘The Ungraspable Phantom of Life’: Incompletion and Abjection in Moby-Dick and Housekeeping”
In “’[T]he ungraspable phantom of life’: Incompletion and Abjection in Moby-Dick and Housekeeping,” Laura Barrett explores yet another dimension of Robinson’s relationship to her nineteenth century precursors and influences. As she notes, Robinson has been open in her admiration for Melville’s novel about Ishmael, Ahab and their hunt for the great white whale, claiming that if Melville could produce a novel focused almost exclusively on male characters that could somehow speak to a reader like herself, then she could write a novel that revolved almost entirely around female characters that was still meaningful for male readers. While others have noted the way in which Ruth’s first words– “My name is Ruth”– deliberately call to mind Ishmael’s famous declaration at the very beginning of his narrative—“Call me Ishmael”– Barrett goes further in exploring the structural and thematic affinities between Moby Dick and Housekeeping. Both are philosophical novels that focus on central characters who are orphans and outsiders; both narrators express a profound mistrust of appearances and believe that the “true workings of the world,” to borrow a phrase from Housekeeping, are obscured by the senses. Even more important, however, are Melville and Robinson’s shared concerns with the themes of corporeality and abjection, which Barrett defines as “that which is severed but not forgotten, that which is simultaneously necessarily dismembered and dangerously remembered” (15). In Moby Dick, these two themes come together in the figure of Ahab, who has lost his leg to the great white whale, but also in Ishmael, whose cruel step-mother underscores the absence of his birth mother. In Housekeeping, Ruth is orphaned not once but repeatedly as one care-giver after another dies or disappears. Both Ishmael and Ruth respond to these absences by forming profound almost child-like attachments with others, Queequag for Ishmael, Sylvie for Ruth, but both remain haunted by loss, and these losses compel both characters to mistrust not only human bonds but the human body itself. In fact, as Barrett notes, in both Moby Dick and Housekeeping, [c]orporeality . . . is tantamount to incompletion, an incompletion generally manifested in the disintegration, mutilation, or failure of bodies . . .” (1). Barrett concludes her essay by focusing attention on the shared epistemological concerns of Melville and Robinson, noting that “the mode of representation that both Ishmael and Ruth employ is an attempt to write the unnameable” (19). Ishmael’s narrative enacts this dilemma through its use of highly detailed verbal pictures of whales to illustrate the inability of those pictures to capture or comprehend the white whale that is the object of his quest, and through its obsessive amassing of quotations, allusions, and references to this opaque and ultimately unreadable object. Likewise, Ruth’s narrative is continually haunted by her memories or imaginative re-creations of not only of her mother, but also her grandfather and grandmother and by all the other souls who have perished yet remain alive in her mind.
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pressbooks
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2025-03-22T05:09:28.579307
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06-1-2020
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https://pressbooks.bccampus.ca/housekeeping/chapter/chapter-8-loss-longing-and-the-optative-mode-in-marilynne-robinsons-housekeeping/
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Main Body
Chapter 8: Paul Tyndall and Fred Ribkoff, “Lss, Longing and the Optative Mode in Marilynne Robinson’s Housekeeping”
In the final selection in this volume, entitled “Loss, Longing, and the Optative Mode in Marilynne Robinson’s Housekeeping,” my colleague Fred Ribkoff and I examine Robinson’s use of a stylistic and rhetorical device that we refer to as the optative mode. This term is used by Andrew H. Miller to describe a “mode of constrastive and counterfactual self-reflection” that that may be discerned in many modern and contemporary novels and poems, ranging from Henry James’ The Ambassadors and Robert Frost’s “The Road Not Taken” to T.S. Eliot’s “Burnt Norton” and Virginia Woolf’s Mrs. Dalloway. We liken the device to the optative mood in Ancient Greek and Sanskrit, which is a specific verb tense that was reserved in these languages for the expression of dreams and desires. In Housekeeping, however, the optative mode “is less a grammatical function than a narrative and stylistic device . . . , [which] frequently takes the form of a hypothetical or conjectural statement, often beginning with the phrase ‘Say that,” as in “Say that my mother was as tall as a man,” or with the verb ‘imagine,’ as in ‘Imagine a Carthage sown with salt’” (88). Drawing upon trauma theory and psychoanalytic approaches to the novel, we examine Robinson’s use of this inherently speculative mode of discourse, arguing that it is through her use of the optative mode that Ruth is able not simply to narrate her story of loss and mourning, but to understand it, and to come to terms with grief and loneliness . . . “(88). We follow Burke and others in seeing Sylvie as Ruth’s spiritual guide in this process, and we also agree with Caver that Housekeeping is among other things a trauma narrative. However, we challenge the notion that the novel’s conclusion describes Ruth and Sylvie’s “social death.” In burning down the family home and crossing the bridge that spans Lake Fingerbone, the pair are turning away from the middle-class comforts and values of their neighbours and embarking instead upon a life of wandering and rootlessness. The novel’s final pages suggest that through her continued use of what we are calling the optative mode Ruth will remain attached to the past and to her estranged sister Lucille even though she may never see her again. In the final optative passages in her narrative, Ruth has no choice but to imagine her estranged sister’s life, first in Fingerbone, then in Boston, while admitting that she and Sylvie have no place in that life. “We are nowhere in Boston,” she observes, “and the perimeters of our wandering are nowhere” (218-9). Yet it is clear that just as Lucille’s absence makes her a vital presence in Ruth’s thoughts and feelings, so too will Ruth and Sylvie remain a living presence in her own life, regardless of their absence. “Ruth resorts to the optative mode,” we argue, “not simply to explain her experiences but to understand them. And it is by imagining what might have been that she comes to terms with what has happened” (101-2).
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pressbooks
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2025-03-22T05:09:28.589540
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06-1-2020
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https://ecampusontario.pressbooks.pub/shahadib12345/chapter/belief/
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1 BELIEF
PHILOSOPHY STATEMENT.
My nursing philosophy pivots around being a leader, providing compassionate care, promoting autonomy, and advocating for patients and colleagues. I believe that leadership in nursing encompasses many elements, and at its core, the essence revolves around being the voice for patients, honouring their values, protecting their dignity, and, importantly, promoting independence. I aspire to continue expanding my knowledge and embodying values in becoming a healthcare provider guided by their morals and ethical principles and adapting to future challenges in this evolving healthcare system.
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pressbooks
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2025-03-22T05:09:28.598126
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11-21-2024
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{
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"book_url": "https://ecampusontario.pressbooks.pub/shahadib12345/front-matter/welcome/",
"title": "HOW NURSING FOUND ME !",
"author": "SHAH ADIB-ANON",
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"subject": "Nursing"
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https://ecampusontario.pressbooks.pub/shahadib12345/chapter/values/
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2 Values
The four key values that shaped my fundamentals of nursing practice are accountability, altruism, empathy, and professionalism. These elements are the ones that shaped my character as a person and how I interact with my patients, their families, and colleagues. Some of the key values are
Accountability
Altruism
Professionalism
Empathy
Accountability
The principles of compassionate care and nursing leadership are natural extensions of my philosophy. At its core, being a leader is not only about influencing others but rather one’s interaction guided by ethical principles and values. The moral value of accountability is defined by nurses delivering safe and quality care and being responsible for one action. It ensures nurses foster trust and transparency with the patients and the nursing profession (College of Nurses of Ontario, 2023) Moreover, I believe accountability extends beyond providing care; it holds the element of being responsible for growth and openminded, and I will be updated with education such as evidence-based practice. Ultimately, being accountable allowed me to reflect on my practice by upholding patient dignity and leadership, and this is done by asking questions, seeking constructive criticism, and accepting mistakes to prevent mistakes. Fostering these values allowed me to stay informed and open-minded to acceptance and growth and stay consistent in providing care with efficiency and efficacy.
Altruism
Altruism is another value that I would integrate into my nursing philosophy. Altruism is defined as being selfless and prioritizing what patients need before themselves, and one of its key attributes is the authenticity of being passionate and providing care where the patient feels supported and valued. Additionally, altruism also plays a key role in other ethical principles, and one of its key roles is providing care with fairness and respecting one’s autonomy. At its core, it allows nurses the opportunity to reflect on their care and their own values and beliefs (Chen et al., 2022). From my perspective, altruism became a driving force on why I became a nurse in the first place. An example can be being a caregiver to my brother, always prioritizing his needs over mine, making sure he is healthy, and following up with all his appointments and care. I would also participate in his care, such as supporting him with his daily activities of living and always encouraging him to be independent. This experience of being a caregiver allowed me to foster some of the elements and implement them in my professional practice. It allowed me to build my foundation and guided me to understand patients from their perspective and the importance of safeguarding their rights and dignity.
Professionalism
Professionalism is another meaningful value that I believe in. Professionalism is defined by the determination to deliver care at the highest standard and to conduct oneself and others with respect and dignity. Professionality enables nurses to stay updated with the current practice and how to communicate with other interdisciplinary teams to prioritize the best outcome for the patient. Nurses demonstrate professionalism by upholding the standard of care by following specific guidelines from the RNAO on professionalism in nursing and ethical principles such as promoting autonomy, doing no harm and justice. Some moral values nurses adhere to are maintaining patient confidentiality, their right to care, consent, and, importantly, delivering care with safety and safeguarding their dignity and independence (Grinspun & Registered Nurses’ Association of Ontario, 2007.) I believe the value of professionalism has guided me to deliver my care with compassion and be a competent caregiver, and I see it being implemented in my practice. One example is during my clinical placement, where I was taking care of a patient who was dealing with grief after being in a family altercation that ended with his son committing suicide. I professionally helped in this situation to communicate with the patient and build a relationship by prioritizing what was needed for the patient, the grief he was feeling, and his fear of communicating with another health worker. I understood his situation and communicated with other interpersonal professionals to provide him with a better outcome. This allowed me to care for my patient by metting the standard of care needed while considering the patient was whole and providing care where his feelings are valued and heard.
Chen, Y., Xie, C., Zheng, P., & Zeng, Y. (2022). Altruism in nursing from 2012 to 2022: A scoping review. Frontiers in Psychiatry, 13. https://doi.org/10.3389/fpsyt.2022.1046991
College of Nurses of Ontario. (2023). Practice Standard: Code of Conduct. In College of Nurses of Ontario. https://www.cno.org/globalassets/docs/prac/49040_code-of-conduct.pdf
Grinspun, D. & Registered Nurses’ Association of Ontario. (2007). Professionalism in Nursing. In A. Baumann, A. Moorhouse, J. M. Andrew, B. Brunsdon-Clark, C. Burke, H. Campbell, J. Costello, A. Danaher, M. Keatings, M. MacLeod, M. Mayrand Leclerc, M. Neves, A. Rhéaume, M. Seawright, J. A. Shannon, C. Van Berkel, & K. Cleverley, Registered Nurses’ Association of Ontario. https://rnao.ca/sites/rnao-ca/files/Professionalism_in_Nursing.pdf
Grinspun, D., RN, MSN, PhD, LLD(hon), Dr(hc), FAAN, O. ONT., Paech, G., RN, MScN, Risling, T., RN, PhD, Booth, R., RN, PhD, Wilson, R., RN, MN, MEd., Bennett, J., RN, MScN, Registered Nurses’ Association of Ontario, & AMS Healthcare. (2020). NURSING & COMPASSIONATE CARE IN THE AGE OF ARTIFICIAL INTELLIGENCE: Engaging the Emerging Future. https://rnao.ca/sites/rnao-ca/files/RNAO-AMS_Report Nursing_and_Compassionate_Care_in_the_Age_of_AI_Final_For_Media_Release_10.21.2020.pdf
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pressbooks
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2025-03-22T05:09:28.616116
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11-21-2024
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|
https://ecampusontario.pressbooks.pub/shahadib12345/chapter/goals-and-aspiration/
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3 SMART GOALS
What is a smart goal?
Smart is a term used to describe the execution of a goal and the process of attaining that goal. The term smart goal is defined by
S-Specific (well-defined goals and how to what you want to achieve)
M-Measurable ( progression of the goal and what are the requirements to meet the goal )
A-Attainable ( How to achieve the goal, the resources used to achieve it )
R-Revalvancy ( The goal should align with the current path and the situation)
T-Time ( A deadline to see when you can achieve it, such as setting a starting date and ending )
Goals 1: Achieving Deans Hornous list
S: To achieve the deans honour list by maintaining a good GPA higher than 3.8 and good performance overall
M- Will make sure I meet all the deadlines on time, follow assignments and tests according to the course outline, receive feedback from teacher assistance, and learn how to improve on gaps.
A: Dedicate to learning more efficiently, completing all the courses and lectures, and taking notes. Reading slides before class and spending more than two hours per day reviewing the course material.
R: This is relevant because earning on the dean’s honor list will allow me to achieve the highest standing in academia and also allow me to be a competent nurse when doing my NCLEX. Additionally, it will also open opportunities in my field.
T: The time frame since it is my compressed will be from Saturday, 2024, September to January 2026.
Goal 2: Improving Infection Prevention Practices (Donning and Doffing PPE)
S: To improve the spread and prevent infection through donning on and off and making sure to know what kind of precaution to know, such as contact, droplet, or airborne.
M: I will measure this by sowing in lab 1 and through clinical placement next semester of NURS1020.
A: I will review the course material, such as the NURS 1550, and know what type of infection is airborne and what type of precaution to take. I will also ask the clinical instructor, nurse, and other team members for feedback on what I can improve. I will also use online metrics to further evaluate, making sure I do my steps right.
R: This is relevant because it will help me to be careful when it comes to the safety of patients and to keep them free of infection and germs.
Time: I will achieve starting November 2024 and full-time professional infection prevention by December 2025 and by February 2025.
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pressbooks
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2025-03-22T05:09:28.631660
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11-21-2024
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|
https://mlpp.pressbooks.pub/studyskillsactivities/chapter/activity-1-whats-your-true-color/
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1 Activity 1: What’s Your True Color?
Estimated time: 50 minutes
Objectives:
Students will be able to
- Evaluate and discuss their personalities using the True Colors personality test
- Compare their traits to those of their classmates and share differences in personality and learning styles
- Analyze the True Colors and determine the areas of strength for each
Materials
- True Colors test handout
- Colored paper in green, blue, orange, and yellow/gold
Activity
Part 1: Self-assessment: True Colors
Think about this question and write down your answer
- How would you describe your personality to someone you just met?
- What do you think they should know about you?
- Try to avoid physical descriptions and think more about who you are and what you like to do.
Talk about your answer in class.
Hand out True Colors test. This test is an opportunity to learn about your own personality. Most of us think we know ourselves well, but there may be surprises. You’ll also learn to understand other people in the class. We’re going to spend a lot of time together this term and work together closely at times. The True Colors test is a good way to share information about who we are and learn about our classmates.
Take the assessment. Do the first row together and make sure everyone understands the instructions. It’s very important that every row has a 4, 3, 2, 1 (it’s a common mistake!). Define any unfamiliar vocabulary. When you have completed all five rows, add up your score using the directions at the bottom.
The color where you got the highest score is your True Color. It’s okay if you have two top scores that are the same. Look at the descriptions of each True Color on page 3. Which traits describe you? Are there any that don’t fit your personality? Now, look at the descriptions for your second-highest color. Your top two colors should form a clear picture of your personality.
Part 2: Talking about Your Color
Instructor: Ask students to choose two or three bullet points from the lists on page 3 of the True Colors handout that they feel describes them well. I like to help students remember the traits of each color by associating them with body parts:
- Blue: heart (caring, compassionate, relationship-oriented)
- Green: head (analytical, curious, always thinking)
- Orange: feet (active, kinesthetic, athletic)
- Gold: hands (hard-working, organized, stable)
What True Color (or color combination) would you expect to be dominant in the following professions? (students can list more professions)
- Athlete
- Nurse
- Scientist
- Accountant
- Pre-school teacher
- School principal
- Computer programmer
- Actor
Part 3: Working with the True Colors
In most groups, you’re going to have to work with people with different viewpoints than you.
Imagine you are involved with a team of people in charge of completing the following project. Your team includes all four True Colors. Work with a partner and determine a) what tasks are involved in each project and b) which True Color(s) would be best at each task.
- Planning a party (sample tasks may include finding a place to have the party, making food, planning the music, inviting guests, etc.)
- Working on a group presentation
- Organizing a soccer league
- Starting a book club
- Climbing a mountain
- Preparing for a zombie attack
- Planning a trip to the beach
- Raising money for a school trip
Part 4: Reflection
Write a paragraph answering the following questions:
- We are all a combination of True Colors, but one or two are usually dominant. What is your True Color/s and what do they mean?
- Did your True Colors traits match what you think your personality is? Why or why not? Which did and which didn’t?
- Do you wish you had some traits that you don’t?
- Why is it important to learn about yourself? Why is it important to learn about your classmates? How does this help your classroom culture and community?
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pressbooks
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2025-03-22T05:09:28.647858
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05-7-2020
|
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|
https://mlpp.pressbooks.pub/studyskillsactivities/chapter/activity-2-individual-vs-collective-mindset/
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2 Activity 2: Individual Vs. Collective Mindset
Estimated time: 30 minutes
Objectives:
Students will be able to:
- Identify their existing views about education and how those views are influenced by their cultures of origin and the mainstream culture
- Compare their beliefs to those of other cultures
- Interview other students to discover differences and similarities in personal and cultural perspectives
Materials
- What do you believe about education? Assessment
- Power Distance Index from Hofstede (2019, p. 309)
Vocabulary
- Collectivism
- Ethnocentrism
- Objective
Activity
Part 1: What do you believe about education?
- Our culture influences our beliefs in ways that are sometimes invisible to us. We sometimes call this ethnocentrism.
- Ethno means “nation” or “people”
- centrism (as you may have guessed) means “centered”
- Ethnocentrism becomes a problem when we try to communicate with other people. We may assume that what is normal for us is normal for everyone. As we meet, work, and go to school with people from many backgrounds, these expectations may lead to misunderstandings or hurt feelings.
- For example, some cultures place a high value on being punctual and consider lateness to be rude. In other cultures, being 30 to 60 minutes late to a business meeting is normal, and apologizing for being late would never occur to people in those cultures. If you are meeting with people from another culture, you should know each other’s expectations so you don’t offend or become offended.
- Take What do you believe about education? Assessment.
What do you believe about education? Assessment
Answer these questions by circling the number that matches what you believe.
1 = I don’t believe this at all
5 = This is exactly what I believe
- I feel uncomfortable giving my teachers feedback on how to teach the course.
1 2 3 4 5 - I have a lot of respect for teachers. People in my culture think teachers are valuable and important.
1 2 3 4 5 - Class time is best spent listening to the teacher and learning from their expertise.
1 2 3 4 5 - I would be uncomfortable calling my teacher by their first name.
1 2 3 4 5 - Tradition is very important to me.
1 2 3 4 5 - Giving a wrong answer or having a mistake pointed out in front of the class would be very embarrassing.
1 2 3 4 5 - Education is something you do when you are young. When you are older, your job is to work and/or teach.
1 2 3 4 5 - If I have a disagreement with a student or the teacher, I would be very uncomfortable confronting them.
1 2 3 4 5
Part 2: What does the class believe about education?
- Calculate your average score for questions 1-4. Plot each student’s answer on a number line.
- Questions 1-4 measure your Power Distance
- Cultures with small power distances are more informal. Teachers guide students, but students are able to contest answers and even discover their own versions of the truth.
- Cultures with large power distances are more formal. Teachers are considered experts and teach the objective truth to their students.
- Calculate your average score for questions 5-8. Plot each student’s answer on a number line.
- Questions 5-8 measure your Collectivism vs. Individualism
- Collectivist societies place high value on tradition and value social harmony.
- Individualistic societies place high value on innovation and value individual success and standing out.
- Compare to other cultures
- View Hofstede’s (1986) Power Distance Index (p. 309). Notice where different countries fall on the Individualism and Power Distance indexes.
- What patterns do you notice? (for example: many northern European countries have small power distance, high individualism.)
- Do these patterns match those of the students in class? Do your answers match those of people from your culture of origin?
- How do members of the class compare? Are there big differences in the beliefs of class members, or are the scores fairly close together?
Part 3: How do we apply this to our class?
- Interview three other students. Find out:
- One feature of the student’s home culture (for example, large power distance, low individualism, etc.)
- One thing from the student’s home culture that is different from U.S./the dominant culture
- Share the results of the interviews in class
- What can we do to make the class work for everyone?
- For example, there may be students who are very concerned with saving face and not being embarrassed in class. What can we do to make those students comfortable?
- Speaking up in class is very typical in Western cultures. How can a Western teacher expect student participation in a way that’s fair to everyone?
Instructor: depending on the students’ preferences for class participation, you may have a group discussion, have students discuss in small groups and share, or ask them to write the answers and hand them in. You most likely have your own procedures and viewpoints on managing multiple cultures. After the class has shared their ideas, share your viewpoints and comment on their suggestions.
Hofstede, G. (1986). Cultural differences in teaching and learning. International Journal of Intercultural Relations, 10(3), 301–320. doi: 10.1016/0147-1767(86)90015-5
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pressbooks
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2025-03-22T05:09:28.665467
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05-7-2020
|
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https://mlpp.pressbooks.pub/studyskillsactivities/chapter/activity-1-motivating-yourself/
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3 Activity 1: Motivating Yourself
Estimated time: 25 minutes (can be one class period or split between two)
Objectives:
Students will be able to
- Set goals that are achievable, realistic, and measurable
- Develop methods designed to motivate themselves based on their personalities and learning styles
Materials
- Seven-day schedule
- Learning style/True Colors information
Activity
Part 1: Introduction
Brainstorm a list:
- Why are you here?
- What is the purpose of this class?
- How does this class fit in with my educational goals?
Share students’ lists with the class. Possible answers may include:
- This class is required
- I need the credits
- I’m not sure
- Someone told me to take it
These are all important reasons. The main reason for this class is to prepare you for the next class in sequence and for all the classes beyond. The skills you learn in this class will form a bridge between where you are now and where you want to be.
Education isn’t always easy. It’s often really difficult. It’s important to find ways to motivate yourself so you can keep going through the difficult times.
Part 2: Setting Goals
How many students have goals? List some examples of goals you have.
Take a few minutes to write down some goals. Write down at least one goal in each category:
- School
- Career
- Personal
What does every goal need?
- A deadline (I will achieve this by _________________)
- A plan (this is how I will achieve it)
- Realistic expectations (this is something I can do)
- Measurable factors (this is how I’ll know I’m done)
For each goal you listed, fill in the four bullet points. (This could be done in class or as a homework assignment.)
Part 3: Eyes on the Prize
Share your goals with the class.
- Do you have a deadline for achieving them?
- Do you have a plan to achieve the goal? Be as specific as possible.
- Is it possible to complete this goal, given your current resources (time, money, support network, etc.)? If not, what would need to change?
- Does your goal have a clear endpoint that can be measured?
Keeping your mind on your goals is one way to stay motivated. What are some other ways Students brainstorm a list with a partner or group. Share ideas in class.
Some more ways to stay motivated are:
- Manage your schedule (see Unit 2, Exercise 3.3). If you can plan your week so that you aren’t doing everything last-minute, your work will be easier and more satisfying.
- Take time to relax. Schedule short breaks in your studying. Find time every week to do something you want to do. Get enough rest and sleep.
- Find a supportive group. Talk to your friends, fellow students, and/or family members about what you’re going through. Remind each other that it’s worthwhile and that you are working toward bigger goals.
Part 4: Motivation Based on Your Personality
Review the information you learned about your personality and learning style in Unit 1. This may be the one of the multiple learning styles exercises or the True Colors exercise.
How could people with different learning styles and personalities motivate themselves? Circle the motivators that would be most meaningful for you based on your personality and learning style:
- Keeping a positive message or inspirational quotations near your study area
- Listening to interviews or podcasts about your heroes while you exercise or commute
- Rewriting your goals in an attractive way and posting them near your desk or setting them as your phone wallpaper
- Listening to music that pumps you up
- Keeping a checklist and crossing off a list item every time you achieve it
- Setting up a study group that meets regularly
- Listening to lectures or audiobooks on earbuds while you go for a walk
- Calculating what percentage of your goals you have achieved and how far you need to go
- Making a timeline for your goals on a bulletin board and moving a pushpin every time you take another step toward your goals
- Have an accountability buddy. Encourage each other to achieve your goals and motivate each other to keep going when things seem difficult.
- Post a photo of something you want to achieve (a car you want to buy, a trip you want to take, etc.) in a place you look at often.
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pressbooks
|
2025-03-22T05:09:28.682432
|
05-7-2020
|
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"url": "https://mlpp.pressbooks.pub/studyskillsactivities/chapter/activity-1-motivating-yourself/",
"book_url": "https://mlpp.pressbooks.pub/studyskillsactivities/front-matter/introduction-2/",
"title": "How To Learn Like a Pro Supplement: Additional Study Skills Class Activities",
"author": "Sarah Snider",
"institution": "",
"subject": "Educational: General studies, educational skills and competencies"
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|
https://mlpp.pressbooks.pub/studyskillsactivities/chapter/activity-2-developing-a-growth-mindset/
|
4 Activity 2: Developing a Growth Mindset
Estimated time: 20 minutes
Objectives:
Students will be able to:
- Discuss whether personality is fixed or changeable
- Use and develop ways to accept constructive criticism
Materials
Graphic organizer
Vocabulary
- Fixed mindset
- Growth mindset
- Neural pathways
- Self-perception
Activity
Part 1: What’s My Mindset?
Start by taking the Mindset Assessment. You will need to enter an email address to receive your results.
Share your results with the class. Do you have a fixed mindset, a growth mindset, or are you somewhere in the middle?
- Fixed mindset: intelligence and ability are the same throughout your life. There is not much you can do to improve or change them. Hard work is frustrating.
- Growth mindset: you can change your intelligence and ability through hard work, persistence, and appropriate teaching methods. Hard work can be used to help you learn and grow.
Where did your mindset come from?
- Take a moment to think about your past school experiences.
- Did anything happen that affected your mindset?
- Did a parent, teacher, or other student make a comment that has stayed with you?
- Have you had an experience with a challenging subject or assignment? What was the outcome, and how did it change how you feel?
- Have you ever seen another person try very hard to achieve something? Did that person succeed or fail?
- Freewrite for 3-5 minutes about your mindset. Include examples from past experiences or any other factors that have influenced your mindset and attitude.
- Share what you wrote with the class (optional).
Part 2: How Can We Develop a Growth Mindset?
If you believe you can learn something, it will be much easier to learn that thing. But sometimes experiences and messages from our past make it more difficult to believe. Some messages we may have heard might include:
- I’m just not a good reader.
- Girls can’t do science.
- Your brother is the smart child in the family. You’re good at sports/dance/music/being pretty.
- If you didn’t grow up speaking English at home, you’ll never be able to catch up with the rest of your peers
- I keep studying and I just can’t understand math.
- Why is he here? He’s too old to be in school.
Imagine your mind is a grassy field. It may be hard to get from one place to another by walking through tall grass, but eventually you will wear down paths and it will be easier to get to certain places. The paths we make in our minds are called neural pathways, and we make them by working on certain skills.
Evidence increasingly suggests that our minds can change throughout our lives. You may not have the neural pathways necessary to learn, say, the Korean language, right now. However, as you practice the sounds, alphabet, and grammar, you will develop paths and it will be easier to access Korean in your brain.
Four steps to a growth mindset:
Change self-perception
Take another look at your freewriting. Underline or highlight anything that describes what you believe about yourself. How can you change these ideas? Can you rewrite the negative sentences you’ve heard or said to yourself?
-
- “I’m not good at math” becomes “I’m not good at math yet, but I’m going to get help and keep trying.”
- “Girls can’t do science” becomes “Science isn’t traditionally a field where girls are encouraged, but I’m going to do my best and learn interesting things.”
- “If you didn’t grow up speaking English at home, you’ll never be able to catch up with the rest of your peers” becomes “Now that I’m older, I’m better at learning and studying. I can learn English skills even if I didn’t grow up speaking the language at home.”
Whenever the negative thoughts come up (they will!), replace them with the new sentences you’ve written.
Challenge ourselves
If there were an easy way to learn anything, I would tell you what it is and be wealthy. Sometimes we need to put in a lot of work to learn.
-
- Remember that hard work is often invisible. Ask a professional athlete how much time they spend practicing, reviewing video, doing physical therapy, and managing their diet. We don’t think about that; we just focus on the moments of glory. Likewise, someone who seems to understand schoolwork easily might be doing a lot of work that you can’t see.
- Get help. There may be another way to learn the topic that works better for your learning style. If there’s something about your textbook or instructor that isn’t quite working, there may be other things you can try.
Accept constructive criticism
When an instructor, a tutor, or a fellow student offers feedback to you, they want you to do better. Sometimes past experiences or our current insecurities make it hard to hear that feedback. This can make us want to stay in our safe zone and stick with our fixed mindset.
-
- Think about what they’re saying. Is it accurate? You may have to reflect on the feedback for a few hours to be sure.
- Thank them for the feedback. You may be tempted to argue or be defensive. Again, they want to help, so thank them for trying to help.
- Ask questions. Make sure you understand their advice.
- Apply the feedback to your next assignment. See if it helps you.
Be inspired by others’ successes
What inspires you? Do you know anyone who has overcome difficulties? Is there a true or fictional story that makes your heart sing? Remind yourself of these stories. Stay positive! The world can be negative, but try to stay focused on all that you can achieve.
Part 3: Reflection
Complete the graphic organizer on the next page. (Instructor: you may expand this graphic organizer into a writing assignment.)
My Mindset and Beliefs Graphic Organizer
For each row, write two sentences. One sentence shows what someone with a fixed mindset would say, and the other shows what someone with a growth mindset would say.
Which sentences are more positive? Which mindset do you think will be more successful?
| Shows a Fixed Mindset | Shows a Growth Mindset | |
| When I’m doing a difficult assignment, I can say….or… | ||
| When someone gives me constructive criticism, I can say…or… | ||
| When I’m envious because someone else is more successful than me, I can say…or… |
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pressbooks
|
2025-03-22T05:09:28.701000
|
05-7-2020
|
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"url": "https://mlpp.pressbooks.pub/studyskillsactivities/chapter/activity-2-developing-a-growth-mindset/",
"book_url": "https://mlpp.pressbooks.pub/studyskillsactivities/front-matter/introduction-2/",
"title": "How To Learn Like a Pro Supplement: Additional Study Skills Class Activities",
"author": "Sarah Snider",
"institution": "",
"subject": "Educational: General studies, educational skills and competencies"
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|
https://mlpp.pressbooks.pub/studyskillsactivities/chapter/activity-3-self-directed-learning/
|
5 Activity 3: Self-Directed Learning
Estimated time: 15 minutes
Objectives:
Students will be able to:
- Evaluate their learning stage (Dependent, Interested, Involved, or Self-Directed) and identify where they want to be
Activity
Part 1: What’s Your Stage?
Let’s revisit the idea of self-efficacy. Self-efficacy is different for every person and can change over time. It can even vary depending on which subject you are studying or which teacher you are studying with.
Gerald Grow (1991) divided student self-efficacy into four stages. These stages are designed to help teachers understand how best to teach their students. Students can also use them as a way to self-reflect and understand their current stage.
View SSDL Model (Grow, 1991)
| Stage | Student | Teacher | Examples |
| Stage 1 | Dependent | Authority
Coach |
Coaching with immediate feedback. Drill. Informational lecture. Overcoming deficiencies and resistance. |
| Stage 2 | Interested | Motivator
Guide |
Inspiring lecture plus guided discussion. Goal-setting and learning strategies. |
| Stage 3 | Involved | Facilitator | Discussion facilitated by teacher who participates as an equal. Seminar. Group projects. |
| Stage 4 | Self-directed | Consultant
Delegator |
Internship, dissertation, individual work or self-directed study group. |
- Which of these stages best describes where you are now?
- Which of these stages best describes where you would like to be?
Part 2: What Can You Do at Each Stage?
Different types of learning activities are appropriate for different stages of learning. Read the list of learning activities. Categorize them according to their stage.
- Memorizing a list of vocabulary words and their meanings.
- Writing a paragraph about the main points of that day’s lecture.
- A discussion in which students share their ideas about a book they read for class.
- A research paper in which the student chooses their topic and works with the instructor to make a schedule and plan for research.
- A class discussion in which students write questions for each other to answer.
- A quiz on algebra terminology.
- A group project in which the students in the group decide on a topic, create a work plan, and assemble a portfolio independently.
- Answering essay questions about the ethical implications of certain scientific concepts discussed in class.
- A project that summarizes everything the student has learned in the semester that will be presented to the instructor.
Which of these projects sound interesting? Which ones sound difficult? The higher your stage, the more independently you will be able to work. Your instructor will be involved as a guide, requiring fewer daily assignments and more independent work.
Part 3: Wherever You Are Is Okay.
I don’t want students to feel inadequate or bad because of their stage of learning. Where you are right now is okay. It’s most important to be aware of your stage.
Independent learning leads to exciting opportunities and interesting projects. If you are planning to write a book about biology, you’ll definitely want to be a Stage 4 learner in biology so you can complete the research and finish writing the book. If your English class is just something you’re taking to fulfill requirements, you may find that Stage 2 is enough to make classwork more interesting.
|
pressbooks
|
2025-03-22T05:09:28.715281
|
05-7-2020
|
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"url": "https://mlpp.pressbooks.pub/studyskillsactivities/chapter/activity-3-self-directed-learning/",
"book_url": "https://mlpp.pressbooks.pub/studyskillsactivities/front-matter/introduction-2/",
"title": "How To Learn Like a Pro Supplement: Additional Study Skills Class Activities",
"author": "Sarah Snider",
"institution": "",
"subject": "Educational: General studies, educational skills and competencies"
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|
https://mlpp.pressbooks.pub/studyskillsactivities/chapter/activity-1-how-to-interview-your-book/
|
6 Activity 1: How to Interview Your Book
Estimated time: 15 minutes
Objectives:
Students will be able to
- Use the strategies of close reading and 5W questions to gain a deeper understanding of texts.
Part 1: Introduction
Sometimes, especially if we aren’t strong readers or we are reading materials that are difficult for us, it’s easy to get caught up in decoding the meaning of what we’re reading sentence by sentence or even word by word. We may finish the text but not be able to easily recall details or answer questions.
We are often told that good readers engage with the text and ask questions when they read. But what does that really mean?
Part 2: What is an Interview?
You may not have conducted an interview before, so let’s go through the basic steps:
- Prepare. Find out about your subject or recall what you already know. Write questions.
- Ask questions. You made a list of things you want to know. Find and record the answers.
- Listen carefully. There may be information that surprises you, and it may lead to new and interesting questions.
Let’s look at a reading and try it out.
Part 3: Look at the Text
This is the first paragraph of an article called “How the Horrific 1918 Flu Spread Across America.” Keep the title in mind as you read.
Haskell County, Kansas, lies in the southwest corner of the state, near Oklahoma and Colorado. In 1918 sod houses were still common, barely distinguishable from the treeless, dry prairie they were dug out of. It had been cattle country—a now bankrupt ranch once handled 30,000 head—but Haskell farmers also raised hogs, which is one possible clue to the origin of the crisis that would terrorize the world that year. Another clue is that the county sits on a major migratory flyway for 17 bird species, including sand hill cranes and mallards. Scientists today understand that bird influenza viruses, like human influenza viruses, can also infect hogs, and when a bird virus and a human virus infect the same pig cell, their different genes can be shuffled and exchanged like playing cards, resulting in a new, perhaps especially lethal, virus.
If the author of the article were in the room with us, we could interview him and make sure we understand everything he was trying to tell us. Since he’s not, we have to interview the text. A well-written article like this one should answer all the important questions we have.
Reread the text and see how many questions you can generate. You’ve often heard the expression, “There are no dumb questions.” Keep that in mind and, no matter how basic or off-point the question is, write it down.
This is an example of how one student might interview the paragraph.
This image is licensed under CC-BY-NC-SA
This student asked a lot of questions. She also reviewed what she already knew and connected it to what she already knew before she started reading and what she learned during the reading process.
Journalists often use the 5W questions: who, what, when, where, why, and how (okay, it’s five Ws and one H). Try that with the same paragraph.
- Who? Farmers in Haskell County
- What? The development of the 1918 flu virus
- When? 1918
- Where? Haskell County, Kansas, USA
- Why? Bird viruses and human viruses combined in a hog cell
- How? I don’t know how the virus spread to humans. Was it through air? Was it through eating the hogs? I may have to read more to find out.
In this way, we can separate out the pieces that we know. We often find that we know more about the topic than we realize.
|
pressbooks
|
2025-03-22T05:09:28.728263
|
05-7-2020
|
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"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://mlpp.pressbooks.pub/studyskillsactivities/chapter/activity-1-how-to-interview-your-book/",
"book_url": "https://mlpp.pressbooks.pub/studyskillsactivities/front-matter/introduction-2/",
"title": "How To Learn Like a Pro Supplement: Additional Study Skills Class Activities",
"author": "Sarah Snider",
"institution": "",
"subject": "Educational: General studies, educational skills and competencies"
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|
https://mlpp.pressbooks.pub/studyskillsactivities/chapter/activity-2-learning-vocabulary-through-morphemes/
|
7 Activity 2: Learning Vocabulary Through Morphemes
Estimated time: 25 minutes
Objectives:
Students will be able to
- Analyze English words and divide them into their parts
- Identify the meanings of common English morphemes
- Apply morphemic knowledge to text
Materials
- Text of story “The Selfish Giant”
Activity
Part 1: What is a Morpheme?
A morpheme is a piece of language that has meaning and cannot be split into smaller units of meaning.
Examples of morphemes:
- walk
- -s (at the end of a word to signal a plural noun)
- -s (at the end of a word to signal a simple present tense verb)
- -able (suffix)
- un- (prefix)
Examples of words containing more than one morpheme:
- Walks (as in “He walks. walk + -s)
- Walks (as in “My dog goes on two walks every day.” walks + -s)
- Walkable (as in “Walkable cities give people the opportunity for more exercise.” walk + -able)
- Unwalkable (as in “Much of Los Angeles is unwalkable, so tourists should rent a car.” un- + walk + able)
Free morphemes can stand alone as their own word (“walk”). Bound morphemes only occur as part of another word (“-s,” “-able,” “un-.”) Sometimes free morphemes can be combined with other free morphemes (“home” + “work”).
- Students list more examples of morphemes.
- Create words from the morphemes you listed. Work alone or in pairs.
- Present your lists to the class. Other students can “remix” morphemes by adding to the list if they see new possibilities.
- Which bound morphemes always go with nouns?
- Which ones always go with verbs?
- Which ones can go with either?
Part 2: Using Morphemes in Reading
Look at the first two paragraphs of “The Selfish Giant.” Examine each word and determine if it can be divided into morphemes. How many morphemes can you identify?
Every afternoon, as they were coming from school, the children used to go and play in the Giant’s garden.
It was a large lovely garden, with soft green grass. Here and there over the grass stood beautiful flowers like stars, and there were twelve peach trees that in the springtime broke out into delicate blossoms of pink and pearl, and in the autumn bore rich fruit. The birds sat on the trees and sang so sweetly that the children used to stop their games in order to listen to them. “How happy we are here!” they cried to each other.
- after
- noon
- come
- -ing
- child
- -ren
- use
- -d
- –‘s
- love
- -ly
- beauty
- -ful
- flower
- -s
- tree
- spring
- time
- tree
- blossom
- bird
- sweet
- -ly
- game
- cry
- -ed
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pressbooks
|
2025-03-22T05:09:28.743667
|
05-7-2020
|
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"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://mlpp.pressbooks.pub/studyskillsactivities/chapter/activity-2-learning-vocabulary-through-morphemes/",
"book_url": "https://mlpp.pressbooks.pub/studyskillsactivities/front-matter/introduction-2/",
"title": "How To Learn Like a Pro Supplement: Additional Study Skills Class Activities",
"author": "Sarah Snider",
"institution": "",
"subject": "Educational: General studies, educational skills and competencies"
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|
https://mlpp.pressbooks.pub/studyskillsactivities/chapter/activity-3-dividing-work-using-the-jigsaw-method/
|
8 Activity 3: Dividing Work Using the Jigsaw Method
Estimated time: 20 minutes
Objectives:
Students will be able to
- Recall study group information from Unit 2
- Conduct a sample jigsaw session as they would in a study group
Materials
- Human Anatomy Lab Manual by Malgosia Wilk-Blaszczak
Activity
Part 1: Review Study Groups
Let’s review Lesson 3.5, Exercise 5.2 and the article “How to Form a Study Group.” It’s a great idea to vary the activities you do with your study group to keep everyone interested and to accommodate students with various learning style. The following is an example of an activity you can do with your group to learn or review material.
Part 2: How to Organize a Jigsaw Activity
- Review the material. Divide the material into parts so that each person in the study group has one part.
- Assign each student one part of the material. Each student is responsible for only their part.
- Take time to read and review your own section. This can be done during the group, but it is probably best done between study group meetings.
- Each student presents their section to the group.
- If one student struggles during their presentation, the other students can help out by interviewing them to help them recall information. It’s very important that the group trusts and supports each other.
- If your material is particularly challenging or you have students in the group who feel anxious about presenting, consider dividing the material differently.
- Divide the material into larger sections and assign two students to each section.
- Divide the material into the same sections and assign each student two sections. For example, Andy and Beth are assigned to part 1, Beth and Charles are assigned to part 2, Charles and Diane are assigned to part 3, Diane and Erin are assigned to part 4, and Erin and Andy are assigned to part 5.
Part 3: Try It Out!
Let’s practice this in a group of 5 students. Your material will be the Background section from Lab 2 of Human Anatomy Lab Manual by Malgosia Wilk-Blaszczak. You should address the text as well as the Vocabulary section.
- How will you divide up the material? The material is conveniently divided into sections on the Vocabulary page. However, be sure that your sections are of equal difficulty or quantity. You don’t want one student to have an easy section and another to have a difficult section.
- Assign each student to one section. Again, if you need to modify how you divide sections based on your group, try one of the suggestions above.
- Take time to read and review your section(s). Don’t look at the other sections at all unless they overlap with your section.
- Present your section(s) to the group.
- If students struggle with presenting, practice interviewing them so that you can get the information you need.
- If your section overlaps with that of another student, ask them how you’d like to add information if it’s necessary. Be respectful of the student who “owns” the section.
Reflection: How did that feel?
- Were you able to read and understand your section?
- Were you able to learn from other students’ presentations?
- What could you do differently next time?
|
pressbooks
|
2025-03-22T05:09:28.757496
|
05-7-2020
|
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"url": "https://mlpp.pressbooks.pub/studyskillsactivities/chapter/activity-3-dividing-work-using-the-jigsaw-method/",
"book_url": "https://mlpp.pressbooks.pub/studyskillsactivities/front-matter/introduction-2/",
"title": "How To Learn Like a Pro Supplement: Additional Study Skills Class Activities",
"author": "Sarah Snider",
"institution": "",
"subject": "Educational: General studies, educational skills and competencies"
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|
https://mlpp.pressbooks.pub/studyskillsactivities/chapter/activity-1-multitasking-does-it-really-work/
|
9 Activity 1: Multitasking: Does it Really Work?
Estimated time: 15 minutes
Objectives:
Students will be able to
- Recognizing the difference between multitasking and switch tasking
- Develop strategies to focus on tasks instead of switching
Materials
- Two colors of paper in small pieces (red and green work well)
Activity
Part 1: Multitasking Assessment
Are you a multitasker? Do you do one thing at a time, or do you switch back and forth among several? Let’s take a test. For each statement, hold up the green paper if the statement describes you (green for go!). If the statement doesn’t describe you, hold up the red paper (red for stop!).
- I need background noise, like music, TV, or podcasts, playing while I do homework.
- If an email or text message comes in while I’m working, I stop what I’m doing and look at it.
- I can’t just sit down and eat a meal. I have to be looking at my phone or watching something while I eat.
- I use the time when I’m driving to make phone calls.
- I almost always have more than five tabs open on my internet browser.
- I often switch back and forth between tasks. Sometimes if I stop what I’m doing and do something else, I can find the answer more easily.
If you held up the green paper for two or more of these statements, you are a multitasker. Or are you?
Part 2: Does Multitasking Work?
We sometimes think we can work on more than one thing at a time, but what we’re actually doing is switchtasking. Your brain is switching back and forth between tasks, not actually doing them both. Neuroscientist Earl Miller puts it bluntly: “People can’t multitask very well, and when people say they can, they’re deluding themselves” (National Public Radio, 2008). Your brain is struggling, whether or not you’re aware of it. The longer you switchtask, the more tired your brain gets.
You may be thinking, but sometimes I do need a break in order to help my brain solve a problem. This can be true with big problems and creative projects. If you’re starting to get frustrated and tired, taking a break can help your brain refresh itself so it can work on the problem again. It’s switching back and forth between two—or even more—activities that causes your brain to be less efficient.
Part 3: How to Focus
Here are some suggestions on how to focus. Write down the ones you think would work well for you. Can you add more ideas to the list?
- Make a schedule. If you know exactly when it’s time to work on each item on your list, you won’t be tempted to switch back and forth.
- Keep an inspiration list. Let’s say you’re working on your algebra assignment when you suddenly have an idea for your English essay. You could stop what you’re doing and start the essay, possibly forgetting the details of your algebra assignment. Or, you could keep working on algebra, knowing that you’ll remember your great idea later. Maybe–what if you forget your essay idea? The best thing to do is take out your list, write down a few notes about the English essay, and then continue with the task you’re already working on.
- Keep distractions to a minimum. Find a place to study that is as quiet as possible. If you have to study in a room where other people are, try to face away from them. Background music might be useful, but stick to instrumental music so the lyrics don’t draw your attention away from what you’re doing.
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pressbooks
|
2025-03-22T05:09:28.769495
|
05-7-2020
|
{
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"url": "https://mlpp.pressbooks.pub/studyskillsactivities/chapter/activity-1-multitasking-does-it-really-work/",
"book_url": "https://mlpp.pressbooks.pub/studyskillsactivities/front-matter/introduction-2/",
"title": "How To Learn Like a Pro Supplement: Additional Study Skills Class Activities",
"author": "Sarah Snider",
"institution": "",
"subject": "Educational: General studies, educational skills and competencies"
}
|
https://mlpp.pressbooks.pub/studyskillsactivities/chapter/activity-2-how-to-review-notes/
|
10 Activity 2: How to Review Notes
Estimated time: 10 minutes
Objectives:
Students will be able to
- Assess their prior information about how knowledge is learned and retained
- Integrate new methods of reviewing notes into their study routine
Activity
Part 1: Facts about Reviewing Notes
We all know that taking notes is important. But how important is it?
Quiz:
- How soon should you review your notes after class?
- Is it better to type notes on a laptop or tablet or to write them by hand?
- Students who do not review their notes forget how much of the information after one day?
Answers:
- Review your notes within 24 hours of class. It’s easy to write notes while you’re in class and not look at them again until the next class period. However, it’s more effective to review notes while the information is still fresh in your mind.
- Studies have shown that writing notes by hand helps people remember the information better than if they type it. If you can write notes by hand, you should do so.
- After 24 hours, students who do not review their notes forget 50% of the information they learned in class. Taking the time to review notes pays off!
Part 2: How to Review Notes
Reviewing notes isn’t just rereading them, although that can be effective. Here are some other strategies you can use:
- Ask and answer questions. If you are using the Cornell Notes method, your notes page is already organized to do this. Write down questions based on your notes in the left panel. This will help you in two ways:
- You’ll be searching for key information
- You’ll be anticipating exam questions
- Cross-reference with the textbook. Compare what you wrote with what is written in the book. Confirm that terms are defined and spelled correctly. Use any figures in the book (pictures, charts, graphs, etc.) to help you visualize information from the lecture. Sometimes we need multiple methods of instruction to understand a concept.
- Recopy or retype notes. This may be time-consuming, but those of us with messy handwriting find it helpful to rewrite the information in a way that is easier to read and refer to. As always, you want to do this while the information is fresh in your mind, rather than wonder “What does that say? What did I mean by that?”
- Quiz other members of your study group. Ask each other the questions you wrote and ensure everyone knows the answers. If someone doesn’t understand, you have an opportunity to teach the information, reinforcing your own knowledge.
Part 3: Reflection
Think about the answers to these questions for a few minutes. Share your answers with a partner, then with the class.
- Which of these note reviewing methods do you think would work for you?
- Which ones would work best for each of the subjects you are taking this term?
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pressbooks
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2025-03-22T05:09:28.781081
|
05-7-2020
|
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"book_url": "https://mlpp.pressbooks.pub/studyskillsactivities/front-matter/introduction-2/",
"title": "How To Learn Like a Pro Supplement: Additional Study Skills Class Activities",
"author": "Sarah Snider",
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"subject": "Educational: General studies, educational skills and competencies"
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|
https://mlpp.pressbooks.pub/studyskillsactivities/chapter/activity-1-when-do-you-chew/
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11 Activity 1: When Do You Chew?
Estimated time: 25 minutes
Objectives:
Students will be able to
- Recognizing the importance of “chew time” in the learning process
- Plan their schedule to allow down time
Materials
- Student schedule from Unit 2
Activity
Part 1: Why Your Brain Needs Down Time
Read one of the articles (instructor: your choice may depend on your students’ reading level or the time allotted to the activity. A jigsaw activity may be appropriate for the Scientific American article.)
- “Mental Down Time Affects Learning” from Psychology Today
- “Why Your Brain Needs More Downtime” from Scientific American
Work with a partner to write a brief summary of the article you chose. Share your summary with the class.
As you learned in the reading, your brain needs time to digest information, just as it digests food. You can’t just pour nutrients into your body without chewing and digesting them. In the same way, you need to “chew” information so that your brain can absorb it.
Part 2: How Do You Chew?
Your brain needs time to rest when you’re learning. Rest is not just a bonus; it’s critical to keeping your brain alert and ready to receive information. Some ways people make “chew time” include:
- Scheduling regular breaks
- Going for a walk or run
- Meeting a friend for coffee
- Getting enough rest at night
Don’t confuse multitasking with resting! As we saw in Unit 4, what we call multitasking is actually switchtasking, and it makes your brain switch back and forth between tasks quickly. By switching from studying to texting to listening to music and back to studying, you’re not giving yourself “chew time”—you’re working harder.
Part 3: Finding Chew Time
Finding chew time is a challenge. If your schedule already balances work, school, family, and other obligations, you may feel that you can’t find chew time. Here are some suggestions to help you find a few minutes to chew:
- Stop switchtasking. If you can focus on studying without distractions, do it. You may even finish your work earlier and have a little bit more free time.
- Ask the people you live with for help. Your family or roommates may be the ones interrupting you. Explain the importance of uninterrupted study time and plan to spend time with them later. Let them know what your schedule is and that you’re not neglecting housework or other commitments. They may be able to help you find more time if you work together.
- Focus on your senses. It’s easy to be preoccupied by events and responsibilities from the past and future. If you’re walking to class, focus on the sensation of walking.
- How does the ground feel under your feet?
- Is it warm or cold outside? How does the air feel?
- If you’re outside, can you appreciate nature? If you’re indoors, is there art or decoration you can notice?
Even mundane tasks (washing the dishes, playing with younger siblings or children, cooking) can be more relaxing if you stay in the present moment. This will give your brain a rest and help you sneak in some chew time.
- Look at your schedule. It may be packed with responsibilities! Is there a way you can find time to chew? What do you need to do to make that happen?
- Review your schedule on your own
- Take a few minutes to share your findings with the class. If you’re struggling to find any chew time, let the class know. They may be able to help you.
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pressbooks
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2025-03-22T05:09:28.794183
|
05-7-2020
|
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"title": "How To Learn Like a Pro Supplement: Additional Study Skills Class Activities",
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"subject": "Educational: General studies, educational skills and competencies"
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|
https://mlpp.pressbooks.pub/studyskillsactivities/chapter/activity-2-memory-methods-for-different-learning-styles/
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12 Activity 2: Memory Methods for Different Learning Styles
Estimated time: 20 minutes
Objectives:
Students will be able to
- Use different methods of memorizing information
- Discover and implement memory methods that work well with their learning style
Materials
- Assignments and activities from Unit 1
- True Colors personality test results
Activity
Part 1: Review Learning Styles
Recall what you learned about yourself in Unit 1.
- What is your learning style?
- How do you best process information?
- What is your True Color, and what does it say about you?
Unit 5 shows us how the process of creating short-term and long-term memories works. The creation of memories also depends on how you learn best.
Part 2: Different Techniques for Different Learning Styles
Find your learning style and review the memory method. How can you apply it to material you are currently learning?
- Musical, Rhythmic, and Harmonic
Put the material you need to learn in a song. In the episode of the show Cheers in which Coach helps Sam study for his class, Coach creates an Albanian facts song. Those of us who saw the show back in the 1980s have retained facts about Albania for over thirty years with little effort. - Visual-Spatial
Stick your notes to the wall so you can organize them visually. You may have trouble remembering how to structure an outline in writing class. Try creating a tree diagram that shows how every main point connects back to the thesis statement.
Use color-coding to help you sort information in your notes.
You can use visual cues in the classroom or even on your body. Have you ever used the knuckle mnemonic to remember which months have 31 days? Try cues like that to help you recall other types of material. - Verbal-Linguistic
Acronyms are a useful way to remember lists of information. For example, you can remember the coordinating conjunctions (for, and, nor, but, or, yet, so) with the acronym FANBOYS.
You can also create an acrostic sentence. Many people use My Very Educated Mother Just Served Us Noodles to remember the planets of the solar system in order (Mercury, Venus, Earth, Mars, Jupiter, Saturn, Uranus, Neptune). - Logical-Mathematical
Chunking information helps you use your memory to its full potential. You already use this when you memorize phone numbers. Instead of memorizing ten digits (8005556748), we naturally break it into sections (800-555-6748). If you have to memorize a list of vocabulary words, find ways to break the list into chunks that fit together, like similar meanings, similar sounds, or parts of speech. Memorize each chunk on its own until you have mastered it, and then finally put all the chunks together. - Bodily-Kinesthetic
Just dance! As you memorize a list of terms, vocabulary words, or facts, do the steps of a popular dance (or a dance you just made up). Just as your body remembers the movements you need to make, it will associate facts with dance steps. - Interpersonal
Interpersonal learners can use any of the study group activities from this book to help study. One technique you might try is to make a chain. One person begins by stating a concept. This example will use the steps of photosynthesis. The next person in the circle states the first step in photosynthesis (absorption of light). The third person adds step 2 (electron transport leading to the reduction of NADP+ to NADPH). After the last step has been stated, the next person in order states a new concept to study.
You can also do this to recall information. For example, if your class is studying Moby-Dick, your group might recall facts about Queequeg in this way (from the South Seas, left home to travel, first person Ishmael meets in the novel, etc). - Naturalist
Creating a memory palace is a great way to incorporate nature into memorization.- Imagine a walk you are familiar with, such as your route to school or a hike you enjoy. You should be able to visualize specific objects or landmarks throughout the walk. Write down a list of the items on the walk (for example, park entrance, path, the big tree on the left, the bench, etc.)
- Imagine yourself walking through the space.
- Now assign each of the items you have to memorize to the objects in the landscape. Let’s say you need to memorize elements of poetry. Visualize yourself walking through the park.
- Step one is the park entrance. Assign the term alliteration to step one.
- Step two is the path. Assign the term assonance to step 2.
- Step three is the big tree on the left. Assign the term imagery to step three.
- Continue through your list of terms. This technique takes practice at first, but your love of nature will help reinforce the memorized list in your mind.
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pressbooks
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2025-03-22T05:09:28.807765
|
05-7-2020
|
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"url": "https://mlpp.pressbooks.pub/studyskillsactivities/chapter/activity-2-memory-methods-for-different-learning-styles/",
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"title": "How To Learn Like a Pro Supplement: Additional Study Skills Class Activities",
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"institution": "",
"subject": "Educational: General studies, educational skills and competencies"
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|
https://pressbooks.pub/tamtamsp/chapter/chapter-1/
|
The first rule of writing about art, whether you’re writing a gallery label, an audio script or copy for a Web site is: If you can’t see it, don’t say it. Never write about what the reader cannot see. At first this might seem too restrictive, but give it some thought. You’d be surprised what can be seen after all. Take a look at this former didactic label from the Minneapolis Institute of Arts:
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Jean-Baptiste-Siméon Chardin J. B. S. Chardin, born in Paris, had his first art instruction from his father, a master cabinetmaker. In 1713, he began his academic training, and achieved his first recognition in 1726. He was elected a member of the Académie Royale in 1728 and thereafter exhibited at the Paris Salons. He specialized in still life and genre and was championed by the encyclopedist Diderot.There are several extant versions of this subject, which features a plaster model of Pigalle’s famous work. The Hermitage painting is closely related to Minneapolis’s and has a provenance reaching back to Catherine II. It may well be the original Salon of 1769 work, though both pictures are signed and dated 1766. Neither should be confused with the Moscow canvas entitled Attributs des arts avec une tête de Mercure en plâtre, which shows a bust of Mercury, since this is not Pigalle’s Mercury but, instead, a cast of a famous antique portrayal of the messenger of the gods. Recent studies suggest that Minneapolis’s painting may in fact be a replica Chardin executed as a gift for Pigalle himself.[1] |
See what happens here? There’s hardly any point in looking at the picture at all. Here’s another label for this painting after the Minneapolis Institute of Arts applied the “If you can’t see it don’t say it” rule.
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Jean-Baptiste-Siméon Chardin This picture may appear to reproduce the casual clutter of an 18th-century tabletop. Not so: Chardin carefully selected objects to convey specific meanings.A palette with brushes, placed atop a paint box, symbolizes the art of painting. Building plans, spread beneath drafting and surveying tools, represent architecture. An ornate bronze pitcher alludes to goldsmithing, and the red portfolio symbolizes drawing. The plaster model of J. B. Pigalle’s Mercury, an actual work by a friend of Chardin’s, stands for sculpture.The cross on a ribbon is the Order of St. Michael, the highest honor an artist could then receive. Pigalle was the first sculptor to win it. So this painting sends multiple messages: it presents emblems of the arts and of artists’ glory and honors a specific artist, Pigalle.[2] |
Here’s another example that works, about a sculptural object from a different culture:
| Chinese Bowl, 18th century Nephrite The John R. Van Derlip Fund and gift of the Thomas Barlow Walker Foundation 92.103.12 The Minneapolis Institute of ArtsThe form of this little bowl is based on a bronze food vessel used in ceremonies in ancient China. It was especially appealing for18th-century Chinese scholars interested in studying antiques and collecting old objects, just as many of us are today. The owner of this bowl probably used it as a water container on a writing table in his study, displaying his appreciation of China’s past.The subtle color, called “mutton fat” in Chinese, was preferred by 18th century collectors to the brilliant green and white colors of jade. (Fictitious label, based on Interpretation at The Minneapolis Institute of Art)[3] |
Notice that the label tells us Chinese scholars loved this kind of bowl because it represented their interest in ancient China. That’s an example of using the label to say something about who might have owned a work of art, while sticking with what visitors can see: “It (this bowl) was especially appealing for 18th-century Chinese scholars…” The last sentence gets readers looking again at the bowl to examine its color.
There is plenty of evidence out there that visitors don’t spend a lot of time reading labels in our galleries. But all the research that’s been done on this topic seldom answers this question: are the labels interesting? One of the biggest reasons I think visitors don’t read our labels is because there’s nothing written on them about what the visitor is trying to understand – the work of art that goes with the label.
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pressbooks
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2025-03-22T05:09:28.820488
|
10-4-2022
|
{
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"url": "https://pressbooks.pub/tamtamsp/chapter/chapter-1/",
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"title": "If You Can't See It Don't Say It",
"author": "Kris Wetterlund, Wetterlund, Kris",
"institution": "",
"subject": "Educational: Arts, general"
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|
https://pressbooks.pub/tamtamsp/chapter/simple-core-and-compact/
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The next rule of writing for visitors is that the message must be simple, core and compact. Good examples of elegant simplicity are proverbs: a bird in the hand is worth two in the bush. A proverb isn’t a sound bite, it’s an encapsulation of an abstract idea in a easily remembered, simple sentence. Visitors don’t want our ideas simplified into sound bites, they need real information and insight. Our readers’ problem isn’t lack of intelligence, it is inexperience dealing with our subject matter. Simple means compact and elegant, not dumbed down information.
In their book Made to Stick, the Heath brothers wrote about a college journalism instructor who gave his students information about teachers at a local high school traveling out of town the following week to a national teaching convention. The instructor included the theme of the convention, and presentations that local teachers would make. Margaret Mead was a keynote speaker at the convention. The journalism students were to write leads for a news story in the community paper about the event, and when they turned in what they had written the instructor quickly reviewed them and set them aside. “The lead,” he said, “is that there will be no school on Thursday.”[1]
The core message is not necessarily subject of the text or a work of art. The core message is what the work of art or text means; in this case, there will be no school on Thursday. It isn’t always easy to figure out, but it’s worth working on to make your message both core and compact.
At the Oakland Museum of California, poet Jaime Cortez was hired to write “personal perspective” labels for pieces in the collection. Consider the way this label never veers away from the sculpture, and describes what it is, what it does, and what it means (the core message), “a winding map of transformation.”
This is a hard working sculpture. It is defining an inside space without enclosing that space. It is turning its own shadow into art. It is showing you many faces as you circle it. It is taking the delicate art of crocheting and making it lift weights. Most of all, it is using one plain piece of wire to map a winding path of transformation.[2]
Put yourself in the visitor’s shoes, and ask yourself: What is the essential question about this work of art? Or, ask yourself: What is the most interesting thing about this work of art? This is a good time to workshop your ideas, talk to your colleagues or visitors about your notion of the most interesting thing. Do they agree?
Visitors are depending on you to determine what is core about your message, and they will swallow it hungrily if you deliver it in a simple, elegant and compact package.
- Chip and Dan Heath, Made to Stick (New York: Random House, 2007), 51. ↵
- Gail Gregg, "Your Labels Make Me Feel Stupid," Art News, Summer 2010, http://www.artnews.com/2010/07/01/your-labels-make-me-feel-stupid/ ↵
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pressbooks
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2025-03-22T05:09:28.830490
|
10-4-2022
|
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"title": "If You Can't See It Don't Say It",
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https://pressbooks.pub/tamtamsp/chapter/schemas/
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Because most art museum visitors lack experience dealing with our subject matter, they can most easily stretch and build their understanding when the information starts with something they already know. As we experience the world, we all build schemas to organize and interpret information as it comes in. Tapping into these schemas helps build bridges for readers from what they already know to new concepts. For example, consider the following definition of pomelos:
Also called Shaddock, the largest fruit from the citrus family with a thick soft rind that is easy to peel away. The resulting fruit has a yellow to coral pink flesh and can vary from juicy to slightly dry, and from sweet to tangy and tart.
Do you have a picture in your head of a pomelo?
“Analogies prove nothing that is true,” wrote Sigmund Freud, “but they can make one feel more at home.”
Analogies, comparing two different things in order to highlight some similarity, are very useful, because they can tap into our visitors’ schemas – what our visitors already know. Describing the functions of the human brain by comparing them to functions of a computer is a popular analogy.
One of my favorite didactic labels of all time taps into people’s schemas, and is core and compact. This label isn’t for one work of art, but rather for an exhibition at the Phillips collection. Notice how it sticks to what visitors to the exhibition will see.
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El Greco to Picasso from the Phillips Collection The contents of a stranger’s shopping cart, the books in an acquaintance’s living room—every collection of objects says something about its owner. This one is no exception. Duncan Phillips put together his art collection like a host making a guest list—always searching for the right mixture, harmonious yet diverse. Looking through these rooms, you may notice his preferences. He had a weakness for color. He avoided art that he considered overly intellectual. He was drawn to emotion, wherever he found it: human gestures, haunting color, expressive brushstrokes. What is it that makes you like the art you like? How much do your tastes match those of Duncan Phillips? |
This label is so admirable because it starts with something most people know a little about – shopping and bookshelves. It’s quite simple, only 110 words. It also begins in concrete rather than abstract terms, something we’ll cover in the next section. When the label does venture into the abstract it gives an example. Art expresses emotion, but what does that really mean? In this label the abstract idea of emotion as expressed by art is laid out quite clearly and in more concrete terms: for Duncan Phillips, it meant human gestures, haunting color and expressive brushstrokes.
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pressbooks
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2025-03-22T05:09:28.840201
|
10-4-2022
|
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https://pressbooks.pub/tamtamsp/chapter/concrete-versus-abstract/
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People are able to connect more easily to things that are concrete, especially unfamiliar things. If you want to explain something to a large group of people, the easiest language for them to understand is concrete language. That’s one of the reasons Aesop’s Fables are so enduring (the other reason is that they are stories, but we’ll get to that later). Aesop’s Fables take an abstract concept like “slow and steady wins the race” and put it into concrete terms. An oil painting is concrete, expressionist mood is not.
Related to the idea of instructional scaffolding in education, concreteness helps people build on their existing knowledge (schemas) to advance into abstract ideas. Abstraction is the luxury and the curse of experts. How many of us would care to read a peer-reviewed journal article about differentiating synchronic and diachronic analysis in semiotics? A professional chef wants to discuss the philosophy of haute cuisine, not swap recipes. The notion that abstraction is the luxury of experts might help to explain what happens when museum curators are in charge of writing for the general public.
Ask yourself why to avoid the curse of the expert:
Expert: Paul Cezanne was influential in the development of the Cubist movement.
Why?
Expert: Objects in his paintings shift in and out of perspective.
Why?
Use this: He wasn’t interested in how things looked, instead he tried to record the act of looking.
Concrete details help make lasting memories. Memory is like Velcro. Lots of little loops on the brain side of the tab connect with hooks created by experiences on the other side. Concrete experiences create lots of hooks to connect with the loops, and as a result stick one tab more firmly to the other. Try this exercise from Made to Stick.[1] Answer the questions below by taking some time to think about each one.
What is the capital of Kansas?
What is the first line of “Hey Jude”?
What does the Mona Lisa look like?
Remember the house where you spend most of your childhood.
What is the definition of truth?
What does a watermelon taste like?
As you moved through the questions, you probably noticed that it feels different to remember different kinds of things, depending on how concrete the answer is, whether you ever knew the answer in the first place, and how many hooks you already have to in place to help you remember. We all use different parts of our brains to remember different things.
Remembering the house where you spent most of your childhood was probably pretty easy. All the different experiences you had in the house created lots of sticky Velcro hooks. The definition of truth was probably a lot harder – it’s an abstract concept. The Heath Brothers who wrote Made to Stick recommend that if you don’t know the Hey Jude song you trade their book for a Beatles album. They think you’ll be happier.
- Heath, Made to Stick, 110. ↵
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pressbooks
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2025-03-22T05:09:28.850535
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10-4-2022
|
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|
https://pressbooks.pub/tamtamsp/chapter/helpful-topics/
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According to surveys conducted by the Minneapolis Institute of Arts,[1] visitors are most interested in reading and/or hearing about, in this order:
- Subject (a location, an environment, a person, a concept)
- Content (beauty, personality, repression)
- Function (a memorial, a portrait, worship, education)
- Cultural and historical context (the Italian Renaissance, the Mende people of west Africa, ancient Greece)
- Why the work is considered art and why it’s in the museum
- The artist (statements that pertain to the work, intention and/or style, other related work by the same artist)
- Technique (materials, innovations, specialized methods)
- Economics (commissioned by …, created for sale, created for trade)
Not helpful are
- Unsubstantiated assertions of aesthetic quality or judgments (masterpiece, most profound, naïve, primitive)
- Stylistic development (genre, “influenced by the Mannerists,” Japonisme, in the Gothic style)
- Discussions of art theory (“…critical to the development of Analytic Cubism.” “New class identities.” “Included in the salon of 1866.”)
- Lengthy artists’ biographies
- Provenance (“the painting remained in the Valpinçon family until it was sold to …”)
Consider this sentence, written for the public about the Charleston period room at the Minneapolis Institute of Arts: “The outstanding quality of the rococo carving over the fireplace and the precise classical proportions of the woodwork were probably executed by the English-trained craftsman Ezra Waite, who was responsible for numerous other pre-revolutionary Charleston interiors.” It covers every point on the unhelpful list, leaving the reader to wonder: so what?
A word about using artists’ quotes. Visitors love to hear from artists, or at least that’s what they will tell you. Often I think visitors ask for this information because they know to ask for it. They logically assume that since an artist made it, the artist must be able to explain what it means. People know to ask for what they know about, they can’t ask for what they don’t know about. Confirming my suspicion, Reach Advisors report that in a survey of 40,000 visitors, what museum visitors say they want is different from what they actually found meaning in.[2]
If you think about it, giving people what they ask for misses the opportunity to use our specialized expertise to amaze and astound them with fascinating new information. Of course if you have an artist’s quote that actually sheds light on a work of art, by all means use it. But not all artists are great at talking or writing about their work. If they were, they might be writers or performers instead of visual artists.
Regarding unsubstantiated assertions of aesthetic quality or judgments, visitors do not like to be told what to think or how to feel. Put the emphasis on unsubstantiated here. If you’d like to tell people that something is a masterpiece, or that a work of art is designed to create discomfort, tell them why and/or how. Taking the time to explain these things moves your writing from unsubstantiated assertions of aesthetic quality or judgments (the not helpful list) into explaining why something is considered art and why the museum decided to display or own it (the helpful list).
- Interpretation at the Minneapolis Institute of Arts, 34. ↵
- Reach Advisors, "The Lens of Meaningful Experience," accessed September 1, 2013. http://reachadvisors.typepad.com/museum_audience_insight/2012/10/the-lens-of-meaningful-experiences.html ↵
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pressbooks
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2025-03-22T05:09:28.861722
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10-4-2022
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|
https://pressbooks.pub/tamtamsp/chapter/journalism-is-not-a-model/
|
According to Beverly Serrell in Exhibit Labels: An Interpretive Approach, journalism is not a good model for interpretive writing. “It is a bad model because newspaper articles are written with the assumption that most readers will not read the whole thing. After the headline or subhead that communicates a short teaser or summary, the body of the article that follows has the most important information up front, then goes into detail, often repeating information.”[1]
Interpretive writing should start with the details and then move out to more general information. For a perfect example of this, we can take a page from National Geographic Magazine. The folks at National Geographic know that their readers flip through the magazine looking at pictures and reading the captions, and then decide if they want to read the whole article. As a result, they have become masters at caption writing; they start with the details and add more information about the subject of the picture at the end. Let’s deconstruct this example:
Team member Hilaree O’Neill steps across a bridge of aluminum ladders lashed together above a crevasse in the Khumbu Icefall. Considered one of the most unpredictable hazards on Everest, the icefall is an ever shifting labyrinth of loose, jagged blocks.[2]
The first sentence of this caption, part of a story about climbing Mount Everest, tells you in very compact terms not only what you are looking at, but exactly who it is. That helps you connect with the human part of the story. But where is the Khumbu Icefall and what is an icefall? That’s answered in the next sentence, but notice that the second sentence doesn’t start out answering the where and what question. It grabs your attention by putting this information first: Considered one of the most unpredictable hazards on Everest.
Here’s another one:
Australia—Anzac the kangaroo and Peggy the wombat—each about five months old—snuggle at the Wildabout Wildlife Rescue Centre in Kilmore, Victoria. Both animals’ mothers were killed by cars. Officials hope to return them to the wild eventually.[3]
This is not just any kangaroo and wombat. This is Anzac and Peggy. The first sentence of the caption helps us make that human connection by disclosing the human names bestowed on these two animals. We don’t need to wonder where the Wildabout Wildlife Rescue Center is, because the “dateline” beginning, Australia – answers that question. But why are Anzac and Peggy in a rescue center? The second sentence holds the answer: their mothers were killed by cars. Notice that these animals weren’t “orphaned.” Their mothers were killed by cars. Being very specific in this case helps send an emotional message to readers, quite possibly encouraging them to be more careful with their cars. What will happen to Anzac and Peggy? The third sentence answers that question.
Go to the library or head to the bookstore and pick up a copy of National Geographic. Study the way the photo captions anchor the reader with specific visual information first, go from the specific to the more general, anticipate the readers’ questions about the image and answer those questions in compact and concrete ways.
|
pressbooks
|
2025-03-22T05:09:28.872753
|
10-4-2022
|
{
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"url": "https://pressbooks.pub/tamtamsp/chapter/journalism-is-not-a-model/",
"book_url": "https://pressbooks.pub/tamtamsp/front-matter/introduction/",
"title": "If You Can't See It Don't Say It",
"author": "Kris Wetterlund, Wetterlund, Kris",
"institution": "",
"subject": "Educational: Arts, general"
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|
https://pressbooks.pub/tamtamsp/chapter/the-power-of-the-unexpected/
|
Surprise at the beginning gets our attention. Interest keeps our attention. Surprise at the end is like a little gift for reading the whole thing. Or in this example, watching the whole thing.
My favorite label from the Schemas chapter uses the power of the unexpected right up front. You wouldn’t expect a label that introduces an exhibition to begin: “The contents of a stranger’s shopping cart, the books in an acquaintance’s living room…” Readers are compelled to keep reading to find out what this surprising beginning has to do with the exhibition. To avoid being gimmicky and make sure that the surprise produces insight, it’s targeted at the core message of the exhibition: it’s a collection.
According to the Heath brothers in Made to Stick, the most basic way to get someone’s attention is this: Break a pattern. Humans adapt incredibly quickly to consistent patterns, like the art historical drone of didactic labels in an art museum, for example. The only time we become consciously aware is when the pattern changes.[1]
Related to this idea are mysteries. Have you ever sat through a stupid movie or TV show that you couldn’t quit watching just because you had to know what happened? Gaps in understanding cause discomfort. We need to close them. To hold a reader’s interest, create a gap and then close it. Mysteries are perfect for this; they’re so powerful because they create a need for closure. The Aha! experience is much more satisfying when it’s preceded by a Huh? experience. Art museums are filled with mysteries. Interpretation is fluid and subjective. It changes over time and offers great opportunity for mysteries. Conservation is more commonly thought of as the core message of zoos and, to a lesser extent, science museums, but the art conservation lab is like the CSI of art museums. Share these activities with your readers, and help them solve the mysteries of the art museum. For example:
The day this Chinese bronze vessel arrived in the Walters Art Museum conservation lab, it came with a mysterious message. The museum’s director, who delivered the vessel, said he had some questions about it and ask if conservators could investigate its origins.
So begins the text in the Walters Art Museum’s Integrating the Arts online unit for students.[2] The online program proceeds to walk students through all the steps that conservators took to answer the question: real or fake? The program is written for middle school students and their teachers, but could also easily be a mini-exhibit in the museum.
- Heath, Made to Stick, 127. ↵
- The Walters Art Museum, "Integrating the Arts: China" accessed September 1, 2013 http://steve.thewalters.org:8081/pachyderm_2_1/presentations/IntegratingtheArtsChina65/ ↵
|
pressbooks
|
2025-03-22T05:09:28.882743
|
10-4-2022
|
{
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"url": "https://pressbooks.pub/tamtamsp/chapter/the-power-of-the-unexpected/",
"book_url": "https://pressbooks.pub/tamtamsp/front-matter/introduction/",
"title": "If You Can't See It Don't Say It",
"author": "Kris Wetterlund, Wetterlund, Kris",
"institution": "",
"subject": "Educational: Arts, general"
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|
https://pressbooks.pub/tamtamsp/chapter/help-readers-care/
|
Caring is part of interest. People get interested and keep reading because they care. You can help people care about what they read by making it personal and emotional. Remember the picture of Anzac and Peggy? Part of what helped us care about what would happen to them is that the caption called them by name – human names. Reading about Anzac and Peggy is so much more personal than reading about a kangaroo and a wombat. Even though analysis is a lot of what we do in art museums, reading about it turns people off, it’s too impersonal. Consider this example:
There were 16.7 million cars registered in Australia in 2012, up 13.3% since 2007. As a result, cars killed millions of animals last year.
Anzac and Peggy need your help. Their mothers were killed by cars.
Which makes you care more? Making Anzac and Peggy’s story personal also makes it emotional. One of the ways this works is by addressing the reader directly. Use the word YOU whenever you can, as in “Anzac and Peggy need your help.”
For art museums, this means adopting an active voice. Don’t write “It interesting to note…” instead write “You might find it interesting…” You can create triggers to action by directly telling people where to look or what to do. “Look at the fleur-de-lis on the mast of the ship. They’re a symbol of France.” Don’t write “We’ve created an audio tour…” Instead write “You’ll enjoy listening to our audio tour.”
TIP!
To write in a more active voice, go through your text and remove the words “that” and “then” where ever you can. You’ll find that you don’t need to replace them, and removing them will then make your message more compact and your voice more active.
According to Grammar Girl[1] an active voice means that the subject of the sentence is doing the action: Kris loves museums. In the passive voice, the receiver of the action, museums receiving love, gets promoted to the subject position: Museums are loved by Kris.
The passive voice is usually harder to understand for the general population. But Grammar Girl notes: “An exception is that scientists are often encouraged to write in passive voice to lend their writing a sense of objectivity–to take themselves and their actions and opinions out of the experimental results.” Does this sound familiar? It should, because a lot of art historians write in the passive voice too.
The musical iconography of Cubism has often been the subject of general discussion. Only recently, however, has a picture of the artists’ musical inclination during the early Synthetic Cubism years begun to emerge. This expanded vision is based largely on the lettered names of composers and song title, and on the inclusion of collaged portions of sheet music found in many of these compositions.[2]
This kind of writing might be fine for art historians, but given to our visitors is it any wonder that many are surprised to hear about all the people who work in art museums? People want to hear from other people. We can make our museums and our writing more interesting by making it personal, from one person to another. This often requires that we adopt a point of view. Take a stand, reject objectivity, let readers know there’s a real person behind the writing. The current fashion in some museums is for the authors of didactic labels to sign their work to achieve this understanding. But take a closer look at the content of the label. If authors continue to produce incomprehensible art history gobble-dee-gook, and then sign the label to add a personal touch, we still haven’t achieved our aims.
Appealing to reader’s emotions helps them care more about what they’re reading and by extension, looking at. Research also suggests that emotional ideas are more memorable, and that readers rate emotional parts of text as more important. One of the ways to tap into the strength of emotions and to create empathy is by asking your reader to imagine. The following example represents an obvious and compassionate point of view, and asks readers to imagine:
Harriet Powers, Athens, Georgia
Bible Quilt, 1886-1886
Cotton
National Museum of American History
In 1890 Harriet Powers fell on hard times. A white art teacher named Jennie B. Smith admired Harriet’s bible quilt at a local fair and Harriet accepted five dollars for it. Jennie entered the quilt in the Cotton States Exposition, where a group of women from Atlanta University saw it and commissioned Harriet to make another. Eventually this quilt made its way to the Smithsonian, and the other was given to Boston’s Museum of Fine Arts. That is all we know about the needlework of Harriet Powers. We can only imagine what other quilts she might have made.[3]
(Fictitious label, adapted from The Guerrilla Girls’ Bedside Companion to the History of Western Art, Penguin Books, 1998)
Another way to create an emotional connection is to appeal to your reader’s identity. John Falk has done a lot of research regarding museum visitors and identity, theorizing that museums have something to contribute to visitors’ idea of who they are – their identity as art lovers.[4]
In Made to Stick, the Heath brothers share a story about a math teacher trying to come up with an answer that would satisfy his students’ questions: Why should we study algebra? When will we ever use it? In 1993 a group of math teachers pondered the question and came up with this: “Algebra provides procedures for manipulating symbols to allow for understanding of the world around us.” Not very satisfying for high school algebra students. Another reason commonly cited for studying algebra: “Every future math and science class you take will require a knowledge of algebra.” Also not exactly satisfying, especially if you’re more interested in literature, art or the social sciences. It wasn’t until the math teacher came up with this that students were finally motivated to study algebra: “Math is mental weight training.”[5] This winning reason taps into kids’ schemas about weight lifting. Learning algebra, it suggests, makes you realize more of your potential, a powerful goal for most people, including kids. If we can help art museum visitors realize more of their potential as art lovers, they’ll likely form a stronger connection to what we have to say.
- Grammar Girl, accessed September 1, 2013 http://grammar.quickanddirtytips.com/active-voice-versus-passive-voice.aspx ↵
- Art History, Vol. 19 No. 1, March 1996. 102. ↵
- The Guerrilla Girls’, Bedside Companion to the History of Western Art, (New York: Penguin Books, 1998) 54-55. ↵
- John Falk, Identity and the Museum Visitor Experience (Walnut Creek, CA: Left Coast Press, 2009). ↵
- Heath, Made to Stick, 125. ↵
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pressbooks
|
2025-03-22T05:09:28.896439
|
10-4-2022
|
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"title": "If You Can't See It Don't Say It",
"author": "Kris Wetterlund, Wetterlund, Kris",
"institution": "",
"subject": "Educational: Arts, general"
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|
https://pressbooks.pub/tamtamsp/chapter/authenticity/
|
Lack of authenticity implies a lack of respect for your audience. If you don’t believe what you’re writing, your readers won’t believe it either. Consider the math example we just read about: “Algebra provides procedures for manipulating symbols to allow for understanding of the world around us.” Really? Do you know anyone who manipulates algebraic symbols in order to understand the world around them? There’s a reason that we (and also the kids it’s supposed to address), see right through this. It’s not authentic.
Writing authentically helps fix the potential problem of talking down to your readers too. If you don’t respect your readers they won’t respect what you have to say. Remember the TV show “Frasier?” The show was under some pressure to halt the highbrow language and tone of Frasier Krane and his brother Niles, for fear the TV audience wouldn’t get it. But Kelsey Grammer, who played Frasier Krane, refused. “”I am solidly convinced, and I always will be, that the audience is hungry for us to play up to it,” said Kelsey Grammer. “They are engaged by language that is not commonplace. I think they find intelligence fascinating. Most people do. The most interesting thing people do, after all, is think.”[1] And he was right. “Frasier” was on for 11 years and won numerous Emmy, Golden Globe and other awards.
The best advice I’ve seen on writing authentically is to write the way you talk. Your interpretive writing should be a conversation with the reader. As museum educators, we all try to be friendly experts when it comes to our visitors, and we care intensely about meeting the visitors where they are. Write as if you are talking to a visitor, sharing your enthusiasm about art, and your writing will be authentic.
The purpose of art is to lay bare the questions that have been hidden by the answers.
– James Baldwin
Questions on labels or in text produced for students, teachers or in a gallery guide are fine, but only if they’re authentic. Too often questions appear written on labels or gallery guides that ask in various ways: What do you think? It’s a rhetorical question, there’s really no one there to hear your answer and so it becomes an empty exercise. Worse, it implies that you haven’t been thinking up to that point and now you should think, which is downright insulting. Questions are good if they are authentic. Go back to my favorite label as an example. Remember that the label tells you a bit about Duncan Phillip’s tastes in collecting art and then it ends with an invitation in the form of a question: compare your tastes with Duncan Phillip’s. It’s an enticing idea – pretend you’re filthy rich and reviewing a friend’s collection – would you have collected the same?
- Bruce Newman, "All in Their Family," LA Times, March 1, 1998 accessed September 1, 2013. http://articles.latimes.com/1998/mar/01/entertainment/ca-24256 ↵
|
pressbooks
|
2025-03-22T05:09:28.906381
|
10-4-2022
|
{
"license": "Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/",
"url": "https://pressbooks.pub/tamtamsp/chapter/authenticity/",
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"title": "If You Can't See It Don't Say It",
"author": "Kris Wetterlund, Wetterlund, Kris",
"institution": "",
"subject": "Educational: Arts, general"
}
|
https://pressbooks.pub/tamtamsp/chapter/storytelling/
|
We think in stories. Call them schemas, scripts, cognitive maps, mental models, metaphors, or narratives, they are how we explain the world to ourselves and share our worldview with others. We tell ourselves stories about our selves (identity), stories about the world (perceptions), stories about others (relationships), and stories about our experiences (interpretation). TIP!
Do you admire someone else’s writing? Would you like your writing to reflect the same tone? Copy it. I mean literally, type out the text you admire. Copy a paragraph or two and when you work on your own writing the tone will carry over. I don’t know why this works, it just does.This hard wired impulse, to document and share our experiences, is at the root of all of the arts. At the same time we are attracted to seeing the world through another person’s eyes. Listening to someone else’s stories is like being in a flight simulator trying out a flight path. Stories are simulations we run on the mental machinery of our own imaginations. Because of the human attraction to stories, storytelling is a powerful way to connect with visitors. When we tell the story of a work of art, it creates personal, emotional and memorable pathways to meaning. Consider the story of Harriet Powers and her quilts. Because that interpretation was written as a story, with a particular point of view, it is so much more powerful than an analysis of the iconography found on the quilt. In fact, connecting with Harriet Powers might make you curious to know more about the iconography on the quilt!
Have you ever noticed that when we talk about the power and science of stories, the cave paintings at Lascaux (France) are often present? Pictures of the cave paintings appear as illustrations to articles and on the cover of books about storytelling. The cave paintings are presented as evidence of our history of storytelling, evidence that from the beginning we’ve told stories. But the cave paintings are not stories. They are paintings. They’ve become evidence of our storytelling as a species because of the stories we tell about them. Let that sink in. If anything should convince you of the power of the connection of art and stories, that should be it.
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pressbooks
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2025-03-22T05:09:28.914822
|
10-4-2022
|
{
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"url": "https://pressbooks.pub/tamtamsp/chapter/storytelling/",
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"title": "If You Can't See It Don't Say It",
"author": "Kris Wetterlund, Wetterlund, Kris",
"institution": "",
"subject": "Educational: Arts, general"
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|
https://pressbooks.pub/tamtamsp/chapter/checklist/
|
Here’s a list of everything covered in this guide. Use it as a checklist to score your writing about a work of art. Not all of the items on the list are required, but the more the better.
Simple
Core
Compact
Schemas
Concrete
Unexpected
From Details to General
Personal
Emotional
Active
Appeals to Readers Identity
Authentic
Tells a Story
|
pressbooks
|
2025-03-22T05:09:28.924339
|
10-4-2022
|
{
"license": "Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/",
"url": "https://pressbooks.pub/tamtamsp/chapter/checklist/",
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"title": "If You Can't See It Don't Say It",
"author": "Kris Wetterlund, Wetterlund, Kris",
"institution": "",
"subject": "Educational: Arts, general"
}
|
https://pressbooks.pub/tamtamsp/chapter/pomelo/
|
What if I told you a pomelo is like a supersized grapefruit with a thick soft skin?
License
If You Can't See It Don't Say It Copyright © 2013 by Museum-Ed is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License, except where otherwise noted.
|
pressbooks
|
2025-03-22T05:09:28.932612
|
10-4-2022
|
{
"license": "Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/",
"url": "https://pressbooks.pub/tamtamsp/chapter/pomelo/",
"book_url": "https://pressbooks.pub/tamtamsp/front-matter/introduction/",
"title": "If You Can't See It Don't Say It",
"author": "Kris Wetterlund, Wetterlund, Kris",
"institution": "",
"subject": "Educational: Arts, general"
}
|
https://opentextbc.ca/isvtechnology/chapter/background-bccampus-intersectional-sexualized-violence-project/
|
Background: BCcampus Intersectional Sexualized Violence Project
Implementation Guide for Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions was developed as part of the BCcampus Intersectional Sexualized Violence Project and funded by Women and Gender Equality (WAGE) in partnership with the Ministry of Post-Secondary Education and Future Skills. BCcampus worked closely with many staff, faculty, administrators, students, and subject matter experts across the B.C. post-secondary system to develop open education resources addressing intersectional sexualized violence at post-secondary institutions.
| Resource | Description |
|---|---|
| Technology Facilitated Sexualized Violence: An Introductory Training for B.C. Post-Secondary Institutions | A 45–60-minute, self-paced online course exploring technology-facilitated sexualized violence (TFSV) and its impacts, how to address it as a bystander, and how to support survivors of TFSV. |
| Power Dynamics and Boundaries: A Sexualized Violence Prevention Workshop for Graduate Students | A facilitator guide and PowerPoint slides to help B.C. post-secondary institutions offer training on power dynamics and sexualized violence in the graduate student context. |
| The Medicine of the Berry Patch: A Guide for B.C. Post-Secondary Institutions to Support Indigenous Students | A call to action and self-paced online resource with videos, readings, and reflection questions for B.C. post-secondary institutions wanting to build support for First Nations, Métis, and Inuit students and survivors of sexualized violence. |
| Communication, Healthy Relationships, and Consent: A Resource for B.C. Post-Secondary Institutions | An interactive, self-paced online resource, developed in H5P, providing foundational training in healthy communication and relationships, setting boundaries, and establishing consent. |
BCcampus has developed five other resources on sexualized violence:
- Consent and Sexual Violence: Training and Facilitation Guide explores different understandings of consent, how to ask for and give consent, and how to create a “culture of consent” in campus communities.
- Supporting Survivors: Training and Facilitation Guide explores how to respond supportively and effectively to disclosures of sexual violence. The guide uses a Listen, Believe, Support model.
- Accountability and Repairing Relationships: Training and Facilitation Guide focuses on individuals who have been informed that they have caused harm in the context of sexual violence. The training includes reflection activities to help people be accountable and build better relationships.
- Active Bystander Intervention: Training and Facilitation Guide helps learners acquire the knowledge and skills needed to recognize and intervene in an incident of sexual violence as well as discuss strategies for creating a safer campus community.
- Safer Campuses for Everyone is a 75-minute online, self-paced, non-facilitated training on sexualized violence that can be adapted and shared through different learning management systems.
Nine Key Principles
The Intersectional Sexualized Violence Advisory Group identified nine key principles that are essential to sexualized violence prevention, intervention, and responses in post-secondary institutions
- Accessibility
- Cultural safety
- Decolonial approach
- Experience-informed
- Gender inclusivity
- Intersectionality
- Survivor-centred
- Violence-informed and trauma-informed practice
- Healing-centred and transformative justice approaches
Communication, Healthy Relationships, and Consent was developed using these principles. Any changes that are made to the resource should align with them.
Open Education Resources
The BCcampus Intersectional Sexualized Violence resources are open education resources (OERs): either they have an open-copyright licence (such as one from Creative Commons) or they are part of the public domain and have no copyright. Depending on the licence used, OERs can be freely accessed, used, re-mixed, improved, and shared. For example, institutions may want to:
- Provide information and contacts for specific services available on campus and in the community
- Use images from the institution’s campuses and local community
- Use the institution’s logo
- Support Indigenization by incorporating additional Indigenous content and approaches
- Translate resources into different languages
Ideas and suggestions for adapting and reusing the course material are provided later in this guide.
|
pressbooks
|
2025-03-22T05:09:28.945702
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/background-bccampus-intersectional-sexualized-violence-project/",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/background-bccampus-intersectional-sexualized-violence-project/#chapter-20-section-1
|
Background: BCcampus Intersectional Sexualized Violence Project
Implementation Guide for Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions was developed as part of the BCcampus Intersectional Sexualized Violence Project and funded by Women and Gender Equality (WAGE) in partnership with the Ministry of Post-Secondary Education and Future Skills. BCcampus worked closely with many staff, faculty, administrators, students, and subject matter experts across the B.C. post-secondary system to develop open education resources addressing intersectional sexualized violence at post-secondary institutions.
| Resource | Description |
|---|---|
| Technology Facilitated Sexualized Violence: An Introductory Training for B.C. Post-Secondary Institutions | A 45–60-minute, self-paced online course exploring technology-facilitated sexualized violence (TFSV) and its impacts, how to address it as a bystander, and how to support survivors of TFSV. |
| Power Dynamics and Boundaries: A Sexualized Violence Prevention Workshop for Graduate Students | A facilitator guide and PowerPoint slides to help B.C. post-secondary institutions offer training on power dynamics and sexualized violence in the graduate student context. |
| The Medicine of the Berry Patch: A Guide for B.C. Post-Secondary Institutions to Support Indigenous Students | A call to action and self-paced online resource with videos, readings, and reflection questions for B.C. post-secondary institutions wanting to build support for First Nations, Métis, and Inuit students and survivors of sexualized violence. |
| Communication, Healthy Relationships, and Consent: A Resource for B.C. Post-Secondary Institutions | An interactive, self-paced online resource, developed in H5P, providing foundational training in healthy communication and relationships, setting boundaries, and establishing consent. |
BCcampus has developed five other resources on sexualized violence:
- Consent and Sexual Violence: Training and Facilitation Guide explores different understandings of consent, how to ask for and give consent, and how to create a “culture of consent” in campus communities.
- Supporting Survivors: Training and Facilitation Guide explores how to respond supportively and effectively to disclosures of sexual violence. The guide uses a Listen, Believe, Support model.
- Accountability and Repairing Relationships: Training and Facilitation Guide focuses on individuals who have been informed that they have caused harm in the context of sexual violence. The training includes reflection activities to help people be accountable and build better relationships.
- Active Bystander Intervention: Training and Facilitation Guide helps learners acquire the knowledge and skills needed to recognize and intervene in an incident of sexual violence as well as discuss strategies for creating a safer campus community.
- Safer Campuses for Everyone is a 75-minute online, self-paced, non-facilitated training on sexualized violence that can be adapted and shared through different learning management systems.
Nine Key Principles
The Intersectional Sexualized Violence Advisory Group identified nine key principles that are essential to sexualized violence prevention, intervention, and responses in post-secondary institutions
- Accessibility
- Cultural safety
- Decolonial approach
- Experience-informed
- Gender inclusivity
- Intersectionality
- Survivor-centred
- Violence-informed and trauma-informed practice
- Healing-centred and transformative justice approaches
Communication, Healthy Relationships, and Consent was developed using these principles. Any changes that are made to the resource should align with them.
Open Education Resources
The BCcampus Intersectional Sexualized Violence resources are open education resources (OERs): either they have an open-copyright licence (such as one from Creative Commons) or they are part of the public domain and have no copyright. Depending on the licence used, OERs can be freely accessed, used, re-mixed, improved, and shared. For example, institutions may want to:
- Provide information and contacts for specific services available on campus and in the community
- Use images from the institution’s campuses and local community
- Use the institution’s logo
- Support Indigenization by incorporating additional Indigenous content and approaches
- Translate resources into different languages
Ideas and suggestions for adapting and reusing the course material are provided later in this guide.
|
pressbooks
|
2025-03-22T05:09:28.957789
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/background-bccampus-intersectional-sexualized-violence-project/#chapter-20-section-1",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/background-bccampus-intersectional-sexualized-violence-project/#chapter-20-section-2
|
Background: BCcampus Intersectional Sexualized Violence Project
Implementation Guide for Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions was developed as part of the BCcampus Intersectional Sexualized Violence Project and funded by Women and Gender Equality (WAGE) in partnership with the Ministry of Post-Secondary Education and Future Skills. BCcampus worked closely with many staff, faculty, administrators, students, and subject matter experts across the B.C. post-secondary system to develop open education resources addressing intersectional sexualized violence at post-secondary institutions.
| Resource | Description |
|---|---|
| Technology Facilitated Sexualized Violence: An Introductory Training for B.C. Post-Secondary Institutions | A 45–60-minute, self-paced online course exploring technology-facilitated sexualized violence (TFSV) and its impacts, how to address it as a bystander, and how to support survivors of TFSV. |
| Power Dynamics and Boundaries: A Sexualized Violence Prevention Workshop for Graduate Students | A facilitator guide and PowerPoint slides to help B.C. post-secondary institutions offer training on power dynamics and sexualized violence in the graduate student context. |
| The Medicine of the Berry Patch: A Guide for B.C. Post-Secondary Institutions to Support Indigenous Students | A call to action and self-paced online resource with videos, readings, and reflection questions for B.C. post-secondary institutions wanting to build support for First Nations, Métis, and Inuit students and survivors of sexualized violence. |
| Communication, Healthy Relationships, and Consent: A Resource for B.C. Post-Secondary Institutions | An interactive, self-paced online resource, developed in H5P, providing foundational training in healthy communication and relationships, setting boundaries, and establishing consent. |
BCcampus has developed five other resources on sexualized violence:
- Consent and Sexual Violence: Training and Facilitation Guide explores different understandings of consent, how to ask for and give consent, and how to create a “culture of consent” in campus communities.
- Supporting Survivors: Training and Facilitation Guide explores how to respond supportively and effectively to disclosures of sexual violence. The guide uses a Listen, Believe, Support model.
- Accountability and Repairing Relationships: Training and Facilitation Guide focuses on individuals who have been informed that they have caused harm in the context of sexual violence. The training includes reflection activities to help people be accountable and build better relationships.
- Active Bystander Intervention: Training and Facilitation Guide helps learners acquire the knowledge and skills needed to recognize and intervene in an incident of sexual violence as well as discuss strategies for creating a safer campus community.
- Safer Campuses for Everyone is a 75-minute online, self-paced, non-facilitated training on sexualized violence that can be adapted and shared through different learning management systems.
Nine Key Principles
The Intersectional Sexualized Violence Advisory Group identified nine key principles that are essential to sexualized violence prevention, intervention, and responses in post-secondary institutions
- Accessibility
- Cultural safety
- Decolonial approach
- Experience-informed
- Gender inclusivity
- Intersectionality
- Survivor-centred
- Violence-informed and trauma-informed practice
- Healing-centred and transformative justice approaches
Communication, Healthy Relationships, and Consent was developed using these principles. Any changes that are made to the resource should align with them.
Open Education Resources
The BCcampus Intersectional Sexualized Violence resources are open education resources (OERs): either they have an open-copyright licence (such as one from Creative Commons) or they are part of the public domain and have no copyright. Depending on the licence used, OERs can be freely accessed, used, re-mixed, improved, and shared. For example, institutions may want to:
- Provide information and contacts for specific services available on campus and in the community
- Use images from the institution’s campuses and local community
- Use the institution’s logo
- Support Indigenization by incorporating additional Indigenous content and approaches
- Translate resources into different languages
Ideas and suggestions for adapting and reusing the course material are provided later in this guide.
|
pressbooks
|
2025-03-22T05:09:28.970361
|
10-21-2024
|
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|
https://opentextbc.ca/isvtechnology/chapter/about-the-course/
|
About the Course
Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions is a 45-minute online, self-paced, and non-facilitated course. It provides foundational information about technology-facilitated sexualized violence (TFSV) to help students, staff, and faculty recognize what it is, why it persists, and how to support those who may experience it. Through this course, learners will:
- Familiarize themselves with the definition of TFSV and common behaviours that fall under its umbrella
- Unlearn common myths about TFSV
- Consider the insidious roles intersectionality and rape culture play in TFSV
- Explore TFSV scenarios and the impacts of TFSV on survivors, and how power dynamics, myths, and rape culture influence interactions
- Discover ways to respond supportively when they experience, witness, or hear a disclosure of TFSV
The course was developed with guidance from an advisory group of students, staff, and faculty from B.C. post-secondary institutions, as well as representatives from the Government of British Columbia.
Course Structure and Topics
Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions includes an introduction, four modules, a course summary, and downloadable PDF resources. The modules include interactive activities, summaries, and reflection questions. The Resources section at the end of the course contains handouts for learners to download.
The course can be completed in one or more sessions.
Note: The course does not include any graded assessments, such as a final quiz. Institutions wanting to add formal assessments can create them in Articulate Rise and incorporate them into the course.
Below is an overview of the course structure and topics.
| Introduction |
|
|---|---|
| Module 1: Technology-Facilitated Sexualized Violence – The Basics |
|
| Module 2: Driving Forces Behind Technology-Facilitated Sexualized Violence |
|
| Module 3: Responses to Technology-Facilitated Sexualized Violence |
|
| Module 4: Technology-Facilitated Sexualized Violence Scenarios |
|
| Closing Notes | |
| Resources |
|
| Acknowledgements and Attributions |
|
Course Accessibility
Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions has been designed to be accessible to all learners:
- The course has been optimized for people who use screen-reader technology.
- All content can be navigated using a keyboard.
- Images have alt-text provided.
- Videos have captions and a transcript is provided.
- Information is not conveyed by colour alone.
There is a detailed accessibility statement at the beginning of this guide.
If you are making changes to the course, please review Accessibility Considerations to ensure that the course is still accessible to all learners.
Attributions
Implementation Guide for Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions by Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team is © 2024 Government of British Columbia and licensed under a Creative Commons Attribution 4.0 International License, except where otherwise noted.
The Creative Commons licence permits you to retain, reuse, copy, redistribute, and revise the course – in whole or in part – for free, providing the creators are attributed. These attributions can be found in the Acknowledgements and Attributions section of the course. If you add to the content, you will need to update these attributions. If you use components of the course, please check the attribution carefully to ensure you credit the correct creator.
|
pressbooks
|
2025-03-22T05:09:28.987574
|
10-21-2024
|
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|
https://opentextbc.ca/isvtechnology/chapter/about-the-course/#chapter-22-section-1
|
About the Course
Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions is a 45-minute online, self-paced, and non-facilitated course. It provides foundational information about technology-facilitated sexualized violence (TFSV) to help students, staff, and faculty recognize what it is, why it persists, and how to support those who may experience it. Through this course, learners will:
- Familiarize themselves with the definition of TFSV and common behaviours that fall under its umbrella
- Unlearn common myths about TFSV
- Consider the insidious roles intersectionality and rape culture play in TFSV
- Explore TFSV scenarios and the impacts of TFSV on survivors, and how power dynamics, myths, and rape culture influence interactions
- Discover ways to respond supportively when they experience, witness, or hear a disclosure of TFSV
The course was developed with guidance from an advisory group of students, staff, and faculty from B.C. post-secondary institutions, as well as representatives from the Government of British Columbia.
Course Structure and Topics
Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions includes an introduction, four modules, a course summary, and downloadable PDF resources. The modules include interactive activities, summaries, and reflection questions. The Resources section at the end of the course contains handouts for learners to download.
The course can be completed in one or more sessions.
Note: The course does not include any graded assessments, such as a final quiz. Institutions wanting to add formal assessments can create them in Articulate Rise and incorporate them into the course.
Below is an overview of the course structure and topics.
| Introduction |
|
|---|---|
| Module 1: Technology-Facilitated Sexualized Violence – The Basics |
|
| Module 2: Driving Forces Behind Technology-Facilitated Sexualized Violence |
|
| Module 3: Responses to Technology-Facilitated Sexualized Violence |
|
| Module 4: Technology-Facilitated Sexualized Violence Scenarios |
|
| Closing Notes | |
| Resources |
|
| Acknowledgements and Attributions |
|
Course Accessibility
Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions has been designed to be accessible to all learners:
- The course has been optimized for people who use screen-reader technology.
- All content can be navigated using a keyboard.
- Images have alt-text provided.
- Videos have captions and a transcript is provided.
- Information is not conveyed by colour alone.
There is a detailed accessibility statement at the beginning of this guide.
If you are making changes to the course, please review Accessibility Considerations to ensure that the course is still accessible to all learners.
Attributions
Implementation Guide for Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions by Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team is © 2024 Government of British Columbia and licensed under a Creative Commons Attribution 4.0 International License, except where otherwise noted.
The Creative Commons licence permits you to retain, reuse, copy, redistribute, and revise the course – in whole or in part – for free, providing the creators are attributed. These attributions can be found in the Acknowledgements and Attributions section of the course. If you add to the content, you will need to update these attributions. If you use components of the course, please check the attribution carefully to ensure you credit the correct creator.
|
pressbooks
|
2025-03-22T05:09:29.004979
|
10-21-2024
|
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"url": "https://opentextbc.ca/isvtechnology/chapter/about-the-course/#chapter-22-section-1",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/about-the-course/#chapter-22-section-2
|
About the Course
Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions is a 45-minute online, self-paced, and non-facilitated course. It provides foundational information about technology-facilitated sexualized violence (TFSV) to help students, staff, and faculty recognize what it is, why it persists, and how to support those who may experience it. Through this course, learners will:
- Familiarize themselves with the definition of TFSV and common behaviours that fall under its umbrella
- Unlearn common myths about TFSV
- Consider the insidious roles intersectionality and rape culture play in TFSV
- Explore TFSV scenarios and the impacts of TFSV on survivors, and how power dynamics, myths, and rape culture influence interactions
- Discover ways to respond supportively when they experience, witness, or hear a disclosure of TFSV
The course was developed with guidance from an advisory group of students, staff, and faculty from B.C. post-secondary institutions, as well as representatives from the Government of British Columbia.
Course Structure and Topics
Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions includes an introduction, four modules, a course summary, and downloadable PDF resources. The modules include interactive activities, summaries, and reflection questions. The Resources section at the end of the course contains handouts for learners to download.
The course can be completed in one or more sessions.
Note: The course does not include any graded assessments, such as a final quiz. Institutions wanting to add formal assessments can create them in Articulate Rise and incorporate them into the course.
Below is an overview of the course structure and topics.
| Introduction |
|
|---|---|
| Module 1: Technology-Facilitated Sexualized Violence – The Basics |
|
| Module 2: Driving Forces Behind Technology-Facilitated Sexualized Violence |
|
| Module 3: Responses to Technology-Facilitated Sexualized Violence |
|
| Module 4: Technology-Facilitated Sexualized Violence Scenarios |
|
| Closing Notes | |
| Resources |
|
| Acknowledgements and Attributions |
|
Course Accessibility
Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions has been designed to be accessible to all learners:
- The course has been optimized for people who use screen-reader technology.
- All content can be navigated using a keyboard.
- Images have alt-text provided.
- Videos have captions and a transcript is provided.
- Information is not conveyed by colour alone.
There is a detailed accessibility statement at the beginning of this guide.
If you are making changes to the course, please review Accessibility Considerations to ensure that the course is still accessible to all learners.
Attributions
Implementation Guide for Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions by Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team is © 2024 Government of British Columbia and licensed under a Creative Commons Attribution 4.0 International License, except where otherwise noted.
The Creative Commons licence permits you to retain, reuse, copy, redistribute, and revise the course – in whole or in part – for free, providing the creators are attributed. These attributions can be found in the Acknowledgements and Attributions section of the course. If you add to the content, you will need to update these attributions. If you use components of the course, please check the attribution carefully to ensure you credit the correct creator.
|
pressbooks
|
2025-03-22T05:09:29.022219
|
10-21-2024
|
{
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"url": "https://opentextbc.ca/isvtechnology/chapter/about-the-course/#chapter-22-section-2",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/about-the-course/#chapter-22-section-3
|
About the Course
Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions is a 45-minute online, self-paced, and non-facilitated course. It provides foundational information about technology-facilitated sexualized violence (TFSV) to help students, staff, and faculty recognize what it is, why it persists, and how to support those who may experience it. Through this course, learners will:
- Familiarize themselves with the definition of TFSV and common behaviours that fall under its umbrella
- Unlearn common myths about TFSV
- Consider the insidious roles intersectionality and rape culture play in TFSV
- Explore TFSV scenarios and the impacts of TFSV on survivors, and how power dynamics, myths, and rape culture influence interactions
- Discover ways to respond supportively when they experience, witness, or hear a disclosure of TFSV
The course was developed with guidance from an advisory group of students, staff, and faculty from B.C. post-secondary institutions, as well as representatives from the Government of British Columbia.
Course Structure and Topics
Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions includes an introduction, four modules, a course summary, and downloadable PDF resources. The modules include interactive activities, summaries, and reflection questions. The Resources section at the end of the course contains handouts for learners to download.
The course can be completed in one or more sessions.
Note: The course does not include any graded assessments, such as a final quiz. Institutions wanting to add formal assessments can create them in Articulate Rise and incorporate them into the course.
Below is an overview of the course structure and topics.
| Introduction |
|
|---|---|
| Module 1: Technology-Facilitated Sexualized Violence – The Basics |
|
| Module 2: Driving Forces Behind Technology-Facilitated Sexualized Violence |
|
| Module 3: Responses to Technology-Facilitated Sexualized Violence |
|
| Module 4: Technology-Facilitated Sexualized Violence Scenarios |
|
| Closing Notes | |
| Resources |
|
| Acknowledgements and Attributions |
|
Course Accessibility
Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions has been designed to be accessible to all learners:
- The course has been optimized for people who use screen-reader technology.
- All content can be navigated using a keyboard.
- Images have alt-text provided.
- Videos have captions and a transcript is provided.
- Information is not conveyed by colour alone.
There is a detailed accessibility statement at the beginning of this guide.
If you are making changes to the course, please review Accessibility Considerations to ensure that the course is still accessible to all learners.
Attributions
Implementation Guide for Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions by Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team is © 2024 Government of British Columbia and licensed under a Creative Commons Attribution 4.0 International License, except where otherwise noted.
The Creative Commons licence permits you to retain, reuse, copy, redistribute, and revise the course – in whole or in part – for free, providing the creators are attributed. These attributions can be found in the Acknowledgements and Attributions section of the course. If you add to the content, you will need to update these attributions. If you use components of the course, please check the attribution carefully to ensure you credit the correct creator.
|
pressbooks
|
2025-03-22T05:09:29.039089
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/about-the-course/#chapter-22-section-3",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/options-for-course-adaptation/
|
Options for Course Adaptation
Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions is ready to use at your institution by uploading it to either a learning management system (LMS) or a website. See Editing and Sharing the Course for information on how to install it.
However, you also have the option to edit and adapt the course to suit the needs of your institution. Editing and Sharing the Course also includes suggestions for adapting and customizing the course.
If you are adding new interactive elements, please review the Accessibility Considerations. If you’re including new graphics or images, ensure that they have alt-text available for anyone using a screen reader.
Once you have finished changing or adding course content, review the course objectives, reflection questions, and any quizzes or final assessments to ensure that all of the material works together. You may also need to adjust the time required to complete the course.
Different Ways to Obtain, Edit, and Use the Course
You can access and use this course in a few different ways. Editing and Sharing the Course takes you through the different options.
- If your institution would like to use the course as created, with no modifications or changes, you will download SCORM files that can be uploaded to your LMS from the Intersectional Sexualized Violence project page.
- If your institution would like to make changes to the course, the institution must have a subscription to Articulate Rise (also called Articulate 360). It is a web application and does not require any software downloads. It runs on any device through a browser. To access Articulate Rise, you will need to purchase a licence to Articulate 360, which includes the Articulate Rise subscription. Academic pricing is available for post-secondary institutions. Detailed information about accessing, editing, and using the course in Articulate Rise can be found in Editing and Sharing the Course.
- If your institution wants to build your own course based on the texts, images, graphics, or videos found in Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions, visit the Intersectional Sexualized Violence project page to access and download these materials.
Introduction
Land acknowledgements are designed as a first step to reconciliation and an important way to begin the course so learners can think about next steps for reconciliation. If your institution has an approved territory acknowledgement, you are welcome to use it in the course.
The Land Acknowledgement section was slightly adapted from Jewell Gillies’ words in the Safer Campuses for Everyone training. It reiterates core concepts and invites learners to consider their relationship with Indigenous people and lands across B.C. The land acknowledgement is one step in introducing Indigenous ways of knowing and being, particularly in relation to sexualized violence.
Module 1: Technology-Facilitated Sexualized Violence – The Basics
In this module, students learn about definitions and specific behaviours associated with TFSV to ensure a baseline understanding of TFSV. It also goes on to explore and correct common myths about TFSV.
Your institution may use other definitions connected with sexualized violence, TFSV, and the behaviours that fall under its umbrella, and this module can be edited to include these definitions.
The definitions, behaviours, and myths associated with TFSV are evolving quickly, and the module will need to be updated regularly to remain relevant.
Module 2: Driving Forces Behind Technology-Facilitated Sexualized Violence
This module addresses intersectionality and rape culture. If your institution has existing ways of framing, understanding, or applying these topics, the module can be edited to align with them. The module can also be edited to include additional examples of how these concepts apply in a TFSV context.
As in Module 1, the concepts covered in Module 2 are evolving and shifting rapidly, especially in relation to technology, and the content may need to be updated over time.
Module 3: Responses to Technology-Facilitated Sexualized Violence
The resources provided in this module are not specific to an institution. There are links that help learners find resources at their post-secondary institution, but there are opportunities throughout to include institution-specific resources where they exist. We also encourage institutions to include support for those who perpetrate harm as well, if supports are available at the institution or in the community.
Limited information or research is available on being an active bystander in a TFSV context specifically. Module 3 can be edited to align with an institution’s understanding of or existing education on active bystander intervention.
Module 4: Technology-Facilitated Sexualized Violence Scenarios
The practice scenarios in this module, which were reviewed and shaped by many people, are intended to help learners consider and put into practice what they have learned. The six scenarios feature students from diverse backgrounds facing different experiences of TFSV.
The scenarios can be edited, new scenarios can be created to better suit the context of an institution, and images can be changed. Any of the questions in the scenarios can also be edited, replaced, or removed.
Note: If you are creating new scenarios, you may want to review a handout on this topic created for Power Dynamics and Boundaries: A Sexualized Violence Prevention Workshop for Graduate Students.
Resources
Additional resources (handouts or other documents) can be added to the list of resources provided in this module. If you remove any of the handouts, you will need to review the course carefully, since there are references to handouts throughout the modules.
Adding Quizzes or Final Assessments
The course does not include quizzes or a final assessment. If your institution would like learners to complete quizzes for the purpose of tracking progress or completion, these can be added and the settings in Articulate Rise can be adjusted to make them mandatory or not. As well, a final assessment for the course can be developed in Articulate Rise. See Editing the Course in Articulate Rise for information on how to add or change a quiz.
Changing Colours and Adding Logos
The colour palette used in the course can be changed to align more closely with an institution’s graphic style. See Edits to the Course in Articulate Rise for more detailed instructions. An institution’s logo or photos or images from the institution or the local community can also be added. All images will need to be openly licensed and contain alt-text descriptions.
Reusing Course Components
Under the Creative Commons Attribution 4.0 International Licence, institutions are free to use the course texts, images, videos, graphics, and handouts in other ways, including building a new course or adding this one into an existing course.
|
pressbooks
|
2025-03-22T05:09:29.054859
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/options-for-course-adaptation/",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/options-for-course-adaptation/#chapter-25-section-1
|
Options for Course Adaptation
Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions is ready to use at your institution by uploading it to either a learning management system (LMS) or a website. See Editing and Sharing the Course for information on how to install it.
However, you also have the option to edit and adapt the course to suit the needs of your institution. Editing and Sharing the Course also includes suggestions for adapting and customizing the course.
If you are adding new interactive elements, please review the Accessibility Considerations. If you’re including new graphics or images, ensure that they have alt-text available for anyone using a screen reader.
Once you have finished changing or adding course content, review the course objectives, reflection questions, and any quizzes or final assessments to ensure that all of the material works together. You may also need to adjust the time required to complete the course.
Different Ways to Obtain, Edit, and Use the Course
You can access and use this course in a few different ways. Editing and Sharing the Course takes you through the different options.
- If your institution would like to use the course as created, with no modifications or changes, you will download SCORM files that can be uploaded to your LMS from the Intersectional Sexualized Violence project page.
- If your institution would like to make changes to the course, the institution must have a subscription to Articulate Rise (also called Articulate 360). It is a web application and does not require any software downloads. It runs on any device through a browser. To access Articulate Rise, you will need to purchase a licence to Articulate 360, which includes the Articulate Rise subscription. Academic pricing is available for post-secondary institutions. Detailed information about accessing, editing, and using the course in Articulate Rise can be found in Editing and Sharing the Course.
- If your institution wants to build your own course based on the texts, images, graphics, or videos found in Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions, visit the Intersectional Sexualized Violence project page to access and download these materials.
Introduction
Land acknowledgements are designed as a first step to reconciliation and an important way to begin the course so learners can think about next steps for reconciliation. If your institution has an approved territory acknowledgement, you are welcome to use it in the course.
The Land Acknowledgement section was slightly adapted from Jewell Gillies’ words in the Safer Campuses for Everyone training. It reiterates core concepts and invites learners to consider their relationship with Indigenous people and lands across B.C. The land acknowledgement is one step in introducing Indigenous ways of knowing and being, particularly in relation to sexualized violence.
Module 1: Technology-Facilitated Sexualized Violence – The Basics
In this module, students learn about definitions and specific behaviours associated with TFSV to ensure a baseline understanding of TFSV. It also goes on to explore and correct common myths about TFSV.
Your institution may use other definitions connected with sexualized violence, TFSV, and the behaviours that fall under its umbrella, and this module can be edited to include these definitions.
The definitions, behaviours, and myths associated with TFSV are evolving quickly, and the module will need to be updated regularly to remain relevant.
Module 2: Driving Forces Behind Technology-Facilitated Sexualized Violence
This module addresses intersectionality and rape culture. If your institution has existing ways of framing, understanding, or applying these topics, the module can be edited to align with them. The module can also be edited to include additional examples of how these concepts apply in a TFSV context.
As in Module 1, the concepts covered in Module 2 are evolving and shifting rapidly, especially in relation to technology, and the content may need to be updated over time.
Module 3: Responses to Technology-Facilitated Sexualized Violence
The resources provided in this module are not specific to an institution. There are links that help learners find resources at their post-secondary institution, but there are opportunities throughout to include institution-specific resources where they exist. We also encourage institutions to include support for those who perpetrate harm as well, if supports are available at the institution or in the community.
Limited information or research is available on being an active bystander in a TFSV context specifically. Module 3 can be edited to align with an institution’s understanding of or existing education on active bystander intervention.
Module 4: Technology-Facilitated Sexualized Violence Scenarios
The practice scenarios in this module, which were reviewed and shaped by many people, are intended to help learners consider and put into practice what they have learned. The six scenarios feature students from diverse backgrounds facing different experiences of TFSV.
The scenarios can be edited, new scenarios can be created to better suit the context of an institution, and images can be changed. Any of the questions in the scenarios can also be edited, replaced, or removed.
Note: If you are creating new scenarios, you may want to review a handout on this topic created for Power Dynamics and Boundaries: A Sexualized Violence Prevention Workshop for Graduate Students.
Resources
Additional resources (handouts or other documents) can be added to the list of resources provided in this module. If you remove any of the handouts, you will need to review the course carefully, since there are references to handouts throughout the modules.
Adding Quizzes or Final Assessments
The course does not include quizzes or a final assessment. If your institution would like learners to complete quizzes for the purpose of tracking progress or completion, these can be added and the settings in Articulate Rise can be adjusted to make them mandatory or not. As well, a final assessment for the course can be developed in Articulate Rise. See Editing the Course in Articulate Rise for information on how to add or change a quiz.
Changing Colours and Adding Logos
The colour palette used in the course can be changed to align more closely with an institution’s graphic style. See Edits to the Course in Articulate Rise for more detailed instructions. An institution’s logo or photos or images from the institution or the local community can also be added. All images will need to be openly licensed and contain alt-text descriptions.
Reusing Course Components
Under the Creative Commons Attribution 4.0 International Licence, institutions are free to use the course texts, images, videos, graphics, and handouts in other ways, including building a new course or adding this one into an existing course.
|
pressbooks
|
2025-03-22T05:09:29.068987
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/options-for-course-adaptation/#chapter-25-section-1",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/options-for-course-adaptation/#chapter-25-section-2
|
Options for Course Adaptation
Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions is ready to use at your institution by uploading it to either a learning management system (LMS) or a website. See Editing and Sharing the Course for information on how to install it.
However, you also have the option to edit and adapt the course to suit the needs of your institution. Editing and Sharing the Course also includes suggestions for adapting and customizing the course.
If you are adding new interactive elements, please review the Accessibility Considerations. If you’re including new graphics or images, ensure that they have alt-text available for anyone using a screen reader.
Once you have finished changing or adding course content, review the course objectives, reflection questions, and any quizzes or final assessments to ensure that all of the material works together. You may also need to adjust the time required to complete the course.
Different Ways to Obtain, Edit, and Use the Course
You can access and use this course in a few different ways. Editing and Sharing the Course takes you through the different options.
- If your institution would like to use the course as created, with no modifications or changes, you will download SCORM files that can be uploaded to your LMS from the Intersectional Sexualized Violence project page.
- If your institution would like to make changes to the course, the institution must have a subscription to Articulate Rise (also called Articulate 360). It is a web application and does not require any software downloads. It runs on any device through a browser. To access Articulate Rise, you will need to purchase a licence to Articulate 360, which includes the Articulate Rise subscription. Academic pricing is available for post-secondary institutions. Detailed information about accessing, editing, and using the course in Articulate Rise can be found in Editing and Sharing the Course.
- If your institution wants to build your own course based on the texts, images, graphics, or videos found in Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions, visit the Intersectional Sexualized Violence project page to access and download these materials.
Introduction
Land acknowledgements are designed as a first step to reconciliation and an important way to begin the course so learners can think about next steps for reconciliation. If your institution has an approved territory acknowledgement, you are welcome to use it in the course.
The Land Acknowledgement section was slightly adapted from Jewell Gillies’ words in the Safer Campuses for Everyone training. It reiterates core concepts and invites learners to consider their relationship with Indigenous people and lands across B.C. The land acknowledgement is one step in introducing Indigenous ways of knowing and being, particularly in relation to sexualized violence.
Module 1: Technology-Facilitated Sexualized Violence – The Basics
In this module, students learn about definitions and specific behaviours associated with TFSV to ensure a baseline understanding of TFSV. It also goes on to explore and correct common myths about TFSV.
Your institution may use other definitions connected with sexualized violence, TFSV, and the behaviours that fall under its umbrella, and this module can be edited to include these definitions.
The definitions, behaviours, and myths associated with TFSV are evolving quickly, and the module will need to be updated regularly to remain relevant.
Module 2: Driving Forces Behind Technology-Facilitated Sexualized Violence
This module addresses intersectionality and rape culture. If your institution has existing ways of framing, understanding, or applying these topics, the module can be edited to align with them. The module can also be edited to include additional examples of how these concepts apply in a TFSV context.
As in Module 1, the concepts covered in Module 2 are evolving and shifting rapidly, especially in relation to technology, and the content may need to be updated over time.
Module 3: Responses to Technology-Facilitated Sexualized Violence
The resources provided in this module are not specific to an institution. There are links that help learners find resources at their post-secondary institution, but there are opportunities throughout to include institution-specific resources where they exist. We also encourage institutions to include support for those who perpetrate harm as well, if supports are available at the institution or in the community.
Limited information or research is available on being an active bystander in a TFSV context specifically. Module 3 can be edited to align with an institution’s understanding of or existing education on active bystander intervention.
Module 4: Technology-Facilitated Sexualized Violence Scenarios
The practice scenarios in this module, which were reviewed and shaped by many people, are intended to help learners consider and put into practice what they have learned. The six scenarios feature students from diverse backgrounds facing different experiences of TFSV.
The scenarios can be edited, new scenarios can be created to better suit the context of an institution, and images can be changed. Any of the questions in the scenarios can also be edited, replaced, or removed.
Note: If you are creating new scenarios, you may want to review a handout on this topic created for Power Dynamics and Boundaries: A Sexualized Violence Prevention Workshop for Graduate Students.
Resources
Additional resources (handouts or other documents) can be added to the list of resources provided in this module. If you remove any of the handouts, you will need to review the course carefully, since there are references to handouts throughout the modules.
Adding Quizzes or Final Assessments
The course does not include quizzes or a final assessment. If your institution would like learners to complete quizzes for the purpose of tracking progress or completion, these can be added and the settings in Articulate Rise can be adjusted to make them mandatory or not. As well, a final assessment for the course can be developed in Articulate Rise. See Editing the Course in Articulate Rise for information on how to add or change a quiz.
Changing Colours and Adding Logos
The colour palette used in the course can be changed to align more closely with an institution’s graphic style. See Edits to the Course in Articulate Rise for more detailed instructions. An institution’s logo or photos or images from the institution or the local community can also be added. All images will need to be openly licensed and contain alt-text descriptions.
Reusing Course Components
Under the Creative Commons Attribution 4.0 International Licence, institutions are free to use the course texts, images, videos, graphics, and handouts in other ways, including building a new course or adding this one into an existing course.
|
pressbooks
|
2025-03-22T05:09:29.085897
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/options-for-course-adaptation/#chapter-25-section-2",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/options-for-course-adaptation/#chapter-25-section-3
|
Options for Course Adaptation
Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions is ready to use at your institution by uploading it to either a learning management system (LMS) or a website. See Editing and Sharing the Course for information on how to install it.
However, you also have the option to edit and adapt the course to suit the needs of your institution. Editing and Sharing the Course also includes suggestions for adapting and customizing the course.
If you are adding new interactive elements, please review the Accessibility Considerations. If you’re including new graphics or images, ensure that they have alt-text available for anyone using a screen reader.
Once you have finished changing or adding course content, review the course objectives, reflection questions, and any quizzes or final assessments to ensure that all of the material works together. You may also need to adjust the time required to complete the course.
Different Ways to Obtain, Edit, and Use the Course
You can access and use this course in a few different ways. Editing and Sharing the Course takes you through the different options.
- If your institution would like to use the course as created, with no modifications or changes, you will download SCORM files that can be uploaded to your LMS from the Intersectional Sexualized Violence project page.
- If your institution would like to make changes to the course, the institution must have a subscription to Articulate Rise (also called Articulate 360). It is a web application and does not require any software downloads. It runs on any device through a browser. To access Articulate Rise, you will need to purchase a licence to Articulate 360, which includes the Articulate Rise subscription. Academic pricing is available for post-secondary institutions. Detailed information about accessing, editing, and using the course in Articulate Rise can be found in Editing and Sharing the Course.
- If your institution wants to build your own course based on the texts, images, graphics, or videos found in Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions, visit the Intersectional Sexualized Violence project page to access and download these materials.
Introduction
Land acknowledgements are designed as a first step to reconciliation and an important way to begin the course so learners can think about next steps for reconciliation. If your institution has an approved territory acknowledgement, you are welcome to use it in the course.
The Land Acknowledgement section was slightly adapted from Jewell Gillies’ words in the Safer Campuses for Everyone training. It reiterates core concepts and invites learners to consider their relationship with Indigenous people and lands across B.C. The land acknowledgement is one step in introducing Indigenous ways of knowing and being, particularly in relation to sexualized violence.
Module 1: Technology-Facilitated Sexualized Violence – The Basics
In this module, students learn about definitions and specific behaviours associated with TFSV to ensure a baseline understanding of TFSV. It also goes on to explore and correct common myths about TFSV.
Your institution may use other definitions connected with sexualized violence, TFSV, and the behaviours that fall under its umbrella, and this module can be edited to include these definitions.
The definitions, behaviours, and myths associated with TFSV are evolving quickly, and the module will need to be updated regularly to remain relevant.
Module 2: Driving Forces Behind Technology-Facilitated Sexualized Violence
This module addresses intersectionality and rape culture. If your institution has existing ways of framing, understanding, or applying these topics, the module can be edited to align with them. The module can also be edited to include additional examples of how these concepts apply in a TFSV context.
As in Module 1, the concepts covered in Module 2 are evolving and shifting rapidly, especially in relation to technology, and the content may need to be updated over time.
Module 3: Responses to Technology-Facilitated Sexualized Violence
The resources provided in this module are not specific to an institution. There are links that help learners find resources at their post-secondary institution, but there are opportunities throughout to include institution-specific resources where they exist. We also encourage institutions to include support for those who perpetrate harm as well, if supports are available at the institution or in the community.
Limited information or research is available on being an active bystander in a TFSV context specifically. Module 3 can be edited to align with an institution’s understanding of or existing education on active bystander intervention.
Module 4: Technology-Facilitated Sexualized Violence Scenarios
The practice scenarios in this module, which were reviewed and shaped by many people, are intended to help learners consider and put into practice what they have learned. The six scenarios feature students from diverse backgrounds facing different experiences of TFSV.
The scenarios can be edited, new scenarios can be created to better suit the context of an institution, and images can be changed. Any of the questions in the scenarios can also be edited, replaced, or removed.
Note: If you are creating new scenarios, you may want to review a handout on this topic created for Power Dynamics and Boundaries: A Sexualized Violence Prevention Workshop for Graduate Students.
Resources
Additional resources (handouts or other documents) can be added to the list of resources provided in this module. If you remove any of the handouts, you will need to review the course carefully, since there are references to handouts throughout the modules.
Adding Quizzes or Final Assessments
The course does not include quizzes or a final assessment. If your institution would like learners to complete quizzes for the purpose of tracking progress or completion, these can be added and the settings in Articulate Rise can be adjusted to make them mandatory or not. As well, a final assessment for the course can be developed in Articulate Rise. See Editing the Course in Articulate Rise for information on how to add or change a quiz.
Changing Colours and Adding Logos
The colour palette used in the course can be changed to align more closely with an institution’s graphic style. See Edits to the Course in Articulate Rise for more detailed instructions. An institution’s logo or photos or images from the institution or the local community can also be added. All images will need to be openly licensed and contain alt-text descriptions.
Reusing Course Components
Under the Creative Commons Attribution 4.0 International Licence, institutions are free to use the course texts, images, videos, graphics, and handouts in other ways, including building a new course or adding this one into an existing course.
|
pressbooks
|
2025-03-22T05:09:29.104037
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/options-for-course-adaptation/#chapter-25-section-3",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/options-for-course-adaptation/#chapter-25-section-4
|
Options for Course Adaptation
Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions is ready to use at your institution by uploading it to either a learning management system (LMS) or a website. See Editing and Sharing the Course for information on how to install it.
However, you also have the option to edit and adapt the course to suit the needs of your institution. Editing and Sharing the Course also includes suggestions for adapting and customizing the course.
If you are adding new interactive elements, please review the Accessibility Considerations. If you’re including new graphics or images, ensure that they have alt-text available for anyone using a screen reader.
Once you have finished changing or adding course content, review the course objectives, reflection questions, and any quizzes or final assessments to ensure that all of the material works together. You may also need to adjust the time required to complete the course.
Different Ways to Obtain, Edit, and Use the Course
You can access and use this course in a few different ways. Editing and Sharing the Course takes you through the different options.
- If your institution would like to use the course as created, with no modifications or changes, you will download SCORM files that can be uploaded to your LMS from the Intersectional Sexualized Violence project page.
- If your institution would like to make changes to the course, the institution must have a subscription to Articulate Rise (also called Articulate 360). It is a web application and does not require any software downloads. It runs on any device through a browser. To access Articulate Rise, you will need to purchase a licence to Articulate 360, which includes the Articulate Rise subscription. Academic pricing is available for post-secondary institutions. Detailed information about accessing, editing, and using the course in Articulate Rise can be found in Editing and Sharing the Course.
- If your institution wants to build your own course based on the texts, images, graphics, or videos found in Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions, visit the Intersectional Sexualized Violence project page to access and download these materials.
Introduction
Land acknowledgements are designed as a first step to reconciliation and an important way to begin the course so learners can think about next steps for reconciliation. If your institution has an approved territory acknowledgement, you are welcome to use it in the course.
The Land Acknowledgement section was slightly adapted from Jewell Gillies’ words in the Safer Campuses for Everyone training. It reiterates core concepts and invites learners to consider their relationship with Indigenous people and lands across B.C. The land acknowledgement is one step in introducing Indigenous ways of knowing and being, particularly in relation to sexualized violence.
Module 1: Technology-Facilitated Sexualized Violence – The Basics
In this module, students learn about definitions and specific behaviours associated with TFSV to ensure a baseline understanding of TFSV. It also goes on to explore and correct common myths about TFSV.
Your institution may use other definitions connected with sexualized violence, TFSV, and the behaviours that fall under its umbrella, and this module can be edited to include these definitions.
The definitions, behaviours, and myths associated with TFSV are evolving quickly, and the module will need to be updated regularly to remain relevant.
Module 2: Driving Forces Behind Technology-Facilitated Sexualized Violence
This module addresses intersectionality and rape culture. If your institution has existing ways of framing, understanding, or applying these topics, the module can be edited to align with them. The module can also be edited to include additional examples of how these concepts apply in a TFSV context.
As in Module 1, the concepts covered in Module 2 are evolving and shifting rapidly, especially in relation to technology, and the content may need to be updated over time.
Module 3: Responses to Technology-Facilitated Sexualized Violence
The resources provided in this module are not specific to an institution. There are links that help learners find resources at their post-secondary institution, but there are opportunities throughout to include institution-specific resources where they exist. We also encourage institutions to include support for those who perpetrate harm as well, if supports are available at the institution or in the community.
Limited information or research is available on being an active bystander in a TFSV context specifically. Module 3 can be edited to align with an institution’s understanding of or existing education on active bystander intervention.
Module 4: Technology-Facilitated Sexualized Violence Scenarios
The practice scenarios in this module, which were reviewed and shaped by many people, are intended to help learners consider and put into practice what they have learned. The six scenarios feature students from diverse backgrounds facing different experiences of TFSV.
The scenarios can be edited, new scenarios can be created to better suit the context of an institution, and images can be changed. Any of the questions in the scenarios can also be edited, replaced, or removed.
Note: If you are creating new scenarios, you may want to review a handout on this topic created for Power Dynamics and Boundaries: A Sexualized Violence Prevention Workshop for Graduate Students.
Resources
Additional resources (handouts or other documents) can be added to the list of resources provided in this module. If you remove any of the handouts, you will need to review the course carefully, since there are references to handouts throughout the modules.
Adding Quizzes or Final Assessments
The course does not include quizzes or a final assessment. If your institution would like learners to complete quizzes for the purpose of tracking progress or completion, these can be added and the settings in Articulate Rise can be adjusted to make them mandatory or not. As well, a final assessment for the course can be developed in Articulate Rise. See Editing the Course in Articulate Rise for information on how to add or change a quiz.
Changing Colours and Adding Logos
The colour palette used in the course can be changed to align more closely with an institution’s graphic style. See Edits to the Course in Articulate Rise for more detailed instructions. An institution’s logo or photos or images from the institution or the local community can also be added. All images will need to be openly licensed and contain alt-text descriptions.
Reusing Course Components
Under the Creative Commons Attribution 4.0 International Licence, institutions are free to use the course texts, images, videos, graphics, and handouts in other ways, including building a new course or adding this one into an existing course.
|
pressbooks
|
2025-03-22T05:09:29.121510
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/options-for-course-adaptation/#chapter-25-section-4",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/options-for-course-adaptation/#chapter-25-section-5
|
Options for Course Adaptation
Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions is ready to use at your institution by uploading it to either a learning management system (LMS) or a website. See Editing and Sharing the Course for information on how to install it.
However, you also have the option to edit and adapt the course to suit the needs of your institution. Editing and Sharing the Course also includes suggestions for adapting and customizing the course.
If you are adding new interactive elements, please review the Accessibility Considerations. If you’re including new graphics or images, ensure that they have alt-text available for anyone using a screen reader.
Once you have finished changing or adding course content, review the course objectives, reflection questions, and any quizzes or final assessments to ensure that all of the material works together. You may also need to adjust the time required to complete the course.
Different Ways to Obtain, Edit, and Use the Course
You can access and use this course in a few different ways. Editing and Sharing the Course takes you through the different options.
- If your institution would like to use the course as created, with no modifications or changes, you will download SCORM files that can be uploaded to your LMS from the Intersectional Sexualized Violence project page.
- If your institution would like to make changes to the course, the institution must have a subscription to Articulate Rise (also called Articulate 360). It is a web application and does not require any software downloads. It runs on any device through a browser. To access Articulate Rise, you will need to purchase a licence to Articulate 360, which includes the Articulate Rise subscription. Academic pricing is available for post-secondary institutions. Detailed information about accessing, editing, and using the course in Articulate Rise can be found in Editing and Sharing the Course.
- If your institution wants to build your own course based on the texts, images, graphics, or videos found in Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions, visit the Intersectional Sexualized Violence project page to access and download these materials.
Introduction
Land acknowledgements are designed as a first step to reconciliation and an important way to begin the course so learners can think about next steps for reconciliation. If your institution has an approved territory acknowledgement, you are welcome to use it in the course.
The Land Acknowledgement section was slightly adapted from Jewell Gillies’ words in the Safer Campuses for Everyone training. It reiterates core concepts and invites learners to consider their relationship with Indigenous people and lands across B.C. The land acknowledgement is one step in introducing Indigenous ways of knowing and being, particularly in relation to sexualized violence.
Module 1: Technology-Facilitated Sexualized Violence – The Basics
In this module, students learn about definitions and specific behaviours associated with TFSV to ensure a baseline understanding of TFSV. It also goes on to explore and correct common myths about TFSV.
Your institution may use other definitions connected with sexualized violence, TFSV, and the behaviours that fall under its umbrella, and this module can be edited to include these definitions.
The definitions, behaviours, and myths associated with TFSV are evolving quickly, and the module will need to be updated regularly to remain relevant.
Module 2: Driving Forces Behind Technology-Facilitated Sexualized Violence
This module addresses intersectionality and rape culture. If your institution has existing ways of framing, understanding, or applying these topics, the module can be edited to align with them. The module can also be edited to include additional examples of how these concepts apply in a TFSV context.
As in Module 1, the concepts covered in Module 2 are evolving and shifting rapidly, especially in relation to technology, and the content may need to be updated over time.
Module 3: Responses to Technology-Facilitated Sexualized Violence
The resources provided in this module are not specific to an institution. There are links that help learners find resources at their post-secondary institution, but there are opportunities throughout to include institution-specific resources where they exist. We also encourage institutions to include support for those who perpetrate harm as well, if supports are available at the institution or in the community.
Limited information or research is available on being an active bystander in a TFSV context specifically. Module 3 can be edited to align with an institution’s understanding of or existing education on active bystander intervention.
Module 4: Technology-Facilitated Sexualized Violence Scenarios
The practice scenarios in this module, which were reviewed and shaped by many people, are intended to help learners consider and put into practice what they have learned. The six scenarios feature students from diverse backgrounds facing different experiences of TFSV.
The scenarios can be edited, new scenarios can be created to better suit the context of an institution, and images can be changed. Any of the questions in the scenarios can also be edited, replaced, or removed.
Note: If you are creating new scenarios, you may want to review a handout on this topic created for Power Dynamics and Boundaries: A Sexualized Violence Prevention Workshop for Graduate Students.
Resources
Additional resources (handouts or other documents) can be added to the list of resources provided in this module. If you remove any of the handouts, you will need to review the course carefully, since there are references to handouts throughout the modules.
Adding Quizzes or Final Assessments
The course does not include quizzes or a final assessment. If your institution would like learners to complete quizzes for the purpose of tracking progress or completion, these can be added and the settings in Articulate Rise can be adjusted to make them mandatory or not. As well, a final assessment for the course can be developed in Articulate Rise. See Editing the Course in Articulate Rise for information on how to add or change a quiz.
Changing Colours and Adding Logos
The colour palette used in the course can be changed to align more closely with an institution’s graphic style. See Edits to the Course in Articulate Rise for more detailed instructions. An institution’s logo or photos or images from the institution or the local community can also be added. All images will need to be openly licensed and contain alt-text descriptions.
Reusing Course Components
Under the Creative Commons Attribution 4.0 International Licence, institutions are free to use the course texts, images, videos, graphics, and handouts in other ways, including building a new course or adding this one into an existing course.
|
pressbooks
|
2025-03-22T05:09:29.134022
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/options-for-course-adaptation/#chapter-25-section-5",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/options-for-course-adaptation/#chapter-25-section-6
|
Options for Course Adaptation
Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions is ready to use at your institution by uploading it to either a learning management system (LMS) or a website. See Editing and Sharing the Course for information on how to install it.
However, you also have the option to edit and adapt the course to suit the needs of your institution. Editing and Sharing the Course also includes suggestions for adapting and customizing the course.
If you are adding new interactive elements, please review the Accessibility Considerations. If you’re including new graphics or images, ensure that they have alt-text available for anyone using a screen reader.
Once you have finished changing or adding course content, review the course objectives, reflection questions, and any quizzes or final assessments to ensure that all of the material works together. You may also need to adjust the time required to complete the course.
Different Ways to Obtain, Edit, and Use the Course
You can access and use this course in a few different ways. Editing and Sharing the Course takes you through the different options.
- If your institution would like to use the course as created, with no modifications or changes, you will download SCORM files that can be uploaded to your LMS from the Intersectional Sexualized Violence project page.
- If your institution would like to make changes to the course, the institution must have a subscription to Articulate Rise (also called Articulate 360). It is a web application and does not require any software downloads. It runs on any device through a browser. To access Articulate Rise, you will need to purchase a licence to Articulate 360, which includes the Articulate Rise subscription. Academic pricing is available for post-secondary institutions. Detailed information about accessing, editing, and using the course in Articulate Rise can be found in Editing and Sharing the Course.
- If your institution wants to build your own course based on the texts, images, graphics, or videos found in Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions, visit the Intersectional Sexualized Violence project page to access and download these materials.
Introduction
Land acknowledgements are designed as a first step to reconciliation and an important way to begin the course so learners can think about next steps for reconciliation. If your institution has an approved territory acknowledgement, you are welcome to use it in the course.
The Land Acknowledgement section was slightly adapted from Jewell Gillies’ words in the Safer Campuses for Everyone training. It reiterates core concepts and invites learners to consider their relationship with Indigenous people and lands across B.C. The land acknowledgement is one step in introducing Indigenous ways of knowing and being, particularly in relation to sexualized violence.
Module 1: Technology-Facilitated Sexualized Violence – The Basics
In this module, students learn about definitions and specific behaviours associated with TFSV to ensure a baseline understanding of TFSV. It also goes on to explore and correct common myths about TFSV.
Your institution may use other definitions connected with sexualized violence, TFSV, and the behaviours that fall under its umbrella, and this module can be edited to include these definitions.
The definitions, behaviours, and myths associated with TFSV are evolving quickly, and the module will need to be updated regularly to remain relevant.
Module 2: Driving Forces Behind Technology-Facilitated Sexualized Violence
This module addresses intersectionality and rape culture. If your institution has existing ways of framing, understanding, or applying these topics, the module can be edited to align with them. The module can also be edited to include additional examples of how these concepts apply in a TFSV context.
As in Module 1, the concepts covered in Module 2 are evolving and shifting rapidly, especially in relation to technology, and the content may need to be updated over time.
Module 3: Responses to Technology-Facilitated Sexualized Violence
The resources provided in this module are not specific to an institution. There are links that help learners find resources at their post-secondary institution, but there are opportunities throughout to include institution-specific resources where they exist. We also encourage institutions to include support for those who perpetrate harm as well, if supports are available at the institution or in the community.
Limited information or research is available on being an active bystander in a TFSV context specifically. Module 3 can be edited to align with an institution’s understanding of or existing education on active bystander intervention.
Module 4: Technology-Facilitated Sexualized Violence Scenarios
The practice scenarios in this module, which were reviewed and shaped by many people, are intended to help learners consider and put into practice what they have learned. The six scenarios feature students from diverse backgrounds facing different experiences of TFSV.
The scenarios can be edited, new scenarios can be created to better suit the context of an institution, and images can be changed. Any of the questions in the scenarios can also be edited, replaced, or removed.
Note: If you are creating new scenarios, you may want to review a handout on this topic created for Power Dynamics and Boundaries: A Sexualized Violence Prevention Workshop for Graduate Students.
Resources
Additional resources (handouts or other documents) can be added to the list of resources provided in this module. If you remove any of the handouts, you will need to review the course carefully, since there are references to handouts throughout the modules.
Adding Quizzes or Final Assessments
The course does not include quizzes or a final assessment. If your institution would like learners to complete quizzes for the purpose of tracking progress or completion, these can be added and the settings in Articulate Rise can be adjusted to make them mandatory or not. As well, a final assessment for the course can be developed in Articulate Rise. See Editing the Course in Articulate Rise for information on how to add or change a quiz.
Changing Colours and Adding Logos
The colour palette used in the course can be changed to align more closely with an institution’s graphic style. See Edits to the Course in Articulate Rise for more detailed instructions. An institution’s logo or photos or images from the institution or the local community can also be added. All images will need to be openly licensed and contain alt-text descriptions.
Reusing Course Components
Under the Creative Commons Attribution 4.0 International Licence, institutions are free to use the course texts, images, videos, graphics, and handouts in other ways, including building a new course or adding this one into an existing course.
|
pressbooks
|
2025-03-22T05:09:29.148045
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/options-for-course-adaptation/#chapter-25-section-6",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/options-for-course-adaptation/#chapter-25-section-7
|
Options for Course Adaptation
Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions is ready to use at your institution by uploading it to either a learning management system (LMS) or a website. See Editing and Sharing the Course for information on how to install it.
However, you also have the option to edit and adapt the course to suit the needs of your institution. Editing and Sharing the Course also includes suggestions for adapting and customizing the course.
If you are adding new interactive elements, please review the Accessibility Considerations. If you’re including new graphics or images, ensure that they have alt-text available for anyone using a screen reader.
Once you have finished changing or adding course content, review the course objectives, reflection questions, and any quizzes or final assessments to ensure that all of the material works together. You may also need to adjust the time required to complete the course.
Different Ways to Obtain, Edit, and Use the Course
You can access and use this course in a few different ways. Editing and Sharing the Course takes you through the different options.
- If your institution would like to use the course as created, with no modifications or changes, you will download SCORM files that can be uploaded to your LMS from the Intersectional Sexualized Violence project page.
- If your institution would like to make changes to the course, the institution must have a subscription to Articulate Rise (also called Articulate 360). It is a web application and does not require any software downloads. It runs on any device through a browser. To access Articulate Rise, you will need to purchase a licence to Articulate 360, which includes the Articulate Rise subscription. Academic pricing is available for post-secondary institutions. Detailed information about accessing, editing, and using the course in Articulate Rise can be found in Editing and Sharing the Course.
- If your institution wants to build your own course based on the texts, images, graphics, or videos found in Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions, visit the Intersectional Sexualized Violence project page to access and download these materials.
Introduction
Land acknowledgements are designed as a first step to reconciliation and an important way to begin the course so learners can think about next steps for reconciliation. If your institution has an approved territory acknowledgement, you are welcome to use it in the course.
The Land Acknowledgement section was slightly adapted from Jewell Gillies’ words in the Safer Campuses for Everyone training. It reiterates core concepts and invites learners to consider their relationship with Indigenous people and lands across B.C. The land acknowledgement is one step in introducing Indigenous ways of knowing and being, particularly in relation to sexualized violence.
Module 1: Technology-Facilitated Sexualized Violence – The Basics
In this module, students learn about definitions and specific behaviours associated with TFSV to ensure a baseline understanding of TFSV. It also goes on to explore and correct common myths about TFSV.
Your institution may use other definitions connected with sexualized violence, TFSV, and the behaviours that fall under its umbrella, and this module can be edited to include these definitions.
The definitions, behaviours, and myths associated with TFSV are evolving quickly, and the module will need to be updated regularly to remain relevant.
Module 2: Driving Forces Behind Technology-Facilitated Sexualized Violence
This module addresses intersectionality and rape culture. If your institution has existing ways of framing, understanding, or applying these topics, the module can be edited to align with them. The module can also be edited to include additional examples of how these concepts apply in a TFSV context.
As in Module 1, the concepts covered in Module 2 are evolving and shifting rapidly, especially in relation to technology, and the content may need to be updated over time.
Module 3: Responses to Technology-Facilitated Sexualized Violence
The resources provided in this module are not specific to an institution. There are links that help learners find resources at their post-secondary institution, but there are opportunities throughout to include institution-specific resources where they exist. We also encourage institutions to include support for those who perpetrate harm as well, if supports are available at the institution or in the community.
Limited information or research is available on being an active bystander in a TFSV context specifically. Module 3 can be edited to align with an institution’s understanding of or existing education on active bystander intervention.
Module 4: Technology-Facilitated Sexualized Violence Scenarios
The practice scenarios in this module, which were reviewed and shaped by many people, are intended to help learners consider and put into practice what they have learned. The six scenarios feature students from diverse backgrounds facing different experiences of TFSV.
The scenarios can be edited, new scenarios can be created to better suit the context of an institution, and images can be changed. Any of the questions in the scenarios can also be edited, replaced, or removed.
Note: If you are creating new scenarios, you may want to review a handout on this topic created for Power Dynamics and Boundaries: A Sexualized Violence Prevention Workshop for Graduate Students.
Resources
Additional resources (handouts or other documents) can be added to the list of resources provided in this module. If you remove any of the handouts, you will need to review the course carefully, since there are references to handouts throughout the modules.
Adding Quizzes or Final Assessments
The course does not include quizzes or a final assessment. If your institution would like learners to complete quizzes for the purpose of tracking progress or completion, these can be added and the settings in Articulate Rise can be adjusted to make them mandatory or not. As well, a final assessment for the course can be developed in Articulate Rise. See Editing the Course in Articulate Rise for information on how to add or change a quiz.
Changing Colours and Adding Logos
The colour palette used in the course can be changed to align more closely with an institution’s graphic style. See Edits to the Course in Articulate Rise for more detailed instructions. An institution’s logo or photos or images from the institution or the local community can also be added. All images will need to be openly licensed and contain alt-text descriptions.
Reusing Course Components
Under the Creative Commons Attribution 4.0 International Licence, institutions are free to use the course texts, images, videos, graphics, and handouts in other ways, including building a new course or adding this one into an existing course.
|
pressbooks
|
2025-03-22T05:09:29.160554
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/options-for-course-adaptation/#chapter-25-section-7",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/options-for-course-adaptation/#chapter-25-section-8
|
Options for Course Adaptation
Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions is ready to use at your institution by uploading it to either a learning management system (LMS) or a website. See Editing and Sharing the Course for information on how to install it.
However, you also have the option to edit and adapt the course to suit the needs of your institution. Editing and Sharing the Course also includes suggestions for adapting and customizing the course.
If you are adding new interactive elements, please review the Accessibility Considerations. If you’re including new graphics or images, ensure that they have alt-text available for anyone using a screen reader.
Once you have finished changing or adding course content, review the course objectives, reflection questions, and any quizzes or final assessments to ensure that all of the material works together. You may also need to adjust the time required to complete the course.
Different Ways to Obtain, Edit, and Use the Course
You can access and use this course in a few different ways. Editing and Sharing the Course takes you through the different options.
- If your institution would like to use the course as created, with no modifications or changes, you will download SCORM files that can be uploaded to your LMS from the Intersectional Sexualized Violence project page.
- If your institution would like to make changes to the course, the institution must have a subscription to Articulate Rise (also called Articulate 360). It is a web application and does not require any software downloads. It runs on any device through a browser. To access Articulate Rise, you will need to purchase a licence to Articulate 360, which includes the Articulate Rise subscription. Academic pricing is available for post-secondary institutions. Detailed information about accessing, editing, and using the course in Articulate Rise can be found in Editing and Sharing the Course.
- If your institution wants to build your own course based on the texts, images, graphics, or videos found in Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions, visit the Intersectional Sexualized Violence project page to access and download these materials.
Introduction
Land acknowledgements are designed as a first step to reconciliation and an important way to begin the course so learners can think about next steps for reconciliation. If your institution has an approved territory acknowledgement, you are welcome to use it in the course.
The Land Acknowledgement section was slightly adapted from Jewell Gillies’ words in the Safer Campuses for Everyone training. It reiterates core concepts and invites learners to consider their relationship with Indigenous people and lands across B.C. The land acknowledgement is one step in introducing Indigenous ways of knowing and being, particularly in relation to sexualized violence.
Module 1: Technology-Facilitated Sexualized Violence – The Basics
In this module, students learn about definitions and specific behaviours associated with TFSV to ensure a baseline understanding of TFSV. It also goes on to explore and correct common myths about TFSV.
Your institution may use other definitions connected with sexualized violence, TFSV, and the behaviours that fall under its umbrella, and this module can be edited to include these definitions.
The definitions, behaviours, and myths associated with TFSV are evolving quickly, and the module will need to be updated regularly to remain relevant.
Module 2: Driving Forces Behind Technology-Facilitated Sexualized Violence
This module addresses intersectionality and rape culture. If your institution has existing ways of framing, understanding, or applying these topics, the module can be edited to align with them. The module can also be edited to include additional examples of how these concepts apply in a TFSV context.
As in Module 1, the concepts covered in Module 2 are evolving and shifting rapidly, especially in relation to technology, and the content may need to be updated over time.
Module 3: Responses to Technology-Facilitated Sexualized Violence
The resources provided in this module are not specific to an institution. There are links that help learners find resources at their post-secondary institution, but there are opportunities throughout to include institution-specific resources where they exist. We also encourage institutions to include support for those who perpetrate harm as well, if supports are available at the institution or in the community.
Limited information or research is available on being an active bystander in a TFSV context specifically. Module 3 can be edited to align with an institution’s understanding of or existing education on active bystander intervention.
Module 4: Technology-Facilitated Sexualized Violence Scenarios
The practice scenarios in this module, which were reviewed and shaped by many people, are intended to help learners consider and put into practice what they have learned. The six scenarios feature students from diverse backgrounds facing different experiences of TFSV.
The scenarios can be edited, new scenarios can be created to better suit the context of an institution, and images can be changed. Any of the questions in the scenarios can also be edited, replaced, or removed.
Note: If you are creating new scenarios, you may want to review a handout on this topic created for Power Dynamics and Boundaries: A Sexualized Violence Prevention Workshop for Graduate Students.
Resources
Additional resources (handouts or other documents) can be added to the list of resources provided in this module. If you remove any of the handouts, you will need to review the course carefully, since there are references to handouts throughout the modules.
Adding Quizzes or Final Assessments
The course does not include quizzes or a final assessment. If your institution would like learners to complete quizzes for the purpose of tracking progress or completion, these can be added and the settings in Articulate Rise can be adjusted to make them mandatory or not. As well, a final assessment for the course can be developed in Articulate Rise. See Editing the Course in Articulate Rise for information on how to add or change a quiz.
Changing Colours and Adding Logos
The colour palette used in the course can be changed to align more closely with an institution’s graphic style. See Edits to the Course in Articulate Rise for more detailed instructions. An institution’s logo or photos or images from the institution or the local community can also be added. All images will need to be openly licensed and contain alt-text descriptions.
Reusing Course Components
Under the Creative Commons Attribution 4.0 International Licence, institutions are free to use the course texts, images, videos, graphics, and handouts in other ways, including building a new course or adding this one into an existing course.
|
pressbooks
|
2025-03-22T05:09:29.172677
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/options-for-course-adaptation/#chapter-25-section-8",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/options-for-course-adaptation/#chapter-25-section-9
|
Options for Course Adaptation
Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions is ready to use at your institution by uploading it to either a learning management system (LMS) or a website. See Editing and Sharing the Course for information on how to install it.
However, you also have the option to edit and adapt the course to suit the needs of your institution. Editing and Sharing the Course also includes suggestions for adapting and customizing the course.
If you are adding new interactive elements, please review the Accessibility Considerations. If you’re including new graphics or images, ensure that they have alt-text available for anyone using a screen reader.
Once you have finished changing or adding course content, review the course objectives, reflection questions, and any quizzes or final assessments to ensure that all of the material works together. You may also need to adjust the time required to complete the course.
Different Ways to Obtain, Edit, and Use the Course
You can access and use this course in a few different ways. Editing and Sharing the Course takes you through the different options.
- If your institution would like to use the course as created, with no modifications or changes, you will download SCORM files that can be uploaded to your LMS from the Intersectional Sexualized Violence project page.
- If your institution would like to make changes to the course, the institution must have a subscription to Articulate Rise (also called Articulate 360). It is a web application and does not require any software downloads. It runs on any device through a browser. To access Articulate Rise, you will need to purchase a licence to Articulate 360, which includes the Articulate Rise subscription. Academic pricing is available for post-secondary institutions. Detailed information about accessing, editing, and using the course in Articulate Rise can be found in Editing and Sharing the Course.
- If your institution wants to build your own course based on the texts, images, graphics, or videos found in Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions, visit the Intersectional Sexualized Violence project page to access and download these materials.
Introduction
Land acknowledgements are designed as a first step to reconciliation and an important way to begin the course so learners can think about next steps for reconciliation. If your institution has an approved territory acknowledgement, you are welcome to use it in the course.
The Land Acknowledgement section was slightly adapted from Jewell Gillies’ words in the Safer Campuses for Everyone training. It reiterates core concepts and invites learners to consider their relationship with Indigenous people and lands across B.C. The land acknowledgement is one step in introducing Indigenous ways of knowing and being, particularly in relation to sexualized violence.
Module 1: Technology-Facilitated Sexualized Violence – The Basics
In this module, students learn about definitions and specific behaviours associated with TFSV to ensure a baseline understanding of TFSV. It also goes on to explore and correct common myths about TFSV.
Your institution may use other definitions connected with sexualized violence, TFSV, and the behaviours that fall under its umbrella, and this module can be edited to include these definitions.
The definitions, behaviours, and myths associated with TFSV are evolving quickly, and the module will need to be updated regularly to remain relevant.
Module 2: Driving Forces Behind Technology-Facilitated Sexualized Violence
This module addresses intersectionality and rape culture. If your institution has existing ways of framing, understanding, or applying these topics, the module can be edited to align with them. The module can also be edited to include additional examples of how these concepts apply in a TFSV context.
As in Module 1, the concepts covered in Module 2 are evolving and shifting rapidly, especially in relation to technology, and the content may need to be updated over time.
Module 3: Responses to Technology-Facilitated Sexualized Violence
The resources provided in this module are not specific to an institution. There are links that help learners find resources at their post-secondary institution, but there are opportunities throughout to include institution-specific resources where they exist. We also encourage institutions to include support for those who perpetrate harm as well, if supports are available at the institution or in the community.
Limited information or research is available on being an active bystander in a TFSV context specifically. Module 3 can be edited to align with an institution’s understanding of or existing education on active bystander intervention.
Module 4: Technology-Facilitated Sexualized Violence Scenarios
The practice scenarios in this module, which were reviewed and shaped by many people, are intended to help learners consider and put into practice what they have learned. The six scenarios feature students from diverse backgrounds facing different experiences of TFSV.
The scenarios can be edited, new scenarios can be created to better suit the context of an institution, and images can be changed. Any of the questions in the scenarios can also be edited, replaced, or removed.
Note: If you are creating new scenarios, you may want to review a handout on this topic created for Power Dynamics and Boundaries: A Sexualized Violence Prevention Workshop for Graduate Students.
Resources
Additional resources (handouts or other documents) can be added to the list of resources provided in this module. If you remove any of the handouts, you will need to review the course carefully, since there are references to handouts throughout the modules.
Adding Quizzes or Final Assessments
The course does not include quizzes or a final assessment. If your institution would like learners to complete quizzes for the purpose of tracking progress or completion, these can be added and the settings in Articulate Rise can be adjusted to make them mandatory or not. As well, a final assessment for the course can be developed in Articulate Rise. See Editing the Course in Articulate Rise for information on how to add or change a quiz.
Changing Colours and Adding Logos
The colour palette used in the course can be changed to align more closely with an institution’s graphic style. See Edits to the Course in Articulate Rise for more detailed instructions. An institution’s logo or photos or images from the institution or the local community can also be added. All images will need to be openly licensed and contain alt-text descriptions.
Reusing Course Components
Under the Creative Commons Attribution 4.0 International Licence, institutions are free to use the course texts, images, videos, graphics, and handouts in other ways, including building a new course or adding this one into an existing course.
|
pressbooks
|
2025-03-22T05:09:29.186580
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/options-for-course-adaptation/#chapter-25-section-9",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/how-to-obtain-and-edit-the-course/
|
How to Obtain and Edit the Course
Obtaining a Copy of the Course
Download a SCORM version of Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions from the Intersectional Sexualized Violence project page. If your institution has an Articulate Rise account, you can request direct access to a copy of the course by completing the form on the Intersectional Sexualized Violence project page. For copies shared directly through Articulate Rise, be sure to provide the email address that the Articulate Rise account is associated with. You will receive an email from Articulate Rise confirming that the course has been shared with your account.
Articulate Rise: Overview
Articulate Rise is a web-based application eLearning authoring tool that enables developers and instructional designers to quickly create custom, interactive courses – no coding experience needed. Some of the benefits of using Articulate Rise are:
- It adapts to all devices (phone, tablet, laptop, and desktop computers) and screen orientations (portrait, landscape).
- It has lots of interactivity, including timelines, flashcards, carousels, quizzes, and scenarios.
- It is easy to edit content and then import into an LMS.
- It has the ability to output as SCORM (see information on SCORM below) to track learner progress and completion, and to output as HTML5 or PDF.
- It has the ability to export translatable files to convert courses into different languages.
- It allows you to include videos and other multimedia.
Note: All edits to the course content of Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions must be done in Articulate Rise before exporting the course to an LMS.
Editing the Course in Articulate Rise
- Once you have a copy of the course, log in to Articulate Rise 360.
- Click on Rise 360.
- Click on the course you want to edit.
- Click on Edit Content for the area(s) to be edited, and navigate to the area you want to edit.
- Note: There are a few ways to recover accidentally deleted content:
- If you’ve accidentally deleted some text or a table in your block, you can use CTRL+Z (or CMD+Z) to undo the action.
- If you delete a lesson or a block, you’ll see an Undo button for a few seconds at the bottom left of your screen. Once the Undo button is gone, there is no way to undo/recover the deleted block. The lesson/block will need to be recreated.
- Note: There are a few ways to recover accidentally deleted content:
- To edit text, click on the text you want to edit and then type.
- To replace an image, hover over the image, and then click on Edit on the left side of the image. Click on Edit once the side panel opens – you will have the option to upload an image of your own or search for an image from the Articulate Rise content library.
- To update the logo or the course banner:
- If you are in one of the lessons, return to the main course page.
- Click on Theme in the upper right corner.
- Click on Cover Page in the Theme menu.
- Scroll to the bottom of the Cover Page menu.
- In the Logo section (at the very bottom), click on Upload Logo and upload your logo.
- If you are in one of the lessons, return to the main course page.
- To update an existing cover photo:
- Click on Theme in the upper right corner.
- Click on Cover Page in the Theme menu.
- Under the first section, Course Image, click on Edit. You will have the option to replace the image (from local files or from the Articulate Rise content library).
- To update the course colour or font:
- Click on Theme in the upper right corner.
- In the Theme menu, click on Colors to modify the course colours. You can choose between your own colours or predefined colours.
- In the Theme menu, click on Fonts to modify the course fonts. Scroll through the font styles to select the ones you want.
Note: Under the Theme menu you may also customize the way you navigate through your course, the Lesson Header style, and how you would like the blocks styled.
Note: There is no “Undo” button. All edits are saved in real time.
|
pressbooks
|
2025-03-22T05:09:29.200982
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/how-to-obtain-and-edit-the-course/",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/how-to-obtain-and-edit-the-course/#chapter-34-section-1
|
How to Obtain and Edit the Course
Obtaining a Copy of the Course
Download a SCORM version of Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions from the Intersectional Sexualized Violence project page. If your institution has an Articulate Rise account, you can request direct access to a copy of the course by completing the form on the Intersectional Sexualized Violence project page. For copies shared directly through Articulate Rise, be sure to provide the email address that the Articulate Rise account is associated with. You will receive an email from Articulate Rise confirming that the course has been shared with your account.
Articulate Rise: Overview
Articulate Rise is a web-based application eLearning authoring tool that enables developers and instructional designers to quickly create custom, interactive courses – no coding experience needed. Some of the benefits of using Articulate Rise are:
- It adapts to all devices (phone, tablet, laptop, and desktop computers) and screen orientations (portrait, landscape).
- It has lots of interactivity, including timelines, flashcards, carousels, quizzes, and scenarios.
- It is easy to edit content and then import into an LMS.
- It has the ability to output as SCORM (see information on SCORM below) to track learner progress and completion, and to output as HTML5 or PDF.
- It has the ability to export translatable files to convert courses into different languages.
- It allows you to include videos and other multimedia.
Note: All edits to the course content of Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions must be done in Articulate Rise before exporting the course to an LMS.
Editing the Course in Articulate Rise
- Once you have a copy of the course, log in to Articulate Rise 360.
- Click on Rise 360.
- Click on the course you want to edit.
- Click on Edit Content for the area(s) to be edited, and navigate to the area you want to edit.
- Note: There are a few ways to recover accidentally deleted content:
- If you’ve accidentally deleted some text or a table in your block, you can use CTRL+Z (or CMD+Z) to undo the action.
- If you delete a lesson or a block, you’ll see an Undo button for a few seconds at the bottom left of your screen. Once the Undo button is gone, there is no way to undo/recover the deleted block. The lesson/block will need to be recreated.
- Note: There are a few ways to recover accidentally deleted content:
- To edit text, click on the text you want to edit and then type.
- To replace an image, hover over the image, and then click on Edit on the left side of the image. Click on Edit once the side panel opens – you will have the option to upload an image of your own or search for an image from the Articulate Rise content library.
- To update the logo or the course banner:
- If you are in one of the lessons, return to the main course page.
- Click on Theme in the upper right corner.
- Click on Cover Page in the Theme menu.
- Scroll to the bottom of the Cover Page menu.
- In the Logo section (at the very bottom), click on Upload Logo and upload your logo.
- If you are in one of the lessons, return to the main course page.
- To update an existing cover photo:
- Click on Theme in the upper right corner.
- Click on Cover Page in the Theme menu.
- Under the first section, Course Image, click on Edit. You will have the option to replace the image (from local files or from the Articulate Rise content library).
- To update the course colour or font:
- Click on Theme in the upper right corner.
- In the Theme menu, click on Colors to modify the course colours. You can choose between your own colours or predefined colours.
- In the Theme menu, click on Fonts to modify the course fonts. Scroll through the font styles to select the ones you want.
Note: Under the Theme menu you may also customize the way you navigate through your course, the Lesson Header style, and how you would like the blocks styled.
Note: There is no “Undo” button. All edits are saved in real time.
|
pressbooks
|
2025-03-22T05:09:29.214761
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/how-to-obtain-and-edit-the-course/#chapter-34-section-1",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/how-to-obtain-and-edit-the-course/#chapter-34-section-2
|
How to Obtain and Edit the Course
Obtaining a Copy of the Course
Download a SCORM version of Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions from the Intersectional Sexualized Violence project page. If your institution has an Articulate Rise account, you can request direct access to a copy of the course by completing the form on the Intersectional Sexualized Violence project page. For copies shared directly through Articulate Rise, be sure to provide the email address that the Articulate Rise account is associated with. You will receive an email from Articulate Rise confirming that the course has been shared with your account.
Articulate Rise: Overview
Articulate Rise is a web-based application eLearning authoring tool that enables developers and instructional designers to quickly create custom, interactive courses – no coding experience needed. Some of the benefits of using Articulate Rise are:
- It adapts to all devices (phone, tablet, laptop, and desktop computers) and screen orientations (portrait, landscape).
- It has lots of interactivity, including timelines, flashcards, carousels, quizzes, and scenarios.
- It is easy to edit content and then import into an LMS.
- It has the ability to output as SCORM (see information on SCORM below) to track learner progress and completion, and to output as HTML5 or PDF.
- It has the ability to export translatable files to convert courses into different languages.
- It allows you to include videos and other multimedia.
Note: All edits to the course content of Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions must be done in Articulate Rise before exporting the course to an LMS.
Editing the Course in Articulate Rise
- Once you have a copy of the course, log in to Articulate Rise 360.
- Click on Rise 360.
- Click on the course you want to edit.
- Click on Edit Content for the area(s) to be edited, and navigate to the area you want to edit.
- Note: There are a few ways to recover accidentally deleted content:
- If you’ve accidentally deleted some text or a table in your block, you can use CTRL+Z (or CMD+Z) to undo the action.
- If you delete a lesson or a block, you’ll see an Undo button for a few seconds at the bottom left of your screen. Once the Undo button is gone, there is no way to undo/recover the deleted block. The lesson/block will need to be recreated.
- Note: There are a few ways to recover accidentally deleted content:
- To edit text, click on the text you want to edit and then type.
- To replace an image, hover over the image, and then click on Edit on the left side of the image. Click on Edit once the side panel opens – you will have the option to upload an image of your own or search for an image from the Articulate Rise content library.
- To update the logo or the course banner:
- If you are in one of the lessons, return to the main course page.
- Click on Theme in the upper right corner.
- Click on Cover Page in the Theme menu.
- Scroll to the bottom of the Cover Page menu.
- In the Logo section (at the very bottom), click on Upload Logo and upload your logo.
- If you are in one of the lessons, return to the main course page.
- To update an existing cover photo:
- Click on Theme in the upper right corner.
- Click on Cover Page in the Theme menu.
- Under the first section, Course Image, click on Edit. You will have the option to replace the image (from local files or from the Articulate Rise content library).
- To update the course colour or font:
- Click on Theme in the upper right corner.
- In the Theme menu, click on Colors to modify the course colours. You can choose between your own colours or predefined colours.
- In the Theme menu, click on Fonts to modify the course fonts. Scroll through the font styles to select the ones you want.
Note: Under the Theme menu you may also customize the way you navigate through your course, the Lesson Header style, and how you would like the blocks styled.
Note: There is no “Undo” button. All edits are saved in real time.
|
pressbooks
|
2025-03-22T05:09:29.228196
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/how-to-obtain-and-edit-the-course/#chapter-34-section-2",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/how-to-obtain-and-edit-the-course/#chapter-34-section-3
|
How to Obtain and Edit the Course
Obtaining a Copy of the Course
Download a SCORM version of Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions from the Intersectional Sexualized Violence project page. If your institution has an Articulate Rise account, you can request direct access to a copy of the course by completing the form on the Intersectional Sexualized Violence project page. For copies shared directly through Articulate Rise, be sure to provide the email address that the Articulate Rise account is associated with. You will receive an email from Articulate Rise confirming that the course has been shared with your account.
Articulate Rise: Overview
Articulate Rise is a web-based application eLearning authoring tool that enables developers and instructional designers to quickly create custom, interactive courses – no coding experience needed. Some of the benefits of using Articulate Rise are:
- It adapts to all devices (phone, tablet, laptop, and desktop computers) and screen orientations (portrait, landscape).
- It has lots of interactivity, including timelines, flashcards, carousels, quizzes, and scenarios.
- It is easy to edit content and then import into an LMS.
- It has the ability to output as SCORM (see information on SCORM below) to track learner progress and completion, and to output as HTML5 or PDF.
- It has the ability to export translatable files to convert courses into different languages.
- It allows you to include videos and other multimedia.
Note: All edits to the course content of Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions must be done in Articulate Rise before exporting the course to an LMS.
Editing the Course in Articulate Rise
- Once you have a copy of the course, log in to Articulate Rise 360.
- Click on Rise 360.
- Click on the course you want to edit.
- Click on Edit Content for the area(s) to be edited, and navigate to the area you want to edit.
- Note: There are a few ways to recover accidentally deleted content:
- If you’ve accidentally deleted some text or a table in your block, you can use CTRL+Z (or CMD+Z) to undo the action.
- If you delete a lesson or a block, you’ll see an Undo button for a few seconds at the bottom left of your screen. Once the Undo button is gone, there is no way to undo/recover the deleted block. The lesson/block will need to be recreated.
- Note: There are a few ways to recover accidentally deleted content:
- To edit text, click on the text you want to edit and then type.
- To replace an image, hover over the image, and then click on Edit on the left side of the image. Click on Edit once the side panel opens – you will have the option to upload an image of your own or search for an image from the Articulate Rise content library.
- To update the logo or the course banner:
- If you are in one of the lessons, return to the main course page.
- Click on Theme in the upper right corner.
- Click on Cover Page in the Theme menu.
- Scroll to the bottom of the Cover Page menu.
- In the Logo section (at the very bottom), click on Upload Logo and upload your logo.
- If you are in one of the lessons, return to the main course page.
- To update an existing cover photo:
- Click on Theme in the upper right corner.
- Click on Cover Page in the Theme menu.
- Under the first section, Course Image, click on Edit. You will have the option to replace the image (from local files or from the Articulate Rise content library).
- To update the course colour or font:
- Click on Theme in the upper right corner.
- In the Theme menu, click on Colors to modify the course colours. You can choose between your own colours or predefined colours.
- In the Theme menu, click on Fonts to modify the course fonts. Scroll through the font styles to select the ones you want.
Note: Under the Theme menu you may also customize the way you navigate through your course, the Lesson Header style, and how you would like the blocks styled.
Note: There is no “Undo” button. All edits are saved in real time.
|
pressbooks
|
2025-03-22T05:09:29.241547
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/how-to-obtain-and-edit-the-course/#chapter-34-section-3",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/how-to-obtain-and-edit-the-course/#chapter-34-section-4
|
How to Obtain and Edit the Course
Obtaining a Copy of the Course
Download a SCORM version of Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions from the Intersectional Sexualized Violence project page. If your institution has an Articulate Rise account, you can request direct access to a copy of the course by completing the form on the Intersectional Sexualized Violence project page. For copies shared directly through Articulate Rise, be sure to provide the email address that the Articulate Rise account is associated with. You will receive an email from Articulate Rise confirming that the course has been shared with your account.
Articulate Rise: Overview
Articulate Rise is a web-based application eLearning authoring tool that enables developers and instructional designers to quickly create custom, interactive courses – no coding experience needed. Some of the benefits of using Articulate Rise are:
- It adapts to all devices (phone, tablet, laptop, and desktop computers) and screen orientations (portrait, landscape).
- It has lots of interactivity, including timelines, flashcards, carousels, quizzes, and scenarios.
- It is easy to edit content and then import into an LMS.
- It has the ability to output as SCORM (see information on SCORM below) to track learner progress and completion, and to output as HTML5 or PDF.
- It has the ability to export translatable files to convert courses into different languages.
- It allows you to include videos and other multimedia.
Note: All edits to the course content of Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions must be done in Articulate Rise before exporting the course to an LMS.
Editing the Course in Articulate Rise
- Once you have a copy of the course, log in to Articulate Rise 360.
- Click on Rise 360.
- Click on the course you want to edit.
- Click on Edit Content for the area(s) to be edited, and navigate to the area you want to edit.
- Note: There are a few ways to recover accidentally deleted content:
- If you’ve accidentally deleted some text or a table in your block, you can use CTRL+Z (or CMD+Z) to undo the action.
- If you delete a lesson or a block, you’ll see an Undo button for a few seconds at the bottom left of your screen. Once the Undo button is gone, there is no way to undo/recover the deleted block. The lesson/block will need to be recreated.
- Note: There are a few ways to recover accidentally deleted content:
- To edit text, click on the text you want to edit and then type.
- To replace an image, hover over the image, and then click on Edit on the left side of the image. Click on Edit once the side panel opens – you will have the option to upload an image of your own or search for an image from the Articulate Rise content library.
- To update the logo or the course banner:
- If you are in one of the lessons, return to the main course page.
- Click on Theme in the upper right corner.
- Click on Cover Page in the Theme menu.
- Scroll to the bottom of the Cover Page menu.
- In the Logo section (at the very bottom), click on Upload Logo and upload your logo.
- If you are in one of the lessons, return to the main course page.
- To update an existing cover photo:
- Click on Theme in the upper right corner.
- Click on Cover Page in the Theme menu.
- Under the first section, Course Image, click on Edit. You will have the option to replace the image (from local files or from the Articulate Rise content library).
- To update the course colour or font:
- Click on Theme in the upper right corner.
- In the Theme menu, click on Colors to modify the course colours. You can choose between your own colours or predefined colours.
- In the Theme menu, click on Fonts to modify the course fonts. Scroll through the font styles to select the ones you want.
Note: Under the Theme menu you may also customize the way you navigate through your course, the Lesson Header style, and how you would like the blocks styled.
Note: There is no “Undo” button. All edits are saved in real time.
|
pressbooks
|
2025-03-22T05:09:29.254961
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/how-to-obtain-and-edit-the-course/#chapter-34-section-4",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/how-to-export-a-customized-version-of-the-course-to-scorm/
|
How to Export a Customized Version of the Course to SCORM
SCORM stands for Shareable Content Object Reference Model. It’s a collection of online training materials that is put together to an agreed standard for learning objects. The agreed standard tells programmers how to write their code so that it can “play well” with various learning management systems (such as Moodle, Desire2Learn, Blackboard, and Canvas). The SCORM package can track learners’ progress and completion. Note that edits cannot be made once the course content has been exported to SCORM.
If you have made any course edits in Articulate Rise, you can then export the course as a SCORM package:
- Return to the main landing/home page of the course.
- Note: If you are in one of the modules, click on the back arrow button to return to the course homepage.
- Click on Publish in the menu at the top right.
- In the Publish menu, click on LMS.
- Click on More Settings at the bottom of the page and then update the course settings to the following:
LMS SCORM 1.2 Reporting Complete/incomplete Hide Cover Page Off Reset Learner Progress Off - Click on Publish in the menu at the top right.
- You should be prompted to download the package (in .zip format) to your computer. Save the .zip file somewhere that you can easily remember and access, because you’ll need it to upload to your LMS.
|
pressbooks
|
2025-03-22T05:09:29.265978
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/how-to-export-a-customized-version-of-the-course-to-scorm/",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/how-to-upload-scorm-course-content-into-learning-management-systems/
|
How to Upload SCORM Course Content into Learning Management Systems
Moodle
Adding a SCORM Activity
- With editing turned on, click on Add an Activity or Resource in the section where you want to add the SCORM package.
- Select SCORM Package and click on Add.
- Enter a name for the SCORM package.
- In the Description box, enter any instructions for students (optional).
- In the Package section, click on Add.
- Select the zipped (.zip) SCORM package and click on Open.
- Click on Upload This File.
- In the Attempt Management section:
- Select the number of attempts you want to give students to complete the SCORM activity.
- Select how you would like those attempts to be graded.
- Click on Grade to set up the maximum number of points available in the SCORM package.
- Look through the other available settings that may be applicable to your activity.
- When you have applied all of the settings you want, click on Save and Return to Course or Save and Display.
- For information on how to access SCORM reports in Moodle, see SCORM Reports.
Desire2Learn
Adding a SCORM Activity
- In Content > Table of Contents, click on Import Course and then Import Course Package.
- Drag the zipped (.zip) SCORM package into the Upload box.
- Select Upload.
- Click on Import All Components.
- Click on Continue.
- Click in the Select All Components checkbox to import all files in the SCORM package.
- Under Advanced Options > Import File To, type in a unique module name so that the unzipped files from your SCORM package will be placed in their own folder (and won’t conflict when you load more SCORM packages). Use the name of the learning module or another logical name that is unique to the content.
- Click in the Import Metadata checkbox.
- Click on Continue through the next screens until you see a confirmation message that your course import was successful.
- Click on View Content to view your SCORM package in the Content section of the course.
- Click on the SCORM package name to view (and test) the SCORM package, rename it, add a description or restrictions, and so on.
For information on how to access SCORM reports in Desire2Learn, see Track Activity and User Progress on SCORM Objects.
Blackboard
Adding a SCORM Activity
- With editing turned on, enter the content area into which you wish to place your SCORM learning object.
- Hover over Build Content and select Content Package (SCORM).
- The Add SCORM Content screen will appear. Click on Browse Local Files and locate the object you wish to upload, then click on Submit.
- In the Title area, the title will be automatically populated from information taken from the object you uploaded in the previous step. You can change this if you wish. You can also enter a description of the SCORM package content.
- In the SCORM Availability area:
- Set Make SCORM Available to Yes.
- Set the Number of Attempts that you will allow.
- Set a time range for the object to be available if necessary and appropriate.
- If you wish, you can choose to track the number of views. Note that this option will only track viewing the link to the object, not the object itself.
- In the Grading Area, set how the SCORM package should be marked.
- SCORM Score – Displays the total score.
- SCORM Completion – A check mark indicates that a user has completed the item.
- SCORM Satisfaction – When creating the SCORM content, if you selected a minimum score the student must achieve, click in the check box to enforce a pass or fail element. For a pass mark, a green check mark will be displayed in the Grade Centre column, and a score of 100.00 will be added to the Grade Attempt. A red X and a mark of 0.00 will be displayed for failure.
- Enter a due date (optional).
- Leave the Grade Timing option set at the default (i.e., When SCORM is completed, with Grade of Last Attempt).
For information on how to access SCORM reports in Blackboard, see Add SCORM Content Packages to Your Course.
Canvas
Creating a Canvas Course Shell
If you need to create a brand new course shell, follow these instructions: How Do I Start a New Course from the Dashboard as an Instructor?
Adding a SCORM Activity
- By default, SCORM is hidden in Canvas. In order to upload, the tool will need to be visible:
- Click on Settings.
- Click on the Navigation tab.
- Drag and drop the SCORM menu item from hidden area to the visible area of the course menu.
- Click on Save. Now you’re ready to upload the SCORM package.
- In Course Navigation, click on the SCORM link.
- In the upper right area, click on Upload.
- Select the file from your computer and click on Open.
- Select the .zip file containing your SCORM package. It may take several seconds to upload the file, depending on its size; a progress bar will indicate upload status. When the process is complete, the new upload will appear on your list of SCORM packages.
- Once the file is uploaded, select the object import type Import as a Graded Assignment, then click on Go.
- Navigate to the Assignments tool and find the new assignment. Edit the assignment to add necessary instructions, point value, due date, and so on. Do not change anything in the Submission Type field.
- Click on Save, then click on Publish to publish the assignment.
- To view the assignment in Canvas or to edit assignment details, click on the Assignment icon. Imported SCORM assignments are also displayed on the Assignments Index page. Once the assignment has been imported, you can move it to an assignment group and add it as a module item.
Note: All SCORM uploads default to 100 points.
Creating a Module in the Course
To create a module in the course, follow these instructions: How Do I Add a Module?
Adding the SCORM Package to the Module
When you are creating an assignment after having uploaded the SCORM package, Technology-Facilitated Sexualized Violence appears as an item you can select. Select it and then click on Add Item.
For more information, see How Do I Create an Assignment?
Publishing the Course
If you have permission to publish the course, follow these instructions: How Do I Publish a Course?
Your institution may have restricted this feature. If so, please contact your support team.
For information on how to access SCORM reports in Canvas, see How Do I View Course Analytics?
|
pressbooks
|
2025-03-22T05:09:29.283644
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/how-to-upload-scorm-course-content-into-learning-management-systems/",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/how-to-upload-scorm-course-content-into-learning-management-systems/#chapter-41-section-1
|
How to Upload SCORM Course Content into Learning Management Systems
Moodle
Adding a SCORM Activity
- With editing turned on, click on Add an Activity or Resource in the section where you want to add the SCORM package.
- Select SCORM Package and click on Add.
- Enter a name for the SCORM package.
- In the Description box, enter any instructions for students (optional).
- In the Package section, click on Add.
- Select the zipped (.zip) SCORM package and click on Open.
- Click on Upload This File.
- In the Attempt Management section:
- Select the number of attempts you want to give students to complete the SCORM activity.
- Select how you would like those attempts to be graded.
- Click on Grade to set up the maximum number of points available in the SCORM package.
- Look through the other available settings that may be applicable to your activity.
- When you have applied all of the settings you want, click on Save and Return to Course or Save and Display.
- For information on how to access SCORM reports in Moodle, see SCORM Reports.
Desire2Learn
Adding a SCORM Activity
- In Content > Table of Contents, click on Import Course and then Import Course Package.
- Drag the zipped (.zip) SCORM package into the Upload box.
- Select Upload.
- Click on Import All Components.
- Click on Continue.
- Click in the Select All Components checkbox to import all files in the SCORM package.
- Under Advanced Options > Import File To, type in a unique module name so that the unzipped files from your SCORM package will be placed in their own folder (and won’t conflict when you load more SCORM packages). Use the name of the learning module or another logical name that is unique to the content.
- Click in the Import Metadata checkbox.
- Click on Continue through the next screens until you see a confirmation message that your course import was successful.
- Click on View Content to view your SCORM package in the Content section of the course.
- Click on the SCORM package name to view (and test) the SCORM package, rename it, add a description or restrictions, and so on.
For information on how to access SCORM reports in Desire2Learn, see Track Activity and User Progress on SCORM Objects.
Blackboard
Adding a SCORM Activity
- With editing turned on, enter the content area into which you wish to place your SCORM learning object.
- Hover over Build Content and select Content Package (SCORM).
- The Add SCORM Content screen will appear. Click on Browse Local Files and locate the object you wish to upload, then click on Submit.
- In the Title area, the title will be automatically populated from information taken from the object you uploaded in the previous step. You can change this if you wish. You can also enter a description of the SCORM package content.
- In the SCORM Availability area:
- Set Make SCORM Available to Yes.
- Set the Number of Attempts that you will allow.
- Set a time range for the object to be available if necessary and appropriate.
- If you wish, you can choose to track the number of views. Note that this option will only track viewing the link to the object, not the object itself.
- In the Grading Area, set how the SCORM package should be marked.
- SCORM Score – Displays the total score.
- SCORM Completion – A check mark indicates that a user has completed the item.
- SCORM Satisfaction – When creating the SCORM content, if you selected a minimum score the student must achieve, click in the check box to enforce a pass or fail element. For a pass mark, a green check mark will be displayed in the Grade Centre column, and a score of 100.00 will be added to the Grade Attempt. A red X and a mark of 0.00 will be displayed for failure.
- Enter a due date (optional).
- Leave the Grade Timing option set at the default (i.e., When SCORM is completed, with Grade of Last Attempt).
For information on how to access SCORM reports in Blackboard, see Add SCORM Content Packages to Your Course.
Canvas
Creating a Canvas Course Shell
If you need to create a brand new course shell, follow these instructions: How Do I Start a New Course from the Dashboard as an Instructor?
Adding a SCORM Activity
- By default, SCORM is hidden in Canvas. In order to upload, the tool will need to be visible:
- Click on Settings.
- Click on the Navigation tab.
- Drag and drop the SCORM menu item from hidden area to the visible area of the course menu.
- Click on Save. Now you’re ready to upload the SCORM package.
- In Course Navigation, click on the SCORM link.
- In the upper right area, click on Upload.
- Select the file from your computer and click on Open.
- Select the .zip file containing your SCORM package. It may take several seconds to upload the file, depending on its size; a progress bar will indicate upload status. When the process is complete, the new upload will appear on your list of SCORM packages.
- Once the file is uploaded, select the object import type Import as a Graded Assignment, then click on Go.
- Navigate to the Assignments tool and find the new assignment. Edit the assignment to add necessary instructions, point value, due date, and so on. Do not change anything in the Submission Type field.
- Click on Save, then click on Publish to publish the assignment.
- To view the assignment in Canvas or to edit assignment details, click on the Assignment icon. Imported SCORM assignments are also displayed on the Assignments Index page. Once the assignment has been imported, you can move it to an assignment group and add it as a module item.
Note: All SCORM uploads default to 100 points.
Creating a Module in the Course
To create a module in the course, follow these instructions: How Do I Add a Module?
Adding the SCORM Package to the Module
When you are creating an assignment after having uploaded the SCORM package, Technology-Facilitated Sexualized Violence appears as an item you can select. Select it and then click on Add Item.
For more information, see How Do I Create an Assignment?
Publishing the Course
If you have permission to publish the course, follow these instructions: How Do I Publish a Course?
Your institution may have restricted this feature. If so, please contact your support team.
For information on how to access SCORM reports in Canvas, see How Do I View Course Analytics?
|
pressbooks
|
2025-03-22T05:09:29.300800
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/how-to-upload-scorm-course-content-into-learning-management-systems/#chapter-41-section-1",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/how-to-upload-scorm-course-content-into-learning-management-systems/#chapter-41-section-2
|
How to Upload SCORM Course Content into Learning Management Systems
Moodle
Adding a SCORM Activity
- With editing turned on, click on Add an Activity or Resource in the section where you want to add the SCORM package.
- Select SCORM Package and click on Add.
- Enter a name for the SCORM package.
- In the Description box, enter any instructions for students (optional).
- In the Package section, click on Add.
- Select the zipped (.zip) SCORM package and click on Open.
- Click on Upload This File.
- In the Attempt Management section:
- Select the number of attempts you want to give students to complete the SCORM activity.
- Select how you would like those attempts to be graded.
- Click on Grade to set up the maximum number of points available in the SCORM package.
- Look through the other available settings that may be applicable to your activity.
- When you have applied all of the settings you want, click on Save and Return to Course or Save and Display.
- For information on how to access SCORM reports in Moodle, see SCORM Reports.
Desire2Learn
Adding a SCORM Activity
- In Content > Table of Contents, click on Import Course and then Import Course Package.
- Drag the zipped (.zip) SCORM package into the Upload box.
- Select Upload.
- Click on Import All Components.
- Click on Continue.
- Click in the Select All Components checkbox to import all files in the SCORM package.
- Under Advanced Options > Import File To, type in a unique module name so that the unzipped files from your SCORM package will be placed in their own folder (and won’t conflict when you load more SCORM packages). Use the name of the learning module or another logical name that is unique to the content.
- Click in the Import Metadata checkbox.
- Click on Continue through the next screens until you see a confirmation message that your course import was successful.
- Click on View Content to view your SCORM package in the Content section of the course.
- Click on the SCORM package name to view (and test) the SCORM package, rename it, add a description or restrictions, and so on.
For information on how to access SCORM reports in Desire2Learn, see Track Activity and User Progress on SCORM Objects.
Blackboard
Adding a SCORM Activity
- With editing turned on, enter the content area into which you wish to place your SCORM learning object.
- Hover over Build Content and select Content Package (SCORM).
- The Add SCORM Content screen will appear. Click on Browse Local Files and locate the object you wish to upload, then click on Submit.
- In the Title area, the title will be automatically populated from information taken from the object you uploaded in the previous step. You can change this if you wish. You can also enter a description of the SCORM package content.
- In the SCORM Availability area:
- Set Make SCORM Available to Yes.
- Set the Number of Attempts that you will allow.
- Set a time range for the object to be available if necessary and appropriate.
- If you wish, you can choose to track the number of views. Note that this option will only track viewing the link to the object, not the object itself.
- In the Grading Area, set how the SCORM package should be marked.
- SCORM Score – Displays the total score.
- SCORM Completion – A check mark indicates that a user has completed the item.
- SCORM Satisfaction – When creating the SCORM content, if you selected a minimum score the student must achieve, click in the check box to enforce a pass or fail element. For a pass mark, a green check mark will be displayed in the Grade Centre column, and a score of 100.00 will be added to the Grade Attempt. A red X and a mark of 0.00 will be displayed for failure.
- Enter a due date (optional).
- Leave the Grade Timing option set at the default (i.e., When SCORM is completed, with Grade of Last Attempt).
For information on how to access SCORM reports in Blackboard, see Add SCORM Content Packages to Your Course.
Canvas
Creating a Canvas Course Shell
If you need to create a brand new course shell, follow these instructions: How Do I Start a New Course from the Dashboard as an Instructor?
Adding a SCORM Activity
- By default, SCORM is hidden in Canvas. In order to upload, the tool will need to be visible:
- Click on Settings.
- Click on the Navigation tab.
- Drag and drop the SCORM menu item from hidden area to the visible area of the course menu.
- Click on Save. Now you’re ready to upload the SCORM package.
- In Course Navigation, click on the SCORM link.
- In the upper right area, click on Upload.
- Select the file from your computer and click on Open.
- Select the .zip file containing your SCORM package. It may take several seconds to upload the file, depending on its size; a progress bar will indicate upload status. When the process is complete, the new upload will appear on your list of SCORM packages.
- Once the file is uploaded, select the object import type Import as a Graded Assignment, then click on Go.
- Navigate to the Assignments tool and find the new assignment. Edit the assignment to add necessary instructions, point value, due date, and so on. Do not change anything in the Submission Type field.
- Click on Save, then click on Publish to publish the assignment.
- To view the assignment in Canvas or to edit assignment details, click on the Assignment icon. Imported SCORM assignments are also displayed on the Assignments Index page. Once the assignment has been imported, you can move it to an assignment group and add it as a module item.
Note: All SCORM uploads default to 100 points.
Creating a Module in the Course
To create a module in the course, follow these instructions: How Do I Add a Module?
Adding the SCORM Package to the Module
When you are creating an assignment after having uploaded the SCORM package, Technology-Facilitated Sexualized Violence appears as an item you can select. Select it and then click on Add Item.
For more information, see How Do I Create an Assignment?
Publishing the Course
If you have permission to publish the course, follow these instructions: How Do I Publish a Course?
Your institution may have restricted this feature. If so, please contact your support team.
For information on how to access SCORM reports in Canvas, see How Do I View Course Analytics?
|
pressbooks
|
2025-03-22T05:09:29.316904
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/how-to-upload-scorm-course-content-into-learning-management-systems/#chapter-41-section-2",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/how-to-upload-scorm-course-content-into-learning-management-systems/#chapter-41-section-3
|
How to Upload SCORM Course Content into Learning Management Systems
Moodle
Adding a SCORM Activity
- With editing turned on, click on Add an Activity or Resource in the section where you want to add the SCORM package.
- Select SCORM Package and click on Add.
- Enter a name for the SCORM package.
- In the Description box, enter any instructions for students (optional).
- In the Package section, click on Add.
- Select the zipped (.zip) SCORM package and click on Open.
- Click on Upload This File.
- In the Attempt Management section:
- Select the number of attempts you want to give students to complete the SCORM activity.
- Select how you would like those attempts to be graded.
- Click on Grade to set up the maximum number of points available in the SCORM package.
- Look through the other available settings that may be applicable to your activity.
- When you have applied all of the settings you want, click on Save and Return to Course or Save and Display.
- For information on how to access SCORM reports in Moodle, see SCORM Reports.
Desire2Learn
Adding a SCORM Activity
- In Content > Table of Contents, click on Import Course and then Import Course Package.
- Drag the zipped (.zip) SCORM package into the Upload box.
- Select Upload.
- Click on Import All Components.
- Click on Continue.
- Click in the Select All Components checkbox to import all files in the SCORM package.
- Under Advanced Options > Import File To, type in a unique module name so that the unzipped files from your SCORM package will be placed in their own folder (and won’t conflict when you load more SCORM packages). Use the name of the learning module or another logical name that is unique to the content.
- Click in the Import Metadata checkbox.
- Click on Continue through the next screens until you see a confirmation message that your course import was successful.
- Click on View Content to view your SCORM package in the Content section of the course.
- Click on the SCORM package name to view (and test) the SCORM package, rename it, add a description or restrictions, and so on.
For information on how to access SCORM reports in Desire2Learn, see Track Activity and User Progress on SCORM Objects.
Blackboard
Adding a SCORM Activity
- With editing turned on, enter the content area into which you wish to place your SCORM learning object.
- Hover over Build Content and select Content Package (SCORM).
- The Add SCORM Content screen will appear. Click on Browse Local Files and locate the object you wish to upload, then click on Submit.
- In the Title area, the title will be automatically populated from information taken from the object you uploaded in the previous step. You can change this if you wish. You can also enter a description of the SCORM package content.
- In the SCORM Availability area:
- Set Make SCORM Available to Yes.
- Set the Number of Attempts that you will allow.
- Set a time range for the object to be available if necessary and appropriate.
- If you wish, you can choose to track the number of views. Note that this option will only track viewing the link to the object, not the object itself.
- In the Grading Area, set how the SCORM package should be marked.
- SCORM Score – Displays the total score.
- SCORM Completion – A check mark indicates that a user has completed the item.
- SCORM Satisfaction – When creating the SCORM content, if you selected a minimum score the student must achieve, click in the check box to enforce a pass or fail element. For a pass mark, a green check mark will be displayed in the Grade Centre column, and a score of 100.00 will be added to the Grade Attempt. A red X and a mark of 0.00 will be displayed for failure.
- Enter a due date (optional).
- Leave the Grade Timing option set at the default (i.e., When SCORM is completed, with Grade of Last Attempt).
For information on how to access SCORM reports in Blackboard, see Add SCORM Content Packages to Your Course.
Canvas
Creating a Canvas Course Shell
If you need to create a brand new course shell, follow these instructions: How Do I Start a New Course from the Dashboard as an Instructor?
Adding a SCORM Activity
- By default, SCORM is hidden in Canvas. In order to upload, the tool will need to be visible:
- Click on Settings.
- Click on the Navigation tab.
- Drag and drop the SCORM menu item from hidden area to the visible area of the course menu.
- Click on Save. Now you’re ready to upload the SCORM package.
- In Course Navigation, click on the SCORM link.
- In the upper right area, click on Upload.
- Select the file from your computer and click on Open.
- Select the .zip file containing your SCORM package. It may take several seconds to upload the file, depending on its size; a progress bar will indicate upload status. When the process is complete, the new upload will appear on your list of SCORM packages.
- Once the file is uploaded, select the object import type Import as a Graded Assignment, then click on Go.
- Navigate to the Assignments tool and find the new assignment. Edit the assignment to add necessary instructions, point value, due date, and so on. Do not change anything in the Submission Type field.
- Click on Save, then click on Publish to publish the assignment.
- To view the assignment in Canvas or to edit assignment details, click on the Assignment icon. Imported SCORM assignments are also displayed on the Assignments Index page. Once the assignment has been imported, you can move it to an assignment group and add it as a module item.
Note: All SCORM uploads default to 100 points.
Creating a Module in the Course
To create a module in the course, follow these instructions: How Do I Add a Module?
Adding the SCORM Package to the Module
When you are creating an assignment after having uploaded the SCORM package, Technology-Facilitated Sexualized Violence appears as an item you can select. Select it and then click on Add Item.
For more information, see How Do I Create an Assignment?
Publishing the Course
If you have permission to publish the course, follow these instructions: How Do I Publish a Course?
Your institution may have restricted this feature. If so, please contact your support team.
For information on how to access SCORM reports in Canvas, see How Do I View Course Analytics?
|
pressbooks
|
2025-03-22T05:09:29.332628
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/how-to-upload-scorm-course-content-into-learning-management-systems/#chapter-41-section-3",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/how-to-upload-scorm-course-content-into-learning-management-systems/#chapter-41-section-4
|
How to Upload SCORM Course Content into Learning Management Systems
Moodle
Adding a SCORM Activity
- With editing turned on, click on Add an Activity or Resource in the section where you want to add the SCORM package.
- Select SCORM Package and click on Add.
- Enter a name for the SCORM package.
- In the Description box, enter any instructions for students (optional).
- In the Package section, click on Add.
- Select the zipped (.zip) SCORM package and click on Open.
- Click on Upload This File.
- In the Attempt Management section:
- Select the number of attempts you want to give students to complete the SCORM activity.
- Select how you would like those attempts to be graded.
- Click on Grade to set up the maximum number of points available in the SCORM package.
- Look through the other available settings that may be applicable to your activity.
- When you have applied all of the settings you want, click on Save and Return to Course or Save and Display.
- For information on how to access SCORM reports in Moodle, see SCORM Reports.
Desire2Learn
Adding a SCORM Activity
- In Content > Table of Contents, click on Import Course and then Import Course Package.
- Drag the zipped (.zip) SCORM package into the Upload box.
- Select Upload.
- Click on Import All Components.
- Click on Continue.
- Click in the Select All Components checkbox to import all files in the SCORM package.
- Under Advanced Options > Import File To, type in a unique module name so that the unzipped files from your SCORM package will be placed in their own folder (and won’t conflict when you load more SCORM packages). Use the name of the learning module or another logical name that is unique to the content.
- Click in the Import Metadata checkbox.
- Click on Continue through the next screens until you see a confirmation message that your course import was successful.
- Click on View Content to view your SCORM package in the Content section of the course.
- Click on the SCORM package name to view (and test) the SCORM package, rename it, add a description or restrictions, and so on.
For information on how to access SCORM reports in Desire2Learn, see Track Activity and User Progress on SCORM Objects.
Blackboard
Adding a SCORM Activity
- With editing turned on, enter the content area into which you wish to place your SCORM learning object.
- Hover over Build Content and select Content Package (SCORM).
- The Add SCORM Content screen will appear. Click on Browse Local Files and locate the object you wish to upload, then click on Submit.
- In the Title area, the title will be automatically populated from information taken from the object you uploaded in the previous step. You can change this if you wish. You can also enter a description of the SCORM package content.
- In the SCORM Availability area:
- Set Make SCORM Available to Yes.
- Set the Number of Attempts that you will allow.
- Set a time range for the object to be available if necessary and appropriate.
- If you wish, you can choose to track the number of views. Note that this option will only track viewing the link to the object, not the object itself.
- In the Grading Area, set how the SCORM package should be marked.
- SCORM Score – Displays the total score.
- SCORM Completion – A check mark indicates that a user has completed the item.
- SCORM Satisfaction – When creating the SCORM content, if you selected a minimum score the student must achieve, click in the check box to enforce a pass or fail element. For a pass mark, a green check mark will be displayed in the Grade Centre column, and a score of 100.00 will be added to the Grade Attempt. A red X and a mark of 0.00 will be displayed for failure.
- Enter a due date (optional).
- Leave the Grade Timing option set at the default (i.e., When SCORM is completed, with Grade of Last Attempt).
For information on how to access SCORM reports in Blackboard, see Add SCORM Content Packages to Your Course.
Canvas
Creating a Canvas Course Shell
If you need to create a brand new course shell, follow these instructions: How Do I Start a New Course from the Dashboard as an Instructor?
Adding a SCORM Activity
- By default, SCORM is hidden in Canvas. In order to upload, the tool will need to be visible:
- Click on Settings.
- Click on the Navigation tab.
- Drag and drop the SCORM menu item from hidden area to the visible area of the course menu.
- Click on Save. Now you’re ready to upload the SCORM package.
- In Course Navigation, click on the SCORM link.
- In the upper right area, click on Upload.
- Select the file from your computer and click on Open.
- Select the .zip file containing your SCORM package. It may take several seconds to upload the file, depending on its size; a progress bar will indicate upload status. When the process is complete, the new upload will appear on your list of SCORM packages.
- Once the file is uploaded, select the object import type Import as a Graded Assignment, then click on Go.
- Navigate to the Assignments tool and find the new assignment. Edit the assignment to add necessary instructions, point value, due date, and so on. Do not change anything in the Submission Type field.
- Click on Save, then click on Publish to publish the assignment.
- To view the assignment in Canvas or to edit assignment details, click on the Assignment icon. Imported SCORM assignments are also displayed on the Assignments Index page. Once the assignment has been imported, you can move it to an assignment group and add it as a module item.
Note: All SCORM uploads default to 100 points.
Creating a Module in the Course
To create a module in the course, follow these instructions: How Do I Add a Module?
Adding the SCORM Package to the Module
When you are creating an assignment after having uploaded the SCORM package, Technology-Facilitated Sexualized Violence appears as an item you can select. Select it and then click on Add Item.
For more information, see How Do I Create an Assignment?
Publishing the Course
If you have permission to publish the course, follow these instructions: How Do I Publish a Course?
Your institution may have restricted this feature. If so, please contact your support team.
For information on how to access SCORM reports in Canvas, see How Do I View Course Analytics?
|
pressbooks
|
2025-03-22T05:09:29.348332
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/how-to-upload-scorm-course-content-into-learning-management-systems/#chapter-41-section-4",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/accessibility-considerations/
|
Accessibility Considerations
Accessibility means course content designed for all learners – including those with auditory, visual, mobility, or learning disabilities. Articulate Rise supports NVDA, JAWS, VoiceOver, and TalkBack screen readers and aims to follow Web Content Accessibility Guidelines (WCAG) 2.1 Level AA. Specific features and ongoing work to develop fully accessible courses are described in the Rise 360 Accessibility Conformance Report.
Most of Articulate Rise’s accessibility features, such as keyboard navigation, buttons, links, and forms, are built into the app and do not require input or decision-making from course developers. However, a number of accessibility considerations are the responsibility of course developers. In Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions, alt text (text-based descriptions) is provided for all images and graphics. As well, all videos include closed captioning.
Any changes to the course colours or fonts, or any new graphics or videos that are added, should be accessible as well. This means checking colour contrast, labelling graphic blocks, providing closed captioning for videos, and writing alt text for images. For more information, see these articles on the Articulate Rise website:
Articulate Rise also offers a feature that can easily translate a customized course into a different language (the app supports left-to-right languages and scripts with double-byte character sets). For more information, see Translate Your Course.
Known Accessibility Issues
Currently, matching drag-and-drop questions aren’t fully accessible in Articulate Rise. This course uses one drag-and-drop knowledge check in Module 2. An alternative text version of this activity, which includes the term and the matching answer, is included following the knowledge check. This activity can be altered (e.g., changed to multiple-choice questions) to better meet the needs of your students, if desired.
|
pressbooks
|
2025-03-22T05:09:29.358354
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/accessibility-considerations/",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://opentextbc.ca/isvtechnology/chapter/accessibility-considerations/#chapter-43-section-1
|
Accessibility Considerations
Accessibility means course content designed for all learners – including those with auditory, visual, mobility, or learning disabilities. Articulate Rise supports NVDA, JAWS, VoiceOver, and TalkBack screen readers and aims to follow Web Content Accessibility Guidelines (WCAG) 2.1 Level AA. Specific features and ongoing work to develop fully accessible courses are described in the Rise 360 Accessibility Conformance Report.
Most of Articulate Rise’s accessibility features, such as keyboard navigation, buttons, links, and forms, are built into the app and do not require input or decision-making from course developers. However, a number of accessibility considerations are the responsibility of course developers. In Technology-Facilitated Sexualized Violence: An Introductory Course for B.C. Post-Secondary Institutions, alt text (text-based descriptions) is provided for all images and graphics. As well, all videos include closed captioning.
Any changes to the course colours or fonts, or any new graphics or videos that are added, should be accessible as well. This means checking colour contrast, labelling graphic blocks, providing closed captioning for videos, and writing alt text for images. For more information, see these articles on the Articulate Rise website:
Articulate Rise also offers a feature that can easily translate a customized course into a different language (the app supports left-to-right languages and scripts with double-byte character sets). For more information, see Translate Your Course.
Known Accessibility Issues
Currently, matching drag-and-drop questions aren’t fully accessible in Articulate Rise. This course uses one drag-and-drop knowledge check in Module 2. An alternative text version of this activity, which includes the term and the matching answer, is included following the knowledge check. This activity can be altered (e.g., changed to multiple-choice questions) to better meet the needs of your students, if desired.
|
pressbooks
|
2025-03-22T05:09:29.367598
|
10-21-2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://opentextbc.ca/isvtechnology/chapter/accessibility-considerations/#chapter-43-section-1",
"book_url": "https://opentextbc.ca/isvtechnology/front-matter/accessibility-statement/",
"title": "Implementation Guide for Technology-Facilitated Sexualized Violence",
"author": "Intersectional Sexualized Violence – Technology-Facilitated Sexualized Violence Development Team",
"institution": "",
"subject": "The Arts"
}
|
https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/chapter/an-introduction/
|
Two elements at play in the project
The building and refining of a 4 university alliance within Northern Ontario
Prior to this project, an unofficial alliance had been formed between Lakehead, Laurentian, Nipissing and Algoma universities to support their smaller centers of teaching and learning, and their common strategic initiatives, through collegial sharing of resources and faculty development opportunities. At the outset of the pandemic, this group co-hosted the Borealis Summer Institute for Teaching and Learning in 2020.
This collaboration formed the foundation of partnership for the Encouraging Faculty Development Through Micro-Credentialing VLS 2.0 project proposal as it provided an opportunity to utilize a real project to formalize the impact this alliance could have, to support these centers, and Northern Ontario university faculty effectively.
Benefits
- Ongoing discussion between these centers occurred throughout the project that would not have been otherwise possible, and
- Leadership involvement allowed for discussion on specific elements of the alliance that would be supported, and to identify processes that could be tested and refined (notification of shared events/workshops, personnel who could market shared events/workshops, etc).
Challenges
- This element made the mapping and reward system a much more complex endeavor (pathways needed to be relevant/possible for all faculty across all universities),
- Not all centers offered the same events/supports, making each university ‘unique’, and
- Not all centers were ready to frame their offerings in such a way that ‘evidence’ could be provided (key badge award criteria) as validation of upskilling/mastery.
The building and refining of a reward and recognition system
Previous to this project some reward elements (badges/certificates) were being issued in some workshops/events, some of the time, across multiple platforms (Credly, LMS, center-created, etc). There was no transparent connection between rewards that offered faculty explicit direction to scaffold/ladder their learning.
The use of eCampusOntario’s Passport functionality, along with a CanCred Pro account allowed the group of 4 members in the Northern Ontario Universities Alliance (herein referred to as NOUA) to create a dedicated space for their faculty, and to implement the overarching goals and tasks outlined in the VLS 2.0 proposal submitted.
These platforms/spaces allowed for a robust series of badges, and a set of development pathways that link these badges together, to be created/implemented so that they could be available to all NOUA faculty.
Benefits
- To amplify the offerings of each institution, so that instructors at all institutions can attend training offered by all member universities,
- To allow workshops/events to be delivered, which may not have run at a single institution due to small enrollment numbers,
- Financial commitments to offer a full scope of faculty development offerings is reduced, and
- Staffing commitments to offer a full scope of faculty development offerings is mitigated.
Challenges
- Scheduling emerging support events is often ‘on the fly’ and so may not provide enough notice to other alliance members
- Securing an Alliance Lead for each institution to collaborate on the maintenance and currency of the system, and to review badge applications on an ongoing basis, and
- The transition from system development to sustainable and integrated element of each center (post VLS) will need to be managed
Project Proposal Goals/Tasks
The Teaching Commons (Lakehead) and Teaching Hub (Nipissing) proposed to develop and pilot a system of reward and recognition within the NOUA that supports faculty development, in ways that are appropriate to current teaching and learning environments, while recognizing faculty who improve their practice in large and small, formal and informal ways by;
- Mapping the landscape of development opportunities open to instructors within the universities of the NOUA,
- Recognizing informal and non formal acts which positively impact teaching development/excellence,
- Building a set of pathways instructors can follow, to develop in areas of;
- highest determined need, and/or
- highest determined interest
- Using these pathways to guide the execution of future development opportunities within and beyond university centers of teaching and learning.
The expectation from the integration of a badging system, to the educational development practice of NOUA centers is community growth and deeper learning, in increasingly flexible ways, which meet faculty where they are at, and motivate their continued growth and development.
Proposed Project overarching Question
How will university centers of Teaching and Learning, to encourage faculty experimentation and growth, reward (faculty) educational development in ways that honor the complexity of educational development practices?
Proposed Project Design Questions & Assumptions
The project design aimed to answer the following questions, originating from the following assumptions;
Questions & Assumptions
Design and Development questions:
- What approaches to rewarding experimentation and growth encourage further experimentation and growth?
- What reward characteristics contribute to the legitimacy of micro-credentialing at an institutional level?
Aligned to design assumptions :
- by making the self-directed, informal and formal ways that faculty improve their practice explicit, we create pathways that encourage long term participation in educational development practices (generally across all NOUA institutions), and
- by adding rewards for self-directed and informal activity to our current formal workshop credentials/rewards the NOUA will increase faculty participation in formal activities, and in emerging conversations that connect educational practices to varied contexts (specifically within each institution).
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pressbooks
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2025-03-22T05:09:29.381768
|
03-28-2023
|
{
"license": "Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/",
"url": "https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/chapter/an-introduction/",
"book_url": "https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/front-matter/background/",
"title": "Implementing a Faculty Development System Using Badges",
"author": "Lisa O'Neill",
"institution": "Algoma University, Lakehead University, Laurentian University, Nipissing University",
"subject": "Education, Competence development"
}
|
https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/chapter/recommendations-for-your-implementation/
|
Recommendations for others Universities/Alliances
Based on the collective experience from project team discussions, implementation changes, and the desire to help you ‘future-proof’ your own implementation, we would like to provide you with a collection of recommendations.
Key recommendations that a project similar to our own should follow are;
The above infographic can be better informed with aid of the following detailed list of recommendations.
Suggested practices for forming alliances
- Taking the idea of a reward and recognition system to full fledged alliance is not a light switch, it’s a process,
- Events that are supported and shared help to build a richer set of offerings across all member institutions,
- Start small and build relationships across institutions to see what blossoms,
- Reach out to other universities to help you with problem solving or gap filling,
- Allow for concerns to ‘just sit there’ (eg. what if leadership changes?) during the formation process. These questions connect to discussions around the degree to which the alliance should be ‘formalized’, and these take time,
- Recognize the scope of each center, and the manner in which each can contribute, accepting various degrees of participation,
- Incorporate events/discussions/etc that build trust between centers,
- ‘Alliance Lead’ role should be formalized for each center, assuring that any staffing change/downsizing is planned for,
- Alliance Lead ‘tasks’ (maintaining space, reviewing applications, collaborating with other leads, etc) should also be the person to communicate shared events as a means of making efficient communication channels, and
- The ‘contributions’ of each member should be transparent, but will only be ‘on balance’ long term (eg. scheduling, speakers, marketing, platform supports, etc).
Suggested practices for mapping current and future offerings
- Where centers have persons employed with soft funding, do these people offer unique events? Determine, in a pathway, if it can continue to be offered (to assure the pathway is future-proof),
- All rewards placed in the system should be made available to faculty within a ‘reasonable’ time,
- ‘Reasonable’ time is flexible and so the alliance should agree on a set of strategies that can be put in place to allow faculty to ‘quickly’ participate in self directed offerings, or choose ‘down the road’ facilitated options,
- The alliance can support the offerings and ‘balance’ the offering load in some cases some of the time
- Future offerings not yet known need to have a ‘space’
- Auditing pathways each year for currency
- Topical/emerging pedagogies/strategies are not always accounted for in ‘big’ systems
- Creative commons license an offering wherever possible to share offerings across alliance members
- Record visiting scholars, gaining permission for ‘open sharing’
Suggested practices for validating faculty self-directed learning
- Inclusion of the ‘application’ mechanism within the Faculty Development passport that asks for evidence or reflection to occur as a part of the reward process
- ‘Alliance Lead’ audit of self directed (SD) learning, within the public domain, so that current/future gaps can be filled (maintaining validity)
L: authority to encourage faculty to participate in SD learning, and can direct toward the passport as a valid means of accomplishing SD learning that is valued - Leadership communications should promote development opportunities of all forms as they have a full faculty distribution list. This is currently a practice for formal learning offerings/events but must be expanded to include self directed learning that is embedded in the FD passport space
- Development of statement/agreement that can be shared with other academic leaders, that supports the validity of self directed forms of professional development
- Annual check ins of VP Teaching & Learning (or equivalent roles) within the alliance to assure support/value of development in all forms
Suggested practices for creating a shared/alliance space
- Staff/admin/developer change/downsizing needs to be expected with documentation/guides developed to make the system future-proof
- Alliance members are open to sharing. This is fundamental to the building of an impactful alliance. This benefits the passport space also in that it allows ‘back-linking’ to alliance member sites/resources/etc
- ‘Alliance lead’ role is most aware of the platform/space and is a ‘go to’ person for anyone who may have questions/issues arise
- Auditing process led by the ‘alliance leads’ to assure continuing offerings are represented in center yearly schedules, and new/trending
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pressbooks
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2025-03-22T05:09:29.395750
|
03-28-2023
|
{
"license": "Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/",
"url": "https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/chapter/recommendations-for-your-implementation/",
"book_url": "https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/front-matter/background/",
"title": "Implementing a Faculty Development System Using Badges",
"author": "Lisa O'Neill",
"institution": "Algoma University, Lakehead University, Laurentian University, Nipissing University",
"subject": "Education, Competence development"
}
|
https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/chapter/aligning-universities/
|
The process of Aligning our Universities’ centers
We undertook a three phase alignment process at the beginning of this project. To begin, each institution shared their annual teaching and learning offerings within a mapping document format (see mapping section). Examples of this include Lakehead University’s EdMedia Protege (EMP) Program, and Nipissing University’s annual offering of the Designing Quality Tech-Enabled Learning Experiences course. These maps helped the project team expose what faculty development outcomes our centers currently supported, and the activities that faculty engaged in within center offerings/events. Once done, we could then see the strengths and the diversity of each member institution offering, and the offerings in alignment across our centers of teaching and learning.
As a next step, we sought to achieve increased alignment by grouping offerings/events into logical and legible development pathways that faculty could follow (to connect each offering/event). Each pathway provided a central theme (for example, ‘Humanizing Learning’ or ‘Teaching with Tech’). During this process we also identified gaps in our offering, so that we could discuss areas of improvement. This was extremely instructive as each member in NOUA looked forward to planning future teaching and learning offerings at each university.
Finally, we sought to supplement our offerings with open and accessible external faculty development opportunities. This was done by looking at the many resources from the first round of Virtual Learning Strategy projects, and choosing what was applicable to our teaching and learning context. This final step helped to bridge our identified gaps by leveraging open and accessible faculty development offerings/events that each of the universities believed to be valid and impactful.
The process of Designing our shared space
Challenges with selecting a ‘Faculty Development Passport’ space
The proposed platform for the build of the Faculty Development Passport was Badgr. During project startup Badgr changed ownership, causing many months to pass with company representatives ‘stalling’ the team’s ability to implement the prototype within Badgr.
Once a meeting was possible, the new Badgr cost, now under new ownership, was significantly higher than originally discussed. As a next step, the team looked to either i) build a custom space that allowed for faculty to interact with development maps, and link to badge requests, or ii) connect to other badging platforms/functionality that could support the mapping of NOUA faculty development opportunities.
After review it was determined that building a custom faculty development passport space could not be done within the timeline committed for this project.
At the time of this project’s launch (April 2022) CanCred and eCampusOntario were working to pilot the use of CanCred ‘spaces’ functionality, linked to the eCampusOntario Passport already known to many Ontario faculty members. The expected release of these upgrades was unknown at the time of our original inquiry, but the team was confident that by the time the design was complete, the platform and support provided would allow for basic supports and interactions to be tested.
Approach to designing the Faculty Development Passport space
In the end, for this project, once CanCred released the Open Badge Factory spaces and minimaps functionality in the Fall of 2022, the team moved quickly to build out a prototype space for faculty co-designers to utilize, in order for them to be able to provide feedback. Maps previously created for offline access, having been refined by co-designer feedback, were built into the space. Within the simplified functionality provided by spaces and minimaps, visual communication elements (color, iconography, layout, etc) were tested to determine if they were perceived accurately by our co-designers. This is a critical step to help with the perceived ‘ease of use’ for all NOUA faculty, utilizing the development passport space. The team went with standard/common communication elements knowing that the co-designers would use the space in ‘beta’ to communicate their perceptions of ease of use of the Faculty Development Passport in phase 2. Two more iterations were needed to refine these choices thanks to co-designer and critical friend feedback.
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pressbooks
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2025-03-22T05:09:29.406027
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03-28-2023
|
{
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"url": "https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/chapter/aligning-universities/",
"book_url": "https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/front-matter/background/",
"title": "Implementing a Faculty Development System Using Badges",
"author": "Lisa O'Neill",
"institution": "Algoma University, Lakehead University, Laurentian University, Nipissing University",
"subject": "Education, Competence development"
}
|
https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/chapter/setting-agreements/
|
The process of setting alliance agreements
Moving forward, how the NOUA becomes more formal, then its current informal nature, is a key conversation. Senior Teaching and Learning Leadership from Lakehead and Nipissing Universities met to discuss “what’s next?”
As one might expect this led to more questions than answers:
Considerations for Faculty members
- Where does this faculty development sit – voluntary or mandatory?
- If voluntary, is there potential it could create a two tiered system among faculty? What impact might this have on tenure and promotion or merit evaluations?
- If mandatory, what are the implications for systems such as tenure and promotion, merit, collective agreements, etc?
- Would the passport be viewed/used as a “carrot” or a “stick” in encouraging and supporting better instructors in the university sphere?
Institutional Considerations
- Are there levels of congruency amongst some of the alliance partners, but not others? Is that OK?
- How do we make this alliance sustainable given all the universities’ different financial and priority constraints, sizes of T&L Centre teams, etc.? Given the variability amongst institutions, we are open to varied participation across the institutions, over time.
- What might a larger and more formalized alliance look like – is NOUA on a trajectory towards the Maple League (https://www.mapleleague.ca/)?
Discussion has led to standardized agreement elements being set up. If you are looking to implement a similar alliance, NOUA suggests that your agreement include;
| Always include NOUA (all ** must be true) | Sometimes include NOUA | Not possible to include NOUA |
| ** Where the number of participates does not have a maximum | Where # of participants is limited and is hybrid/online BUT registration is low: notify designate person from each alliance Uni 3 business days prior to workshop start to promote. | One on one support/mentorship |
| ** If no significant assessment of learning | Self-directed learning award approvals (must be done by faculty Institution) | |
| ** Delivered in hybrid/online manner. Event location must allow for external persons to view (using ‘canned account’ or other means).
|
||
| Self-directed learning courses/workshops gifted to other Uni’s in Alliance, with agreement any assessment is done by delivering Uni. Updates are responsibility of each Uni. | ||
| Publicly accessible virtual events (eg. Teaching Techniques of the Holidays series: 2020 ; 2021 ; 2022) |
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pressbooks
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2025-03-22T05:09:29.417554
|
03-28-2023
|
{
"license": "Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/",
"url": "https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/chapter/setting-agreements/",
"book_url": "https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/front-matter/background/",
"title": "Implementing a Faculty Development System Using Badges",
"author": "Lisa O'Neill",
"institution": "Algoma University, Lakehead University, Laurentian University, Nipissing University",
"subject": "Education, Competence development"
}
|
https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/chapter/codesigner-inputs/
|
To initiate the project draft designs for development pathways were created based on the current offerings from within each member institution. Draft designs were produced to share with faculty and leadership to help them provide input to the reward process and the Faculty Development (FD) Passport space. Co-designer input also helped to beta test the FD Passport, in order to assure its ease of use, and value to both parties (faculty and their institutional leaders).
The process of leadership involvement
Including senior leadership from the teaching and learning centres created the opportunity to ensure that institutional perspectives were included in the space design, as they identified key priorities and alignment with strategic objectives common among universities. They also assisted in creating and embedding appropriate language to support and reflect the institutional perspectives, while aligning with and being accessible to faculty users. Importantly, they also Identified potential barriers to faculty participation and engagement related to contractual obligations and the comprehensive nature of faculty positions.
The process of co-designer involvement
Faculty as co-designer
A set of 12 faculty co-designers were identified from across all 4 universities within the alliance. An agreement was set up to make transparent their expected contribution to the project. Three tasks were asked of each co-designer;
- Share their current state of practice, and their prior knowledge/expectation around reward and recognition,
- A 2 hour small group discussion, guided by design documents, in order to gather detailed feedback about their current practices for professional development, their expectations of their institution for assistance, their thoughts about the proposed design/goals of the system, and
- Use of the FD Passport in its beta form in order to refine the space prior to it being made accessible to all NOUA faculty.
Faculty co-designer Badge in recognition
Initial feedback was provided by co-designers in the form of a questionnaire, and as a follow-up a focus group discussion was implemented to gather detailed feedback. These elements helped to build the initial space for reward and recognition of faculty development activity.
Once co-designers utilized the space, the final feedback mechanism was implemented (built into the space). Each co-designer shared their response to a series of questions through the platforms ‘badge application’ functionality. These answers formed the final co-designer feedback element: their perceived value of the space they explored. Based on the completeness of their answers, by review from an Alliance Lead, a badge was issued for their contributions.
Co-designers prompts in the badge application, as a method of collecting final feedback data, and reward members for their contributions:
- Describe your favorite map/pathway. Why are you interested in it? In attempting to connect to it did you have any barriers [something that did not work as you expected]?
- Please share the perceived impact that you expect following this map/pathway will have on you/your teaching.
- Share one challenge you have identified, and any suggestions you have to resolve it, that the space presents in helping you to develop new/novel teaching and learning strategies.
Insight in to favorite pathways
Theme: Growth in confidence, knowledge, and tools
“Most of us don’t know what the heck we’re doing [in relation to decolonizing learning] but we want to be doing it and doing it well.”
“Decolonizing learning . . . is something that I have always wanted to focus on and learn how I can incorporate new practices that embrace the different ways of being and learning.”
Thoughts on perceived impact
Theme 1: Improving the learning experience for students
“Better classroom learning environment … feel welcome and appreciated … I can see that will improve my teaching practice … create more effective digital assets (ie videos) that my students will love”
Theme 2: Clear, manageable workload
“Small doable action items … make a small change to my courses on a yearly basis … [still needing] clear guidance and progress tracking for what “bite size” pieces I can complete when I have the time.”
In response to challenges they faced during the beta phase:
Theme 1: Help me understand the WHY
“Helping the faculty member understand WHY they would pursue particular pathways would be a good starting point.”
Theme 2: Design and functionality
“There isn’t always consistency in how these are displayed. I would like/prefer them all to look like the Online Facilitator Star OR at least say to click on the badge.”
Faculty as critical friend
Once faculty co-designers had completed the tasks outlined above, and after initial changes were made, additional university faculty were called upon, in order to incorporate alternative perspectives of those who would experience the space.
The process involved an initial meeting with the faculty member to discuss the basics of badging, and the project goals. The faculty member was then invited to the space where they were asked to utilize the guidebook, and the space to ‘embed’ themselves into the NOUA passport community. Another meeting was then held to review critical friend journal notes, in order to make final revisions to the guidebook, revisions to the pathways (mainly the way that they were viewed and interpreted by faculty). This step helped with final changes and identified some (previously unknown) just-in-time training that could occur, for areas needing further support/tutorial.
Indigenous curriculum specialist, and EDI team as critical friend & pathway developers
The Lakehead University Indigenous Curriculum Specialist and EDI team were called upon to conduct a review of the Faculty Development Passport space. This review, as critical friends, helped the project team to consider some very important questions that directly impacted the experience our faculty have when seeking/participating in faculty development.
Changes made the to space resulting from this review;
- Navigation of the space makes explicit the types of learning experience (self directed, collaborative, etc) that each event/offering provides. This will help indigenous faculty learners see experiences that the prefer, and those that precede/follow. This will also benefit all faculty who are drawn to specific type of learning and development opportunities.
Longer term discussions/tasks resulting from this review;
- A review of all offerings will will be done to identify covert and overt elements of each offering that support i) indigenous faculty learners ways of knowing and being (groups work, storytelling, etc), and ii) embed content and resources that work to decolonize the experience (eg. example of digital storytelling changed from bobby on the bus to fern calling the circle).
- A review of offerings to offer a wider compliment of chose between self-directed and facilitated offerings to caters to the widest possible set of preference and constraints faculty may have and any time.
Other contributions to this project were the creation of development pathways which could i) guide faculty to instill decolonizing practices, and ii) guide faculty to instill inclusive practices.
This is a much larger task than this project allows for but with the space already built, and guidance already provided, the implementation of this pathway can be aligned to all other pathways already implemented. The pathway design template (see mapping pathways section for format), will be utilized to speed up the pathway design prior to its’ implementation within the FD Passport.
The impact from leader and co-designer involvement
Once other university members were provided access to the space direction needed to be provided to aid in the navigation of the eCampusOntario space. A meeting with all co-designers to introduce them to the space was helpful in this process. Alongside this a draft guidebook was created for use by the co-designers. The feedback provided by the co-designers about their use of the space was affected by the completeness of the guidebook provided.
After initial use a review of the guidebook was also completed by critical friends to help with this documents completeness. It is now hosted on the homepage of the NOUA Faculty Development Passport space, to serve as a critical new member’s ‘orientation’ resource.
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pressbooks
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2025-03-22T05:09:29.432165
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03-28-2023
|
{
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"url": "https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/chapter/codesigner-inputs/",
"book_url": "https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/front-matter/background/",
"title": "Implementing a Faculty Development System Using Badges",
"author": "Lisa O'Neill",
"institution": "Algoma University, Lakehead University, Laurentian University, Nipissing University",
"subject": "Education, Competence development"
}
|
https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/chapter/closing-remarks/
|
Those of us on the Encouraging Faculty Development Through Micro-Credentialing project team, hope this resource is helpful to people considering the build of a faculty development reward and recognition system at their University, or for their region.
In closing; a few final remarks from the project team:
Algoma University
“It is tremendously exciting to get to contribute to something that I believe adds up to more than the sum of its parts. This project has given Northern Ontario universities the opportunity to pool resources and give faculty access to developmental pathways that might otherwise be unavailable. While we may be geographically isolated by the vastness of the North, it is partnerships like this that help bring our institutions close together.” Dave Jamieson
Lakehead University
“When teaching and learning centres are small (in terms of staff), it is wonderful to be able to share resources and experience across institutions – we are able to provide more and varied training opportunities through the collaboration. However, sustaining the opportunity requires commitment and intentionality, that is sustained by careful thought and planning. The importance of relationships can not be minimized.” Dr. Rhonda Koster
“Effective teaching practices, that support learning, is a complex process to master, and continues to evolve with and through technology. Centers of teaching and learning live and breadth faculty development as a means to support engaging and enjoyable learning experiences. Because we appreciate that is incremental and long term, so a significant commitment, every tool we can employ to support and reward this development investment is appreciated. Expecially in areas where we are under resourced to meet all of the areas where this commitment is being made!” Dr. Lisa O’Neill
Laurentian University
“This project has provided the opportunity to work with our educational partners in Northern Ontario to provide a variety of teaching development opportunities. These in turn have allowed faculty to customize their individual paths as teachers and have strengthened the collective missions of our teaching and learning centres.” Bettina Brockerhoff-Macdonald, PhD
Nipissing University
“Most Ontario universities are large and located in major populations centers. As a small, regional university, Nipissing is neither. Thus, we’ve always seen the need to collaborate, and start small, in order to create big change. Teaching and learning is the “bread and butter” of a university, and thus cooperating with our Northern partners in this area was a perfect fit. This project built on a relationship of trust and empowerment that we mobilized in early 2020, and as we move forward the need to share training and development opportunities and document the interconnectivity is even more important.” Dr Patrick Maher
“Working on this project, and seeing it come to life through co-design, was so rewarding. As a member of a small but mighty teaching and learning centre, it is so valuable to work alongside others and to strengthen the teaching and learning landscape in our region. Providing opportunities to share programming and ideas with the other NOUA institutions serves to strengthen all of our faculty development work” Heather Carroll
|
pressbooks
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2025-03-22T05:09:29.442736
|
03-28-2023
|
{
"license": "Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/",
"url": "https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/chapter/closing-remarks/",
"book_url": "https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/front-matter/background/",
"title": "Implementing a Faculty Development System Using Badges",
"author": "Lisa O'Neill",
"institution": "Algoma University, Lakehead University, Laurentian University, Nipissing University",
"subject": "Education, Competence development"
}
|
https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/chapter/faculty-contributions/
|
Faculty co-designer contributions helped the team validate the direction the project was headed. It also helped the team to refine the FD space functionality, and pathway development so that they were more likely to be perceived as interesting and valuable pursuits to all faculty within the Northern Ontario University Alliance.
Elements of data gathered from faculty co-designers – A top ten list
Element # |
Element description |
Element usage |
Stage of data gathering |
1 |
background/context |
To sort data gathered from usageTo report on any patterns forming from usage by years previous experiences |
1: questionnaire |
2 |
‘Common’ approaches to development |
To see if reproducing these connected to passport has pos effect on ‘uptake’ |
1: questionnaire |
3 |
Specific expectation of Uni/employer |
To learn about practices/supports that will be well receivedTo validate current offerings aligned to expectations so adjustments can be made |
1: questionnaire |
4 |
Motivating factors that have faculty prioritize T&L development (in relation to other priorities) |
To learn about practices/supports that will be well receivedTo validate current practices/communications aligned to these factors so adjustments can be made |
2: focus group |
5 |
Feedback on Passport chosen ‘top levels’ (rockstar) of development pathways (finishlines) to determine validity/ and value |
To adjust final pathways so they reflect motivation, expectations, and value to co-designersTo compare to leadership strategic ‘top level’ development categories |
2: focus group |
6 |
gathering/brainstorming development areas of personal interest to each co-designer |
To create patterns from individual contributions |
1: questionnaire |
7 |
Feedback on functionality of system built in draft |
First impressions, compared to long term use to determine marketing, and job aids for other faculty |
3: system use & journalling |
8 |
Analytic data on use of the system |
Frequency of ‘acceptance’ of the system oas designed |
3: system use & journalling |
9 |
Reflective feedback from use of the system |
To report on initial ‘value’ of system to usersTo identify, and implement refinements to system prior to wide spred use |
3: system use & journalling |
10 |
NOUA previous study reports provided by alliance members |
0: backgroundin |
Highlights from questionnaire contributions
- when sharing the draft map/paths it was stated that language used for the badge ‘levels’ can be mis-interpreted
- indigenization and equity within one pathway was flagged [whether these can/should be combined or should follow separate paths]
- faculty are open to many methods of developing self since covid though a return to campus for our students implied that tech-enabled development areas are now less necessary
- general descriptive language is important to the interpretation of ‘stations’ in the draft maps/pathway shared
- faculty invest a lot of time in their development (both formal and informal)!
- faculty questioned showed evidence of being great self-directed learners
- mid-career faculty are doing their development a bit differently and doing so in less time than early and late career faculty [utilizing student, conference, and industry]
Highlights from focus group interviews
How faculty co-designers apply their learning; their ‘evidence’
Focus group discussion asked faculty to share learning that they applied to the ir practice, that they are proud of. There were asked to provide what they beleived to be evidence of this application. this helped the project team to consider an approach to rewarding self directed learning in an evidence-based manner.
Responses:
- I took the time to learn the advanced features of the LMS, and have been sharing with others to encourage consistency in the student experience, also sharing analytics for reporting purposes. My course is proof of concept for this learning… it has my SCORM session and H5P workshop learning applied.
- Grant funding helped me to develop databases and websites for folks who don’t have geographical access to a campus. I use these sites for T&L.
- Through time in workshops and course I’ve adjusted my course to have no exams, no tests; just research-based pedagogy. I now am connecting ‘people places and events to the land’. My evidence = My students’ course work product, I have a book chapter forthcoming – My creation/use of burn stereotypes [‘pyro epistemology’].
- I had issues procuring a textbook for my course, so I researched OERs & opened community work. I looked at OER databases and spoke to colleagues to find textbook replacements resources. My evidence: My found oer’s, the way I have been remixing them, and my work to find a likeminded community to provide resources to students.
- My attendance at annual conference for PD: The ‘CAAA’ helped me to gather EdTech tools and then data. My evidence: in speaking with students about the value of this data, their improved course grades, my recently published paper on using doodlecastpro.
- I participated in book club: It was valuable to learn from education professors (outside of my discipline). I was encouraged by them to make small changes in classroom such as encouraging students to form study groups. I’ve watched my students do it, create whatsapp. I have benefited from the encouragement, and am getting feedback from current students (about what they are learning in their study groups) to share with the next students.
- It seems that academics were (previously) never trained to deliver content online. I was humbled by watching myself on video, and I had to learn how to illustrate the same concepts online that I was already able to do on campus. I worked to de-constructing how to teach by watching self and learning how to be more engaging. I learned in practice without formal workshop support.
- I attended workshops for best practices in online teaching: As a result I did ‘chunking’ my course in to shorter segments; I changed assessment / quizzes to move away from clickers. My evidence: My learners satisfaction, that I get less ‘excuses’ from students.
- I took workshops early in the pandemic, and also talked with colleagues about tips they wanted to share: I keep trying different ideas that I am getting from workshops and discussions, and adjusting based on those in order to relate the course activity to my students daily life, in ways that can help them to apply their own creativity.
How faculty co-designers perceived themes in faculty development
When looking to create pathways that faculty can interpret with ease, and which they are motivated to participate in, the ‘clustering’ of badges and terminology used is critical.
Faculty co-designers were asked to share their perspectives and issue with two thematic approached to pathway development:
- the timeline for faculty practice/experience, and
- the development themes that occur during faculty practice/experience.
Responses:
Theme based pathways
|
Seniority based pathways
|
Team discussions resulting from focus group input
The project needed to clearly delineate private development events from public/shared events within the alliance. NOUA should agree to create a ‘6 month development ‘calendar for each institutions shared events/workshops, and post it in the passport space as so that 2 times each year this detail is available to faculty for development planning.
This will also help with any future badge developments/creation to account for emerging practice supports. Also needed is to determine how new offerings can provide ‘evidence’ for reward issuing.
Highlights from system use and journalling
Favorite maps/pathways, why they’re interesting, and the perceived impact expected by following them:
- Teaching with Technology
- “I was most interested in the teaching with tech mini map. As someone who has investigated a variety of digital teaching tools and incorporated several into individual courses, I was excited to see what additional training might be offered through this pathway.”
- “I am most interested in the Teaching with Tech Rockstar pathway. This is most interesting to me as I have a strong interested in technology, both inside and outside, of the classroom.”
- “I think I will be able to pick a few things up from it, and it will focus my efforts to improve my courses. Hopefully I can implement it into D2L and set an example for others in my faculty. I also hope it will help me create more effective digital assets (ie videos) that my students will love.”
- Decolonizing Learning
- “I really see a lot of value and it is a way to formalize a commitment to incorporating ways of knowing in a culturally responsive and respectful framework. We, as a community, talk alot about reconciliation but we don’t always have the tools or perhaps the confidence to use those tools. I think that this pathway gives us both.”
- “At a personal level, I think decolonizing learning will add a lot of value, this is something that I have always wanted to focus on and learn how I can incorporate new practices that embrace the different ways of being and learning.”
Challenges identified, and suggestions provided to resolve them, that the space presents in helping faculty develop new/novel teaching and learning strategies:
- Lack of familiarity with emerging platforms for FD and badging
- “I am not sure if it is a challenge or if it is just me, but I found it hard to start when I hit the landing page. I think that this is just due to my lack of familiarity with the platform, but I had to familiarize myself through trial-and-eror before being able to feel more comfortable with where to go and where to find different items. For example, I did not find it very intuitive to instantly find the maps/pathways. So, I had to explore a bit before I could find what I was looking for.”
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pressbooks
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2025-03-22T05:09:29.469894
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03-28-2023
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{
"license": "Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/",
"url": "https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/chapter/faculty-contributions/",
"book_url": "https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/front-matter/background/",
"title": "Implementing a Faculty Development System Using Badges",
"author": "Lisa O'Neill",
"institution": "Algoma University, Lakehead University, Laurentian University, Nipissing University",
"subject": "Education, Competence development"
}
|
https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/chapter/mapping-templates-examples/
|
Mapping faculty development in centers, utilizing meta themes
A template that maps a meta study of faculty development themes:
Building badge ‘stations’, and pathway ‘maps’ to guide faculty development
An example that outlines the build of NOUA initial pathways within their faculty development passport:
Building station applications to aid faculty providing development evidence
A template that outlines the requisite elements to implement a badge application process within the CanCred system. This application process can be ‘pushed’ to workshop/event finishers or available within the faculty development passport to allow members to ‘pull’ a badge by submitting evidence of completion/competence:
|
pressbooks
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2025-03-22T05:09:29.480581
|
03-28-2023
|
{
"license": "Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/",
"url": "https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/chapter/mapping-templates-examples/",
"book_url": "https://ecampusontario.pressbooks.pub/implementingafacultydevelopmentsystemusingbadges/front-matter/background/",
"title": "Implementing a Faculty Development System Using Badges",
"author": "Lisa O'Neill",
"institution": "Algoma University, Lakehead University, Laurentian University, Nipissing University",
"subject": "Education, Competence development"
}
|
https://library.achievingthedream.org/meccinternship/chapter/syllabus-for-mus-290-coordinated-internship/
|
1 Syllabus for MUS 290 Coordinated Internship
Download a Word Document file of this syllabus here.
COURSE SYLLABUS
MUS 290 – Coordinated Internship
Summer Semester 2018 Meeting times: By appointment
Instructor: Dr. T. Michael Gilley Phone:
Office Hours: M-F, By appointment Email:
COURSE DESCRIPTION:
MUS 290 – Coordinated Internship
Supervised on-the-job training in selected business, industrial or service firms coordinated by the college.
Credit/practice ratio not to exceed 1:5 hours. May be repeated for credit. Variable hours. 1-5 credits.
STATEMENT OF BROAD GOALS:
Provide supervised on-the-job internship (paid or non-paid) experience in heritage music venues including regional tourist and performance venues such as The Crooked Road venues, museums featuring heritage music exhibits, recording studios, music instruction in summer and JAM camps. This internship will provide the student with supervised work experience focused on a heritage music track focused on the student’s career pathway such as instruction; performance; managing events or venues; audiovisual and light systems; recording; or videotaping.
STATEMENT OF SPECIFIC OBJECTIVES:
During the orientation between the employer and the student, there must be agreement on Measurable Learning Objectives (MLOs) for the work period. The MLOs must be directly related to the student’s classroom studies and enhance the student’s creative, problem-solving, and technical skills, as well as personal improvement. The MLOs must be developed by the first two (2) weeks of employment. Instructions for developing MLOs can be found in Attachment 1. MLO worksheets found in attachment 2 must be signed by the student, the employer, and the faculty member.
TEXTBOOK:
None required
STATEMENTS AND INSTRUCTIONAL METHODS:
Instructional methods include supervised hands-on training.
SAFETY:
Student safety is a primary concern in any and all labs associated with this course including work experience. It is imperative, for both the students’ safety and the safety of others, that each student utilize safe work practices and follow all safety rules and the employers’ directions explicitly.
ATTENDANCE POLICY:
Mountain Empire Community College is committed to academic quality and student success. Elements that support both of these values are regular attendance and participation in class. The college policy states that regular class attendance is required. The attendance policy in this class is:
Regular attendance is mandatory. The student is required to work a minimum of hours to achieve the registered credit hour(s) at a ratio of credit/practice not to exceed 1:5 hours during the internship. The student intern must work the minimum hours required by the curriculum but also understand that the employer may require additional hours as a condition of employment. These conditions are detailed in the Co-operative Education Agreement (attachment 3) and consistent within the requirements of the curriculum.
The student must complete the Time/Wage Report (see Attachment 4) and secure a supervisor’s signature. Colleges should be flexible in Time/Wage Report policies so that individual extenuating circumstances can be handled. Situations might occur where the student can only acquire the supervisor’s signature once or twice during the co-op work assignment. Colleges should be considerate of employers that establish methods for recording employee time and wages. These records may be used to document student hours as long as the appropriate information is included and verified. The Time/Wage Report (completed to date with signatures) should be reviewed by the faculty/co-op coordinator when the Mid-Term Evaluation Worksheet is completed.
STUDENT COMPENSATION:
Optimally, students are paid for the internship experience. Earning a wage enhances the work experience in that the internship position is valued as part of an organization. All employers must adhere to the Fair Labor Standards Act and Wage/Hour Laws. However, there is no requirement that a student intern is paid. Often, non-paid opportunities provide more variety in internship positions while assisting employers, particularly in the non-profit sectors.
INSTRUCTIONS FOR INDIVIDUALS WITH DISABILITIES:
Students may request academic accommodation for disabilities through the Office of Student Services. That office will evaluate the request and make recommendations for appropriate and reasonable accommodations, which the student will provide to the instructor. Individuals requiring temporary handicapped parking accommodations due to short-term illness should contact Student Services. All correspondence will be kept confidential.
EMERGENCY STATEMENT:
In the event of a College-wide emergency, course requirements, classes, deadlines, and grading schemes are subject to changes that may include alternative delivery methods; alternative methods of interaction with the instructor, class materials, and/or classmates; a revised attendance policy; and a revised semester calendar and/or grading scheme.
For more general information about a College-wide emergency situation, please refer to:
- College website
- Emergency Text Messaging or Phone System (276-523-2400)
In the event of a college-declared emergency, the instructor of this class will abide by MECC emergency guidelines. Emergency information can be obtained at 276-523-2400.
EVALUATION AND GRADING POLICY:
Grading will be based upon the following:
- Attendance (Total Hours Worked) Assessment: ________________
- On-Site Evaluation Assessment (if conducted) ________________
- Mid-term Evaluation Assessment: (if conducted) ________________
- MLO 1 Assessment: ________________
- MLO 2 Assessment (if applicable): ________________
- MLO 3 Assessment (if applicable): ________________
- Employer Evaluation: (attachment 5) ________________
- Student Self-evaluation Assessment: (attachment 6) ________________
- Faculty Coordinator Assessment: Attachment 7) ________________
READING ASSIGNMENTS:
NONE
CORE COMPETENCIES:
- Communication – Significant
- Critical Thinking – Significant
- Cultural and Social Understanding – Significant
- Information Literacy – Moderate
- Personal Development – Significant
- Quantitative Reasoning – Moderate
- Scientific Reasoning – Moderate
- Writing – Moderate to Significant
|
pressbooks
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2025-03-22T05:09:29.494885
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05-20-2021
|
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"url": "https://library.achievingthedream.org/meccinternship/chapter/syllabus-for-mus-290-coordinated-internship/",
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"title": "Internship: Music",
"author": "T. Michael Gilley",
"institution": "",
"subject": "Music, Work experience, placements and internships"
}
|
https://library.achievingthedream.org/meccinternship/chapter/measurable-learning-objectives/
|
2 Measurable Learning Objectives
Download a Word Document file of this worksheet here.
MEASURABLE LEARNING OBJECTIVES (MLO)
What are Measurable Learning Objectives (MLO)?
Measurable Learning Objectives refers to a set of statements which clearly and precisely describe what a student intends to accomplish during the work experience.
Why have Measurable Learning Objectives?
The Coordinated Internship is an academic program. Credit is granted not for working but for the learning that occurs as a result of working. Measurable Learning Objectives are the most effective method to assess the extent and value of this type of learning.
How to develop and write Measurable Learning Objectives?
Begin by reviewing the job duties and responsibilities with the supervisor at the work site. Note areas where you can gain or develop new skills, increase your knowledge, or improve your work ethic. It is important that you avoid broad general statements and confine your objectives to those that can be accomplished during a single semester/term. Typically, an MLO combines four major variables in a single sentence. The variables or components are ACTIVITY, FORECAST, TIME FRAME, and EVALUATION. The activity is the desired outcome or expected achievement, the forecast is the proposed level of accomplishment, the time frame is the expected completion date, and the evaluation is the stated method of measurement.
EXAMPLE:
By the end of the term (TIME FRAME)
I will design and build a new chair (ACTIVITY)
that meets company construction specifications (FORECAST)
as evaluated by my job supervisor (EVALUATION)
An important element in the development of an MLO is the ACTION WORD. There are
two such action words used in the examples above. The words are “design” and “build”.
Other action words are demonstrate, describe, develop, draw, discuss, operate, perform, summarize, recognize, etc.
Some important things to remember when preparing MLOs:
- Avoid broad, general objectives; make them specific, measurable and attainable by the end of the semester/term.
- Be sure you have the knowledge, skill, time and freedom to accomplish your objectives.
- Indicate the level of achievement which you expect to obtain, expressed whenever possible in numerical terms (e.g. increase speed by 15%).
Examples with Poor Objectives
- I will become a better salesperson.
- I will learn how to use computers in a work environment.
- I will help wire a structure for light fixtures.
Examples with Acceptable Objectives
- By (date), I will increase my sales by 5 percent while keeping complaints at or below their present level as judged by the sales manager.
- By (date), I will correctly produce 5 letters using Microsoft Word as evaluated by (supervisor’s name).
- By the end of the term, I will correctly wire and install a minimum of 10 fluorescent light fixtures as evaluated by my supervisor
The Measurable Learning Objectives (MLOs) should clearly describe what a student plans to accomplish during the coordinated internship work experience. The following examples should help co-op students prepare solid MLOs.
“By the end of the semester, I will perform the duties of a party chief to the satisfaction of my employer.”
“By the end of the semester, I will draw maps in accordance with NCGS 47-30 as evaluated by my supervisor.”
“By the end of the semester I will perform computations and calculations to reduce field data for surveying jobs as judged by my employer.”
“By the end of my co-op term, I will be able to demonstrate proper body mechanics and be able to set up customers on the strength training system in a manner that meets the standards of my supervisor.”
“By the end of the semester, I will be able to read, evaluate, and grade student’s legal research papers under the supervision of and to the satisfaction of my supervisor.”
“By the end of the semester, I will prepare and fill all sections of a divorce pleading that meets office specifications, as evaluated by my supervisor.”
“By the end of the semester, I will master the art of speaking with clients on the phone and taking appropriate and complete messages that meet office specifications, as evaluated by my supervisor.”
“By the end of the semester, I will be able to perform preventive maintenance on equipment and return equipment back to service as evaluated by my supervisor.”
“By the end of the semester, I will be able to work safely and follow safety guidelines set forth by my company as evaluated by my supervisor.”
COOPERATIVE EDUCATION
MEASURABLE LEARNING OBJECTIVES WORKSHEET
The Measurable Learning Objectives (MLOs) must clearly describe what you intend to accomplish during your work term. The MLOs must be reviewed by your supervisor (who can suggest modifications) during the first two weeks of the term and approved by your faculty coordinator. At the end of the work term, your supervisor will evaluate how well you accomplished each of the objectives. The suggested number of MLOs to complete is three (3).
MLO 1:_______________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
MLO 2:__________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
MLO 3:_______________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
Student Signature Date
_____________________________________________________________________________________
Employer Signature Date
_____________________________________________________________________________________
Faculty Coordinator Signature Date
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pressbooks
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2025-03-22T05:09:29.510082
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05-20-2021
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"url": "https://library.achievingthedream.org/meccinternship/chapter/measurable-learning-objectives/",
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"title": "Internship: Music",
"author": "T. Michael Gilley",
"institution": "",
"subject": "Music, Work experience, placements and internships"
}
|
https://library.achievingthedream.org/meccinternship/chapter/cooperative-education-agreement/
|
3 Cooperative Education Agreement
Download a Word Document file of this form here.
COOPERATIVE EDUCATION AGREEMENT
Student/Employee_____________________________________________________________ Date ___________________
Student I.D # ____________________ Semester ________________ Curriculum __________________________________
Course number ___________________ Section _______
Am Using My Current Employer: ______ Yes ______ No
Employer_____________________________________________________________________________________________
Is This A Family Operated Business: _____ Yes _____ No
Supervisor ____________________________________________________Phone ______________________________
(Supervisor Evaluating Student’s Co-op Work Experience Cannot Be Related to Student)
Employer Address _____________________________________________________________________________________
Faculty Coordinator ________________________________ Phone _______________
TERMS AND CONDITIONS
In consideration of the mutual benefits of the Coordinated Internship Program, the college, the employer and the student agree as follows:
STUDENT:
Agrees to develop well-planned measurable learning objectives in conjunction with the Faculty Coordinator and the employer in relation to the goals of his/her instructional program. Student also agrees to abide by the college’s Coordinated Internship education rules and regulations and the employer and to immediately report to the Faculty Coordinator any problems occurring on the job or changes in job duties and responsibilities. Further, the student grants permission for the employer to discuss the student’s progress with the Faculty Coordinator. Student also agrees to inform the college’s Financial Aid Office of their Coordinated Internship employment and to report the wages earned during the coordinated internship work experience.
EMPLOYER:
Agrees to provide the student with a supervised progressive work experience, assist the student in developing measurable learning objectives, provide orientation regarding company rules and regulations as well as inform student of company expectations. The employer further agrees to assure a safe and healthful working environment. Prior to the end of the semester employer will evaluate the student’s progress and that the time report reflects accurate hours worked. Employer further agrees to provide the student with a supervisor that is not related to the student.
Civil Rights and Non Discrimination Statement
It is the policy of the Virginia Community College System and Mountain Empire Community College to provide equal employment and educational opportunities for all persons without regard to race, color, religion, national origin, political affiliation, veteran status, gender, age, or sexual orientation and for all otherwise qualified persons with disabilities. This policy permits appropriate employment preference for veterans. This institution promotes and maintains educational opportunities without regard to race, color, sex, ethnicity, religion, gender, age (except when age is a bona fide occupational qualification), disability, national origin, or other non-merit factors. This institution prohibits sexual harassment including sexual violence.
The following person has been designated to handle inquiries regarding non-discrimination policies: Ron Vicars, Vice President of Financial and Administrative Services. The following person has been designated to handle inquiries regarding student misconduct or equity issues based on gender: Lelia Bradshaw, Dean of Student Services. The following person has been designated to handle inquiries regarding employee misconduct or equity issues: Pam Giles, Human Resource Manager. For more information, contact 276.523.2400, 3441 Mountain Empire Rd., Big Stone Gap, VA, 24219. Virginia relay users dial 711.
COLLEGE:
Agrees to assign a Faculty Coordinator to assist the student in developing measurable learning objectives and make periodic contact with the employer. Faculty Coordinator will also determine a grade for the completed coordinated internship work experience and award college credit based on the student’s job performance and completion of required reports.
NOTE: Current Job Description must be attached.
_________________________________________________________ ______________
Student Signature Date
_________________________________________________________ ______________
Faculty Coordinator Signature Date
________________________________________________________ ______________
Employer Signature Date
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pressbooks
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2025-03-22T05:09:29.522114
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05-20-2021
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"url": "https://library.achievingthedream.org/meccinternship/chapter/cooperative-education-agreement/",
"book_url": "https://library.achievingthedream.org/meccinternship/chapter/syllabus-for-mus-290-coordinated-internship/",
"title": "Internship: Music",
"author": "T. Michael Gilley",
"institution": "",
"subject": "Music, Work experience, placements and internships"
}
|
https://library.achievingthedream.org/meccinternship/chapter/cooperative-education-time-wage-report/
|
4 Cooperative Education Time / Wage Report
Download a Word Document file of this report here.
COOPERATIVE EDUCATION
TIME/WAGE REPORT
In order for a co-op student to receive academic credit, an account of time and days worked on the job must be recorded by the student and verified by the supervisor. This information will be kept confidential.
Student name:_____________________________ Employer __________________________________
Month__________________ Year___________________
| Weeks | S | M | T | W | TH | F | S | Total hours |
| Monthly Total |
Summary of monthly tasks performed:_____________________________________________________
____________________________________________________________________________________
I certify that the above time report is a true statement I certify that the above time report is a true
of the hours worked this week statement of the hours worked this month.
__________________________________________ ______________________________________
Student Signature Date Employer Signature Date
Month_________________________________ Year__________________
| Weeks | S | M | T | W | TH | F | S | Total hours |
| Monthly Total |
Summary of monthly tasks performed:_____________________________________________________
____________________________________________________________________________________I certify that the above time report is a true statement I certify that the above time report is a true of the hours worked this month. statement of the hours worked this month.
_________________________________________ ______________________________________
Student Signature Date Employer Signature Date
Student name:_____________________________ Employer __________________________________
Month__________________ Year___________________
| Weeks | S | M | T | W | TH | F | S | Total hours |
| Monthly Total |
Summary of monthly tasks performed:_____________________________________________________
____________________________________________________________________________________
I certify that the above time report is a true statement I certify that the above time report is a true
of the hours worked this week statement of the hours worked this month.
__________________________________________ ______________________________________
Student Signature Date Employer Signature Date
Month_________________________________ Year__________________
| Weeks | S | M | T | W | TH | F | S | Total hours |
| Monthly Total |
Summary of monthly tasks performed:_____________________________________________________
____________________________________________________________________________________I certify that the above time report is a true statement I certify that the above time report is a true of the hours worked this month. statement of the hours worked this month.
_________________________________________ ______________________________________
Student Signature Date Employer Signature Date
|
pressbooks
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2025-03-22T05:09:29.543795
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05-20-2021
|
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"url": "https://library.achievingthedream.org/meccinternship/chapter/cooperative-education-time-wage-report/",
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"title": "Internship: Music",
"author": "T. Michael Gilley",
"institution": "",
"subject": "Music, Work experience, placements and internships"
}
|
https://library.achievingthedream.org/meccinternship/chapter/cooperative-education-employer-evaluation-of-student-end-of-term-worksheet/
|
5 Cooperative Education Employer Evaluation of Student (End-of-Term) Worksheet
Download a Word Document of this worksheet here.
COOPERATIVE EDUCATION
EMPLOYER WORKSHEET
EVALUATION OF STUDENT (END-OF-TERM)
Date of Evaluation:______________________________________________________________
Student Name:__________________________________________________________________
Last First MI.
Curriculum Program:____________________________________________________________
Course number ______________ Section ______ Semester:_____________
Employer_____________________________________________________________________
Supervisor ____________________________________________________________________
Employer Address ______________________________________________________________
Faculty Coordinator _____________________________________________________________
Please evaluate the co-op student objectively, as compared with other students of similar
academic level, with other personnel assigned similar jobs, or with individual standards.
- Evaluation of the Student Intern’s Performance at completion of the term:
If rated “Very Good” or “Very Poor”, please explain.
- Appearance
___ Very Good ___ Good ___ Fair ___ Poor ___ Very Poor
- Punctuality / Dependability
___ Very Good ___ Good ___ Fair ___ Poor ___ Very Poor
- Communication skills
___ Very Good ___ Good ___ Fair ___ Poor ___ Very Poor
- Subject knowledge
___ Very Good ___ Good ___ Fair ___ Poor ___ Very Poor
- Quality of work
___ Very Good ___ Good ___ Fair ___ Poor ___ Very Poor
- Quantity of work
___ Very Good ___ Good ___ Fair ___ Poor ___ Very Poor
- Attitude towards work assignments
___ Very Good ___ Good ___ Fair ___ Poor ___ Very Poor
- Interaction with co-workers
___ Very Good ___ Good ___ Fair ___ Poor ___ Very Poor
- Leadership ability
___ Very Good ___ Good ___ Fair ___ Poor ___ Very Poor
- Potential for future development in this career
___ Very Good ___ Good ___ Fair ___ Poor ___ Very Poor
- Describe the student intern’s strengths.
III. Provide suggestions for improvement in the student’s performance.
_____________________________________________ ___________________
Employer Signature Date
_____________________________________________ __________________
Faculty Coordinator Signature Date
|
pressbooks
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2025-03-22T05:09:29.557908
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05-20-2021
|
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"url": "https://library.achievingthedream.org/meccinternship/chapter/cooperative-education-employer-evaluation-of-student-end-of-term-worksheet/",
"book_url": "https://library.achievingthedream.org/meccinternship/chapter/syllabus-for-mus-290-coordinated-internship/",
"title": "Internship: Music",
"author": "T. Michael Gilley",
"institution": "",
"subject": "Music, Work experience, placements and internships"
}
|
https://library.achievingthedream.org/meccinternship/chapter/cooperative-education-students-self-evaluation-worksheet/
|
6 Cooperative Education Student’s Self-Evaluation Worksheet
Download a Word Document file of this worksheet here.
COOPERATIVE EDUCATION
STUDENT’S SELF-EVALUATION WORKSHEET
Date of Self-Evaluation:_____________________________________________________
Student Name:__________________________________________________________________
Last First MI.
Curriculum Program:____________________________________________________________
Course number ______________ Section ______ Semester:_____________
Employer_____________________________________________________________________
Supervisor ____________________________________________________________________
Employer Address ______________________________________________________________
Faculty Coordinator _____________________________________________________________
Please evaluate your progress during your co-op work assignment. This information will be used to evaluate the position. It is for college’s Faculty Internship Coordinator use only and will not be seen by employers.
- Student Intern Job Title:________________________________________________________
- Describe in detail your duties as a student intern with this employer. Use additional pages if required.
- Explain how you succeeded in meeting your Measurable Learning Objectives. Be specific. Use additional pages if required.
Objective #1
Objective #2
Objective #3
- Identify areas of significant job-related learning not included in the objectives. Use additional pages if required.
- Describe any significant positive or negative experiences that helped you learn during your coordinated internship work assignment. Use additional pages if required.
- Explain how your coordinated internship work assignment has helped in your efforts to accomplish your career goals. Use additional pages if required.
- Describe ways that your supervisor contributed to your learning and professional growth. Use additional pages if required.
- Describe the training that was available. Use additional pages if required.
- Describe any feedback from your employer concerning your performance on the job.
- Would you accept a position with this employer after graduation?
___ Very Likely ___ Likely ___ Uncertain ___ Not Likely
Please explain:
- Would you recommend this position for other coordinated internship students? __ Yes __ No
Please explain:
__________________________________________________________ _______________
Student Signature Date
__________________________________________________________ _______________
Faculty Coordinator Signature Date
|
pressbooks
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2025-03-22T05:09:29.572542
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05-20-2021
|
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"url": "https://library.achievingthedream.org/meccinternship/chapter/cooperative-education-students-self-evaluation-worksheet/",
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"title": "Internship: Music",
"author": "T. Michael Gilley",
"institution": "",
"subject": "Music, Work experience, placements and internships"
}
|
https://library.achievingthedream.org/meccinternship/chapter/cooperative-education-grade-report-worksheet/
|
7 Cooperative Education Grade Report Worksheet
Download a Word Document file of this worksheet here.
COOPERATIVE EDUCATION
GRADE REPORT WORKSHEET
Date of Grade Report:___________________________________________________________
Student Name:__________________________________________________________________
Last First MI.
Curriculum Program:____________________________________________________________
Course number ______________ Section ______ Semester:_____________
Employer_____________________________________________________________________
Supervisor ____________________________________________________________________
Employer Address ______________________________________________________________
Faculty Coordinator _____________________________________________________________
- Attendance (Total Hours Worked) Assessment: ________________
- On-Site Evaluation Assessment (if conducted) ________________
- Mid-term Evaluation Assessment: (if conducted) ________________
- MLO 1 Assessment: ________________
- MLO 2 Assessment (if applicable): ________________
- MLO 3 Assessment (if applicable): ________________
- Employer Evaluation: ________________
- Student Self-evaluation Assessment: ________________
- Faculty Coordinator Assessment: ________________
FINAL COURSE GRADE ________________
Comments:
___________________________________________________ _________________
Faculty Coordinator Signature Date
Civil Rights and Non Discrimination Statement
It is the policy of the Virginia Community College System and Mountain Empire Community College to provide equal employment and educational opportunities for all persons without regard to race, color, religion, national origin, political affiliation, veteran status, gender, age, or sexual orientation and for all otherwise qualified persons with disabilities. This policy permits appropriate employment preference for veterans. This institution promotes and maintains educational opportunities without regard to race, color, sex, ethnicity, religion, gender, age (except when age is a bona fide occupational qualification), disability, national origin, or other non-merit factors. This institution prohibits sexual harassment including sexual violence.
The following person has been designated to handle inquiries regarding non-discrimination policies: Ron Vicars, Vice President of Financial and Administrative Services. The following person has been designated to handle inquiries regarding student misconduct or equity issues based on gender: Lelia Bradshaw, Dean of Student Services. The following person has been designated to handle inquiries regarding employee misconduct or equity issues: Pam Giles, Human Resource Manager. For more information, contact 276.523.2400, 3441 Mountain Empire Rd., Big Stone Gap, VA, 24219. Virginia relay users dial 711.
|
pressbooks
|
2025-03-22T05:09:29.583925
|
05-20-2021
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://library.achievingthedream.org/meccinternship/chapter/cooperative-education-grade-report-worksheet/",
"book_url": "https://library.achievingthedream.org/meccinternship/chapter/syllabus-for-mus-290-coordinated-internship/",
"title": "Internship: Music",
"author": "T. Michael Gilley",
"institution": "",
"subject": "Music, Work experience, placements and internships"
}
|
https://pressbooks.bccampus.ca/introtooers/chapter/module-1-introduction/
|
Learning Objectives
At the end of this module, you will be able to
- List the characteristics of an open educational resource (OER)
- Discuss the benefits of open
- Compare different open licenses
What is open?
When something is described as “open”, it means that it has been made available with little to no restrictions for other people to access or use. Open can also describe practices, means, and methods that support the idea that knowledge and learning should be available to everyone by reducing barriers to share, access, and use.
Open Education encompasses resources, tools and practices that are free of legal, financial and technical barriers and can be fully used, shared and adapted in the digital environment. Open Education maximizes the power of the Internet to make education more affordable, accessible and effective.
– SPARC
An educational resource can be more or less open depending on what people are allowed to do with it. There are 5 core activities (5Rs) that people use open educational resources (OERs) for:
- Retain – make, own, and control a copy of the resource (e.g., download and keep your own copy)
- Revise – edit, adapt, and modify your copy of the resource (e.g., translate into another language)
- Remix – combine your original or revised copy of the resource with other existing material to create something new (e.g., make a mashup)
- Reuse – use your original, revised, or remixed copy of the resource publicly (e.g., on a website, in a presentation, in a class)
- Redistribute – share copies of your original, revised, or remixed copy of the resource with others (e.g., post a copy online or give one to a friend)
The ability for people to use an OER in any of these ways will be determined by what license the creator has chosen to put on the object.
Take a moment
Do you already participate in some of these activities?
Why is open valuable?
One of the driving factors for the adoption of OER, such as open textbooks, is they are free. But cost savings is not the only benefit of using OER – they are an essential part of open pedagogy and can be used to create a powerful learning experience for your students. Studies have revealed a “positive relationship between the use of OER and student academic achievement” [PDF] and suggest that OER may help to decrease withdrawal rates while increasing overall student grades.
OER can:
- Increase access to education
- Provide students with an opportunity to assess and plan their education choices
- Showcase an institution’s intellectual outputs, promote its profile, and attract students
- Convert students exploring options into fee paying enrollments
- Accelerate learning by providing educational resources for just-in-time, direct, informal use by both students and self-directed learners
- Add value to knowledge production
- Reduce faculty preparation time
- Save students a significant amount of cost – (this case has been particularly substantiated for open textbooks)
- Enhance quality
- Generate innovation through collaboration
Take a moment
Licensing
Licensing plays a big role in open because it determines the extent that learning objects can be used in 5R activities. All creators automatically have copyright over their created works which gives creators the right to control how their material is used. Upon creation, creators can choose to give their work an open license which indicates to others that the work can be used under certain conditions. These licenses do not remove or replace copyright, but they allow others to legally use, share, remix, or repurpose the work. The most common open licenses to use are Creative Commons licenses.
Creative Commons
Creators or copyright holders who wish to apply a Creative Commons license to their work can choose to allow their work to be copied and reused with any one or more restrictions, or certain combinations of restrictions. The four restrictions are:
| Icon | Option | Restriction |
| Attribution
|
You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. | |
| Share Alike
|
If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. | |
| Non Commercial
|
You may not use the material for commercial purposes. | |
| No Derivatives
|
If you remix, transform, or build upon the material, you may not distribute the modified material.
|
These four restrictions can be mixed and matched to form six different Creative Commons licenses. All Creative Commons licenses require attribution. The specific types of Creative Commons licenses are:
| Image | License | Description |
| CC-BY Attribution |
This license lets others distribute, remix, tweak, and build upon the work as long as they credit the creator for the original creation. This is the most flexible and accommodating of the available Creative Commons licenses.
|
|
| CC-BY-ND Attribution-NoDerivs |
This license allows for redistribution, commercial and non-commercial, as long as the licensed work is passed along unchanged and in whole, with credit to the creator.
|
|
| CC BY-NC Attribution-NonCommercial |
This license lets others remix, tweak, and build upon the work non-commercially.
|
|
| CC BY-SA Attribution-ShareAlike |
This license lets others remix, tweak, and build upon the work as long as they credit the creator and license all new creations under the identical terms. All new works based on yours will carry the same license.
|
|
| CC BY-NC-SA Attribution-NonCommercial-ShareAlike |
This license lets others remix, tweak, and build upon your work non-commercially, as long as they credit the creator and license their new creations under the identical terms.
|
|
| CC BY-NC-ND Attribution-NonCommercial-NoDerivs |
This license is the most restrictive of the six main licenses, only allowing others to download your works and share them with others as long as they credit the creator, but they can’t change them in any way or use them commercially.
|
|
| CC0 CC Zero |
CC0 is a public dedication tool, which allows creators to give up their copyright and put their works into the worldwide public domain. CC0 allows reusers to distribute, remix, adapt, and build upon the material in any medium or format, with no conditions.
|
Take a moment
Module quiz
Test your knowledge about the basic concepts of Open and Creative Commons Licensing
Summary
Adaptation statements
This module adapted content from:
- What are Open Educational Resources? by BCcampus OpenEd, CC-BY
- Share Your Work by Creative Commons, CC-BY
Media Attributions
- What is an OER © MSU Libraries adapted by Open BCIT is licensed under a CC BY (Attribution) license
|
pressbooks
|
2025-03-22T05:09:29.609841
|
02-23-2022
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://pressbooks.bccampus.ca/introtooers/chapter/module-1-introduction/",
"book_url": "https://pressbooks.bccampus.ca/introtooers/front-matter/licensing-info/",
"title": "Introduction to Open Educational Resources",
"author": "Amanda Grey",
"institution": "",
"subject": "Open learning, distance education"
}
|
https://pressbooks.bccampus.ca/introtooers/chapter/module-1-introduction/#chapter-5-section-1
|
Learning Objectives
At the end of this module, you will be able to
- List the characteristics of an open educational resource (OER)
- Discuss the benefits of open
- Compare different open licenses
What is open?
When something is described as “open”, it means that it has been made available with little to no restrictions for other people to access or use. Open can also describe practices, means, and methods that support the idea that knowledge and learning should be available to everyone by reducing barriers to share, access, and use.
Open Education encompasses resources, tools and practices that are free of legal, financial and technical barriers and can be fully used, shared and adapted in the digital environment. Open Education maximizes the power of the Internet to make education more affordable, accessible and effective.
– SPARC
An educational resource can be more or less open depending on what people are allowed to do with it. There are 5 core activities (5Rs) that people use open educational resources (OERs) for:
- Retain – make, own, and control a copy of the resource (e.g., download and keep your own copy)
- Revise – edit, adapt, and modify your copy of the resource (e.g., translate into another language)
- Remix – combine your original or revised copy of the resource with other existing material to create something new (e.g., make a mashup)
- Reuse – use your original, revised, or remixed copy of the resource publicly (e.g., on a website, in a presentation, in a class)
- Redistribute – share copies of your original, revised, or remixed copy of the resource with others (e.g., post a copy online or give one to a friend)
The ability for people to use an OER in any of these ways will be determined by what license the creator has chosen to put on the object.
Take a moment
Do you already participate in some of these activities?
Why is open valuable?
One of the driving factors for the adoption of OER, such as open textbooks, is they are free. But cost savings is not the only benefit of using OER – they are an essential part of open pedagogy and can be used to create a powerful learning experience for your students. Studies have revealed a “positive relationship between the use of OER and student academic achievement” [PDF] and suggest that OER may help to decrease withdrawal rates while increasing overall student grades.
OER can:
- Increase access to education
- Provide students with an opportunity to assess and plan their education choices
- Showcase an institution’s intellectual outputs, promote its profile, and attract students
- Convert students exploring options into fee paying enrollments
- Accelerate learning by providing educational resources for just-in-time, direct, informal use by both students and self-directed learners
- Add value to knowledge production
- Reduce faculty preparation time
- Save students a significant amount of cost – (this case has been particularly substantiated for open textbooks)
- Enhance quality
- Generate innovation through collaboration
Take a moment
Licensing
Licensing plays a big role in open because it determines the extent that learning objects can be used in 5R activities. All creators automatically have copyright over their created works which gives creators the right to control how their material is used. Upon creation, creators can choose to give their work an open license which indicates to others that the work can be used under certain conditions. These licenses do not remove or replace copyright, but they allow others to legally use, share, remix, or repurpose the work. The most common open licenses to use are Creative Commons licenses.
Creative Commons
Creators or copyright holders who wish to apply a Creative Commons license to their work can choose to allow their work to be copied and reused with any one or more restrictions, or certain combinations of restrictions. The four restrictions are:
| Icon | Option | Restriction |
| Attribution
|
You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. | |
| Share Alike
|
If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. | |
| Non Commercial
|
You may not use the material for commercial purposes. | |
| No Derivatives
|
If you remix, transform, or build upon the material, you may not distribute the modified material.
|
These four restrictions can be mixed and matched to form six different Creative Commons licenses. All Creative Commons licenses require attribution. The specific types of Creative Commons licenses are:
| Image | License | Description |
| CC-BY Attribution |
This license lets others distribute, remix, tweak, and build upon the work as long as they credit the creator for the original creation. This is the most flexible and accommodating of the available Creative Commons licenses.
|
|
| CC-BY-ND Attribution-NoDerivs |
This license allows for redistribution, commercial and non-commercial, as long as the licensed work is passed along unchanged and in whole, with credit to the creator.
|
|
| CC BY-NC Attribution-NonCommercial |
This license lets others remix, tweak, and build upon the work non-commercially.
|
|
| CC BY-SA Attribution-ShareAlike |
This license lets others remix, tweak, and build upon the work as long as they credit the creator and license all new creations under the identical terms. All new works based on yours will carry the same license.
|
|
| CC BY-NC-SA Attribution-NonCommercial-ShareAlike |
This license lets others remix, tweak, and build upon your work non-commercially, as long as they credit the creator and license their new creations under the identical terms.
|
|
| CC BY-NC-ND Attribution-NonCommercial-NoDerivs |
This license is the most restrictive of the six main licenses, only allowing others to download your works and share them with others as long as they credit the creator, but they can’t change them in any way or use them commercially.
|
|
| CC0 CC Zero |
CC0 is a public dedication tool, which allows creators to give up their copyright and put their works into the worldwide public domain. CC0 allows reusers to distribute, remix, adapt, and build upon the material in any medium or format, with no conditions.
|
Take a moment
Module quiz
Test your knowledge about the basic concepts of Open and Creative Commons Licensing
Summary
Adaptation statements
This module adapted content from:
- What are Open Educational Resources? by BCcampus OpenEd, CC-BY
- Share Your Work by Creative Commons, CC-BY
Media Attributions
- What is an OER © MSU Libraries adapted by Open BCIT is licensed under a CC BY (Attribution) license
|
pressbooks
|
2025-03-22T05:09:29.634612
|
02-23-2022
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://pressbooks.bccampus.ca/introtooers/chapter/module-1-introduction/#chapter-5-section-1",
"book_url": "https://pressbooks.bccampus.ca/introtooers/front-matter/licensing-info/",
"title": "Introduction to Open Educational Resources",
"author": "Amanda Grey",
"institution": "",
"subject": "Open learning, distance education"
}
|
https://pressbooks.bccampus.ca/introtooers/chapter/module-1-introduction/#chapter-5-section-2
|
Learning Objectives
At the end of this module, you will be able to
- List the characteristics of an open educational resource (OER)
- Discuss the benefits of open
- Compare different open licenses
What is open?
When something is described as “open”, it means that it has been made available with little to no restrictions for other people to access or use. Open can also describe practices, means, and methods that support the idea that knowledge and learning should be available to everyone by reducing barriers to share, access, and use.
Open Education encompasses resources, tools and practices that are free of legal, financial and technical barriers and can be fully used, shared and adapted in the digital environment. Open Education maximizes the power of the Internet to make education more affordable, accessible and effective.
– SPARC
An educational resource can be more or less open depending on what people are allowed to do with it. There are 5 core activities (5Rs) that people use open educational resources (OERs) for:
- Retain – make, own, and control a copy of the resource (e.g., download and keep your own copy)
- Revise – edit, adapt, and modify your copy of the resource (e.g., translate into another language)
- Remix – combine your original or revised copy of the resource with other existing material to create something new (e.g., make a mashup)
- Reuse – use your original, revised, or remixed copy of the resource publicly (e.g., on a website, in a presentation, in a class)
- Redistribute – share copies of your original, revised, or remixed copy of the resource with others (e.g., post a copy online or give one to a friend)
The ability for people to use an OER in any of these ways will be determined by what license the creator has chosen to put on the object.
Take a moment
Do you already participate in some of these activities?
Why is open valuable?
One of the driving factors for the adoption of OER, such as open textbooks, is they are free. But cost savings is not the only benefit of using OER – they are an essential part of open pedagogy and can be used to create a powerful learning experience for your students. Studies have revealed a “positive relationship between the use of OER and student academic achievement” [PDF] and suggest that OER may help to decrease withdrawal rates while increasing overall student grades.
OER can:
- Increase access to education
- Provide students with an opportunity to assess and plan their education choices
- Showcase an institution’s intellectual outputs, promote its profile, and attract students
- Convert students exploring options into fee paying enrollments
- Accelerate learning by providing educational resources for just-in-time, direct, informal use by both students and self-directed learners
- Add value to knowledge production
- Reduce faculty preparation time
- Save students a significant amount of cost – (this case has been particularly substantiated for open textbooks)
- Enhance quality
- Generate innovation through collaboration
Take a moment
Licensing
Licensing plays a big role in open because it determines the extent that learning objects can be used in 5R activities. All creators automatically have copyright over their created works which gives creators the right to control how their material is used. Upon creation, creators can choose to give their work an open license which indicates to others that the work can be used under certain conditions. These licenses do not remove or replace copyright, but they allow others to legally use, share, remix, or repurpose the work. The most common open licenses to use are Creative Commons licenses.
Creative Commons
Creators or copyright holders who wish to apply a Creative Commons license to their work can choose to allow their work to be copied and reused with any one or more restrictions, or certain combinations of restrictions. The four restrictions are:
| Icon | Option | Restriction |
| Attribution
|
You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. | |
| Share Alike
|
If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. | |
| Non Commercial
|
You may not use the material for commercial purposes. | |
| No Derivatives
|
If you remix, transform, or build upon the material, you may not distribute the modified material.
|
These four restrictions can be mixed and matched to form six different Creative Commons licenses. All Creative Commons licenses require attribution. The specific types of Creative Commons licenses are:
| Image | License | Description |
| CC-BY Attribution |
This license lets others distribute, remix, tweak, and build upon the work as long as they credit the creator for the original creation. This is the most flexible and accommodating of the available Creative Commons licenses.
|
|
| CC-BY-ND Attribution-NoDerivs |
This license allows for redistribution, commercial and non-commercial, as long as the licensed work is passed along unchanged and in whole, with credit to the creator.
|
|
| CC BY-NC Attribution-NonCommercial |
This license lets others remix, tweak, and build upon the work non-commercially.
|
|
| CC BY-SA Attribution-ShareAlike |
This license lets others remix, tweak, and build upon the work as long as they credit the creator and license all new creations under the identical terms. All new works based on yours will carry the same license.
|
|
| CC BY-NC-SA Attribution-NonCommercial-ShareAlike |
This license lets others remix, tweak, and build upon your work non-commercially, as long as they credit the creator and license their new creations under the identical terms.
|
|
| CC BY-NC-ND Attribution-NonCommercial-NoDerivs |
This license is the most restrictive of the six main licenses, only allowing others to download your works and share them with others as long as they credit the creator, but they can’t change them in any way or use them commercially.
|
|
| CC0 CC Zero |
CC0 is a public dedication tool, which allows creators to give up their copyright and put their works into the worldwide public domain. CC0 allows reusers to distribute, remix, adapt, and build upon the material in any medium or format, with no conditions.
|
Take a moment
Module quiz
Test your knowledge about the basic concepts of Open and Creative Commons Licensing
Summary
Adaptation statements
This module adapted content from:
- What are Open Educational Resources? by BCcampus OpenEd, CC-BY
- Share Your Work by Creative Commons, CC-BY
Media Attributions
- What is an OER © MSU Libraries adapted by Open BCIT is licensed under a CC BY (Attribution) license
|
pressbooks
|
2025-03-22T05:09:29.659012
|
02-23-2022
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://pressbooks.bccampus.ca/introtooers/chapter/module-1-introduction/#chapter-5-section-2",
"book_url": "https://pressbooks.bccampus.ca/introtooers/front-matter/licensing-info/",
"title": "Introduction to Open Educational Resources",
"author": "Amanda Grey",
"institution": "",
"subject": "Open learning, distance education"
}
|
https://pressbooks.bccampus.ca/introtooers/chapter/module-1-introduction/#chapter-5-section-3
|
Learning Objectives
At the end of this module, you will be able to
- List the characteristics of an open educational resource (OER)
- Discuss the benefits of open
- Compare different open licenses
What is open?
When something is described as “open”, it means that it has been made available with little to no restrictions for other people to access or use. Open can also describe practices, means, and methods that support the idea that knowledge and learning should be available to everyone by reducing barriers to share, access, and use.
Open Education encompasses resources, tools and practices that are free of legal, financial and technical barriers and can be fully used, shared and adapted in the digital environment. Open Education maximizes the power of the Internet to make education more affordable, accessible and effective.
– SPARC
An educational resource can be more or less open depending on what people are allowed to do with it. There are 5 core activities (5Rs) that people use open educational resources (OERs) for:
- Retain – make, own, and control a copy of the resource (e.g., download and keep your own copy)
- Revise – edit, adapt, and modify your copy of the resource (e.g., translate into another language)
- Remix – combine your original or revised copy of the resource with other existing material to create something new (e.g., make a mashup)
- Reuse – use your original, revised, or remixed copy of the resource publicly (e.g., on a website, in a presentation, in a class)
- Redistribute – share copies of your original, revised, or remixed copy of the resource with others (e.g., post a copy online or give one to a friend)
The ability for people to use an OER in any of these ways will be determined by what license the creator has chosen to put on the object.
Take a moment
Do you already participate in some of these activities?
Why is open valuable?
One of the driving factors for the adoption of OER, such as open textbooks, is they are free. But cost savings is not the only benefit of using OER – they are an essential part of open pedagogy and can be used to create a powerful learning experience for your students. Studies have revealed a “positive relationship between the use of OER and student academic achievement” [PDF] and suggest that OER may help to decrease withdrawal rates while increasing overall student grades.
OER can:
- Increase access to education
- Provide students with an opportunity to assess and plan their education choices
- Showcase an institution’s intellectual outputs, promote its profile, and attract students
- Convert students exploring options into fee paying enrollments
- Accelerate learning by providing educational resources for just-in-time, direct, informal use by both students and self-directed learners
- Add value to knowledge production
- Reduce faculty preparation time
- Save students a significant amount of cost – (this case has been particularly substantiated for open textbooks)
- Enhance quality
- Generate innovation through collaboration
Take a moment
Licensing
Licensing plays a big role in open because it determines the extent that learning objects can be used in 5R activities. All creators automatically have copyright over their created works which gives creators the right to control how their material is used. Upon creation, creators can choose to give their work an open license which indicates to others that the work can be used under certain conditions. These licenses do not remove or replace copyright, but they allow others to legally use, share, remix, or repurpose the work. The most common open licenses to use are Creative Commons licenses.
Creative Commons
Creators or copyright holders who wish to apply a Creative Commons license to their work can choose to allow their work to be copied and reused with any one or more restrictions, or certain combinations of restrictions. The four restrictions are:
| Icon | Option | Restriction |
| Attribution
|
You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. | |
| Share Alike
|
If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. | |
| Non Commercial
|
You may not use the material for commercial purposes. | |
| No Derivatives
|
If you remix, transform, or build upon the material, you may not distribute the modified material.
|
These four restrictions can be mixed and matched to form six different Creative Commons licenses. All Creative Commons licenses require attribution. The specific types of Creative Commons licenses are:
| Image | License | Description |
| CC-BY Attribution |
This license lets others distribute, remix, tweak, and build upon the work as long as they credit the creator for the original creation. This is the most flexible and accommodating of the available Creative Commons licenses.
|
|
| CC-BY-ND Attribution-NoDerivs |
This license allows for redistribution, commercial and non-commercial, as long as the licensed work is passed along unchanged and in whole, with credit to the creator.
|
|
| CC BY-NC Attribution-NonCommercial |
This license lets others remix, tweak, and build upon the work non-commercially.
|
|
| CC BY-SA Attribution-ShareAlike |
This license lets others remix, tweak, and build upon the work as long as they credit the creator and license all new creations under the identical terms. All new works based on yours will carry the same license.
|
|
| CC BY-NC-SA Attribution-NonCommercial-ShareAlike |
This license lets others remix, tweak, and build upon your work non-commercially, as long as they credit the creator and license their new creations under the identical terms.
|
|
| CC BY-NC-ND Attribution-NonCommercial-NoDerivs |
This license is the most restrictive of the six main licenses, only allowing others to download your works and share them with others as long as they credit the creator, but they can’t change them in any way or use them commercially.
|
|
| CC0 CC Zero |
CC0 is a public dedication tool, which allows creators to give up their copyright and put their works into the worldwide public domain. CC0 allows reusers to distribute, remix, adapt, and build upon the material in any medium or format, with no conditions.
|
Take a moment
Module quiz
Test your knowledge about the basic concepts of Open and Creative Commons Licensing
Summary
Adaptation statements
This module adapted content from:
- What are Open Educational Resources? by BCcampus OpenEd, CC-BY
- Share Your Work by Creative Commons, CC-BY
Media Attributions
- What is an OER © MSU Libraries adapted by Open BCIT is licensed under a CC BY (Attribution) license
|
pressbooks
|
2025-03-22T05:09:29.682657
|
02-23-2022
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://pressbooks.bccampus.ca/introtooers/chapter/module-1-introduction/#chapter-5-section-3",
"book_url": "https://pressbooks.bccampus.ca/introtooers/front-matter/licensing-info/",
"title": "Introduction to Open Educational Resources",
"author": "Amanda Grey",
"institution": "",
"subject": "Open learning, distance education"
}
|
https://pressbooks.bccampus.ca/introtooers/chapter/module-1-introduction/#chapter-5-section-4
|
Learning Objectives
At the end of this module, you will be able to
- List the characteristics of an open educational resource (OER)
- Discuss the benefits of open
- Compare different open licenses
What is open?
When something is described as “open”, it means that it has been made available with little to no restrictions for other people to access or use. Open can also describe practices, means, and methods that support the idea that knowledge and learning should be available to everyone by reducing barriers to share, access, and use.
Open Education encompasses resources, tools and practices that are free of legal, financial and technical barriers and can be fully used, shared and adapted in the digital environment. Open Education maximizes the power of the Internet to make education more affordable, accessible and effective.
– SPARC
An educational resource can be more or less open depending on what people are allowed to do with it. There are 5 core activities (5Rs) that people use open educational resources (OERs) for:
- Retain – make, own, and control a copy of the resource (e.g., download and keep your own copy)
- Revise – edit, adapt, and modify your copy of the resource (e.g., translate into another language)
- Remix – combine your original or revised copy of the resource with other existing material to create something new (e.g., make a mashup)
- Reuse – use your original, revised, or remixed copy of the resource publicly (e.g., on a website, in a presentation, in a class)
- Redistribute – share copies of your original, revised, or remixed copy of the resource with others (e.g., post a copy online or give one to a friend)
The ability for people to use an OER in any of these ways will be determined by what license the creator has chosen to put on the object.
Take a moment
Do you already participate in some of these activities?
Why is open valuable?
One of the driving factors for the adoption of OER, such as open textbooks, is they are free. But cost savings is not the only benefit of using OER – they are an essential part of open pedagogy and can be used to create a powerful learning experience for your students. Studies have revealed a “positive relationship between the use of OER and student academic achievement” [PDF] and suggest that OER may help to decrease withdrawal rates while increasing overall student grades.
OER can:
- Increase access to education
- Provide students with an opportunity to assess and plan their education choices
- Showcase an institution’s intellectual outputs, promote its profile, and attract students
- Convert students exploring options into fee paying enrollments
- Accelerate learning by providing educational resources for just-in-time, direct, informal use by both students and self-directed learners
- Add value to knowledge production
- Reduce faculty preparation time
- Save students a significant amount of cost – (this case has been particularly substantiated for open textbooks)
- Enhance quality
- Generate innovation through collaboration
Take a moment
Licensing
Licensing plays a big role in open because it determines the extent that learning objects can be used in 5R activities. All creators automatically have copyright over their created works which gives creators the right to control how their material is used. Upon creation, creators can choose to give their work an open license which indicates to others that the work can be used under certain conditions. These licenses do not remove or replace copyright, but they allow others to legally use, share, remix, or repurpose the work. The most common open licenses to use are Creative Commons licenses.
Creative Commons
Creators or copyright holders who wish to apply a Creative Commons license to their work can choose to allow their work to be copied and reused with any one or more restrictions, or certain combinations of restrictions. The four restrictions are:
| Icon | Option | Restriction |
| Attribution
|
You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. | |
| Share Alike
|
If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. | |
| Non Commercial
|
You may not use the material for commercial purposes. | |
| No Derivatives
|
If you remix, transform, or build upon the material, you may not distribute the modified material.
|
These four restrictions can be mixed and matched to form six different Creative Commons licenses. All Creative Commons licenses require attribution. The specific types of Creative Commons licenses are:
| Image | License | Description |
| CC-BY Attribution |
This license lets others distribute, remix, tweak, and build upon the work as long as they credit the creator for the original creation. This is the most flexible and accommodating of the available Creative Commons licenses.
|
|
| CC-BY-ND Attribution-NoDerivs |
This license allows for redistribution, commercial and non-commercial, as long as the licensed work is passed along unchanged and in whole, with credit to the creator.
|
|
| CC BY-NC Attribution-NonCommercial |
This license lets others remix, tweak, and build upon the work non-commercially.
|
|
| CC BY-SA Attribution-ShareAlike |
This license lets others remix, tweak, and build upon the work as long as they credit the creator and license all new creations under the identical terms. All new works based on yours will carry the same license.
|
|
| CC BY-NC-SA Attribution-NonCommercial-ShareAlike |
This license lets others remix, tweak, and build upon your work non-commercially, as long as they credit the creator and license their new creations under the identical terms.
|
|
| CC BY-NC-ND Attribution-NonCommercial-NoDerivs |
This license is the most restrictive of the six main licenses, only allowing others to download your works and share them with others as long as they credit the creator, but they can’t change them in any way or use them commercially.
|
|
| CC0 CC Zero |
CC0 is a public dedication tool, which allows creators to give up their copyright and put their works into the worldwide public domain. CC0 allows reusers to distribute, remix, adapt, and build upon the material in any medium or format, with no conditions.
|
Take a moment
Module quiz
Test your knowledge about the basic concepts of Open and Creative Commons Licensing
Summary
Adaptation statements
This module adapted content from:
- What are Open Educational Resources? by BCcampus OpenEd, CC-BY
- Share Your Work by Creative Commons, CC-BY
Media Attributions
- What is an OER © MSU Libraries adapted by Open BCIT is licensed under a CC BY (Attribution) license
|
pressbooks
|
2025-03-22T05:09:29.705970
|
02-23-2022
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://pressbooks.bccampus.ca/introtooers/chapter/module-1-introduction/#chapter-5-section-4",
"book_url": "https://pressbooks.bccampus.ca/introtooers/front-matter/licensing-info/",
"title": "Introduction to Open Educational Resources",
"author": "Amanda Grey",
"institution": "",
"subject": "Open learning, distance education"
}
|
https://pressbooks.bccampus.ca/introtooers/chapter/module-1-introduction/#chapter-5-section-5
|
Learning Objectives
At the end of this module, you will be able to
- List the characteristics of an open educational resource (OER)
- Discuss the benefits of open
- Compare different open licenses
What is open?
When something is described as “open”, it means that it has been made available with little to no restrictions for other people to access or use. Open can also describe practices, means, and methods that support the idea that knowledge and learning should be available to everyone by reducing barriers to share, access, and use.
Open Education encompasses resources, tools and practices that are free of legal, financial and technical barriers and can be fully used, shared and adapted in the digital environment. Open Education maximizes the power of the Internet to make education more affordable, accessible and effective.
– SPARC
An educational resource can be more or less open depending on what people are allowed to do with it. There are 5 core activities (5Rs) that people use open educational resources (OERs) for:
- Retain – make, own, and control a copy of the resource (e.g., download and keep your own copy)
- Revise – edit, adapt, and modify your copy of the resource (e.g., translate into another language)
- Remix – combine your original or revised copy of the resource with other existing material to create something new (e.g., make a mashup)
- Reuse – use your original, revised, or remixed copy of the resource publicly (e.g., on a website, in a presentation, in a class)
- Redistribute – share copies of your original, revised, or remixed copy of the resource with others (e.g., post a copy online or give one to a friend)
The ability for people to use an OER in any of these ways will be determined by what license the creator has chosen to put on the object.
Take a moment
Do you already participate in some of these activities?
Why is open valuable?
One of the driving factors for the adoption of OER, such as open textbooks, is they are free. But cost savings is not the only benefit of using OER – they are an essential part of open pedagogy and can be used to create a powerful learning experience for your students. Studies have revealed a “positive relationship between the use of OER and student academic achievement” [PDF] and suggest that OER may help to decrease withdrawal rates while increasing overall student grades.
OER can:
- Increase access to education
- Provide students with an opportunity to assess and plan their education choices
- Showcase an institution’s intellectual outputs, promote its profile, and attract students
- Convert students exploring options into fee paying enrollments
- Accelerate learning by providing educational resources for just-in-time, direct, informal use by both students and self-directed learners
- Add value to knowledge production
- Reduce faculty preparation time
- Save students a significant amount of cost – (this case has been particularly substantiated for open textbooks)
- Enhance quality
- Generate innovation through collaboration
Take a moment
Licensing
Licensing plays a big role in open because it determines the extent that learning objects can be used in 5R activities. All creators automatically have copyright over their created works which gives creators the right to control how their material is used. Upon creation, creators can choose to give their work an open license which indicates to others that the work can be used under certain conditions. These licenses do not remove or replace copyright, but they allow others to legally use, share, remix, or repurpose the work. The most common open licenses to use are Creative Commons licenses.
Creative Commons
Creators or copyright holders who wish to apply a Creative Commons license to their work can choose to allow their work to be copied and reused with any one or more restrictions, or certain combinations of restrictions. The four restrictions are:
| Icon | Option | Restriction |
| Attribution
|
You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. | |
| Share Alike
|
If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. | |
| Non Commercial
|
You may not use the material for commercial purposes. | |
| No Derivatives
|
If you remix, transform, or build upon the material, you may not distribute the modified material.
|
These four restrictions can be mixed and matched to form six different Creative Commons licenses. All Creative Commons licenses require attribution. The specific types of Creative Commons licenses are:
| Image | License | Description |
| CC-BY Attribution |
This license lets others distribute, remix, tweak, and build upon the work as long as they credit the creator for the original creation. This is the most flexible and accommodating of the available Creative Commons licenses.
|
|
| CC-BY-ND Attribution-NoDerivs |
This license allows for redistribution, commercial and non-commercial, as long as the licensed work is passed along unchanged and in whole, with credit to the creator.
|
|
| CC BY-NC Attribution-NonCommercial |
This license lets others remix, tweak, and build upon the work non-commercially.
|
|
| CC BY-SA Attribution-ShareAlike |
This license lets others remix, tweak, and build upon the work as long as they credit the creator and license all new creations under the identical terms. All new works based on yours will carry the same license.
|
|
| CC BY-NC-SA Attribution-NonCommercial-ShareAlike |
This license lets others remix, tweak, and build upon your work non-commercially, as long as they credit the creator and license their new creations under the identical terms.
|
|
| CC BY-NC-ND Attribution-NonCommercial-NoDerivs |
This license is the most restrictive of the six main licenses, only allowing others to download your works and share them with others as long as they credit the creator, but they can’t change them in any way or use them commercially.
|
|
| CC0 CC Zero |
CC0 is a public dedication tool, which allows creators to give up their copyright and put their works into the worldwide public domain. CC0 allows reusers to distribute, remix, adapt, and build upon the material in any medium or format, with no conditions.
|
Take a moment
Module quiz
Test your knowledge about the basic concepts of Open and Creative Commons Licensing
Summary
Adaptation statements
This module adapted content from:
- What are Open Educational Resources? by BCcampus OpenEd, CC-BY
- Share Your Work by Creative Commons, CC-BY
Media Attributions
- What is an OER © MSU Libraries adapted by Open BCIT is licensed under a CC BY (Attribution) license
|
pressbooks
|
2025-03-22T05:09:29.729330
|
02-23-2022
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://pressbooks.bccampus.ca/introtooers/chapter/module-1-introduction/#chapter-5-section-5",
"book_url": "https://pressbooks.bccampus.ca/introtooers/front-matter/licensing-info/",
"title": "Introduction to Open Educational Resources",
"author": "Amanda Grey",
"institution": "",
"subject": "Open learning, distance education"
}
|
https://pressbooks.bccampus.ca/introtooers/chapter/module-1-introduction/#chapter-5-section-6
|
Learning Objectives
At the end of this module, you will be able to
- List the characteristics of an open educational resource (OER)
- Discuss the benefits of open
- Compare different open licenses
What is open?
When something is described as “open”, it means that it has been made available with little to no restrictions for other people to access or use. Open can also describe practices, means, and methods that support the idea that knowledge and learning should be available to everyone by reducing barriers to share, access, and use.
Open Education encompasses resources, tools and practices that are free of legal, financial and technical barriers and can be fully used, shared and adapted in the digital environment. Open Education maximizes the power of the Internet to make education more affordable, accessible and effective.
– SPARC
An educational resource can be more or less open depending on what people are allowed to do with it. There are 5 core activities (5Rs) that people use open educational resources (OERs) for:
- Retain – make, own, and control a copy of the resource (e.g., download and keep your own copy)
- Revise – edit, adapt, and modify your copy of the resource (e.g., translate into another language)
- Remix – combine your original or revised copy of the resource with other existing material to create something new (e.g., make a mashup)
- Reuse – use your original, revised, or remixed copy of the resource publicly (e.g., on a website, in a presentation, in a class)
- Redistribute – share copies of your original, revised, or remixed copy of the resource with others (e.g., post a copy online or give one to a friend)
The ability for people to use an OER in any of these ways will be determined by what license the creator has chosen to put on the object.
Take a moment
Do you already participate in some of these activities?
Why is open valuable?
One of the driving factors for the adoption of OER, such as open textbooks, is they are free. But cost savings is not the only benefit of using OER – they are an essential part of open pedagogy and can be used to create a powerful learning experience for your students. Studies have revealed a “positive relationship between the use of OER and student academic achievement” [PDF] and suggest that OER may help to decrease withdrawal rates while increasing overall student grades.
OER can:
- Increase access to education
- Provide students with an opportunity to assess and plan their education choices
- Showcase an institution’s intellectual outputs, promote its profile, and attract students
- Convert students exploring options into fee paying enrollments
- Accelerate learning by providing educational resources for just-in-time, direct, informal use by both students and self-directed learners
- Add value to knowledge production
- Reduce faculty preparation time
- Save students a significant amount of cost – (this case has been particularly substantiated for open textbooks)
- Enhance quality
- Generate innovation through collaboration
Take a moment
Licensing
Licensing plays a big role in open because it determines the extent that learning objects can be used in 5R activities. All creators automatically have copyright over their created works which gives creators the right to control how their material is used. Upon creation, creators can choose to give their work an open license which indicates to others that the work can be used under certain conditions. These licenses do not remove or replace copyright, but they allow others to legally use, share, remix, or repurpose the work. The most common open licenses to use are Creative Commons licenses.
Creative Commons
Creators or copyright holders who wish to apply a Creative Commons license to their work can choose to allow their work to be copied and reused with any one or more restrictions, or certain combinations of restrictions. The four restrictions are:
| Icon | Option | Restriction |
| Attribution
|
You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. | |
| Share Alike
|
If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. | |
| Non Commercial
|
You may not use the material for commercial purposes. | |
| No Derivatives
|
If you remix, transform, or build upon the material, you may not distribute the modified material.
|
These four restrictions can be mixed and matched to form six different Creative Commons licenses. All Creative Commons licenses require attribution. The specific types of Creative Commons licenses are:
| Image | License | Description |
| CC-BY Attribution |
This license lets others distribute, remix, tweak, and build upon the work as long as they credit the creator for the original creation. This is the most flexible and accommodating of the available Creative Commons licenses.
|
|
| CC-BY-ND Attribution-NoDerivs |
This license allows for redistribution, commercial and non-commercial, as long as the licensed work is passed along unchanged and in whole, with credit to the creator.
|
|
| CC BY-NC Attribution-NonCommercial |
This license lets others remix, tweak, and build upon the work non-commercially.
|
|
| CC BY-SA Attribution-ShareAlike |
This license lets others remix, tweak, and build upon the work as long as they credit the creator and license all new creations under the identical terms. All new works based on yours will carry the same license.
|
|
| CC BY-NC-SA Attribution-NonCommercial-ShareAlike |
This license lets others remix, tweak, and build upon your work non-commercially, as long as they credit the creator and license their new creations under the identical terms.
|
|
| CC BY-NC-ND Attribution-NonCommercial-NoDerivs |
This license is the most restrictive of the six main licenses, only allowing others to download your works and share them with others as long as they credit the creator, but they can’t change them in any way or use them commercially.
|
|
| CC0 CC Zero |
CC0 is a public dedication tool, which allows creators to give up their copyright and put their works into the worldwide public domain. CC0 allows reusers to distribute, remix, adapt, and build upon the material in any medium or format, with no conditions.
|
Take a moment
Module quiz
Test your knowledge about the basic concepts of Open and Creative Commons Licensing
Summary
Adaptation statements
This module adapted content from:
- What are Open Educational Resources? by BCcampus OpenEd, CC-BY
- Share Your Work by Creative Commons, CC-BY
Media Attributions
- What is an OER © MSU Libraries adapted by Open BCIT is licensed under a CC BY (Attribution) license
|
pressbooks
|
2025-03-22T05:09:29.755092
|
02-23-2022
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://pressbooks.bccampus.ca/introtooers/chapter/module-1-introduction/#chapter-5-section-6",
"book_url": "https://pressbooks.bccampus.ca/introtooers/front-matter/licensing-info/",
"title": "Introduction to Open Educational Resources",
"author": "Amanda Grey",
"institution": "",
"subject": "Open learning, distance education"
}
|
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