9 Matching Annotations
  1. Feb 2021
    1. unfamiliar—that is, a metaphorical Journey in which designers move into unchartered territory by attempting to formulate what hasn’t yet been formulated.

      Head Scratcher: using this simple explanation of "unfamiliar" we can see that it is difficult to navigate through territory that has not been properly formed yet or mapped out.

      How do we move forward as Instuctional Designers into the future of Education and Instruction?

      My best efforts so far have been to never be afraid to try new models or technology to lead your instruction.

    2. innovative learning in situ provides a progressing basis for improvements in designer practices, which informs how they can relate to future work, and might, in that sense, contribute to shifts in professional identity and practical wisdom over time.

      This has me wondering, how often should IDs update their work? We have talked a lot about the process, but not about a time frame. Innovative learning makes me think of something that should be revisited and revised often, specially in the realm of education and technology. If I think of it outside of this realm, and it is something a company budgets for, it may not be revisited for many years. Is that effective?

    3. frees designers from the need to innovate all aspects of their practice

      Innovations is hard work, but is that not what we should strive for?

    1. Critical and creative thinkers engage in active planning and forethought to set goals, outline strategies, and determine the best methods through which they can achieve their goals

      Head Scratcher: How are we promoting critical and creative thinkers in our instruction?

      As a high school math teacher this can be easier at times, and more difficult at times depending on the class and the course material. At times it is easy to promote creative when dealing with honors classing and higher math courses. But when working with remedial Algebra classes it can be more difficult to promote creativity and critical thinking because of high levels of apathy and prior knowledge. Sometimes the best way to promote success in those classes is through repetition and memeorization of steps to solve common test promblems.

    2. but what does it mean to be clever, and how can you teach someone to be clever?

      Head Scratcher: How do you teach "cleverness"? This is a tough question and I feel that it is hard to understand for most instructors. How do I get my students to be more creative and clever, I believe we usually feel that students either are or are not creative and thats the end of the story. So really maybe we are the ones at fault for not teaching studetns to be "creative".

    1. We still must decide how to present certain information, but it doesn’t have to be at the cost of another medium.

      Headscratcher: How do we make sure, in our times creating instuction, that we do not neglect a medium that could be used for instruction?

      I feel that one way could be to allow learners choice in how they respond to prompts and learning. I feel that this could allow for students to use their gifting and talents to excel and produce amazing work.

    2. They may be less concerned about either effectiveness or creativity.

      As an educator, this statement was difficult for me to wrap my mind around. I can't imagine creating a product / lesson and not being concerned about how effective it is!

    3. it doesn’t allow for moving back and forth among the steps as new information and insights are gained.

      "The critics" as the author refers to them as would definitely point to ADDIE as being restrictive and linear in design, but I wonder if they would feel the same way about SAM which is typically more flexible, dynamic, and iterative?

    4. Keller’s (1987) ARCS Model as a means of systematically addressing the motivation of learners.

      I wonder if the ARCS Model reflects Robert M. Gagne's events of instruction? I think I recall 1) "gaining the attention of the learner" as a shared component among the two types of models.