Innovate - Backwards into the Future: Seven Principles for Educating the Ne(x)t Generation - 0 views
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In contrast to traditional English courses, which are mostly paper-based, our reading materials can all be found on the Web, and the students present their work in the form of interactive Web pages that are accessible to everyone in the class, thereby forging a virtual learning community to parallel the physical community of the classroom.
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Teaching to the future, we contend, involves forging pathways for our students that we do not necessarily intend to travel ourselves.
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With each new iteration of Poetry off the Page, our students' expertise has driven the course design, rather than vice versa.
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We provide ample support and encouragement to "trailing edge" students whose online capabilities barely extend beyond e-mail, but at the same time, we leave the door open for those at the leading edge to suggest innovations that we ourselves would be incapable of imagining, much less of implementing.
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By recasting students as researchers and teachers, we invite them to participate in what is arguably the most exciting and fulfilling aspect of university life: the production of new knowledge (Exhibit 2).
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We would be hard pressed to name a profession—including academe itself—that does not demand some ability to interact effectively with other human beings. Yet higher education remains, especially in the humanities, a highly individualistic enterprise. In a typical English course, students write their essays for an audience of one—namely, the instructor who does the grading—while "group discussions" frequently consist of individuals talking directly to the teacher with little regard for their peers. In a discipline built around the ideal of the lone genius, our epigraph to this section remains as wishfully subversive today as it was a century and a half ago.
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Teaching to the future involves harnessing the collaborative impulses already at large in digital culture and directing them toward educational ends, so that "group work" shifts in our students' perception from an eyeroll-inducing educational gimmick to a cutting-edge skill worthy of cultivation and scrutiny.
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Later, they take part in a formative peer assessment exercise during which we project draft versions of their final projects onscreen while classmates ask questions and provide suggestions for improvement. The success of this "Live Crit" session (a concept borrowed from architecture and the fine arts) reflects the atmosphere of collaboration and trust that we have consciously cultivated among the students all semester
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Again, similar to what Brown and Adler talk of when they discussed the open critic of architecht students' work.
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Exhibit 4).
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Higher education is an aquifer, not a spigot.
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"The Poem of the Contents of Everybody's Pockets"; on the second day, we send them off around campus to chalk poems on the ground in public places; on the third day, we engage them in a critical analysis of both events, prompting them to come up with inventive ways in which such multifaceted live performances might be recorded (photographed? taped? videoed? narrativized?) for posterity.
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(Exhibit 7).
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with the students' enthusiastic permission—as permanent exhibits in the Archives section of our course Web site
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What about a permanent archive of exemplary work for all to benefit from?
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Exhibit 3
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"In the coming decades," warns hypertext theorist Jerome McGann, "the entirety of our cultural inheritance will be transformed and re-edited in digital forms," a monumental task for which both we and our students remain, by and large, seriously underprepared (2005, 181).
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to teach our students not to follow in our footsteps but to outstrip us.
