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LuAnne Holder

Academic Freedom vs. Mandated Course Content - ProfHacker - The Chronicle of Higher Edu... - 41 views

chronicle.com/...28764

master courses academic freedom intellectual property PDC standards adjuncts

shared by LuAnne Holder on 19 Nov 10 - No Cached
  • LuAnne Holder on 19 Nov 10
     
    An article in the Chronicle of Higher Ed that discusses the tension between course consistency among multiple sections of the same course and academic freedom for instructors to design their courses as they see fit.
Andrew McCluskey

Occupy Your Brain - 111 views

schoolingtheworld.org/...occupy

education education reform education system schooling pedagogy indigenous indigenous pedagogies knowledge alternative education standardization state standards national standards global standards power authority intellect

shared by Andrew McCluskey on 11 Feb 13 - No Cached
Ant Heald liked it
  • One of the most profound changes that occurs when modern schooling is introduced into traditional societies around the world is a radical shift in the locus of power and control over learning from children, families, and communities to ever more centralized systems of authority.
  • Once learning is institutionalized under a central authority, both freedom for the individual and respect for the local are radically curtailed.  The child in a classroom generally finds herself in a situation where she may not move, speak, laugh, sing, eat, drink, read, think her own thoughts, or even  use the toilet without explicit permission from an authority figure.
  • In what should be considered a chilling development, there are murmurings of the idea of creating global standards for education – in other words, the creation of a single centralized authority dictating what every child on the planet must learn.
  • ...26 more annotations...
  • In “developed” societies, we are so accustomed to centralized control over learning that it has become functionally invisible to us, and most people accept it as natural, inevitable, and consistent with the principles of freedom and democracy.   We assume that this central authority, because it is associated with something that seems like an unequivocal good – “education” – must itself be fundamentally good, a sort of benevolent dictatorship of the intellect. 
  • We endorse strict legal codes which render this process compulsory, and in a truly Orwellian twist, many of us now view it as a fundamental human right to be legally compelled to learn what a higher authority tells us to learn.
  • And yet the idea of centrally-controlled education is as problematic as the idea of centrally-controlled media – and for exactly the same reasons.
  • The First Amendment of the U.S. Constitution was designed to protect all forms of communication, information-sharing, knowledge, opinion and belief – what the Supreme Court has termed “the sphere of intellect and spirit” – from government control.
  • by the mid-19th century, with Indians still to conquer and waves of immigrants to assimilate, the temptation to find a way to manage the minds of an increasingly diverse and independent-minded population became too great to resist, and the idea of the Common School was born.
  • We would keep our freedom of speech and press, but first we would all be well-schooled by those in power.
  • A deeply democratic idea — the free and equal education of every child — was wedded to a deeply anti-democratic idea — that this education would be controlled from the top down by state-appointed educrats.
  • The fundamental point of the Occupy Wall Street movement is that the apparatus of democratic government has been completely bought and paid for by a tiny number of grotesquely wealthy individuals, corporations, and lobbying groups.  Our votes no longer matter.  Our wishes no longer count.  Our power as citizens has been sold to the highest bidder.
  • Our kids are so drowned in disconnected information that it becomes quite random what they do and don’t remember, and they’re so overburdened with endless homework and tests that they have little time or energy to pay attention to what’s happening in the world around them.
  • If in ten years we can create Wikipedia out of thin air, what could we create if we trusted our children, our teachers, our parents, our neighbors, to generate community learning webs that are open, alive, and responsive to individual needs and aspirations?  What could we create if instead of trying to “scale up” every innovation into a monolithic bureaucracy we “scaled down” to allow local and individual control, freedom, experimentation, and diversity?
  • The most academically “gifted” students excel at obedience, instinctively shaping their thinking to the prescribed curriculum and unconsciously framing out of their awareness ideas that won’t earn the praise of their superiors.  Those who resist sitting still for this process are marginalized, labeled as less intelligent or even as mildly brain-damaged, and, increasingly, drugged into compliance.
  • the very root, the very essence, of any theory of democratic liberty is a basic trust in the fundamental intelligence of the ordinary person.   Democracy rests on the premise that the ordinary person — the waitress, the carpenter, the shopkeeper — is competent to make her own judgments about matters of domestic policy, international affairs, taxes, justice, peace, and war, and that the government must abide by the decisions of ordinary people, not vice versa.  Of course that’s not the way our system really works, and never has been.   But most of us recall at some deep level of our beings that any vision of a just world relies on this fundamental respect for the common sense of the ordinary human being.
  • This is what we spend our childhood in school unlearning. 
  • If before we reach the age of majority we must submit our brains for twelve years of evaluation and control by government experts, are we then truly free to exercise our vote according to the dictates of our own common sense and conscience?  Do we even know what our own common sense is anymore?
  • We live in a country where a serious candidate for the Presidency is unaware that China has nuclear weapons, where half the population does not understand that Saddam Hussein had nothing to do with 9/11, where nobody pays attention as Congress dismantles the securities regulations that limit the power of the banks, where 45% of American high school students graduate without knowing that the First Amendment of the Constitution guarantees freedom of the press.   At what point do we begin to ask ourselves if we are trying to control quality in the wrong way?
  • Human beings, collaborating with one another in voluntary relationships, communicating and checking and counter-checking and elaborating and expanding on one another’s knowledge and intelligence, have created a collective public resource more vast and more alive than anything that has ever existed on the planet.
  • But this is not a paeon to technology; this is about what human intelligence is capable of when people are free to interact in open, horizontal, non-hierarchical networks of communication and collaboration.
  • Positive social change has occurred not through top-down, hierarchically controlled organizations, but through what the Berkana Institute calls “emergence,” where people begin networking and forming voluntary communities of practice. When the goal is to maximize the functioning of human intelligence, you need to activate the unique skills, talents, and knowledge bases of diverse individuals, not put everybody through a uniform mill to produce uniform results. 
  • You need a non-punitive structure that encourages collaboration rather than competition, risk-taking rather than mistake-avoidance, and innovation rather than repetition of known quantities.
  • if we really want to return power to the 99% in a lasting, stable, sustainable way, we need to begin the work of creating open, egalitarian, horizontal networks of learning in our communities.
  • They are taught to focus on competing with each other and gaming the system rather than on gaining a deep understanding of the way power flows through their world.
  • And what could we create, what ecological problems could we solve, what despair might we alleviate, if instead of imposing our rigid curriculum and the destructive economy it serves on the entire world, we embraced as part of our vast collective intelligence the wisdom and knowledge of the world’s thousands of sustainable indigenous cultures?
  • They knew this about their situation: nobody was on their side.  Certainly not the moneyed classes and the economic system, and not the government, either.  So if they were going to change anything, it had to come out of themselves.
  • As our climate heats up, as mountaintops are removed from Orissa to West Virginia, as the oceans fill with plastic and soils become too contaminated to grow food, as the economy crumbles and children go hungry and the 0.001% grows so concentrated, so powerful, so wealthy that democracy becomes impossible, it’s time to ask ourselves; who’s educating us?  To what end?  The Adivasis are occupying their forests and mountains as our children are occupying our cities and parks.  But they understand that the first thing they must take back is their common sense. 
  • They must occupy their brains.
  • Isn’t it time for us to do the same?
  • Andrew McCluskey on 11 Feb 13
     
    Carol Black, creator of the documentary, "Schooling the World" discusses the conflicting ideas of centralized control of education and standardization against the so-called freedom to think independently--"what the Supreme Court has termed 'the sphere of intellect and spirit" (Black, 2012). Root questions: "who's educating us? to what end?" (Black, 2012).
  • Andrew McCluskey on 11 Feb 13
     
    This is a must read. Carol Black echoes here many of the ideas of Paulo Freire, John Taylor Gatto and the like.
paul lowe

The Wealth of Networks » Chapter 1: Introduction: A Moment of Opportunity and... - 0 views

yupnet.org/8

benkler networks networked_information web2.0 wealth_of_nations paulphd

shared by paul lowe on 01 May 09 - Cached
  • paul lowe on 01 May 09
     
    Yochai Benkler's wealth of nations book online Next Chapter: Part I: The Networked Information Economy » read paragraph Chapter 1: Introduction: A Moment of Opportunity and Challenge 1 Information, knowledge, and culture are central to human freedom and human development. How they are produced and exchanged in our society critically affects the way we see the state of the world as it is and might be; who decides these questions; and how we, as societies and polities, come to understand what can and ought to be done. For more than 150 years, modern complex democracies have depended in large measure on an industrial information economy for these basic functions. In the past decade and a half, we have begun to see a radical change in the organization of information production. Enabled by technological change, we are beginning to see a series of economic, social, and cultural adaptations that make possible a radical transformation of how we make the information environment we occupy as autonomous individuals, citizens, and members of cultural and social groups. It seems passé today to speak of "the Internet revolution." In some academic circles, it is positively naïve. But it should not be. The change brought about by the networked information environment is deep. It is structural. It goes to the very foundations of how liberal markets and liberal democracies have coevolved for almost two centuries.
tapiatanova

A Social Network Can Be a Learning Network - The Digital Campus - The Chronicle of High... - 98 views

chronicle.com/...129609

social network sociallearning Social Media learning education millenials socialnetworking socialbookmarking pln ple optometry

shared by tapiatanova on 08 Nov 11 - No Cached
Kate Pok liked it
  • Sharing student work on a course blog is an example of what Randall Bass and Heidi Elmendorf, of Georgetown University, call "social pedagogies." They define these as "design approaches for teaching and learning that engage students with what we might call an 'authentic audience' (other than the teacher), where the representation of knowledge for an audience is absolutely central to the construction of knowledge in a course."
    • trisha_poole
      trisha_poole on 08 Nov 11
       
      Very important - social pedagogies for authentic tasks - a key for integrating SNTs in the classroom.
    • Daniel Spielmann
      Daniel Spielmann on 09 Nov 11
       
      Agreed, for connectivism see also www.connectivism.ca
  • External audiences certainly motivate students to do their best work. But students can also serve as their own authentic audience when asked to create meaningful work to share with one another.
    • Daniel Spielmann
      Daniel Spielmann on 09 Nov 11
       
      The last sentence is especially important in institutional contexts where the staff voices their distrust against "open scholarship" (Weller 2011), web 2.0 and/or open education. Where "privacy" is deemed the most important thing in dealing with new technologies, advocates of an external audience have to be prepared for certain questions.
    • tapiatanova
      tapiatanova on 03 Jan 14
       
      yes! nothing but barriers! However, it is unclear if the worries about pravacy are in regards to students or is it instructors who fear teaching in the open. everyone cites FERPA and protection of student identities, but I have yet to hear any student refusing to work in the open...
  • Students most likely won't find this difficult. After all, you're asking them to surf the Web and tag pages they like. That's something they do via Facebook every day. By having them share course-related content with their peers in the class, however, you'll tap into their desires to be part of your course's learning community. And you might be surprised by the resources they find and share.
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  • back-channel conversations
  • While keynote speakers and session leaders are speaking, audience members are sharing highlights, asking questions, and conversing with colleagues on Twitter
    • trisha_poole
      trisha_poole on 08 Nov 11
       
      An effective use of Twitter that can be translated to classrooms.
    • Daniel Spielmann
      Daniel Spielmann on 09 Nov 11
       
      All classrooms?
    • John Dorn
      John Dorn on 09 Nov 11
       
      classrooms where students are motivated to learn. Will this work in a HS classroom where kids just view their phones as a means to check up on people? Maybe if they can see "cool" class could be if they were responsible for the freedoms that would be needed to use twitter or other similar sites.
  • Ask your students to create accounts on Twitter or some other back-channel tool and share ideas that occur to them in your course. You might give them specific assignments, as does the University of Connecticut's Margaret Rubega, who asks students in her ornithology class to tweet about birds they see. During a face-to-face class session, you could have students discuss their reading in small groups and share observations on the back channel. Or you could simply ask them to post a single question about the week's reading they would like to discuss.
  • A back channel provides students a way to stay connected to the course and their fellow students. Students are often able to integrate back channels into their daily lives, checking for and sending updates on their smartphones, for instance. That helps the class become more of a community and gives students another way to learn from each other.
  • Deep learning is hard work, and students need to be well motivated in order to pursue it. Extrinsic factors like grades aren't sufficient—they motivate competitive students toward strategic learning and risk-averse students to surface learning.
  • Social pedagogies provide a way to tap into a set of intrinsic motivations that we often overlook: people's desire to be part of a community and to share what they know with that community.
  • Online, social pedagogies can play an important role in creating such a community. These are strong motivators, and we can make use of them in the courses we teach.
  • The papers they wrote for my course weren't just academic exercises; they were authentic expressions of learning, open to the world as part of their "digital footprints."
    • Daniel Spielmann
      Daniel Spielmann on 09 Nov 11
       
      Yes, but what is the relation between such writing and ("proper"?) academic writing?
  • Collaborative documents need not be text-based works. Sarah C. Stiles, a sociologist at Georgetown, has had her students create collaborative timelines showing the activities of characters in a text, using a presentation tool called Prezi.com. I used that tool to have my cryptography students create a map of the debate over security and privacy. They worked in small groups to brainstorm arguments, and contributed those arguments to a shared debate map synchronously during class.
  • Daniel Spielmann on 09 Nov 11
     
    A great blog post on social pedagogies and how they can be incorporated in university/college classes. A good understanding of creating authentic learning experiences through social media.
  • John Dorn on 09 Nov 11
     
    A great blog post on social pedagogies and how they can be incorporated in university/college classes. A good understanding of creating authentic learning experiences through social media.
  • tapiatanova on 03 Jan 14
     
    A great blog post on social pedagogies and how they can be incorporated in university/college classes. A good understanding of creating authentic learning experiences through social media.
Brianna Crowley

Response: Several Ways to Get the New Year Off to a Good Start -- Part One - Classroom ... - 60 views

blogs.edweek.org/..._a_good_start_--_part_one.html

firstday resources teaching

shared by Brianna Crowley on 16 Aug 12 - No Cached
Denise Olsen liked it
  • Every day that first week, even in the first meeting, teach something substantive in the curriculum. Make it something that is brand new, not something reviewed from the previous year. Students are hungry for intellectual engagement after a summer off, and they want to think great thoughts and do great works.
  • Mix academics with administrative and Get-to-Know-You activities. It should be about 50-50: half engagement with interesting academics, half focused on forms, announcements, or activities meant to build classroom community. Keep the ratio: students will grow impatient and disillusioned if too much time is spent on get-to-know-you activities. It sounds weird, but most students are not looking for continued summer camp experiences so much as they are seeking confidence and engagement.
  • choose poems related to growing up or modern culture, or read share the lyrics of powerful songs of any generation.
  • ...1 more annotation...
  • Tell students what new opportunities and freedoms they now have instead of just listing rules and the consequences for breaking them.
meghankelly492

Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experie... - 7 views

muse.jhu.edu/224140

world Music

shared by meghankelly492 on 22 Jul 19 - No Cached
  • n contrast to others who are not as prone to divulge their feelings about their creative process
  • "Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
  • The testimonies of the composers concerned bear on questions about (a) the role of the conscious and the unconscious in music creativity, (b) how the compositional process gets started, and (c) how the compositional process moves forward
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  • It is hoped that the themes that emerge by setting twentieth and twenty-first century professional composers' accounts of certain compositional experiences or phases of their creative processes against one another will provide a philosophical framework for teaching composition.
  • Furthermore, the knowledge of how professional composers compose offers the potential of finding the missing link in music education; that is, the writing of music by students within the school curriculum
  • Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
  • raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
  • It is hoped that the direct access to these composers' thoughts about the subjective experience of composing Western art music in the second half of the twentieth and the beginning of the twenty-first century may also promote the image of a fragmented culture whose ghettoization in music education is a serious impediment to the development of a comprehensive aesthetic education.
  • n other words, there is a striking unanimity among composers that the role of the unconscious is vital in order to start and/or to complete a work to their own satisfaction.
  • I need . . . to become involved, to come into a state where I do something without knowing why I do i
  • This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
  • Nonetheless, these self-observations about the complementary roles of the unconscious and conscious aspects of musical creativity do not cover the wide range of claims in psychological research on creativity
  • I strongly believe that, if we cannot explain this process, then we must acknowledge it as a mystery.25 Mysteries are not solved by encouraging us not to declare them to be mysteries
  • When Ligeti was commissioned to write a companion piece for Brahms' Horn Trio, he declared, "When the sound of an instrument or a group of instruments or the human voice finds an echo in me, in the musical idea within me, then I can sit down and compose. [O]therwise I canno
  • Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
  • ome composers need to have something for it to react against.38 Xenakis, however, asserted that "all truly creative people escape this foolish side of work, the exaltation of sentiments. They are to be discarded like the fat surrounding meat before it is cooked."
  • as, as these examples show, dreams can also solve certain problems of the creative process.
  • In other words, to compose does not mean to merely carry out an initial idea. The composer reserves the right to change his or her mind after the conception of an idea.
  • n sum, self-imposed restrictions or "boundary conditions"55 seem to provide composers with a kind of pretext to choose from an otherwise chaotic multitude of compositional possibilities that, however, gradually disappears and gets absorbed into the process of composition which is characterized by the composers' aesthetic perceptions and choices.
  • Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
  • Thereby the past is seen as being comprised by a static system of rules and techniques that needs to be innovated and emancipated during the composers' search for their own musical identity.
  • I strongly suggest that we play down basics like who influenced whom, and instead study the way the influence is transformed; in other words: how the artist made it his own.
  • Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
  • Furthermore, for some composers the musical influence can emerge from the development of computer technology.
  • In sum, the compositional process proceeds in a kind of personal and social tension. In many cases, composers are faced with the tensive conflict between staying with tradition and breaking new ground at each step in the process. Thus, one might conclude that the creative process springs from a systematic viewpoint determined by a number of choices in which certain beliefs, ideas, and influences—by no means isolated from the rest of the composer's life—play a dominant role in the search for new possibilities of expression.
  • If a general educational approach is to emerge from the alloy of composers' experiences of their music creativity, it rests on the realization that the creative process involves a diversity of idiosyncratic conscious and unconscious traits.
  • After all, the creative process is an elusive cultural activity with no recipes for making it happen.
  • n this light, the common thread of composers' idiosyncratic concerns and practices that captures the overall aura of their music creativity pertains to (a) the intangibility of the unconscious throughout the compositional process,68 (b) the development of musical individuality,69 and (c) the desire to transgress existing rules and codes, due to their personal and social conflict between tradition and innovation.70
  • In turn, by making student composers in different classroom settings grasp the essence of influential professional composers' creative concerns, even if they do not intend to become professional composers, we can help them immerse in learning experiences that respect the mysteries of their intuitions, liberate their own practices of critical thinking in music, and dare to create innovative music that expresses against-the-prevailing-grain musical beliefs and ideas.
  • Therefore, it is critical that the music teacher be seen as the facilitator of students' compositional processes helping students explore and continuously discover their own creative personalities and, thus, empowering their personal involvement with music. Any creative work needs individual attention and encouragement for each vision and personal experience are different.
  • After all, the quality of mystery is a common theme in nearly every composer's accoun
  • Failing this, musical creativity remains a predictable academic exercise
  • Music teachers need to possess the generosity to refuse to deny student composers the freedom to reflect their own insights back to them and, in turn, influence the teachers' musical reality
  • Indeed, it is important that music teachers try to establish students gradually as original, independent personalities who try to internalize sounds and, thus, unite themselves with their environment in a continuous creative process.
  • Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
  • n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
  • While music creativity has been a component of music education research for decades, some of the themes arising from professional composers' experiences of their creativity, such as the significance of the unconscious, the apprehension towards discovering ones' own musical language, or the personal and social tension between tradition and innovation, among others, have not been adequately recognized in the literature of music education
  • By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
  • which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
  • . On the other hand, only few music educators appear to draw their composer students' attention to the importance of the personal and social conflict between staying within a tradition or code, even if it is the Western popular music tradition, and breaking new ground at each step in the creative process and, possibly, shaping new traditions or codes.
  • Culture is a precious human undertaking, and the host of musics, arts, languages, religions, myths, and rituals that comprise it need to be carefully transmitted to the young and transformed in the process."85
  • Nevertheless, further research is needed in which women's voices can be heard that may offer an emancipatory perspective for the instruction of composition in education which will "challenge the political domination of men."
Roland Gesthuizen

Why "open education" matters : JISC - 29 views

www.jisc.ac.uk/why-open

openeducation freedom socialnetworking

shared by Roland Gesthuizen on 09 Mar 12 - No Cached
  • open education goes across the boundaries of formal and informal, children and adults, across academic disciplines, into professional development and into making and crafting. Universities don’t own the “open education” space any more than any organisation could be said to own “learning”
  • We need to be digitally literate, but more than that, we need to find ways of doing our work online, to become open practitioners and digital scholars
  • For educational institutions to thrive, we need to explore models for how we can work in this space, with all its opportunities and risks, all its noise and vibrancy. It is here that we see possibilities for new models of collaboration, peer learning and accreditation.
  • Roland Gesthuizen on 09 Mar 12
     
    "Open education" matters because it's already happening all around us. .. although it may not be mainstream yet, it is very real. The models continue to grow and combine with the ethos of open access and the methods of open source.The choice for us, as individuals and educational organisations, is in how we respond.
Virginia Meadow

Diigo Tutorials - 4 views

www.google.com/...BDRqfSgoQquKe8MMj

diigo tutorials tutorial web2.0 bookmarking

shared by Virginia Meadow on 31 Dec 08 - Cached
  • Diigo Tutorials Last edited September 19, 2008 More by Cliotech - Jennifer Dorman »
  • #6: Hate photocopying and assembling bulky, wasteful handouts? Save time and money. Just tag the pages, including highlights and notes, you want to include, then quickly Extract all the information under that tag. Give students CDs containing copies of the HTML file which has links to all the original pages and includes highlighted passages and your notes, or print copies as you need them. Watch this demo to see how it's done.
    • Donna Lacon
      Donna Lacon on 05 Jan 09
       
      Teacher uses for instruction
  • #11: Whether you write a blog for colleagues or to keep your students infromed, Diigo offers several useful features. You can blog directly from the Diigo toolbar, with a link to the page you're writing about as well as your highlights and notes already added to the post. Diigo will also send a linkroll of resources you've saved directly to your blog with no extra effort on your part.
  • ...3 more annotations...
  • As you build your lesson plan, tag each resource by unit or by week, highlight passages you want to draw students' attention to, and add your own notes to guide them. You can also 'chain' resources by simply adding a link to the next page at the bottom of each note. Diigo's flexibility gives you freedom to use just the structure that is right for your needs and the needs of your classes.
  • Keep up with changes, and always offer your students the latest, most accurate information. By finding frequently updated academic or educational sites on the Web, you can provide them with the most current and relevant material. All you need to do is delete links that have become useless, add the new ones you want, and when you extract the entire topic everything will be up to date.
  • Share anything you find with a colleague, including your highlights and notes, even if they don't use Diigo. Simply use the Forward feature, and Diigo will send anyone you choose a link to the original page along with the text you highlighted, your notes, and any comments you choose to add. All with no cutting, pasting, or going to another window to compose an e-mail.
  • Dennis OConnor on 31 Dec 08
     
    Jennifer Dorman's Google Notebook listing Diigo Tutorials. Jennifer if obviously deep into diigo and generously sharing her resources in the best web 2.0 tradition. Check out the list of twelve uses for diigo at the bottom of the page! (I'll highlight a few.)
  • Lee-Anne Patterson on 05 Jan 09
     
    How to get access to this demo?
  • Donna Lacon on 05 Jan 09
     
    tutorials for diigo
Jeff Suarez Grant

Judith Scott-Clayton: The Dark Side of Choice in Higher Education - NYTimes.com - 0 views

economix.blogs.nytimes.com/...-of-choice-in-higher-education

technology education article news

shared by Jeff Suarez Grant on 25 Mar 11 - No Cached
  • Innovative technology and marketing strategies might be able to nudge students toward better decisions without limiting their freedom to choose. For example, it would be much easier for students to identify and compare relevant courses if academic catalogs were less like phone books and more like, say, Netflix. Then students could interactively search and browse on dimensions like course subject, timing, difficulty, prerequisites, major requirements or instructor ratings. Over time, students could be offered personalized suggestions based on their previous choices. New students could even be offered the equivalent of a prix fixe menu, offering a limited selection of prepackaged pathways while still allowing students to choose à la carte.
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