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Tonya Thomas

Estimating Costs and Time in Instructional Design - 11 views

www.nwlink.com/...costs.html

elearning rates expense costs pricing freelance contracting consulting

shared by Tonya Thomas on 24 Oct 12 - Cached
  • Instructional Designer - $28.00 hour (based on salary of $60,000 per year) eLearning designer - $37.00 hour (based on salary of $78,000 per year) Organizational Specialist - $38.46 (based on salary of $80,000 per year)
  • 200 to 500 man-hours for each instructional hour of IMI
  • Simple Asynchronous: (static HTML pages with text & graphics): 117 hours Simple Synchronous: (static HTML pages with text & graphics): 86 hours Average Asynchronous: (above plus Flash, JavaScript, animated GIF's. etc): 191 hours Average Synchronous: (above plus Flash, JavaScript, animated GIF's. etc): 147 hours Complex Asynchronous: (above plus audio, video, interactive simulations): 276 hours Complex Synchronous: (above plus audio, video, interactive simulations): 222 hours
  • ...19 more annotations...
  • Course is five days or less, then 3 hours of preparation for each hour of training. Course is between five and ten days, then 2.5 hours of preparation for each hour of training. Course is over 10 days, then 2 hours of preparation for each hour of training.
  • research generally shows that there is at least a 50% reduction in seat time when a course is converted from classroom learning to elearning. Brandon Hall reports it is a 2:1 ratio.
  • Estimated Average Cost Per Hour Of Instruction - $1,901.00 to $2,170.00
  • If your organization is inexperienced, expect your average developmental man-hours to be closer to 450-500 man-hours per instructional hour.
  • 1995 August/September issue of CBT Solutions Magazine reported that 221 hours was the average development time.
  • Category 1: Baseline Presentation
  • 34:1 -- Instructor-Led Training (ILT), including design, lesson plans, handouts, PowerPoint slides, etc. (Chapman, 2007). 33:1 -- PowerPoint to E-Learning Conversion (Chapman, 2006a, p20). 220:1 -- Standard e-learning, which includes presentation, audio, some video, test questions, and 20% interactivity (Chapman, 2006a, p20) 345:1 -- 3rd party courseware. Time it takes for online learning publishers to design, create, test and package 3rd party courseware (Private study by Bryan Chapman 750:1 -- Simulations from scratch. Creating highly interactive content (Chapman, 2006b)
  • Category 2: Medium Simulation Presentation
  • Estimated Average Cost Per Hour Of Instruction - $3,768.00
  • Category 3: High Level Simulation Presentation.
  • Estimated Average Cost Per Hour Of Instruction - $7,183.00
  • Verizon says once they develop enough learning objects, they will be able to build courses in five hours or less ($10,000 to $15,000)
  • includes the instructional designer, project manager, and outsourcing fees (the instructional designer takes the content that is written in instructional design format to three other companies and an in house group for bids)
  • They use a content management system from OutStart
  • between 40 to 80 hours and costs $15,000 to $30,000 to develop one hour of elearning (George & Mcgee, 2003)
  • If the elearning looks more like a PowerPoint presentation, then a 1:1 is probably close, however, the more elearning moves away from looking like a Powerpoint presentation and looks more like an interactive package, then the more the ratio starts to increase.
  • Outside Consultant - $90.00 hour
  • Chapman
  • Category 1: Baseline Presentation
Mr. Eason

Educational Leadership:Reading: The Core Skill:The Challenge of Challenging Text - 131 views

www.ascd.org/...lenge-of-Challenging-Text.aspx

teaching text complexity literacy

shared by Mr. Eason on 24 Mar 12 - No Cached
  • The new standards instead propose that teachers move students purposefully through increasingly complex text to build skill and stamina.
  • higher-order thinking in reading depends heavily on knowledge of word meanings.
  • Students' ability to comprehend a piece of text depends on the number of unfamiliar domain-specific words and new general academic terms they encounter.
  • ...16 more annotations...
  • If students are to interpret the meanings such complex sentence structures convey, they need to learn how to make sense of the conventions of text—phrasing, word order, punctuation, and language.
  • Students who are aware of the patterns authors use to communicate complex information have an advantage in making sense of text.
  • A final determinant of text difficulty, however, depends on the reader's prior knowledge.
  • Students' background knowledge, including developmental, experiential, and cognitive factors, influences their ability to understand the explicit and inferential qualities of a text.
  • building skills, establishing purpose, and fostering motivation.
  • even students who have basic decoding skills sometimes struggle to deploy these skills easily and accurately enough to get a purchase on challenging text. To help these students develop reading fluency, teachers should give them lots of practice with reading the same text, as well as instruction to help them develop a stronger sense of where to pause in sentences, how to group words, and how their voices should rise or fall at various junctures when reading aloud.
  • maintaining understanding across a text.
  • pair repeated readings of the same text with questions that require the student to read closely for detail and key ideas.
  • Ongoing, solid vocabulary instruction
  • also on general academic words.
  • also explore the connections among words,
  • In contrast, in reading history and literature, readers need to be concerned with not just the causes of events, but also the human intentions behind these causes.
  • teachers should not convey so much information that it spoils the reading or enables students to participate in class without completing the reading; rather, they should let students know what learning to expect from the reading.
  • Teachers may be tempted to try to make it easier for students by avoiding difficult texts. The problem is, easier work is less likely to make readers stronger.
  • You need to create successive successes.
  • Students experience success in the company of their teacher, who combines complex texts with effective instruction.
  • Christine Dailey on 24 Mar 12
     
    What makes text difficult and how to teach skills for successful comprehension.
Randolph Hollingsworth

The Code of Best Practices in Fair Use for Media Literacy Education - 60 views

www.centerforsocialmedia.org/...r-use-media-literacy-education

copyright fair use media educational technology

shared by Randolph Hollingsworth on 25 Oct 10 - Cached
  • when they occur within a restricted-access network, do enjoy certain copyright advantages
  • we as a society give limited property rights to creators to encourage them to produce culture; at the same time, we give other creators the chance to use that same copyrighted material, without permission or payment
  • Did the unlicensed use "transform" the material taken from the copyrighted work by using it for a different purpose than that of the original, or did it just repeat the work for the same intent and value as the original? • Was the material taken appropriate in kind and amount, considering the nature of the copyrighted work and of the use?
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  • If the answers to these two questions are "yes," a court is likely to find a use fair
  • whether the use will cause excessive economic harm to the copyright owner
  • the purpose of copyright—to promote the advancement of knowledge through balancing the rights of owners and users.
  • In some cases, this will mean using a clip or excerpt; in other cases, the whole work is needed. Whenever possible, educators should provide proper attribution and model citation practices that are appropriate to the form and context of use.
  • educators should provide reasonable protection against third-party access and downloads
  • educators using concepts and techniques of media literacy should be free to enable learners to incorporate, modify, and re-present existing media objects in their own classroom work
  • Students’ use of copyrighted material should not be a substitute for creative effort
  • Students should be able to understand and demonstrate, in a manner appropriate to their developmental level, how their use of a copyrighted work repurposes or transforms the original.
  • but cannot rely on fair use when their goal is simply to establish a mood or convey an emotional tone, or when they employ popular songs simply to exploit their appeal and popularity
  • material that is incorporated under fair use should be properly attributed wherever possible
  • attribution, in itself, does not convert an infringing use into a fair one.
  • If student work that incorporates, modifies, and re-presents existing media content meets the transformativeness standard, it can be distributed to wide audiences under the doctrine of fair use.
  • When sharing is confined to a delimited network, such uses are more likely to receive special consideration under the fair use doctrine
  • there are no cut-and-dried rules (such as 10 percent of the work being quoted, or 400 words of text, or two bars of music, or 10 seconds of video).
  • Transformativeness, a key value in fair use law, can involve modifying material or putting material in a new context, or both
  • Copyright Act itself makes it clear that educational uses will often be considered fair because they add important pedagogical value to referenced media objects.
  • If educators or learners want to share their work only with a class (or another defined, closed group) they are in a favorable position
  • if work is going to be shared widely, it is good to be able to rely on transformativeness
  • courts have found that asking permission and then being rejected has actually enhanced fair use claims.
  • We don’t know of any lawsuit actually brought by an American media company against an educator over the use of media in the educational process
  • Lack of clarity reduces learning and limits the ability to use digital tools. Some educators close their classroom doors and hide what they fear is infringement; others hyper-comply with imagined rules that are far stricter than the law requires, limiting the effectiveness of their teaching and their students’ learning.
  • Randolph Hollingsworth on 08 Jun 12
     
    Good place to look for guidelines about use of media
Beth Panitz

RDIconnect - 23 views

www.rdiconnect.com

rdiconnect

shared by Beth Panitz on 17 Jan 11 - No Cached
  • Beth Panitz on 17 Jan 11
     
    While typically developing children store... memories of experiences where they have met challenges and overcome obstacles, developmentally disabled children are more likely to retain memories in an isolated fashion, small pieces of information that do not provide tools or building blocks for future self-learning.
  • Beth Panitz on 17 Jan 11
     
    The RDI Program for ASD is a tailored set of objectives, extending from the Family Guided Participation Program and intended to target the core deficits of individuals with the diagnostic distinction, Autism Spectrum Disorder. Started less than a decade ago the RDI Program for ASD provides a remedial approach to this complex disorder.
Dean Whaley

iowaonlinelearning - Teaching Standards - 27 views

iowaonlinelearning.wikispaces.com/Teaching+Standards

shared by Dean Whaley on 12 Jul 11 - No Cached
  • Creates a learning community that encourages collaboration and interaction, including student-teacher, student-student, and student-content (SREB D.2, Varvel VII.B, ITS 6.a)
    • Dean Whaley
      Dean Whaley on 12 Jul 11
       
      What I see in these is that many of these we should be doing already.
  • AEA PD Online Website HomeAbout UsFAQsCurrent InitiativesResearch & ResourcesInstructor ToolboxK-12 Online LearningProject OLLIE Current Projects • Transition Process• Marketing Plan• Job Descriptions guest · Join · Help · Sign In · Teaching StandardsProtected page Details and Tags Print Download PDF Backlinks Source Delete Rename Redirect Permissions Lock discussion (1) history notify me Details last edit by eabbey Mar 11, 2011 6:56 am - 26 revisions Tags none Iowa Online Teaching Standards Composed from Iowa Teaching Standards and Other Resources 1. Demonstrates ability to enhance academic performance and support for the agency's student achievement goals (ITS 1) • Knows and aligns instruction to the achievement goals of the local agency and the state, such as with the Iowa Core (Varvel I.A, ITS 1.f, ITS 3.a) • Continuously uses data to evaluate the accuracy and effectiveness of instructional strategies (SREB J.7, ITS 1.c) • Utilizes a course evaluation and student feedback data to improve the course (Varvel VI.F) • Provides and communicates evidence of learning and course data to students and colleagues (SREB J.6, ITS 1.a) 2. Demonstrates competence in content knowledge (including technological knowledge) appropriate to the instructional position (ITS 2) • Meets the professional teaching standards established by a state-licensing agency, or has the academic credentials in the field in which he or she is teaching (SREB A.1, Varvel II.A) • Knows the content of the subject to be taught and understands how to teach the content to students (SREB A.3, Varvel II.A, ITS 2.a) • Is knowledgeable and has the ability to use computer programs required in online education to improve learning and teaching, including course management software (CMS) and synchronous/asynchronous communication t
Kelvin Thompson

Fallacy of Digital Natives - 103 views

www.danpontefract.com/?p=1300

eme5050 digital natives millennials natives immigrants digital immigrants generations developmental stages development stages lifespan learning tapscott prensky

shared by Kelvin Thompson on 21 Oct 11 - No Cached
  • Kelvin Thompson on 21 Oct 11
     
    A robust rebuttal of Prensky, Tapscott, et al's assertions that contemporary generations are more technologically proficient than their predecessors. The counter-argument is that our society has become more technological and individuals are more or less well adapted to this change. The author of this rebuttal (Pontefract) makes a case based upon logic, personal experience, and several recent research studies.
meghankelly492

The rise of creative youth development: Arts Education Policy Review: Vol 118, No 1 - 3 views

www.tandfonline.com/...10632913.2015.1064051

world Music

shared by meghankelly492 on 11 Aug 19 - No Cached
  • The article describes creative youth development in the larger contexts of arts education and of education reform.
  • Lastly, the article discusses policy, funding, and research needs and opportunities and provides questions for consideration.
  • Yet these two worlds largely exist apart, failing to address the reality that youth learn and grow—or fail to reach their potential—through influences and experiences in all spheres of their lives, including home, school, and the settings where they spend time outside of schoo
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  • attention due to their high levels of youth engagement that contribute to substantial learning, enhanced critical thinking
  • such as heightened confidence and sense of agency
  • Decades of research findings link adolescent engagement, efficacy, and responsibility with opportunities for immersion and mastery, connection in a community of practice, embracing youth voice, and cultivating youth leadership with adolescent engagement, and non-school settings have emerged as crucial developmental and learning environments for youth
  • Throughout the United States, teen participants in CYD programs assert that the programs saved their lives, putting them on positive trajectories and away from gangs, drug use, crime, and ennui.
  • The creative process at the center of CYD programs contributes to profound personal growth for youth participants
  • And as they experience the creative process over an extended period, they learn that they can use it to express their own identities, understand and change the world around them, and connect to the greater human experience.”
  • community of practice of youth artists and their artist mentors, the paid, professional artists who comprise the full-time faculty. SAY Sí boasts a 100% rate of graduation and pursuit of higher education in a community with a 45% dropout rat
  • hese programs had a central belief in the ability of young people to achieve and grow artistically and personally through creative expression and skill building in the arts.
  • impact of arts-based youth programs in reducing risk factors and building protective factors in a study conducted in three American cities
  • She also catalogued characteristics of effective CYD programs, such as supporting risk within a safe space (
  • Teens develop intrinsic motivation as they immerse themselves and develop competence in a topic, connect with others who share this interest, and work with educators positioned as senior collaborators—
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