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Dan Bench

Process vs Product in Maker-centered Learning - The Learner's Way - 42 views

  • by ‘Making Thinking Visible’ (MTV) can help here. MTV strategies offer two advantages to teachers and learners. Importantly they provide structure to thinking and encourage a deeper engagement with concepts and ideas. They also allow the thinking that is occurring to be made visible and thus a part of the assessment process
  • mastery of the process that students are utilising as they solve the problems they encounter in their making. How do they deal with obstacles? How did they plan their solution? How effectively do they collaborate? What did they do to understand the problem and how did they monitor their progress?  
  • Students move through phases of thinking that include empathy, needs analysis, ideation, planning, prototyping and evaluation in patterns both linear and non-linear as needs require.
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  • Failing is a part of the process and failing disrupts output based assessments. At the core of the maker philosophy is a process of ideation, iteration and emergence.
  • their Personal Passion Projects. Many of the projects fit neatly into the description of maker-centered learning. These are the projects where the students have identified a need and the solution is a product which they design and then prototype.
    The maker movement and with it maker-centered learning brings new possibilities and challenges into the classroom. It has spawned makerspaces and students are busy designing and making products. The danger with all this frenzied making is that it is very easy to miss the point, to focus on the product and not the journey.  
Florence Dujardin

Creme 2002 - Creative Participation in the Essay Writing Process - 26 views

    This article reports on a qualitative action research project which looked at the possibility that giving students an opportunity to explore their relationship with their essays through a range of creative writing techniques might enhance creativity in university writing. The project comprised a series of practical and experiential workshops, with questionnaires and follow-up interviews. The workshops are described, and themes arising from the different strands of the project discussed, using case study material from individual students. Drawing on a range of theoretical perspectives from psychoanalysis, literary theory and academic literacies, the discussion covers notions of genre, writer identity, creativity and play. We argue that approaches introduced in these workshops have implications for mainstream practice in ways that could enable students to feel freer, more empowered and more present in their university writing.
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