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If you go to the Web page of the Association of American Colleges and Universities and click on “assessment,” you will find a dazzling array of experiments that institutions are running to figure out how to measure learning.

Some schools like Bowling Green and Portland State are doing portfolio assessments — which measure the quality of student papers and improvement over time. Some, like Worcester Polytechnic Institute and Southern Illinois University Edwardsville, use capstone assessment, creating a culminating project in which the students display their skills in a way that can be compared and measured.

The challenge is not getting educators to embrace the idea of assessment. It’s mobilizing them to actually enact it in a way that’s real and transparent to outsiders.

ata mining and take various inputs, like test question results, activity on the system, what links students clicked, etc. to make a prediction of the next best piece of content for a student to learn.

The technology seems to be working. After a pilot project at Arizona State University with 5,000 remedial math students, pass rates improved from 66 percent to 75 percent, with half the class finishing four weeks early

“The professors are much better prepared for a single class so that they can give much more individualized instruction,” Lui said. “The practical effectiveness of this means that teachers are now able to use their time more efficiently to hone in on the things that are most troublesome or useful for different groups of students. You’re not teaching to the mean or bottom quartile.”

Analyzing and collecting big data is really what Junyo is about, enabling everyone in the education sector to make the learning experience more personal.

The students also have their own dashboard to see recommended content.

Teachers don’t have the time to do detailed reporting of a student’s progress and even if they did, they wouldn’t be able to provide one on one tutoring for every single student at different stages of learning.

students are learning more outside the classroom than in the classroom, and educators are finally starting to acknowledge that.

For younger students, I think that the ability to make something professional-looking, like a real grown-up would, is paramount.  Sadly, I think this means that LOGO and BASIC aren't much use any more*.

So, we have a few choices.  You can try to write phone apps that look just like real phone apps, design interactive websites that look just like real interactive websites, or do something with embedded systems / robotics.  Avoid the temptation to make these things into group projects; the main thing every student needs to experience is the process of writing code, running it, debugging it, and watching the machine react to every command.

It is important to consider what an 11 to 18-year old is familiar with in terms of mathematics and logical thinking. An average 11-year old is probably learning about fractions, simple cartesian geometry, the concept of units, and mathematical expressions. By 15, the average student will be taking algebra, and hopefully will have the all-important concept of variables under his/her belt. So much in CS is dependent on solid understanding that symbols and tokens can represent abstract concepts, values, or algorithms. Without it, it's still possible to teach CS, but it must be done in a very different way (see Scratch).

At this point, concepts such as variables, parenthesis matching, and functions (of the mathematical variety) are within easy reach. Concepts like parameter passing, strings and collections, and program flow should be teachable. More advanced concepts such as recursion, references and pointers, certain data structures, and big-O may be very difficult to teach without first going through some more foundational math.

The key is that the concepts in CS aren't just there for the hell of it. Everything was motivated by a real problem, and few things are more satisfying than fixing something you really want to work with a cool technique or concept you just learned.

They are remarkable because they demonstrate the kinds of learning and personal growth that are possible when teenagers feel ownership of their high school experience, when they learn things that matter to them and when they learn together.

It’s an attitude that Dr. Khurana first saw in M.B.A. programs but has migrated, he says, to the undergraduate level.

Second, in management and marketing, no strong consensus has emerged about what students ought to learn or how they ought to learn it.

Gains on the C.L.A. closely parallel the amount of time students reported spending on homework. Another explanation is the heavy prevalence of group assignments in business courses: the more time students spent studying in groups, the weaker their gains in the kinds of skills the C.L.A. measures.

The pedagogical theory is that managers need to function in groups, so a management education without such experiences would be like medical training without a residency. While some group projects are genuinely challenging, the consensus among students and professors is that they are one of the elements of business that make it easy to skate through college.

“We’ve got students who don’t read, and grow up not reading,” he says. “There are too many other things competing for their time. The frequency and quantity of drinking keeps getting higher. We have issues with depression. Getting students alert and motivated — even getting them to class, to be honest with you — it’s a challenge.”

“A lot of classes I’ve been exposed to, you just go to class and they do the PowerPoint from the book,” he says. “It just seems kind of pointless to go when (a) you’re probably not going to be paying much attention anyway and (b) it would probably be worth more of your time just to sit with your book and read it.”

“It seems like now, every take-home test you get, you can just go and Google. If the question is from a test bank, you can just type the text in, and somebody out there will have it and you can just use that.”

This is not senioritis, he says: this is the way all four years have been. In a typical day, “I just play sports, maybe go to the gym. Eat. Probably drink a little bit. Just kind of goof around all day.” He says his grade-point average is 3.3.

concrete business skills tend to expire in five years or so as technology and organizations change.

History and philosophy, on the other hand, provide the kind of contextual knowledge and reasoning skills that are indispensable for business students.

when they hand in papers, they’re marked up twice: once for content by a professor with specialized expertise, and once for writing quality by a business-communication professor.

a national survey of 259 business professors who had been teaching for at least 10 years. On average, respondents said they had reduced the math and analytic-thinking requirements in their courses. In exchange, they had increased the number of requirements related to computer skills and group presentations.

what about employers? What do they want? According to national surveys, they want to hire 22-year-olds who can write coherently, think creatively and analyze quantitative data, and they’re perfectly happy to hire English or biology majors. Most Ivy League universities and elite liberal arts colleges, in fact, don’t even offer undergraduate business majors.

They do not stop researching and begin another activity because they got distracted;  in our experience, they are more likely to spin themselves in circles making no progress for an entire class period because they do not want to go through a cognitive process that will take “forever.”

· When students are given a research prompt by their teacher, students often do not care enough about the topic to really persevere.

There are very few things in life that our students have to wait for today

When faculty of a major Chinese university asked Plucker to identify trends in American education, he described our focus on standardized curriculum, rote memorization, and nationalized testing. “After my answer was translated, they just started laughing out loud,” Plucker says. “They said, ‘You’re racing toward our old model. But we’re racing toward your model, as fast as we can.’ ”

The argument that we can’t teach creativity because kids already have too much to learn is a false trade-off. Creativity isn’t about freedom from concrete facts. Rather, fact-finding and deep research are vital stages in the creative process.

When you try to solve a problem, you begin by concentrating on obvious facts and familiar solutions, to see if the answer lies there. This is a mostly left-brain stage of attack. If the answer doesn’t come, the right and left hemispheres of the brain activate together. Neural networks on the right side scan remote memories that could be vaguely relevant. A wide range of distant information that is normally tuned out becomes available to the left hemisphere, which searches for unseen patterns, alternative meanings, and high-level abstractions. Having glimpsed such a connection, the left brain must quickly lock in on it before it escapes. The attention system must radically reverse gears, going from defocused attention to extremely focused attention. In a flash, the brain pulls together these disparate shreds of thought and binds them into a new single idea that enters consciousness. This is the “aha!” moment of insight, often followed by a spark of pleasure as the brain recognizes the novelty of what it’s come up with. Now the brain must evaluate the idea it just generated. Is it worth pursuing? Creativity requires constant shifting, blender pulses of both divergent thinking and convergent thinking, to combine new information with old and forgotten ideas. Highly creative people are very good at marshaling their brains into bilateral mode, and the more creative they are, the more they dual-activate.

those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better

Creativity has always been prized in American society, but it’s never really been understood. While our creativity scores decline unchecked, the current national strategy for creativity consists of little more than praying for a Greek muse to drop by our houses. The problems we face now, and in the future, simply demand that we do more than just hope for inspiration to strike. Fortunately, the science can help: we know the steps to lead that elusive muse right to our doors.

What’s common about successful programs is they alternate maximum divergent thinking with bouts of intense convergent thinking, through several stages. Real improvement doesn’t happen in a weekend workshop. But when applied to the everyday process of work or school, brain function improves.

kids demonstrated the very definition of creativity: alternating between divergent and convergent thinking, they arrived at original and useful ideas. And they’d unwittingly mastered Ohio’s required fifth-grade curriculum—from understanding sound waves to per-unit cost calculations to the art of persuasive writing. “You never see our kids saying, ‘I’ll never use this so I don’t need to learn it,’ ” says school administrator Maryann Wolowiec. “Instead, kids ask, ‘Do we have to leave school now?’ ” Two weeks ago, when the school received its results on the state’s achievement test, principal Traci Buckner was moved to tears. The raw scores indicate that, in its first year, the school has already become one of the top three schools in Akron, despite having open enrollment by lottery and 42 percent of its students living in poverty.

project-based learning

highly creative adults frequently grew up with hardship. Hardship by itself doesn’t lead to creativity, but it does force kids to become more flexible—and flexibility helps with creativity.

When creative children have a supportive teacher—someone tolerant of unconventional answers, occasional disruptions, or detours of curiosity—they tend to excel. When they don’t, they tend to underperform and drop out of high school or don’t finish college at high rates. They’re quitting because they’re discouraged and bored, not because they’re dark, depressed, anxious, or neurotic. It’s a myth that creative people have these traits. (Those traits actually shut down creativity; they make people less open to experience and less interested in novelty.) Rather, creative people, for the most part, exhibit active moods and positive affect. They’re not particularly happy—contentment is a kind of complacency creative people rarely have. But they’re engaged, motivated, and open to the world.

solutions emerge from a healthy marketplace of ideas, sustained by a populace constantly contributing original ideas and receptive to the ideas of others

The age-old belief that the arts have a special claim to creativity is unfounded.

When scholars gave creativity tasks to both engineering majors and music majors, their scores laid down on an identical spectrum, with the same high averages and standard deviations. Inside their brains, the same thing was happening—ideas were being generated and evaluated on the fly.

those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better. A lifetime of consistent habits gradually changes the neurological pattern.

The home-game version of this means no longer encouraging kids to spring straight ahead to the right answer

The new view is that creativity is part of normal brain function.

“As a child, I never had an identity as a ‘creative person,’ ” Schwarzrock recalls. “But now that I know, it helps explain a lot of what I felt and went through.”

In China there has been widespread education reform to extinguish the drill-and-kill teaching style. Instead, Chinese schools are also adopting a problem-based learning approach.

fact-finding

problem-finding

Next, idea-finding

there is one crucial difference between IQ and CQ scores. With intelligence, there is a phenomenon called the Flynn effect—each generation, scores go up about 10 points. Enriched environments are making kids smarter. With creativity, a reverse trend has just been identified and is being reported for the first time here: American creativity scores are falling.

Ethnomusicologist Bruno Nettl explains that "societies differ, however, in their attitude toward musical stability; to some it is important that a song remain stable and unchanged, while in others individual singers are encouraged to have their personal versions."

but he believes educators must determine at what point that musical experience is no longer acceptable as representative of that culture.

Having clear visions of educational goals and the broad curriculum is vital to making these determinations.

Bennett Reimer states, "Those inner workings are themselves the project of cultural systems, so they must be revealed in their contexts, historical, cultural, and political, in order to be grasped appropriately; that is, 'knowing about' becomes an essential ingredient of artistry and of listening."[ 15] For example, children might not fully understand the meaning of "Take Me Out to the Ball Game" unless they understand what baseball is or realize that the song is traditionally sung at baseball games.

text in an unfamiliar language should include a translation so students understand the meaning of the words.

However, a culturally valid work is not necessarily bias free; and conversely, bias-free music is not necessarily culturally valid.

Selecting the best music to represent a culture in an unbiased manner is a process of discovery. You will first need to educate yourself before you can educate others.