Learning Presentations: Learning 3x3 sample

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Notes field of presentation includes talking points & resources that shape the "script" of public presentations of this 3x3 presentation. From presentation entitled "Learning Presentations: Moving from Template-based Technologies to Learner-focused Approaches" by Ilene D. Alexander and Christina I. Petersen. For April 2012 Academic Technology Showcase, UMinn

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  • Nope on the dead birds – but yes to learning presentation, where the two things we get with a single presentation might well be words and images creating a memorable intersection: We might get to “ listen to an intelligent and evocative—perhaps at times even provocative—human being who teaches us, or inspires us, or who stimulates us with knowledge plus meaning, context, and emotion in a way that is memorable ” (Garr Reynolds). “ Likewise, the first step to creating and designing great presentations is to be mindful of the current state of what passes for “ normal ” PowerPoint presentations and that what is “ normal ” today is out of sync and off-kilter with how people actually learn and communicate ” (Garr Reynolds). I want presentations that are built for learning – scaffolded by considerations about learning, design and story that shape deliberate decision-making in light of audience, message and learning goals. I want presentations where words and ideas, images and insights, cognitive and affective, slides and handouts intersect meaningfully – not where these die as words pose as images and collide for our attention. As Peter Elbow says in On Writing about engaging processes of drafting – the act of beginning to write before you ’ re fully ready – and revision: Another reason for starting writing and keeping writing: If you stop too much and worry and correct and edit, you ’ ll invest yourself too much in these words on the page. You ’ ll care too much about them; you ’ ll make some phrases you really love; you won ’ t be able to throw them away. But you should throw lots away because by the end you ’ ll have a different focus or angle on what you are writing, if not a whole new subject. To keep these earlier words would ruin your final product . It ’ s like scaffolding. There is no shortcut by which you can avoid building it, even though it can ’ t be part of your final building (30). Photo: Lowry Theatre staircase with its scaffolding not showing. Salford, UK.
  • We want learners to move with heads up, to identify what ’ s new, what ’ s newly in sight, what ’ s taking shape, what ’ s challenging their brains to workout new configurations for information becoming part of / dropping away from ideas and concepts; we want them to notice variations - colors and shapes, move toward something new with tentative - and at times bold - graces. Connecting requires depths of learning - visual and verbal, oral and aural, written and spoken - across processing modes that James Zull notes as Four Pillars of the brain: collecting data, reflecting (on what ’ s been gathered anew alongside what ’ s been gathered before), creating, and testing. Connecting requires entertaining new ideas / novel combinations (play) making sense of sensations, sensual data, positive/negative connotations, flight and fight responses, human dimensions of ideas / issues and human connections to the act of studying itself (feeling) developing meaning - proposing and/or discerning a theme, as in literature, that ’ s built from the interplay of select base elements Elements of literature www.chsbs.cmich.edu/Melinda_Kreth/Elements%2520of%2520Literature.pdf Plot (i.e., What happens in the story?) Scene or Setting (i.e., Where, when, and in what environment(s) does the action take place?) Characters (i.e., What people or beings are in the story?) Style [or Mood or Tone] (i.e., What is the size of the vocabulary, the complexity of the story and sentence structure, and the treatment of the story ’ s telling: comic, serious, tragic, morbid, etc.? This is often a most difficult characteristic to pin down.) Theme(s) [or Messages] (Idea(s), cosmologies, theologies, philosophies, religions, statements, theories of nature, moral(s), etc.) The five elements of literature discussed above are never mutually exclusive. One element is not really intelligible without most or all of the others well understood, so don ’ t get discouraged when, just as you think you have something nicely explained for a piece you ’ re reading, you think of something additional or even contrary that makes your explanation inadequate. The best we can probably expect is that these explanations make temporarily intelligible the fictional universe we ’ ve visited and are trying to tell someone about. Photo: Grandbaby learning to crawl.
  • extend - what it means to learn, the means to learning, the practices of sharing ideas in format and substance extending credit - Acknowledge extending use for a new welcome - Ownership extending thinking and thinking resources - Openness verb 1. cause to cover a wider area; make larger cause to last longer: they asked the government to extend its period of deliberation straighten or spread out at full length spread from a central point to cover a wider area occupy a specified area ( extend to ) be applicable to 2. hold (something) out towards someone offer or make available 3. cause (someone or something) to exert the utmost effort: extend oneself to utmost Photo: Student depiction of learning for Fall2011 GRAD 8101: Teaching in Higher Education course.
  • Learning Presentations: Learning 3x3 sample

    1. 1. SCAFFOLD
    2. 2. CONNECT
    3. 3. EXTEND

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