The document discusses sharing design narratives to help bridge the gap in design knowledge between experts and novices. It advocates using structured storytelling to share accounts of critical events and problem-solving in design experiments. By focusing on the problem, actions taken, and unfolding effects, narratives can portray the complete path to an innovation, including failed attempts. This helps engage practitioners in collaborative reflection on successful practices.
Storytelling: Tips to let us your world…- Guidelines Abstracts -by Cecilia Ruberto
Various material plus my personal contribution have been the source of this ppt.
The main texts used have been:
By Word of Mouth: A Storytelling Guide for the Classroom by Jeff Gere, Beth-Ann Kozlovich, Daniel A. Kelin II
Aaron Shepard’s Storytelling Page
Transforming Capabilities: Using Story for Knowledge Discovery & Community Development By Elizabeth A. Doty
Storytelling: Tips to let us your world…- Guidelines Abstracts -by Cecilia Ruberto
Various material plus my personal contribution have been the source of this ppt.
The main texts used have been:
By Word of Mouth: A Storytelling Guide for the Classroom by Jeff Gere, Beth-Ann Kozlovich, Daniel A. Kelin II
Aaron Shepard’s Storytelling Page
Transforming Capabilities: Using Story for Knowledge Discovery & Community Development By Elizabeth A. Doty
Visitor-Centered: What Does it Mean to Walk that Talk?Peter Samis
Presented at the National Museum of Denmark to a mixed audience of Nationalmuseet curators, educators, and staff from other Danish museums. The presentation addresses responsiveness to visitor needs in developing interpretive components and gallery design. I followed the talk with a hands-on workshop in which participants wrote labels in new ways, observed visitors, and edited their galleries with visitor experience in mind. Part of a 2-day symposium organized by Mette Boritz of the National Museum.
Sec3 english language_essaywriting (narratives)Adrian Peeris
Writing a narrative might appear daunting, but can be quite an exciting experience. These slides provide some structure to the narrative writing process and prepares students for the O' Level English paper
The Building of Stories begins with the history of storytelling and ends by helping you build your own story. From where to begin to crafting the perfect ending, we give you all the crucial details and tools you need to tell your next story and hopefully, your next presentation! Everyone has a story. Let us help you make it one people want to hear.
Writing The Science Fiction Film: Where do you get your ideas from?robgrant
The lazy way of coming up with science fiction film ideas is to take any an existing movie title and add ..in space! to it. Like High Noon ..in space! (Outland) or Jaws ..in space! (Alien). It’s become a tried and trusted method, but while it has led to the occasional classic - no-one is going to argue against Alien being a sci-fi classic - there are a lot more films in the mediocre pile.
So where do we find new ideas ripe for science fiction?
Well as you might expect they’re all around you, all you have to do is start looking, but it requires that you leave your SF prejudices at the door and open your eyes to the wider world of sci-fi storytelling.
This workshop looks at sources of new ideas, basic tools to gather and store them, explores exercises for taking an idea and turning it into a story and we’ll actually take an idea and break a story with the audience in the room.
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Visitor-Centered: What Does it Mean to Walk that Talk?Peter Samis
Presented at the National Museum of Denmark to a mixed audience of Nationalmuseet curators, educators, and staff from other Danish museums. The presentation addresses responsiveness to visitor needs in developing interpretive components and gallery design. I followed the talk with a hands-on workshop in which participants wrote labels in new ways, observed visitors, and edited their galleries with visitor experience in mind. Part of a 2-day symposium organized by Mette Boritz of the National Museum.
Sec3 english language_essaywriting (narratives)Adrian Peeris
Writing a narrative might appear daunting, but can be quite an exciting experience. These slides provide some structure to the narrative writing process and prepares students for the O' Level English paper
The Building of Stories begins with the history of storytelling and ends by helping you build your own story. From where to begin to crafting the perfect ending, we give you all the crucial details and tools you need to tell your next story and hopefully, your next presentation! Everyone has a story. Let us help you make it one people want to hear.
Writing The Science Fiction Film: Where do you get your ideas from?robgrant
The lazy way of coming up with science fiction film ideas is to take any an existing movie title and add ..in space! to it. Like High Noon ..in space! (Outland) or Jaws ..in space! (Alien). It’s become a tried and trusted method, but while it has led to the occasional classic - no-one is going to argue against Alien being a sci-fi classic - there are a lot more films in the mediocre pile.
So where do we find new ideas ripe for science fiction?
Well as you might expect they’re all around you, all you have to do is start looking, but it requires that you leave your SF prejudices at the door and open your eyes to the wider world of sci-fi storytelling.
This workshop looks at sources of new ideas, basic tools to gather and store them, explores exercises for taking an idea and turning it into a story and we’ll actually take an idea and break a story with the audience in the room.
The Example of Essay PDF. One Essay Telegraph. PDF Essay Writing How To Write An Essay. How To Write An Essay Examples - Ahern Scribble. five paragraph essay examples for high school. About Me Paper Example Unique Short Essay Writing Help topics Examples .... 004 Ielts Essay Example C76421 E213e89e269046c89486a426c27a89b2mv2 .... 001 How To Write One Page Essay Onepageessay Thatsnotus. How to write a good essay for dummies - Essay Writing for Dummies .... Business Paper: Sample argument essay. English Essay Writing Help: free Samples and List of Topics. Argumentative Essay.docx Higher Education Government Free 30-day .... Reflection essay: Hbs essay. How To Write An Essay - English Learn Site. Different Types of Essays Samples starting from Basic Essay. Step-By-Step Guide to Essay Writing - ESL Buzz. How to Write In College Essay Format OCC NJ. Using Quotes in an Essay: Ultimate Beginners Guide - How to write an .... 010 Best Essays Essay Example College Outline Template Picture What Is .... 10 Tips to Write an Essay and Actually Enjoy It. Quick Way To Write Essay - Anna Blog. How To Write An Essay Examples Telegraph. Proper Essay Format : Navigation menu. How to Write an Essay Endless Lingbooks. How In Summary Your Essay - Way To Go, Robertlamm!. Photo Essay Examples - MosOp. How To Write A 2 3 Page Essay - Ackman Letter. 100 original papers write assignment. Business paper: Sample essay paper. College Essay Format: Simple Steps to Be Followed. Analytical Essay: Advanced english essays. Simple Essay Example Amat. How to write an essay! Writing an essay can seem like a mammoth task .... How To Format An Essay For College - unugtp One Essay One Essay
OpenEducation Challenge Finalists' Workshop: Design Thinking SessionYishay Mor
http://openeducationchallenge.eu/
The purpose of this workshop is to help the candidates crystallize and articulate the educational value of their innovation.
By the end of this workshop, you will be able to articulate:
* Who are your potential users, stakeholders, and beneficiaries
* What is the context in which they operate
* What are their needs that your innovation addresses
* What are the current alternatives, and why they do not suffice
* What is the essence of your innovation, and why you are confident that it will address your potential users needs in their context.
How to ruin a MOOC? JISC RSC Yorkshire & the Humber Online Conference 2013Yishay Mor
The Open Learning Design Studio MOOC: Learning Design for a 21st Century Curriculum (http://www.olds.ac.uk/) was the first ever project-based MOOC on learning design. This ambitious MOOC ran for 9 weeks in early 2013. Its structure was based on a design inquiry model, where designers identify a (learning/curriculum) design challenge, explore it to gain an understanding of its context and driving forces, generate possible solutions, implement a solution and reflect on the process as a whole and its outputs. The MOOC exposed participants to a wide range of voices, approaches, representations, and tools for learning design. It incorporated a host of innovations in pedagogy and technology including Badges (http://www.olds.ac.uk/badges). Over 2000 people registered, over 1000 participated in the first week, and several hundred were active thoughout. OLDS MOOC adopted a radically open approach - registration was optional, and all the MOOC resources were made available as OERs. This session will reflect on what went well, what not so much, and what lessons can be learned.
The METIS project (http://metis-project.org/) aims to promote a professional culture of learning design, by providing educators with an Integrated Learning Design Environment (ILDE) and a workshop package for training educators in using the ILDE to support effective learning design.
Learning design is the act of devising new practices, plans of activity, resources and tools aimed at achieving particular educational aims in a given situation. Learning design breaches the divide between research and practice by projecting theoretical insights into concrete contexts, and abstracting transferable knowledge from practical experience.
The Metis learning design workshops are designed to guide educators in applying a critical and inquisitive approach to issues and concerns that matter the most to them and their students. We begin by exploring the context in which you work and the challenges you are faced with, then provide methods and tools to help you identify solutions for these challenges. Finally, you will be able to deploy the designs you produce to a VLE at the click of a button. These workshops are supported by the ILDE, a bespoke environment for co-design of learning, developed by the Metis project.
Metis project deliverable D3.2: Draft of pilot workshopYishay Mor
This deliverable represents the analysis of best practices and workshop design from the first cycle of the METIS project methodology. Alongside this report a prototype is provided to allow access to the package of resources representing a workshop structure developed from the preliminary analysis of best practices in teacher training reported in Deliverable D3.1. Section 2 provides an account of the review of best practices, the process, current status and outcomes, and plans for the future. It also lists risks and challenges and implications to and from WP 2 and 4.
http://www.ld-grid.org/workshops/design-inquiry2013
Learning Design, to be effective, should be informed and evaluated by teacher inquiry, or, should itself be a process of inquiry. Teacher Inquiry into Student Learning should help to optimise the design of activities and resources.
The objectives of this workshop are to establish a new strand of inquiry aimed at the synergy of LD and TISL, solidify its theoretical foundations, propose methodological instruments which build on these foundations and consider tools and representations which support these instruments.
http://altc2012.alt.ac.uk/talks/28031
Our era is distinguished by the wealth of open and readily available information, and the accelerated evolution of social, mobile and creative technologies. These offer learners and educators unprecedented opportunities, but also entail increasingly complex challenges. Consequently, the role of educators needs to shift from distributors of knowledge to designers for learning. Educators may still provide access to information, but now they also need to carefully craft the conditions for learners to enquire, explore, analyse, synthesise and collaboratively construct their knowledge from the variety of sources available to them. The call for such a repositioning of educators is heard from leaders in the field of TEL and resonates well with the growing culture of design-based research in Education. Yet, it is still struggling to find a foothold in educational practice.
In October 2011, the Art and Science of Learning Design (ASLD) workshop was convened in London, UK, to explore the tools, methods, and frameworks available for practitioners and researchers invested in designing for learning, and to articulate the challenges in this emerging domain. The workshop adopted an unconventional design, whereby contributions were shared online beforehand, and the event itself was dedicated to synergy and synthesis. This paper presents an overview of the emerging themes identified at the ASLD workshop, and guides the reader through further reading of the workshop outcomes. First, we introduce the topic of Learning Design, and the themes we will be considering. We present and compare some common definitions of Learning Design, and clarifying its links to the related but distinctly different field of Instructional Design. We then explore its relevance and value to educators, content and technology developers, and researchers, examining some of the current issues and challenges. We present an overview of the workshop contributions, relating them to the key thematic strands of Learning Design, and conclude with three significant challenges to be explored in future research.
1. Sharing Design Narratives
Engender collaborative
reflection among
practitioners by a
structured process of
sharing stories of
successful practice.
http://www.slideshare.net/yish/design-narratives
1
2. Design knowledge in narrative
The challenge of the Design divide: the gap in design
knowledge between experts and novices.
(Mor & Winters, 2008)
Narrative is a predominant vernacular form of representing and
communicating meaning. We use narrative as a means of
organizing experiences and making sense of them.
(Bruner, 1986; 1990; 1991; 1996)
3. Narrative (i.e. stories)
Something happened to someone under
some circumstances *
it
* and there's a reason
for me to tell you
about it.
William Hogarth, a rake's progress
4. Design Narratives are..
• Accounts of critical events in a design experiment from
a personal, phenomenological perspective.
• Focus on design in the sense of problem solving,
describing a problem in the chosen domain, the actions
taken to resolve it and their unfolding effects. Provide
an account of the history and evolution of a design
over time, including the research context, the tools and
activities designed, and the results of users’
interactions with these.
• Portray the complete path leading to an educational
innovation, not just its final form – including failed
attempts and the modifications they espoused.
http://www.ld-grid.org/resources/representations-and-languages/design-narratives
4
5. the big idea
First, I do not sit down at my desk to put into verse something that is
already clear in my mind. If it were clear in my mind, I should have
no incentive or need to write about it. We do not write in order to be
understood; we write in order to understand.
(Cecil Day-Lewis, 1947)
I can't grasp much of anything without putting my thoughts in writing,
so I had to get my hands working and write these words.
Otherwise, I would never know what writing means to me.
(Haruki Murakami, 2008)
5
6. The problem with stories
Narrative is a powerful
epistemic tool (Bruner).
Story-telling is intuitive
and captivating. But, we want to avoid
Gossip
Divergence
Therapy
6
8. Tell us about...
• A specific incident
• That happened to you
• Where you confronted a challenge / problem
• And resolved it successfully
8
9. Be a STARR
• Situation
– Describe the context in detail.
• Task
– What was the problem you were
trying to solve?
• Action
– What did you do to solve it?
• Results
– What happened? Did you succeed?
Did you adjust?
• & Reflections
– What did you learn?
9
11. A few tips
I wasn’t there
Stick to the story
Tell it like it was
…and then tell what you learnt
11
12. I wasn’t there
Don’t assume that I am familiar with your context. What
you take for granted, for me is a new world. Take your time
to set the scene: who, where, when.
Alice was beginning to get very tired of sitting
3 May. Bistritz.--Left Munich at 8:35 P.M., on 1st May, by her sister on the bank, and of having nothing
arriving at Vienna early next morning; should have arrived to do: once or twice she had peeped into the
at 6:46, but train was an hour late. Buda-Pesth seems a book her sister was reading, but it had no
wonderful place, from the glimpse which I got of it from the pictures or conversations in it, 'and what is the
train and the little I could walk through the streets. I feared use of a book,' thought Alice 'without pictures or
conversation?'
to go very far from the station, as we had arrived late and
would start as near the correct time as possible.
Stately, plump Buck Mulligan came from the
stairhead, bearing a bowl of lather on which a mirror
and a razor lay crossed. A yellow dressinggown,
There was no possibility of takingungirdled, was sustained gently behind him on the
a walk that day. We
had been wandering, indeed, in the leafless shrubbery an the bowl aloft and intoned:
mild morning air. He held
hour in the morning; but since dinner (Mrs. Reed, when
Introibo ad altare Dei.
there was no company, dined early) the cold winter wind
had brought with it clouds so sombre, and a of Troy, the Greeks having sacked some of the
In the war rain so
penetrating, that further out-door exercise was now outand taken from thence two beautiful
neighbouring towns, of
captives, Chryseis and Briseis, allotted the first to Agamemnon,
the question.
and the last to Achilles. Chryses, the father of Chryseis, and priest
of Apollo, comes to the Grecian camp to ransom her; with which
12
the action of the poem opens, in the tenth year of the siege.
13. Stick to the story
Actually, it is half the art of storytelling to keep a story free from
explanation as one reproduces it. [...] The most extraordinary
things, marvelous things, are related with the greatest
accuracy, but the psychological connection of the events is
not forced on the reader. It is left up to him to interpret things
the way he understands them, and thus the narrative
achieves amplitude that information lacks.
Walter Benjamin (The storyteller, in Illuminations, p. 86)
13
14. Tell it like it was
You don’t know You DO know, and
only YOU know
• Would have happened.. What happened
• Could have happened..
• Should have happened..
• Will Happen…
14
15. …and then tell what you learnt
This is your story, and what you learned is part
of it.
After you’re reported on the context, the events
and the consequences – report on your
learning experience.
In the midst of the word he was trying to say,
In the midst of his laughter and glee,
He had softly and suddenly vanished away –
For the Snark was a Boojum, you see.
15
16. Telling a good story is not so easy
• Inexperienced story-tellers might -
– Take the context for granted
– Preach, apologise, market, or generalise
– Avoid inconvenient details
• Interactive feedback should help, but peers
might -
– Be reluctant to criticize
– Attribute misunderstanding to their own faults
– Loose attention
16