Creating Impactful Student Learning in a Business Analytics Program through Leveraging Scholar‐Practitioner Engagement

Industry demand for talented analytics professionals has created a significant increase in degree programs (e.g., MS in Analytics) around the globe. Many of these programs incorporate experiential learning in the curriculum to foster a deeper understanding. This article focuses on the value and challenges in implementing experiential learning in an analytics‐focused degree program by incorporating and scaffolding multiple organizational analytics projects throughout the curriculum. In addition, this article focuses on the manner in which these organizational analytics projects can create value for scholars, beyond student learning. Scholar‐practitioner partnerships have the potential to advance not only the field of academic research but also the rigor of actual practice. We report our experiences and best practices in creating and leveraging scholar‐practitioner partnerships in the context of project‐based experiential learning in a Master of Science in Business Analytics (MSBA) program. We provide motivation for creating such partnerships for teaching analytics, document student and organizational success, offer illustrations of exemplary experiential learning projects, and discuss the challenges that need to be managed.     

计算机及网络条件下《统计学原理》教学的优化设计

讨论了在计算机及网络技术条件下,传统的《统计学原理》教学在教学理念、教学内容、教学方法等方面的革新与优化。     

高校艺术概论课程优质教学资源的开发与利用

文化的大发展大繁荣必须加强艺术教育。就当前高校艺术教育的现状而言,必须进行艺术教学内容和相关课程的改革与建设,其中关键在于艺术教育教学资源的开发和利用。这就需要艺术教育教学的资源建设必须突出在专业的基础上拓宽渠道,确立多元一体的课程间性;在特色的基础上加强典型性;在案例教学上加强应用性和创新性。因此,艺术概论课程教学资源的开发和利用必须考虑方向性、开放性和灵活性的原则,并突出其创新性、实践性、应用性等特征,为实现艺术教育的最终目的开辟多种方法和途径。     

西学东渐、中体西用及中国文化的和合精神

近代历史上的"西学东渐"对中华文化的发展提出了严峻的考验:中国先进的思想启蒙者提出了"中体西用"等看待和应对东西方文化间巨大冲突策略和方法.从社会改革、文化转型和现代化进程等层面可以看到中华文化的和合性在"西学东渐"进程中的发展和作用.     

The Role of Effective Modeling in the Development of Self‐Efficacy: The Case of the Transparent Engine*

Computing technology augments learning in education in a number of ways. One particular method uses interactive programs to demonstrate complex concepts. The purpose of this article is to examine one type of interactive learning technology, the transparent engine. The transparent engine allows instructors and students to view and directly interact with educational concepts such as Web‐enabled software development. The article first presents a framework describing transparent engines. The framework details four types of transparent engines: (1) enactive mastery/manipulatable, (2) enactive mastery/nonmanipulatable, (3) vicarious experience/manipulatable, and (4) vicarious experience/nonmanipulatable. Following this, we present the results of an experiment designed to examine this framework by testing its predictions for one quadrant, vicarious experience/nonmanipulatable. The results support the framework in that students taught concepts with the aid of the vicarious experience/nonmanipulatable transparent engine had significantly higher domain‐specific self‐efficacy compared to those taught the same concepts without this tool.     

“一体两翼”式课程思政在线教学研究——以“英美文化概况”课程教学为例

为更好地实现在线课程教学目标,提出"一体两翼"式课程思政融入英美文化概况课程的在线教学构想:基于情怀和创新的"一体"式设计,以画龙点睛和专题嵌入的"两翼"式方式,将课程知识点与思政点相融合,以达到润物细无声的教学效果。经三方反馈数据验证,对于"一体两翼"式思政的形式和内容,学生可以自然接受并认同其为课程一部分,能够引起情感共鸣;激励学生产生学习的内动力;有效促进学生对课程知识的理解、拓展和深化。     

Active Learning and Teaching through Digital Technology and Live Performance: ‘Choreographic Thinking’ as Art Practice in the Tertiary Sector

This article is an interdisciplinary reflective response to an intensive studio learning and teaching experience involving artists, academics and postgraduate students. The authors of this article teach, research and practise in coding, digital design, dance, and virtual and live performance. As lecturers and students we reflect upon and propose future approaches to art practice in tertiary education informed by live performance, performance capture and studio‐based responses to digital and virtual platforms. We reflect on an innovative contribution to the field of research–teaching nexus as informed by digital and virtual data capture identifying the key element of immediacy in live performance and choreographic improvisation with systems. We reflect on practice‐based inquiry via the Choreographic Coding Lab (CCL) model – a dialogical negotiation between capture technology and interdisciplinary artists in industry and academia. How can we encourage potential studio inquiry as an adapted model in tertiary learning and teaching? Our interdisciplinary voices, presented as authors’ reflections, provide suggestions for future studio‐based, active learning contexts.