Extraordinary Animals and Expository Writing: Zoo in the Classroom

A zoo outreach program led to placing animals in classrooms where those animals became foci for numerous learning activities such as writing, observing, and care. Systematic debriefings suggested uniqueness to learning outcomes connected to zoo animals. Subsequent analysis of student writing indicated that students responded to situational interest by recording more observations, made use of more science facts, and used more science vocabulary when writing about unique animals (albino hedgehog, legless lizard) than ‘ordinary’ animals (rabbit, dove). The results are interpreted in terms of motivation, creating situational interest, and the familiarity of the schema available to the students. Policy implications are discussed.     

The effects of sensory stimulation in inducing or intensifying the “transport response” in white rats

A series of experiments was carried out to investigate the ability of different types of stimulation to induce or intensify the “transport response” in 15-day-old rat pups when an initial stimulus, a pinch to the nape of the neck, produced either no transport response or only a very weak response. Rat pups given supplemental tactile stimulation, in the form of either an airpuff to the ventrum of a pinch to the tail, showed consistently stronger response intensities than when given only a pinch to the nape of the neck. Visual and auditory stimuli produced no increment in response intensities over those with only a dorsal pinch. Two additional experiments were carried out. The first investigated the ability of a puff of mist from an atomizer to induce a transport response in rats too old to show a strong response. The second investigated the induction of the transport response with supplemental stimulation in 19-day-old pups given haloperidol. Results suggest a nondopaminergic system subserving the response facilitation seen with supplemental tactile stimulation.     

The pedagogical potential of drawing and writing in a primary science multimodal unit

In consideration of the potential of drawing and writing as assessment and learning tools, we explored how early primary students used these modes to communicate their science understandings. The context for this study was a curricular unit that incorporated multiple modes of representation in both the presentation of information and production of student understanding with a focus on the structure and function of carnivorous plants (CPs). Two science teacher educators and two first-grade teachers in the United States co-planned and co-taught a multimodal science unit on CP structure and function that included multiple representations of Venus flytraps (VFTs): physical specimens, photographs, videos, text, and discussions. Pre- and post-assessment student drawings and writings were statistically compared to note significant changes, and pre- and post-assessment writings were qualitatively analysed to note themes in student ideas. Results indicate that students increased their knowledge of VFT structure and function and synthesised information from multiple modes. While students included more structures of the VFT in their drawings, they were better able to describe the functions of structures in their writings. These results suggest the benefits for student learning and assessment of having early primary students represent their science understandings in multiple modes.     

A better start to literacy learning: findings from a teacher-implemented intervention in children’s first year at school

Reading and Writing - This study investigated the feasibility of a teacher implemented intervention to accelerate phonological awareness, letter, and vocabulary knowledge in 141 children (mean age...     

Evaluating the quality of peer and self evaluations as measures of student contributions to group projects

ABSTRACT

Educators in higher education commonly use peer and self evaluations to help assess student performance on group projects. Although these evaluations provide multiple benefits, many educators are wary of using them due to concerns about their quality. This study addresses three questions debated in the literature regarding the quality of these assessments. How much do students differentiate among peer contributions through their ratings? How reliable are peer ratings? How much agreement exists between peer and self ratings? Although these questions have been addressed to varying degrees in past work, their answers have been far from settled. While many studies focus on just one of the questions, this study’s data make it possible to address all three questions for the same group of students as well as examine each question by student performance level. The evaluations assessed in this study were completed by a large number of students under conditions associated with obtaining more valid and reliable ratings. Overall, the results provide support for using peer and self evaluations to help assess student contributions to group projects. Peer ratings were largely reliable as group members generally agreed on the scores given to their peers. In addition, most students differentiated among group member contributions through their ratings. Students also tended to rate themselves higher than their peers rated them. This study has implications for how peer and self evaluations can be most effectively used by educators to measure student performance in group work.     

Design Pedagogy for an Unknown Future: A View from the Expanding Field of Design Scholarship and Professional Practice

This article draws on current research investigating the notion of design for an unknown future. It reflects on recent thinking about the role of creativity in design practice and discusses implications for the development and assessment of creativity in the design studio. It begins with a review of literature on the issues and challenges associated with the assessment of creativity in design education. It then discusses and distinguishes three significant assessment models in design and creative arts education and emphasises the importance of opening debate on notions of creativity within the discipline. Following this, the article examines recent developments in the way that creativity is being practised, driven, fostered and implemented in contemporary design practice, and argues that these recent developments must feature in current scholarship about the development and assessment of creativity in design education. The article recommends areas for future research that pay close attention to developments in the rapidly expanding field of design practice.