Integrating Learning Portfolios in Foundation Curricula Cassini Nazir Clinical Associate Professor, 
 Director of Design, ArtSciLab Roxanne Minnish Clinical Assistant Professor Donna Aldridge Clinical Assistant Professor UT Dallas 
 Office of Information Technology Summit May 16, 2018

CHANGE DESIGN LEARNING Contextualizing the many curricular changes at UT Dallas Exploring the field of design as well as the design of curriculum Examining the portfolio and its relationship to actors TODAY’S TALK TAKES THREE SHAPES

CHANGE Contextualizing the many curricular changes at UT Dallas

1600 Students in ATEC foundation courses Fall 2017 Undergraduate Pathways Students BA • MA • MFA • PhD 4 Student capstones Spring 2018 200 Undergraduate courses offered Fall 2017 to Spring 2018 238 Bachelors degrees awarded May 2018 graduation 339 647

Of the 122 undergraduate classes listed in the 2017 undergraduate catalog … Advanced Emerging Media Production Animation Studio I Animation Studio II Animation for Games Audience Analysis Audio Productions Lab I Audio Productions Lab II Audio Technologies Capstone Project Character Design Children and Media Code and Culture Communicating Social Science Communication and Social Science Theories Communication, Media, and Information Technology Computer Animation I Computer Animation II Computer Animation III Computer Animation Processes Computer Imaging Computer Modeling for Digital Fabrication Critical Making Design I Design II Design Research Methods Digital Activism Digital Audio Processing Digital Content Design Digital Fabrication Studio I Digital Fabrication Studio II Digital Inequalities Digital Sculpting Digital Video Production I Digital Video Production II Digital Writing Disability, Technology, and Media Emerging Media Production Emerging Media and the Digital Economy Ethics in New Media, Technology, and Communication Exploration of Arts and Technology Feminism, Technology, and Media Freshman Seminar Game Design Fundamentals Game Design I Game Design II Game Design III Game Production Lab I Game Production Lab II Game Studies I Game Systems Design Games and Narrative I Games and Narrative II Historical Perspectives on Emerging Media History of Games Human Communication Online Independent Study in Arts and Technology Interaction Design I Interaction Design II Internet Studio I Internet Studio II Intervention Design and Testing Introduction to Technoculture Journalism in the Networked Age Level Design I Level Design II Lighting and Composition I Lighting and Composition II Media Archeology Media Psychology Media Structures, Regulations, and Policies Media and Communication Research Theories I Media and Communication Research Theories II Message Effects Research Design Modeling and Texturing I Modeling and Texturing II Motion Capture Animation Motion Graphics Motion Graphics II Networked Identities News and Public Opinion Persuasion and Digital Media Political Communication Pre-Production Design I Pre-Production Design II Privacy and Surveillance Procedural Animation Project Management for Arts and Technology I Project Management for Arts and Technology II Projection Mapping Studio Qualitative Communication Research Methods Queer Technology and Media Race, Technology, and Media Reading Media Critically Reading in a Networked Era Rigging I Rigging II Scripting for Games I Scripting for Games II Senior Honors in ATEC Senior Seminar Social Networks Sound Design Sound Design for Games and Interactive Media Special Effects Special Topics in Arts and Technology Storytelling for New Media I Storytelling for New Media II Strategic Design Survey of Digital Fabrication Theories EMAC Tools Development for Arts and Technology Topics in Animation Topics in Art and Technology Topics in Emerging Media and Communications Topics in Game Development Topics in Mediated Communication Topics in Sound Design User Experience Design for Games I Virtual Environments Virtual Environments II World Building Writing and Research EMAC

Advanced Emerging Media Production Animation Studio I Animation Studio II Animation for Games Audience Analysis Audio Productions Lab I Audio Productions Lab II Audio Technologies Capstone Project Character Design Children and Media Code and Culture Communicating Social Science Communication and Social Science Theories Communication, Media, and Information Technology Computer Animation I Computer Animation II Computer Animation III Computer Animation Processes Computer Imaging Computer Modeling for Digital Fabrication Critical Making Design I Design II Design Research Methods Digital Activism Digital Audio Processing Digital Content Design Digital Fabrication Studio I Digital Fabrication Studio II Digital Inequalities Digital Sculpting Digital Video Production I Digital Video Production II Digital Writing Disability, Technology, and Media Emerging Media Production Emerging Media and the Digital Economy Ethics in New Media, Technology, and Communication Exploration of Arts and Technology Feminism, Technology, and Media Freshman Seminar Game Design Fundamentals Game Design I Game Design II Game Design III Game Production Lab I Game Production Lab II Game Studies I Game Systems Design Games and Narrative I Games and Narrative II Historical Perspectives on Emerging Media History of Games Human Communication Online Independent Study in Arts and Technology Interaction Design I Interaction Design II Internet Studio I Internet Studio II Intervention Design and Testing Introduction to Technoculture Journalism in the Networked Age Level Design I Level Design II Lighting and Composition I Lighting and Composition II Media Archeology Media Psychology Media Structures, Regulations, and Policies Media and Communication Research Theories I Media and Communication Research Theories II Message Effects Research Design Modeling and Texturing I Modeling and Texturing II Motion Capture Animation Motion Graphics Motion Graphics II Networked Identities News and Public Opinion Persuasion and Digital Media Political Communication Pre-Production Design I Pre-Production Design II Privacy and Surveillance Procedural Animation Project Management for Arts and Technology I Project Management for Arts and Technology II Projection Mapping Studio Qualitative Communication Research Methods Queer Technology and Media Race, Technology, and Media Reading Media Critically Reading in a Networked Era Rigging I Rigging II Scripting for Games I Scripting for Games II Senior Honors in ATEC Senior Seminar Social Networks Sound Design Sound Design for Games and Interactive Media Special Effects Special Topics in Arts and Technology Storytelling for New Media I Storytelling for New Media II Strategic Design Survey of Digital Fabrication Theories EMAC Tools Development for Arts and Technology Topics in Animation Topics in Art and Technology Topics in Emerging Media and Communications Topics in Game Development Topics in Mediated Communication Topics in Sound Design User Experience Design for Games I Virtual Environments Virtual Environments II World Building Writing and Research EMAC Of the 122 undergraduate classes listed in the 2017 undergraduate catalog,
 almost a third are new courses.

ATCM 2302 Design I Provides foundational knowledge of visual structure and problem solving in two- and three-dimensional design. Students will be introduced to design methodology and design processes with emphasis on the formal principles of composition and organization. PREREQ — ATCM 3365 Game Design I This course presents principles and techniques of interactive game design, including but not limited to game mechanics, player dynamics, social and multiplayer structures, statistics and game theory, and systems analysis. Students will work individually and in teams to create original interactive games as well as learn fundamentals of focus testing, usability testing, and critique. Course focuses on both analog and digital games. PREREQ — ATCM 2365 Game Design Fundamentals ATCM 3305 Computer Animation I This course presents the concepts, tools and techniques used in 3D key frame animation. Topics will include squash and stretch, anticipation, overlapping motion and timing. Students will learn to animate using pre-existing rigs and set-ups. PREREQ — ATCM 2305 Computer Animation Processes ATCM 2365 Game Design Fundamentals A summer workshop helped faculty better understand the curriculum changes.

Faculty mapped the student journey from start to finish.

By the time they entered school, laptops were outselling desktops. They have always been searching for Pokemon. As toddlers they may have dined on some of that canned food hoarded in case of Y2K. Wikipedia has steadily gained acceptance by their teachers. First generation for whom a “phone” has been primarily a video game, direction finder, electronic telegraph, and research library. Electronic signatures have always been as legally binding as the pen-on-paper kind. 2017 marks the last freshman class born in the 1990s. From https://www.beloit.edu/mindset/2021

HIGH LOW ARTIFACTS TRANSFORMATIONS COMPLEXITY EXPERIENCES THOUGHTS ACTION THINGS SYMBOLS Logos, signs Tools, objects Interactions, services Ecosystems, platforms Buchanan, R. (2001) Design research and the new learning. Design Issues, 17(4), 3–23 The field of design is changing. Buchanan’s four orders of design (2001) demonstrates the field’s past and possible futures.

20th century design FROM Making the complex manageable; Rendering the complicated meaningful. Simplicity of form, function, materials, and manner. TO 21st century design THOUGHTS ACTION THINGS SYMBOLS Logos, signs Tools, objects Interactions, services Ecosystems, platforms Buchanan, R. (2001) Design research and the new learning. Design Issues, 17(4), 3–23 Design of systems

20th century design FROM Making the complex manageable; Rendering the complicated meaningful. Simplicity of form, function, materials, and manner. TO 21st century design Design a vase. Design a way for people to enjoy flowers inside their home. Design a way for people to connect with nature.

DESIGN Exploring the field of design as well as the design of curriculum

1 FOUNDATIONS 3 SIGNATURE WORK Based on National Association of Schools of Art and Design Creative Multidisciplinary Converge and Technologies, see https://nasad.arts-accredit.org Based on Association of American College’s & Universities publications on Signature Work, see https://www.aacu.org/signaturework 2 PATHWAY Capstone Internship Field work Research Community-based projects Pathway foundations Thematic clusters Three or more courses across multiple disciplines, including the major field. A student examines questions important to him/her and to society. Studio Practice History Theory Technology Synthesis The undergraduate student journey is a process of guided exploration and refinement. Four possible in ATEC: Animation, game design, design and production and mediated communication.

1 FOUNDATIONS 2 PATHWAY 3 SIGNATURE WORK Capstone Internship Field work Research Community-based projects Pathway foundations Thematic clusters Three or more courses across multiple disciplines, including the major field. A student examines questions important to him/her and to society. messy < Studio Practice History Theory Technology Synthesis Based on National Association of Schools of Art and Design Creative Multidisciplinary Converge and Technologies, see https://nasad.arts-accredit.org Based on Association of American College’s & Universities publications on Signature Work, see https://www.aacu.org/signaturework The undergraduate student journey is a process of guided exploration and refinement. Learning portfolios can weave the thread of reflection through their experience. Four possible in ATEC: Animation, game design, design and production and mediated communication.

ATCM 2300 
 Introduction to Technoculture ATCM 2301 
 Computer Imaging ATCM 2302 
 Design I CE 1335
 Computer Science I for non-majors 1 FOUNDATIONS a ATEC B PATHWAY ATCM 1316 
 Drawing Foundations ATCM 2305 
 Computer Animation Processes ATCM 2303 
 Project Management I CE 2335
 Computer Science II for non-majors Every student in the school takes these Students seeking entrance in the pathway take these ANIMATION Electronic Learning Portfolios in these class

Portfolios take many forms: Showcase portfolios emphasize the products of learning. Growth portfolios emphasize the process of learning. Evaluation portfolios emphasize achievements. Adapted from http://jfmueller.faculty.noctrl.edu/toolbox/portfolios.htm EVALUATION Document achievement Document progress towards standards Place students appropriately SHOWCASE Usually includes final work Accomplishments Samples of best work Best or most important work Communicates current aptitudes GROWTH Can include early work Change over time Develops process skills such as self-evaluation and goal- setting Identify strengths and weaknesses Track the development of one more products/performances EARLY WORK MATURE WORK EXEMPLARY WORK A portfolio can tell more than one story to more than one audience

Game Code Presentation Image Media Prototype Paper Reflection Objects placed in the portfolios also take many forms: Documentation /Evidence Reflection Collaboration /Mentoring

Argyris, C. & Schon, D. (1978). Organizational Learning: A Theory of Action Perspective. Reading, MA: Addison-Wesley Publishing Co. In-class exercises and assignments enable reflection-in-action (thinking “on your feet”) and knowing-in-action (using knowledge to take action in the moment). Are we doing things right? SINGLE LOOP LEARNING Reflection in Action ACTIONS RESULT

The learning portfolio enables reflection on action: why you did what you did and what you would do differently next time. Argyris, C. & Schon, D. (1978). Organizational Learning: A Theory of Action Perspective. Reading, MA: Addison-Wesley Publishing Co. Are we doing the right things? Reflection on Action ASSUMPTIONS Are we doing things right? SINGLE LOOP LEARNING Reflection in Action ACTIONS RESULT DOUBLE LOOP LEARNING

CONTEXT TRIPLE-LOOP LEARNING How do we decide what is right? Extended use of learning portfolios enables triple-loop learning conversations, where students can connect larger contextual concerns. Argyris, C. & Schon, D. (1978). Organizational Learning: A Theory of Action Perspective. Reading, MA: Addison-Wesley Publishing Co. Are we doing the right things? Reflection on Action ASSUMPTIONS Are we doing things right? SINGLE LOOP LEARNING Reflection in Action ACTIONS RESULT DOUBLE LOOP LEARNING

Criteria for selecting a vendor for Electronic Learning Portfolios can be helpful … Posey, L. et al. (2015) Developing a Pathway for an Institution Wide ePortfolio Program. International Journal of ePortfolio, 5(1), 75–92. Design + Ease of Use Overall ease of use in creating an e-Porfolio. Ease of uploading files Supported file types How externally created, text based content is displayed; readability of on-screen written work. Viewing and commenting features. Image editing features. File size limits for artifacts. Integration with online content hosting sites. Ability to write and create content/artifacts from the ePortfolio. Access Ability for student to create and keep multiple versions. Ability for department to keep time-stamped versions. Student access and maintenance of portfolios after graduation. Institution access to alumni portfolios. Archive features. Privacy Student control of public access. Ability to lock down/hide sections or individual artifacts. Ability to customize views for different audiences. Ability to work privately and hide content from all parties, including instructor. Web 1.0 and 2.0 sharing of portfolios. Internal/public commenting features & controls. Collaborative editing features. Accessibility Accessibility of the portfolio’s UI. Accessibility of user created content in the portfolio. Accessibility of artifacts in the portfolio. Adherence to accessibility standards. Accreditation Supports evidence of student achievement for accreditation. Ability to create customized reports based on variables. Ability to export complete ePortfolios and components of ePortfolios for accreditor to review. Ability to export all student instances of a single assignment. Competency tagging features. Support for long-term archives. Support Technical support for students. Technical support for instructors. Live support (e.g., online, on-site, phone). “Self-help” (documentation, blogs, etc.). Dedicated “shared space” for portfolio templates, advice, model portfolios, etc. (for use by administrators). Integration of ePortfolio support w other institutional tech support. End product Diverse examples of “finished portfolios” created by product. Aesthetics: examples of great visual design with the product. Nav: examples of great user experience designed with the product. Ability for institutions to “curate” portfolios for viewing by prospective students, faculty and the general public. Writing Features Writing/editing features. Instructor & peer feedback features. In-line editing features. Ability to keep multiple versions of writing assignment including instructor feedback & revisions. Ability for multiple instructors to comment on the same piece. Sophisticated content authoring and feedback mechanics. Instructor Features Instructor commenting & feedback on externally created artifacts. Portfolio & assignment templates. Assignment creation & monitoring. Ability for multiple instructors to comment on the same artifact. Artifact versioning features. Batch loading of assessment data (e.g., exam scores) into individual portfolios. Program-level/multi-year portfolio capabilities & student access features. Competency tracking features. Systems Integration Student account creation & authentication features Integration with enterprise systems (e.g. Banner) Integration with LMS (e.g., Blackboard) & grade center. Student access mechanisms (within and/or outside of courses). Well-developed APIs. Integration with LMS Grade Center. How does your system integrate with the Grade Center in Bb? Portability among LMSs in case of transition. Content export functionality. iOS friendly.

… but is usually decided by the sunk costs of current systems and infrastructure. Privacy Design + Ease of Use Access Writing Features Instructor Features Systems Integration Accessibility Accredit’n Support End product Blackboard eLearning WordPress Multisite TBD ?

DESIGN The undergraduate student journey is a process of 
 guided exploration and refinement. Portfolios can take many forms: 
 growth, evaluation, and showcase. Learning portfolios enable reflection and collaboration, not just documentation of work. Over time that reflection can affords students 
 the ability to see larger threads and contextual changes.

LEARNING Examining the portfolio deeper

The design studio is different from most classrooms.

Students are learning how to use form to shape meaning.

Design is a process of understanding, planning, visualizing, observing, and iterating.

Creative thinking is chaotic, requiring continuous exploration and intuitive leaps.

Foundational principles of design help students tame chaos into order.

Students create a number of artifacts demonstrating an understanding of design principles.

Students are challenged to make their understanding manifest as co-creators of knowledge.

Design is social in nature. Showing work-in-progress is important.

Getting feedback on work-in-progress is critical.

Students reflect on what they created and whether it adheres to the design criteria.

Raw talent is not enough to be a good designer.

The Learning Portfolio

After this class, I’ve become a lot more conscious about my design decisions, even in the other design classes that I took also during this semester. It was really cool for me to physically see the progress I was making throughout the class, and how I was growing as a designer. With [the design process] I can now understand how to look back on and improve a design. This also helps me get started with a design and how to go about finishing one. I grew over the course by learning to disconnect from my work and that criticism of my work is not a criticism of me. When we weren’t allowed to use color (something I always incorporate in my work) it was difficult to think of how to convey different moods until I learned rhythm. I think I have become a better designer overall. Now I think about designing things differently. I also critique existing designs more often than I used to. Student feedback in their own words …

Not all work is excellent.

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I have two focal points of the orchids and the jeep stamp. In Colombia, there is a variety of exotic flowers with orchids being the most prominent. As for the jeep, they are called yipaos or willy jeeps and are seen in rural streets of Colombia. To distinguish the two, I purposely made the orchids more detailed in color while the stamp is bold with a solid color but also detailed with a lot of lines, showing a silhouette of some objects that would be on a yipao.

View video at vimeo.com/246519851/a1f5a58383.

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