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High Impact Practices (HIPs) and Student Performance
Get PDFUsing a sample of 1031 students from a public university, who responded to the NSSE survey in the Spring of 2018, this study explored the relationships between high-impact practices (HIPs) and several student academic performance metrics. Student responses to the NSSE HIPs participation questions were combined with their academic performance (GPA, credit hour completion, years-to-degree). Linear regression results show that the number of HIPS is a significant predictor of all academic performance metrics. The study also found significant differences between student populations and across course delivery modes regarding their participation in HIPs
Building and Employing the Music-Coaching-Improv (M-C-I) Framework To Aid New Instructors in Overcoming the Imposter Phenomenon
Get PDFNew instructors often face feeling like an imposter. This article explains an innovative contribution called the Music-Coaching-Improv (M-C-I) Framework of 15 skills that includes the top five ways to use music, five key coaching skills, and five core improv skills. The M-C-I Framework was the foundation for three improv exercises that were selected due to their effectiveness in training the overlapping skills of active listening, support, letting go of judgment, being in the moment, cocreation, and acceptance that supported instructors overcoming the imposter phenomenon. This article examines how music, coaching, and improv training in an instructor development program influenced participants (n = 19) to overcome the imposter phenomenon and boosted instructors’ overall confidence in self, as well as their identity as an instructor. Many leaders serve as an instructor, mentor, or part of a command team during their career. Understanding how to overcome the imposter phenomenon benefits oneself and others they lead
Fostering Active Learning and Metacognitive Skills in a Cognitive-Science Based Math Course
Get PDFThere is a large body of research on how to improve student learning through active learning and metacognition. However, without well-structured guidelines, students do not tend to actively engage with the taught material, peers, and the instructor at a desirable metacognitive level (Deslauriers et al., 2019). To address this problem, a research-driven assessment structure is integrated into a nontraditional course called “Methods for Mathematical Problem Solving” (M2PS). Methods for Mathematical Problem Solving was designed by the author to teach students effective study principles stemming from cognitive science. The assessments include synchronous check for understanding (CFU) assignments to further investigate the taught material through reading assignments and reflective writings, followed by asynchronous quiz reinforcements, and concluded with journaling to ensure successful implementation of the principles into study schedules. This cycle of learning and implementation is carried throughout the 7 weeks of this hybrid course. The classroom culture, grounded on metacognition and active learning, is purposefully modeled by the instructor. In this article, we focus on a sample of assessments that are tailored to enhancing active learning and metacognitive skills. Assessments are employed in a low-stakes, distributed fashion to reduce anxiety over a curriculum built on an abundance of theoretical and empirical research. These assessments can be easily adopted into traditional classrooms with instructors’ deliberate efforts. The purpose of creating these assessments is to improve student learning outcomes by instilling metacognitive skills while turning on the “active learning” mode. The end-of-course celebratory event signified the importance of developing this course, specifically for first-year undergraduates
Manufacturing National Boundaries? The Notion of Style Between Identity Constructions and Spatial Approaches
Get PDFArt historians have long been preoccupied by art’s geographical inscription. But it was during the interwar period that research on the geography of art really took off and was recognized as a field of study in its own right. This is evidenced by the organization of an international congress of art history (Stockholm, September 1933) specifically devoted to art geography. What was the field covered in 1933 by artistic geography? How did it define its objects? And how an art history marked at the time by an extremely present methodological nationalism did shape geographical approaches?
Depuis les débuts de la discipline, les historiens de l’art s’interrogent sur l’inscription spatiale de leurs objets. Mais ce n’est que dans l’entre-deux- guerres que la géographie artistique s’affirme comme un domaine d’études à part entière. En témoigne l’organisation d’un congrès international d’histoire de l’art spécifiquement consacré à la géographie de l’art (Stockholm, septembre 1933). Quel est le champ couvert par la géographie artistique en 1933 ? Comment définit-elle ses objets ? E comment une histoire de l’art alors marquée par un nationalisme méthodologique omniprésent a-t- elle élaboré des approches spatiales de la production artistique
Présence et identité des collectionneurs dans les biennales (1948-1965)
No full textUsing exhibition catalogue data from the Artl@s database, this article seeks to define the typology of collectors/owners of works presented at nine international biennials, while quantifying their presence synchronously and transversally, in order to question the homogeneity of the cohort.
En s’appuyant sur les données de catalogues d’exposition issues de la base Artl@s, cet article cherche à définir la typologie des collectionneurs/propriétaires des oeuvres présentées dans neuf biennales internationales, tout en quantifiant leur présence de façon synchronique et transversale, afin d’interroger l’homogénéité de la cohorte observée
