THTR

Beth Osnes on Working with Student Technology Consultants

Anonymous — Mon, 24 Jun 2019 22:57:41 +0000

Beth Osnes on Working with Student Technology Consultants Anonymous (not verified) Mon, 06/24/2019 - 16:57

Dr. Beth Osnes, Associate Professor of Theatre and ASSETT's Faculty Advisor, sat down with us to discuss the value of working with a Student Technology Consultant. With support from the STCs, Beth has implemented Google Maps and the Adobe Creative Suite in her classes. In particular, she notes the value of having peer demonstrate that mastery of a selected tool is possible and her appreciation for how students teaching students helps to break down traditional classroom hierarchies.

Learn more by watching our short interview with Beth. For additional information, submit a request using our online form or contact Jacie Moriyama, ASSETT's Student Services Portfolio Manager.

[video:https://www.youtube.com/watch?v=QyRuBo2Wu8w]

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Cecilia Pang: Teaching with Technology to Foster Creativity in Performing and Directing

Anonymous — Tue, 09 Apr 2013 06:00:00 +0000

Cecilia Pang: Teaching with Technology to Foster Creativity in Performing and Directing Anonymous (not verified) Tue, 04/09/2013 - 00:00

I came to TWT with a two-fold objective: a) to learn how to teach with technology for creative, embodied, human-centered subjects such as Performance and Directing and b) to devise a syllabus for an Interdisciplinary Creativity course. My idea is to incorporate technology in creative-type classes by allowing the students to use whatever means they choose to contribute to the same collective end, i.e. the assignment/project. This way the learner/teacher become indistinguishable in our roles. The intent is to continue to foster their creativity, with the enhancement of tech tools. In Fall of 2012, I experimented incorporating technological assignments in two of my classes.

Think Small, Dream Big

“Don’t think. Thinking is the enemy of creativity. It’s self-conscious, and anything self-conscious is lousy. You can’t try to do things. You simply must do things.”

–Ray Radbury (novelist science fiction writer)–

Description of the problem, idea or opportunity

SUPER-OBJECTIVE: [inspired by Andy] To change someone else’s life

PREVIOUS OBJECTIVE for TWT: A) To learn how to teach with technology for creative, embodied, human-centered subjects (e.g. Performance and Theatre Directing) that normally do not use technology in the classroom. B) To devise a syllabus for an Interdisciplinary Creativity course.

ŷ��ڱ��ƵRRENT OBJECTIVE for TWT: [inspired by Jeffrey] To empower students

IDEA: incorporate technology in creative-type classes by allowing the students to use whatever means they choose to contribute to the same collective end, i.e. the assignment/project. This way the learner/teacher become indistinguishable in our roles. The intent is to continue to foster their creativity, with the enhancement of tech tools.

PROBLEMS:

Technology Overload – how to make the right choice and the right decision, i.e. what works for Faculty “A” in Department x does not necessarily work for Faculty “B” in Department Y, or what works for Faculty “C” in Course 1 does not necessarily apply to Course 2
Limitation of School Prescribed Tool/Software – lack of vision and user adaptability for all .e. what works for Faculty “A” in Department x does not necessarily work for Faculty “B” in Department Y, or what works for Faculty “C” in Course 1 does not necessarily apply to Course 2
Resistance to Change/Inability to Mastery – some of us [me especially] are slow learners, and too set in our own ways – I was a PC user for over 10 years before I changed over to Mac and now I have an imac, Macbook Pro, ipad and iphone but I still have my pink old dusty Dell under the desk.
Constant Change – d2L? ŷ��ڱ��ƵLearn? DDNS? ŷ��ڱ��ƵLink? Exchange? Outlook? WordPress? Googleweb? infoEd? UpSes? VDI? MetamorphoSIS?

Description of how it has changed over time

Technology in Education appears to have transformed from a “student centric “ to a “business induced” industry – Once upon a time, start-ups were touted as geniuses of innovation, motivated by creativity and growth but recently it seems to have become a money driven outfit. It is reported in The Chronicle of Higher Education,

“In recent years, venture capitalists have poured millions into education-technology start-ups, trying to cash in on a market they see as ripe for a digital makeover. And lately, those wagers have been getting bigger.Investments in education-technology companies nationwide tripled in the last decade, shooting up to $429-million in 2011 from $146-million in 2002, according to the National Venture Capital Association. The boom really took off in 2009, when venture capitalists pushed $150-million more into education-technology firms than they did in the previous year, even as the economy sank into recession. -http://chronicle.com/article/A-Boom-Time-for-Education/131229/

Description of factors that make it compelling now

When is not the issue

The question to ask is, why not now?

Implications for not solving or addressing it?

Not sure what this means.

Bring 'em On

“Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.” -Scott Adams- (cartoonist)–

I came to TWT with a two-fold objective: a) to learn how to teach with technology for creative, embodied, human-centered subjects such as Performance and Directing and b) to devise a syllabus for an Interdisciplinary Creativity course. In Fall of 2012, I experimented incorporating technological assignments in two of my classes:

THTR5172 Advanced Directing (Fall 2012). Graduate Level, 12 students. Classroom: Loft Theatre. Time: T/R 12:30-3:15

Technology Assignments:

Digital story-telling – I adopted the idea from my PWR colleagues at TWT and devised a new assignment for the Directing class that requires use of technology. Using any photography and editing tool of their choice, they will “create a visually and emotionally compelling story through images, with only 1 table 2 chairs 1 actor.” The results went beyond my expectation—the tools they used ranged from Powerpoint, imovie, Final Cut pro, Itunes, Premiere, to Photoshop but the most interesting projects were those that combined live action with the digital story.
Directing Pedagogy – Teamed up in pairs, the students are asked to give a presentation on the pedagogy of an inspiring theatre director. The assignment includes an oral presentation with multi-media tools and a hands-on exercise. Again, the technology they chose were simple and direct such as Powerpoint, Google Doc, Youtube,
Students are also encouraged to incorporate technology in their midterm and final scene projects. Some created a backdrop of images; others made an entire video. The technology they use include IMovie, Final Cut Pro, Powerpoint, Keynote.

THTR4193 Studio 5: Creating An Ensemble (Fall 2012). Undergraduate BFA-Performance majors only, 7 students. Classroom: Loft Theatre. Time: T/R 12:30 to 3:15

This class is the equivalent of a BFA-Performance Senior Showcase where the 7 students adapted 7 short stories for the stage and created an ensemble piece. But since the classroom work is devoted strictly torehearsals, so all the communication, research and homework had to be done outside class. I created a wiki page for us to share the collaborative research. http://studio5f2012.pbworks.com/
The students themselves created a website for the class using WordPress. This inspires me to adopt it as a team project for my pilot course on Creativity next semester. http://custudio5.com In Spring of 2013, I intend to continue experimenting teaching with technology in two other classes.

THTR3023 Studio 2: Creating A Role (Spring 2013), Undergraduate BFA-Performance majors only. 16 students. Classroom: Loft Theatre. Time: T/R 1-4 pm

Technology Assignment: Acting Pedagogy – While this is an assignment that I have used previously for this class, I intend to adopt a new approach by using educational technology for the research component; and embodied hands-on practice for the second part. I will create a more elaborate wiki page, probably through PBWorks again, and ask the students to supplement their research work with multimedia images. I will also require the class to comment on these research pages. This is an adaptation of the flipped classroom model where the instruction will take place at home.

Norlin3000: Seminar on Creativity (Spring 2013). Undergraduate-interdisciplinary. 16 students. Classroom: Norlin Library. T/R 5-6 pm

Technology assignments:

Digital story – Technology tools: Powerpoint, Keynote, Imovie, Premiere, Final Cut
Interview Podcast – my colleague at TWT strongly suggested I experimented with an audio assignment and after playing with Audacity for awhile, I devised this idea to creatie a short podcast.
Class webpage – As it is has been my dream to create an on-line creativity course, so I want to document the process and showcase the product of the students. Technology tools: WordPress or Google web or any free website.
Creative Swap Stew Personal Creative Project: examples might include typography animation, music video, poster?
Mini TED talk – we will video and post all the talks on the class homepage.

In addition, I am very interested in the collaborative reading tool suggested by my TWT colleague Dr. Kim so I might try using http://nb.mit.edu for a couple of the reading assignments. Furthermore, I am interested in cultivating the Flipped Classroom model—although majority of our theatre classes are flipped already since our classroom/studio work generally involve activity such as exercises, rehearsals and scene work. I would like to cultivate the other aspect: instruction of knowledge via online technology tools. I am also fascinated by the Coach’s Eye app and am curious if I can try that on actors.

Measure in Creativity

Five hundred twenty-five thousand

Six hundred minutes,

Five hundred twenty-five thousand

Moments so dear.

Five hundred twenty-five thousand

Six hundred minutes

How do you measure, measure a year?

In daylights, in sunsets, in midnights

In cups of coffee

In inches, in miles, in laughter, in strife.

- “Seasons of Love” from the Musical Rent - How about creativity? Measuring effectiveness and growth in performance requires a different approach than the standardized achievement tests. While the skills level and the absorption and interpretation of techniques can be evaluated, there is always the ‘it’ factor that cannot be measured. In general, a student of theatre fails and succeeds in the public eyes, so everyone in class can witness and will acknowledge the growth of a singular student. Now if and when the whole class grows leaps and bounds, that’s how I know the changes I make worked and that’s how I usually measure growth in my own teaching. Except when it comes to teaching with technology in creative/performative classes such as Acting and Directing. I came to the TWT seminar with the intent to meet and steal from other tech-savvy like-minded colleagues, also also to push myself to go beyond merely grafting existing forms of pedagogy onto new media. My identified objective is to stimulate/inspire creativity by encouraging the students to use whatever technological means to the collective end. This is modeled after how innovative technology serves as a handmaiden in theatrical productions—that every play has its unique demands and the same technology might not and cannot work for all the shows. So far, I’ve experimented teaching with technology twice—in Acting 2 and in Advanced Directing. In all of my classes, I generally adopt an assessment methodology that is both formative and summative: a self-evaluation followed by a group evaluation after the presentation of every assignment. Sometimes, I may ask the students to submit a written learning assessment as well. All these help the students to reflect critically on ideas, actions and outcomes. But I think in the future I might add the following means: a) videotape the performances to assess the effectiveness of the use of technology b) conduct a short survey to continue questioning and challenging the students’ c) demonstrate some examples to show the spectrum of technological tools available so they can envisage what might be a potential outcome and how to improve on it d) take a poll and let the students vote on the best project to make connections between the popular and critical reception Although there is no evidence that the student’s acting ability has improved with the use of technology, there is a marked increased of creativity in how students approach assignments with technology–especially among those students who took both classes with me. One student wrote, “I want to keep using technology in other performances. The main reason for this is because of the options that it gives to open up scenes and put a different point of view into a scene. Also, I want to put technology to better use in my performances because it is so prevalent in today’s society and will keep becoming more and more advanced.” I welcome any other suggestions that can help unleash creativity through the use of the technology in the classroom.

Reflection: Woulda Coulda Shoulda

I was a TWT fellow in Fall 2012 where my identified objective was a) to learn how to teach with technology for creative, embodied, human-centered subjects such as Performance and Directing and b) to devise a syllabus for an Interdisciplinary Creativity course. (TWT Blog-3 “Bring Em On”) Last semester, I successfully experimented teaching with technology in my Advanced Directing class by including a digital story assignment as well as encouraged the students to use technology in their presentation.

What worked: This semester, I went full throttle teaching with technology. To that end, I created three group workspaces on PBWorks for two of my classes, a Norlin scholar interdisciplinary course “NRLN3000: Seminar on Creativity” and a performance class, “THTR3023: Studio 2-Creating A Role”, as well as a documentation instrument for my production, Little Women: the Musical. NRLN3000—Seminar on Creativity (2013Creativity.PBWorks.com) This entire class revolves around technological assignments that include: digital story, podcast, personal creative project, and a collaborative class website. The class comprises of students from various disciplines (Journalism, Creative Writing, Astrophysics, Biology, Engineering, Psychology etc) and from freshmen to seniors. Most of them have never had a class that focused on creativity or relied so much on technology. Above all, they have never had a professor who did not give them any rules or boundaries except “just do it.” [I feel that the success of this class was precisely on how I how I stimulate/inspire creativity by encouraging the students to use whatever technological means to the collective end. With the Digital Story they used Powerpoint, imovie, Final Cut pro, Itunes, Premiere, and Photoshop With the podcast, I did suggest the use of Audacity as a sound editing tool. [They still have two more projects: a personal creative project and a class website.] THTR3023: Studio 2-Creating A Role (2013Studio2.pbworks.com) I used this wiki primarily for students to post their research assignments where they can upload and share photos and videos. What surprised and delighted me was when they willingly post their AHA moments of epiphanies. This does not happen often but when it does, it’s priceless. Little Women: the Musical (littlewomenthemusical.pbworks.com) I created this wiki as a documentation for the rehearsal process of Little Women:the Musical, which I directed at the University Theatre in Spring 2013. My intent was for the cast to create a research page for the character they play and for me to post my notes and observations after each rehearsal. I’m not sure how successful this is as it is not the practice of actors to connect the intellectual with the corporeal but it does serve well as a communication means between the director and the cast. Ideally, I hope to incorporate a technological tool that encompasses communications and research among all production aspects (costumes, scenery, lights, props, and actors). What did not work

It is unfortunate that neither OIT nor ASSET has the campus license to PBWorks. The Help desk at PBWorks informed me that there was a ŷ��ڱ��Ƶ campus license but will not release the name to me. I am happy with the free wiki version but I would love to upgrade to the classroom edition.
I wish I could get the Norlin scholars to open up and seek help. It was only during assessments, that they discussed their frustrations with the tools and the time they spent in learning how to edit a film. But no one came to me for help. When asked why, they responded, it’s the mastering of the skills that matters. Instead of me teaching them what to do, they like exploring on their own.

What feedback you get from students? I generally adopt an assessment methodology that is both formative and summative: a self-evaluation followed by a group evaluation after the presentation of every assignment. I intend to send out a Quatrics survey at the end of the semester. Nevertheless, I knew that it must be working somehow because the students voluntarily post their AHA Moments or Comments to reading/viewing assignments. What would you do differently? I wish I have more time for the Seminar on Creativity. 50 minutes weekly is barely enough to scratch the surface. Perhaps I shoulda/coulda done fewer assignments but then I’m never been known bow down from expectations. Otherwise, I am pleased that I fulfilled each and every one of my objectives stated in the previous TWT Blog. My greatest insight is that it really doesn’t matter what technological tool we use to teach…the students prefer to figure it out on their own. Samples Included: 2013Creativity.pbworks.com 2013Studio2.pbworks.com littlewomenthemusical.pbworks.com Reel of digital stories and podcasts to be included in digital display in the April 24^th Teaching with Technology symposium

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Performing The Archive: Using Modern Technology to Describe Turn of the Century Innovation

Anonymous — Fri, 10 Aug 2012 06:00:00 +0000

Performing The Archive: Using Modern Technology to Describe Turn of the Century Innovation Anonymous (not verified) Fri, 08/10/2012 - 00:00

“You’re doing it right when you’re playing,” says Dr. Amma Ghartey-Tagoe Kootin. This may seem like a strange statement to make in an upper-level class where students use complex technology and challenging archival material to re-imagine the 1901 New York World’s Fair on stage. Yet, Dr. Ghartey-Tagoe Kootin’s Spring 2012 class, “Performing the Archive,” thrived on fearless experimentation, the willingness to make mistakes, and energetic collaboration.

Collaboration occurred at all stages of the process. For several years Dr. Ghartey-Tagoe Kootin has been developing a new musical called “At Buffalo,” which Ghartey-Tagoe Kootin describes as “a multimedia, historical musical that reconstructs and deconstructs black performance from the 1901 Buffalo, New York World’s Fair.” Now collaborating with New York artist Jim Augustine to complete the professional production, the pair hopes to eventually take it to Broadway. Ghartey-Tagoe Kootin has also workshopped the musical at NYU’s Tisch School of the Arts, UC Berkeley, and ŷ��ڱ��Ƶ Boulder, allowing students to assist in developing the production further. Blending contemporary multimedia technology and archival material, students in ŷ��ڱ��Ƶ Boulder’s “Performing the Archive” class acted out scenes, conducted research, and generated material which could be used in the final musical. Students taking the class had a range of acting abilities and varying levels of experience with technology. Some were professionals, others had never been on stage, and few had any knowledge of the 1901 New York World’s Fair.

One “student”, ASSETT technical director Grant Matheny, wasn’t even technically enrolled. According to Dr. Ghartey-Tagoe Kootin, Matheny was one of the most important collaborators involved in “Performing the Archive.” Along with financial support in the form of an ASSETT professional development grant, Ghartey-Tagoe Kootin was able to meet with Matheny and the ASSETT technical team, including Amanda McAndrew, to discuss unfamiliar equipment. One of the most complicated hurdles that Ghartey-Tagoe Kootin presented to ASSETT was that of projecting moving images onto live actors. Choosing the right equipment and learning how to use it properly was vital to the success of the class. “ASSETT allowed me to sit down with them and brainstorm ideas,” says Ghartey-Tagoe Kootin.

In addition to offering equipment support, Grant Matheny attended every class and worked with technology expert Aisha Jackson to train students to use the digital projectors. He also filmed the class, uploaded video to the Desire2Learn courseware platform, and coordinated Lecture Capture conversations between the class and virtual collaborator Jim Augustine. “It was amazing to see the students able to work with someone across the country in New York almost as if he was in the same room,” says Matheny. After a while, Matheny also begin contributing ideas and interacting with the performance. “He became a part of it,” said Dr. Ghartey-Tagoe Kootin. “He freely began to respond to the material.”

The final collaborative aspect of “Performing the Archive” involved instructor Robert Shannon’s Video Projection Design Concepts and Practice class. Shannon’s class experimented with the technology and then shared their discoveries with Ghartey-Tagoe Kootin’s students, allowing them to push the material further. “So, the ASSETT grant not only affected my course but also Robert Shannon’s course,” she says.

Dr. Ghartey-Tagoe Kootin speaks proudly of her students. At the end of the semester, students delivered performances that drew from their newly acquired skills and knowledge. It was often the non-actors, those who had few preconceived notions about what theatre could be, who most impressed her. One senior undergraduate student from the sociology department had no acting experience at all, but, says Ghartey-Tagoe Kootin, “she played brilliantly.” Student reactions to the class varied, but many thought “Performing the Archive” was one of the hardest classes they had ever taken.

Students, teachers, and collaborators alike left the class with new insights and skills. Dr. Ghartey-Tagoe Kootin said that Jackson, Matheny and McAndrew “showed me what it looks like to play with technology.” And in return, she introduced her students to the power of theatre and taught them how to play with a story. The final lesson learned by everyone involved was that rich possibilities unfold when artists, technologists, and students decide to work together and exchange knowledge.

Article written by Ashley E. Williams, ASSETT Research Assistant

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Inside the Greenhouse: Using Media to Communicate a Crisis

Anonymous — Mon, 25 Jun 2012 06:00:00 +0000

Inside the Greenhouse: Using Media to Communicate a Crisis Anonymous (not verified) Mon, 06/25/2012 - 00:00

WHAT CAN THIRTY-FIVE EARNEST COLLEGE STUDENTS with a video camera, a set of white board markers and deep concerns about the environment accomplish in one semester? What if these students are imbued with a sense of purpose…a drive to affect change? Theater and Dance professor Dr. Beth Osnes and Environmental Studies professor Dr. Max Boykoff had the highest expectations for undergraduates enrolled in their spring 2012 interdisciplinary class Inside the Greenhouse.

They were not disappointed.

“The quality of the final work...was impressive and surprising,” says Dr. Osnes. “Agreed” says Dr. Boykoff. “I was impressed by how much they accomplished with just a little opportunity (the course). I don't mean to be falsely modest but perhaps the most credit for us goes to just creating the conditions within which they could express themselves in this class setting.”

It was a course without tests or term papers and the classroom stretched far beyond room 1B31, ATLAS. Students were expected to go out into the community, working in groups to produce a series of “compositions” (anything from a pop song to a documentary) that would spread awareness about environmental issues. The class discussed the benefits and drawbacks of certain approaches but groups were encouraged to focus on issues that were interesting to them and Boykoff and Osnes hoped that each student would find his or her own style.

One group composed a rap song about the importance of eating locally grown vegetables. Another made a film about methane-producing cows. Dr. Osnes was particularly was impressed by the “EnviroHunterists” who argued that hunters and environmentalists are not always clearly opposed. The film opens with a man wearing camouflage and a reflective jacket firing a rifle expertly into the woods. In stark contrast with this image, a young environmental studies student in a sunlit field talks about the importance of sustainability. As the film progresses the viewer begins to realize that both the student and the hunter have a deep appreciation and respect for the environment and that two are actually father and daughter. “Very touching and effective,” says Osnes.

Many of the projects are posted to YouTube and have collectively received thousands of viewers and comments. “The reach of compositions through technology is incredible,” said Dr. Osnes. “The artistic options for expression are rich.”

Just like the class, Dr. Osnes and Dr. Boykoff, as individuals, defy prescribed categories. Beth Osnes is an actor/dancer and Boykoff, a scientist. Osnes is an activist and Boykoff, a writer. Both are scholars with substantial backgrounds in environmental research and activism and a shared interest in fostering a creative dialogue about climate issues. They met at a ŷ��ڱ��Ƶ campus conference designed to encourage collaboration between the sciences and humanities and soon after began to discuss the possibility of co-teaching a course on climate change. Financed with grants from Grace and the Gordan Gamm Fund, the ŷ��ڱ��Ƶ Boulder outreach program, and ASSETT, Inside the Greenhouse was advertised as an interdisciplinary undergraduate course aimed at students interested in using a variety of media to talk about climate issues and sustainability.

Human-induced climate change is often a political and statistic-laden topic. Effectively communicating these issues to a sometimes skeptical public can be a daunting task. Osnes and Boykoff believe that the arts can be used to affect a public emotionally and personally. “I feel that [in order to] motivate people to change the unsustainable lifestyles we have now, that cause climate change, we need to motivate behavioral change through people's beliefs and emotions,” said Dr. Osnes.

”Through my work over the years, it has become very clear that 'science' as a privileged way of knowing about our environment and climate is necessary but not sufficient for engagement in the general public,” says Dr. Boykoff. “Yet, I have also found that we have retreated all too often to scientific evidence' in order to compel people to change behavior to alleviate their environmental impact. While some people ask 'why don't people just get it?' and 'why can't people make the 'right' decision?', I have moved into these challenges through the arts as they provide useful ways of acknowledging and embracing the complexity of these issues - meeting people 'where they are' while also encouraging people to consider these issues in new ways.”

So what can thirty-five college students accomplish in one semester? Possibly, the correct answer is: it depends on the class. Undergraduates taking Inside the Greenhouse created a serious body of creative work with the capacity to influence a wide audience. However, it may have been the experience itself rather than the final product that will be most influential over time.

Getting students interested in these topics was the easy part, Dr. Boykoff explained. Most of the students taking the class were already passionate about environmental issues. Dr. Boykoff partly attributes this to the fact that many undergraduate students have grown up in a world where climate change has always been an issue under discussion. “I’ve found this generation uniquely ready to confront these issues of anthropogenic (human-induced) climate change,” he explains.

The more difficult task was in convincing students that they can actually make a difference.

Acutely aware of the vulnerability of our planet and the enormity of the climate change crisis, environmental studies students can often feel helpless. That is why Osnes and Boykoff thought it was important to give students an opportunity to work on projects that have the potential to inspire action.

On the last day of the semester, the class was interviewed about their experience.

The students talked about optimism.

They talked about empowerment

For several students, Inside the Greenhouse was their final class before graduating from college. The star of the Envirohunterist film explained that working on these projects in the community and posting them publicly made her feel, for the first time, that change is possible. Another student nodded his head slowly: “I have a new respect for how to communicate with people, and that has been something that our major has been lacking in. This is a clear and direct path. YouTube is an amazing thing. This is a way for us to project ideas into the community and even the globe. [I feel like] I can actually go out there and do something.”

If Dr. Boykoff and Dr. Osnes accomplished one thing, it was to give their students a renewed sense of hope.

Article written by Ashley E. Williams, ASSETT Research Assistant

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