Dr. Terence,
The paper on e-portfolios you shared looks really interesting and a great
start. Thank you for sharing other references as well.
I believe I am interested in the following:
1. Models that incorporate goal setting(+strategy), evidencing(+tasks
undertaken), assessment(+outcomes), participatory conclusion(+objectivity),
and a mechanism to transfer these into a universally understood token that
are relevant and useful both to the student and the consumer(university,
employer, etc.)
2. Unpacking of the variables from any rubrics, and their relative weighing
for the student( weather that brings in self-awareness of any kind to the
student of their own capabilities- a 360degree view or just i'm good/not so
good/bad) and the consumer of the eventual score and its efficacy in
understanding those capabilities. I may be looking at something obvious and
my journey may be naive.
I have a *lot* to read and understand before I am able to reframe my
thoughts and next set of enquiries. I may reach out to a few of you with
further questions as I go down this inquiry. Thanks for the offline
responses as well.
Closing this thread for now. But keen on hearing more from you offline.
Sincerely,
Manish Pillewar
Designer
Adelaide, SA
[log in to unmask]
On Wed, Jul 15, 2020 at 10:11 PM Terence Love <[log in to unmask]> wrote:
> Hi Manish,
>
> Portfolios are useful because the assessor can define them to do exactly
> what is needed and at the same time they permit a wider range of evidence
> and assessment and a great learning modality.
>
> Trudi and I used the following in the design structure for learning and
> assessment using physical and online portfolios:
>
> Learning aims
> Leaning strategies
> Learning outcomes
> Performance criteria
> Evidence
>
> An essential component we identified that now is fairly standard in
> portfolio-based assessment is the central role of 'Commentary on Evidence'.
>
> Love, T. and Cooper, T. (2010). The Central Role of Commentary on Evidence
> in E-Portfolios. In N. Buzzetto-More (Ed) The E-Portfolio Paradigm:
> Informing, Educating, Assessing and Managing with E-Portfolios. Santa-Rosa,
> California: Informing Science Press (pp. 267-288). (pre-print available at
> https://www.love.com.au/docs/2010/commentary.pdf )
>
> Other portfolio references are available:
> https://www.love.com.au/index.php/publications and portfolio assessment
> guides are available at www.praxiseducation.com
>
> Feel free to email me off-list if you need more.
>
> Best wishes,
> Terry
> ==
> Dr Terence Love
> MICA, MORS, PMACM, MAISA, AMIMechE,
> School of Design and Built Environment, Curtin University, Western
> Australia
> CEO, Design Out Crime and CPTED Centre
> PO Box 226, Quinns Rocks, Western Australia 6030
> [log in to unmask]
> [log in to unmask]
> +61 (0)4 3497 5848
> ORCID 0000-0002-2436-7566
> ==
>
>
>
>
>
> -----Original Message-----
> From: PhD-Design - This list is for discussion of PhD studies and related
> research in <[log in to unmask]> On Behalf Of Manish Pillewar
> Sent: Wednesday, 15 July 2020 7:48 PM
> To: [log in to unmask]
> Subject: Re: Design education and a designer's capabilities matrix
>
> Looks like the post was rejected due to an attachment. Reposting without
> one.
> --
> Thanks for the pointers Prof. Meredith. Really appreciate it.
>
> My early thoughts:
> I guess the rubrics, therefore, are to be eventually used as a mechanism
> to allow a score? From a consumer( a potential recruiter/evaluator using
> the portfolio or the score) perspective, how does it translate to a
> specific skill set or capability? Please allow me to elaborate with an
> example from the rubrics-
>
> *G Does the student demonstrate originality? *
> *1 Restates available ideas *
> *2 Experiments with novel ideas without fully resolving the application to
> the problem at hand *
> *3 Combines existing ideas in original ways or transfers them to a new
> context *
> *4 Extends novel ideas to create something entirely original*
>
> While the evidence from the student to support the above is limited to the
> assessor and the score allocated based on their judgment, the probability
> of this score translating to the evaluator's understanding is perhaps
> limited? Also, does a score of 4 ensure quality of original ideas or just
> the number? An evaluator must trust the process and the score to make their
> own opinion on the portfolio. I had a brief look at one of the
> presentations of Todd Lubart on Evaluation of Potential of Creativity
> (EPoC)
> <
> https://www.pef.uni-lj.si/fileadmin/Datoteke/CRSN/dogodki/Todd_Lubart_8.12.2016.pdf
> >and
> I am attaching a screenshot(*Page 23 of the presentation*) with due
> acknowledgment for the sake of this discussion. If you refer to the spider
> chart, it showcases various dimensions of creativity. Taking the example of
> Analytical Thinking as a dimension, how should it help the student present
> it as a capability beyond the spider chart? Can a badge( for lack of a
> better word) of Analytical Thinking be given to the student allowing them
> to then curate a portfolio according to their context of application?
>
> My thoughts are scattered. Apologies for jumping around. I have a ton to
> read yet.
>
> Sincerely,
> Manish Pillewar
> Designer
> Adelaide, SA
> Attachments area
>
>
> On Wed, Jul 15, 2020 at 10:45 AM Meredith Davis <[log in to unmask]> wrote:
>
> > Manish -
> >
> > Although volumes could be written on each of these questions and
> > faculty have their own list of subject-specific competencies, attached
> > is a rubric developed at North Carolina State University for faculty
> > to evaluate undergraduate students’ critical and creative thinking in
> > any discipline, including design. It was paired with a student
> > reflection that provided faculty with insights beyond what was evident
> in physical work products.
> >
> > You can also find rubrics on critical and creative thinking developed
> > by the Association of American Colleges and Universities - as with the
> > attached rubric, these are not domain specific but useful in thinking
> > about design abilities. (See:
> > https://www.aacu.org/value/rubrics/critical-thinking <
> > https://www.aacu.org/value/rubrics/critical-thinking> and
> > https://www.aacu.org/value/rubrics/creative-thinking <
> > https://www.aacu.org/value/rubrics/creative-thinking>).
> >
> > And I point you to work by psychologist Todd Lubart at the University
> > of Paris who is doing work on a project titled the Evaluation of
> > Potential of Creativity (EPoC). Lubart studies five variants through
> eight subtests:
> > thinking-process general, thinking-process specific, domain-specific,
> > task-specific, and measurement error. You can find his articles and
> > project description on the web.
> >
> > Meredith Davis
> > Professor Emerita
> > College of Design
> > NC State University
> >
> >
> >
> >
> >
> > > On Jul 14, 2020, at 8:38 PM, Manish Pillewar <[log in to unmask]>
> wrote:
> > >
> > > Hi All,
> > > I am looking for any pointers to research, thoughts, and ideas on
> > > design education. Specifically, questions that I am seeking pointers
> on are:
> > >
> > > 1. Is a single course score(CGPA et all) a representative of the
> > > overall capabilities of the student in a design subject? What
> > > purpose does it
> > serve?
> > > 2. Though a student shares a portfolio, does the portfolio represent
> > > the true capabilities of the student themselves? How do they become
> > > aware of such?
> > > 3. Do parallel models of assessment, endorsements, and collation of
> > > such capabilities exist for reference? Perhaps, beyond design
> education?
> > >
> > > The questions may not be framed correctly and I may need to redefine
> > > them once I have further information and clarity. Suggestions
> > > welcome of
> > course.
> > >
> > > Appreciate the help,
> > > Manish Pillewar
> > > Designer
> > > Adelaide, SA
> > >
> > >
> > > -----------------------------------------------------------------
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