The games-based learning MOOC is officially over, but for those of us who have chosen to pursue the Games-Based Learning Badge, the process of collating the work that we have done during the MOOC is still ongoing (you can see my portfolio, which includes blog posts related to the MOOC, some of my discussion forum responses, and my final project on my Storify page). This is not the first MOOC that I’ve taken, but it is certainly the best by far. Granted, I’ve only taken two, but the other, which I posted about last year, was so diametrically opposed to this one in terms of methodology and design that I can’t help but view the two that I have taken as existing at opposite ends of the MOOC spectrum: the worst kind of open online learning that MOOCs (far too often) represent and the best kind of open online learning that MOOCs can (far too rarely) realize.
There are several aspects of the GBL MOOC that, for me, made it so much better than my previous MOOC experience, among them the constructivist and connectivist pedagogical philosophies that underpinned every aspect of the MOOC’s design. An especially important outcome of the course was the fact that I came away not only having learned something new and connected with people with whom I can continue to share ideas and learning experiences, but that I also came away with a tangible piece of usable pedagogical work: the games-based learning project. For, as much as it was a space (or, rather spaces) in which to learn, share, hack, and play, the MOOC was also a space in which to make.
Over the past few semesters, I have found this philosophy of the classroom as makerspace bleeding over more and more into my own course designs and, most recently, into my presentation and workshop designs as well. In several of my classes, I have eschewed standardized or even open-ended final exams for student-designed projects and research slams. And my students have whole-heartedly embraced the change. So I’ve begun to consider how I might integrate making into the day-to-day learning, rather than just isolating it within the end-of-term project. While doing so will require sacrificing some of the directed learning time, based on the quality of work and level of engagement that my students have demonstrated in their final projects, it’s a sacrifice that I think will be worth it.
One option is the 20% Project. This method gives students 20% of their in-class time to work on a learning project that they choose and design themselves. I’m already doing something similar in my Graphic Novel class this term. Because we meet for 2 1/2 hours each day, I am allowing students 30 minutes of class time to work on their final projects. This gives them the opportunity to conference with me and to seek advice, ideas, and feedback from their peers. But the 20% Project is typically an ungraded, strictly learning-for-the-sake-of-learning-and-having-fun endeavor, so for future classes, I may have students choose between an ungraded 20% project and a formal final exam or an ungraded 20% project and a graded final project that takes the place of a formal final exam. I think it will be interesting to see how students respond to these options.
I’m also looking for ways to turn regular in-class activities into opportunities to make. This term, my Graphic Novel students spent the first two days of class reading and discussing Scott McCloud’s Understanding Comics. Instead of traditional reading quizzes, I had them complete various drawing assignments that would demonstrate that they had read the assigned chapters and understood the concepts covered in them. For example, in order to demonstrate understanding of representation, I had students draw realistic, iconic, and symbolic representations of themselves. To demonstrate understanding of closure, I had them draw a two-panel comic that represented either a subject-to-subject, aspect-to-aspect, scene-to-scene, moment-to-moment, or action-to-action transition. The students are working in small groups to teach the graphic novels we are reading this term and I have left the design of each instructional session completely up to them. So far, each instructional team has integrated some type of maker activity into their lesson. The group teaching Watchmen had everyone create a multi-panel comic that might be written if superheroes were an everyday reality, and then held a competition for the best set of panels. The instructional team for V for Vendetta asked everyone to design their own political activist/vigilante mask. It’s evident from the fact that each instructional team has created some type of activity focused on making and the enthusiasm with which the class approaches their maker projects that students enjoy the challenge of making something that represents their individual talents, ideas, and knowledge.
Seeing the success of creating makerspaces for learning in the classroom has inspired me to reconsider how I design and deliver presentations and workshops. I have the opportunity this summer to lead two workshops for k12 teachers and I am designing each to be not just a chance to learn about new methods and technologies, but to use what they learn to actually design a unit or an entire curriculum with help and feedback from each other. So, those attending my workshop on immersive role-play will be provided with an outline of the questions I used and the steps that I took to create a class based upon immersive role-play, and will have time during the workshop to brainstorm and refine their own immersive role-play unit.
As I have written before, I see the desire to make as being a natural aspect of the hyper-digitalized informationalism that characterizes our students’ everyday experiences:
Analogous to (digital) quilting bees, Maker Faires recognize and respond to several aspects of 21st century socioeconomics and the attendant cultural shifts: the need/desire to collaborate, co-op, share, create, and connect with each other and available resources in both new (digital) and old (humanist) ways. In a hyperdigitalized world, authenticity has become a scarce–or at least more difficult to locate–resource, so it seems only natural that people have begun to value the work of making something both beautiful and useful from raw materials.
When we turn learning spaces into opportunities to make, the dichotomy between digital and analog, virtual and real, hi-tech and low-tech no longer matter as much as we like to pretend they do. For students (and teachers), it’s not the tools that matter, it’s the opportunity to use those tools to create something new. What they create doesn’t necessarily have to be useful and it certainly doesn’t have to be graded or to “count” for something. It just has to be something that didn’t exist before. And would have never existed if you had not allowed them the space and the time to make it.