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Eva Malisius
Assistant Professor
School of Humanitarian Studies
Royal Roads University

While the integration of technology has become more commonplace in academic classrooms, many instructors hesitate to integrate video assignments into courses. This chapter addresses how to frame video assignments and manage expectations of both students and instructors, discusses how to integrate and benefit from video assignments in individual courses and across programs, and concludes with a step-by-step guide to embracing creativity and courage in order to engage with a different format for assignments. Drawing on a wide range of interdisciplinary research and resources related to creating engaging assignments and pedagogy, to fostering soft skills at the workplace, this chapter is focused on best practices and safeguarding academic rigor while providing students with different types of learning opportunities. Examples of video assignments are provided, as well as guidance for instructors and students on how to maximize and master the learning experience that comes with video assignments. The chapter argues that video assignments have a wide potential for application in courses and across programs, and that they support cohort and community building. Thereby, video assignments are a great addition to blended and online courses.

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The use of videos, animated clips, and presentations in the academic classroom has become increasingly commonplace and reflects the everyday use of interactive technology and reliance on multi-media sources translated into the educational context. Instructors use technology in their classrooms (both online and face-to-face) to bring in guest speakers, enhance lectures with TEDtalks or documentaries, and conduct technology-assisted simulations. They use PowerPoint, Prezi, or similar technology to present their materials and teach students content related to their class and program.

However, there is often strong hesitation related to the use of video submissions for academic assignments. Students and instructors commonly raise the following concerns: video assignments are time-consuming for all parties involved, they are of less academic value and relevance to programs of study (outside the context of film, professional communication, or marketing degrees, for example), and they require high levels of technological knowledge. This paper will explore the potential and benefits of video assignments as far more extensive. It offers solutions for addressing concerns and challenges and provides recommendations for how to integrate video assignments into academic courses.

To a large extent, the framing of a video assignment does not differ from other, more traditional assignments; it falls into the category of creating engaging assignments (Fiorentino, 2004; Nisly, Cecire, Friesen, & Sensenig, 2015; Swinth & Vinton, 1994). For any assignment, instructors have a particular (learning) purpose around which they provide students with a specific question or challenge. Assignments follow learning objectives and include assessment criteria or an assessment rubric (Greenberg, 2015). Whether they are working in the context of teamwork or individual assignments, students are required to demonstrate academic knowledge and abilities, and to connect course materials, readings, and independent research to address a concrete problem by critically engaging, reflecting, evaluating, and presenting their own analysis and view on the subject matter (Lim, Pellett, & Pellett, 2009; Schultz & Quinn, 2014). Beyond standard academic requirements including referencing, instructors will specify the parameter of assignments such as length and scope, format and materials to be used, as well as anticipated output. Assignments generally include an outline of scope, purpose, and relevance of the assignment to the course/program learning.

This section will cover aspects specific to framing video assignments and address concerns and expectations as they relate to both students and instructors. Some examples of different video assignments can be found in the appendices.

2.1 Setting Expectations and Outcomes

For many students-not only adult learners and returning students-the learning curve of academic writing and critical thinking is high. Producing academic materials differs from the report writing, compilation of materials, and documentation common to the average workplace. Most university programs offer academic writing and critical thinking courses. Additionally, they integrate research methods, methodology courses, or other components into their offerings to support students in their transition into academic writing.

When framing a video assignment for an academic context, this becomes particularly relevant as the presentation format is different, yet the content is not. Video assignments are not a simple recording of opinion statements or compilation of existing materials. Rather, they are a demonstration of the ability to critically engage with existing materials, concepts, and ideas, to present reflections, and to expand one's learning inside and outside of the academic classroom. Video assignments, like academic writing, are to follow conventions, such as APA referencing, respecting copyright, not plagiarizing, and generally attributing thoughts and materials to their source of origin (Greenberg, 2015; Sword, 2012). The key difference is that video assignments allow a visual dimension of presenting ideas, concepts, and connecting thoughts and materials in different ways; allow students to extend their comfort zone and thereby learn more effectively.

As producing a video clip is likely unfamiliar to most students, it is important to manage expectations for the anticipated outcome. This includes a focus on academic content over stylistic presentation; students are not expected to produce a feature motion picture outcome, but rather, to present a cohesive narrative in a visual format (Bakker et al., 2011; Willis, 2009). While a simple slideshow will be insufficient to meet academic standards, connecting images, existing clips, new materials, and a narrator voice/text are likely to yield positive results and higher grades for a video assignment.

Similar to supporting students in acquiring academic writing skills, guidance in the production of a successful video assignment is helpful (RRU Library, 2015). Storyboarding is likely the simplest and most important support structure for video assignments (Kay, 2014; Lim et al., 2009; Marks & Thomas, 2014; Thorn, 2011). Whether a video assignment is set to address a particular question (similar to an essay question) or a series of questions (similar to an exam), a video assignment can replace either an in-classroom presentation or a written submission. Ultimately, a video assignment provides engaging and diverse opportunities for student assessment of learning, including breaking up the common cycle of reading and writing alone by adding further dimension.

2.2 Open Ended Questions and Space for Creativity

Open-ended questions often leave space for the most creativity and diverse analysis of the problem or challenge presented to students; there is no difference between regular written and video assignments (Caniëls & Rietzschel, 2015; Nisly et al., 2015). Open-ended questions in the context of video assignments can range from self-introduction and defining concepts to presenting cases and skills (see examples in appendix). Video assignments enable students to compile their own materials, to mix and match written and audio-visual materials, integrating animation, pictures, art, music, different speakers, and of course their own voice into their response to the open question (CTET, 2015). The less restrictions imposed through format and technology use, the more diverse and creative (Schultz & Quinn, 2014; Truong-White & McLean, 2015) will be the responses. This includes leaving space for different levels of ability for dealing with technology and compiling audio-visual materials.

Setting expectations that place an emphasis on content, critical thinking, and analysis over motion-picture quality will enable students to engage with different styles for presenting and learning information (Bakker et al., 2011; Lim et al., 2009). The goal is to allow students to stretch their comfort zone while engaging with the course materials (Borbye, 2010; Harrison, Starks, & Denhardt, 2011; Nehyba, 2011). Through the open framing of delivery, we have observed students do the following: use existing written, visual, and audio materials; integrate their own songs and music to represent conflict; use props such as Barbie dolls or Lego to present conflict interaction or tsunami aftermath as disasters; present newscast type interviews with themselves to answer the questions provided; and connect their professional work as an air traffic controller to demonstrate conflict and competing interests (CTET, 2015). The limits of what can (and will) be done are set by the students in response to open questions. The framing of the video assignment by the instructor will guide them in the context parameters and empower their creativity.

2.3 Establishing Learning Objectives and Academic Rigor

Not every assignment in every course may be a good fit for a video assignment-the video format must be relevant to the purpose of the assignment (Bakker et al., 2011; Nisly et al., 2015). In other words, framing a video assignment must include how the format is relevant for the task and for achieving the learning objectives (Viñes, López, Manrique, & Alonso, 2008). Learning outcomes may be established at a program and/or course level, with each assignment in a course indicating how it will be assessed in regards to these objectives and outcomes (Bahous & Nabhani, 2011; Hill, 2012; Siefert, 2011). Sometimes the wording of learning outcomes provide challenges (or limitations) in regards to the use of video assignments; common wording used in learning outcomes includes language such as "compiles and presents written materials in a coherent fashion." Accommodating other submission formats needs to be taken into consideration when generating learning outcomes.

In many ways, most assignments can be easily adjusted to allow video submission for the simple reason that learning objectives and academic requirements are the same, irrespective of the submission format, as outlined above. The learning objectives and outcomes assist students and instructors to distinguish a "nice video" from an "excellent video assignment," again similar from a passing to an outstanding paper (Greenberg, 2015; Kay, 2014). For example, a video assignment that records a student outlining her or his arguments in relation to the question assigned might receive as high (or higher) a grade than a video that integrates music and images from a range of different sources but lacks academic content. The relevance of the materials used in combination to the ideas presented highlight the essence and academic expectation of a video assignment.

2.4 Assessing Video Assignments, Grading and Feedback

From an instructor perspective, the grading of a video assignment is not necessarily different nor more time-consuming or cumbersome than grading a written assignment. This may be surprising to many instructors, and at the same time it can address some resistance related to workload issues, specifically when it comes to the time consuming task of grading written assignments. If students submit 3-5 minute clips, watching the submission is time-bound and the review, feedback, and comments take similar or less time compared to written submissions. A grading rubric can further assist in providing feedback and facilitate a speedy assessment (Greenberg, 2015), which may be of particular interest when teaching larger classes.

Most video assignments can be based on more traditional assignment formats, i.e. framing similar tasks for students to demonstrate their knowledge and learning related to a particular course, program, and topic. Some examples for video assignments can be found in the appendices.

The assessment and related feedback for video assignments should highlight an adequate presentation of ideas, concepts, and analysis; in other words, focus on academic content. Presentation and style may be considered relevant, though generally of less important (academic) value in this context. Feedback for students that focuses on the relevance of their content can also include how their delivery method matches their intention and supports their narrative (CTET, 2015). Some examples:

Is background music necessary and complementary to the presentation of content, e.g. instrumental music instead of spoken voice or a self-written song capturing personal history conveyed in the clip?

Are the pictures or images connected to the critical analysis and content, e.g. using images of the World Trade Center memorial waterfalls for an assignment regarding resource conflicts or demonstrating the impact of a tsunami wave using Lego figures in a bathtub?

Has existing material been enhanced (mashed) by adding one's own interpretation and understanding of theoretical concepts, e.g. using an existing clip from a Sesame Street skit, used by one student as is and shown by another student to highlight escalation and de-escalation of conflict by adding captions into the existing material?

Instructors may consider how they communicate their feedback, offering for instance a written narrative or a recording of their own.

2.5 Recording Devices, Technical Guidance for Hosting and Submitting

The framing of a video assignment should provide guidance regarding the use of technology - and where to find support for use of video technology (RRU Library, 2015). While it is important to encourage students to stretch their comfort zones and familiar formats, the time required to work with technology should not overshadow a focus on content. It might be safe to assume that students have at least one device at their disposal that enables them to record for the purposes of a video assignment. Most mobile phones include a camera that can create video material, built-in cameras on laptops or computer screens are common, and even digital cameras can be used to record clips. When students are asked to record their own material, privacy and ethical issues must be taken into consideration (Talab & Butler, 2007). It might therefore be important to discourage students from recording others and rather work with materials available or animation (e.g. Powtoon). Generally, technology available for producing video material is less of an obstacle than it might appear.

Having created video material, most students will need to edit their content. This can be achieved in various ways, including the software often provided with digital recording devices, available on computers, or the uploading functions of video hosting platforms such as YouTube. Students will often struggle with editing their materials and keeping their submission within a given time limit. If an assignment requires more than simply recording themselves, different editing tools might be required and can generate challenges of a different kind for students. Facing technology challenges, most students will quickly engage in a dialogue with each other to tackle the hurdles and making the assignment work. Most video editing programs, such as the YouTube video manager, come accompanied by many help and instructional videos that can be easily found online. Thereby, easily available resources providing technical guidance mitigate the impact of the technology on students and instructors (RRU Library, 2015).

Hosting video assignments comes with a range of concerns and benefits, ranging from technical to more personal/privacy related issues. Learning Management Systems (LMS) often have a size limit for file uploads. For example, the standard setting on the Moodle LMS platform is a 20MB maximum file limit for student submissions. Depending on the recording, video submission can be larger files, which may require relying on hosting services such as YouTube or MediaCore (RRU, 2015). Some video hosting and sharing services may require the consideration of privacy issues, including storage on US-based servers or the requirement to create an account and determine the availability of a clip (e.g. 'unlisted,' 'private,' or 'public'). While simply uploading a video file might appear an easy way around the hosting issues, this can create other challenges such as the inability to watch certain files on different operating software (e.g. Mac/iOS versus Windows) or browser functionality. Generally, when considering hosting options it is essential to provide guidance and keep it simple in order to avoid technology challenges overshadowing the learning experience.

Some aspects of the benefits of video assignments depend on and relate to specific programs of study or even particular courses. Overall, video assignments benefit from being integrated into programs and courses rather than being isolated events. Enabling students to improve their skills to portray their message and analysis in video assignments will be most beneficial when assignments are not simply replaced with video options but rather used at several intervals and where the video fits best in their overall program flow.

Generally speaking, using an introductory video assignment at the beginning of a program of study, for example in a foundations course, is likely to set a solid basis for continuing integration of technology, and includes other benefits, as the following will discuss. After the first video assignment, and as appropriate thereafter, 'review and reflect' sessions can debrief the students' experience and set the learning into the particular context. Over the course of the debrief, students themselves will overcome frustration with technology and highlight their benefits from the learning experience, which can range from overcoming fear of the unknown to community building, addressing different learning styles, and enhanced peer learning. The following sections highlight some key learning benefits from video assignments.

3.1 Improving Skills Over Time: Regular Sequence Rather Than One-Off

Similar to how students improve their academic writing over the course of their program by increasingly going from writing shorter, simpler documents to longer, more complex pieces, the expectations related to video assignments should increase over time. This relates to expectations of depth and complexity of the materials and ideas presented, the level of analysis and critical thinking, and clarity of thoughts and line of argument. Allowing students to learn and improve their academic writing is one aspect of completing university studies, which is complemented by learning and improving academic presentation skills (Nisly et al., 2015; Price, Strodtman, Brough, Lonn, & Luo, 2015; Sword, 2012). Video assignments, integrated throughout a program of study, further complement this aspect of learning. It can be achieved by continuously requiring video assignments throughout a program, for example in more than one or two courses. This practice improves the ability to present information in certain formats, written and audio-visual alike.

In addition to including video assignments and improving skills in video formats, instructors can encourage video posts in the learning management system to complement, enhance, or even replace written posts. Similar to practicing critical thinking in written posts, students can practice video skills through their posts. As a result, any course becomes overall more engaging and interactive rather than being one-dimensional based on written words alone.

3.2 Beyond the Classroom: Individual Skills and Marketability

The ability to present information and convey knowledge in a range of formats is a beneficial skill in many professions, which students will take from their video assignments in class to their respective workplace (Kyllonen, 2013; McCarthy & Hatcher, 2002). This includes being better able to communicate with multi-media production specialists by having a more than basic understanding of how to present key information in various visual formats. Furthermore, the ability to analyse and critique visual materials provides students with another marketable skill for their individual toolbox and professional development.

The confidence to appear in and present a self-edited video further contributes to the confidence of students to present and defend their own ideas in videoconferences, presentations, or talks in the classroom and in their professional lives. While students would normally acquire this kind of skill in classroom presentations (McCarthy & Hatcher, 2002), this is more difficult to replicate in blended or online course formats. There are fewer opportunities for presentations and classroom discussions as face-to-face time is more limited. It is easier to mull over and carefully compose posts in writing, drafting, and editing in the comfort of your own home. Perceived provocations or misunderstandings resulting from posts can be excused or explained away by the delivery format, e.g., being written in haste or language/cultural differences. A video submission (or post) adds another dimension where it is possible to set a tone and context, to show one's face and non-verbal communication for further context. Depending on how it is framed, a video assignment results in a product closer to a classroom presentation or plenary discussion. The diversity of how video assignments are framed over the course of a program of study can further enhance individual skills building and marketability.

3.3 Generating Learning Communities: Learning From and With Peers

Building a strong sense of community or cohort is more challenging to achieve in blended programs, where students rarely meet face-to-face and are also scattered across the country, and even the globe (Luppicini, 2007; Tu, 2004). Facing a challenging task together, such as a video assignment, early on in the program can help facilitate community building. Students bond over the experience and interaction; sharing the technical problems and solving them together, they see each other and share in a manner similar to how they would in a face-to-face classroom-or in the hallways (Brown, Rich, & Holtham, 2014). When students meet in person, they already have a more personal frame of reference by having met their peers not only online, but through video as well. This makes the group move forward more quickly, including creating social events and arranging transportation to campus together rather than each on their own. Overall this supports strengthening the safe learning space that the classroom is to provide, based on trust, respect, and mutual engagement. In many ways this represents the cohort model at its best (Malisius, 2013; RRU, 2013; Seed, 2008).

Beyond the community building aspect, video assignments enable students to learn from each other alongside learning with each other (Lillejord, Riese, & Samara, 2012). Being exposed to topics and materials outside the formal readings and resources for a course supports students in a holistic learning approach. For example, in a conflict analysis and management program, a student working in the health industry might be exposed to an ethno-political conflict based on a video assignment from a peer. While the learning might be more indirect, such exposure empowers each individual student to see beyond their own areas of interest and expertise while transferring the knowledge they acquire from their program of study more widely.

3.4 Benefitting From Diversity: Maximizing Teaching and Learning Styles

Exposing the students to a wider range of materials and modes of presentation benefits the instructor as much as the students. As students share their submissions, the instructor becomes a guide to the learning process rather than being the sole, isolated subject matter expert. Furthermore, the connection to the individual student becomes stronger as it is easier to get to know students in the distance-learning environment if there is a face to the name and posts/written words. This includes making sure all voices in the classroom are heard, even those who might be less inclined to speak up.

Furthermore, through video assignments, it becomes easier to accommodate different learning styles (Hatami, 2013; Rolfe & Cheek, 2012; Yassin & Almasri, 2015), including but not limited to more visual and creative learners. The engagement with both visual and written materials and engagement addresses learning and teaching in a more holistic fashion across all learning styles (Kolb, 1984). In many ways, video assignments are a logical extension of the approach to integrate are more diverse and multi-media materials into learning and teaching and acknowledging different learning styles.

Integrating video assignments into academic courses is easier than it might appear. Building on the general advice provided throughout the paper, the following section summarizes lessons learned on how to integrate video assignments to the benefit of students and instructors, following the motto of "creativity takes courage,"-a quote commonly attributed to artist Henri Matisse.

4.1 Vagueness Helps Creativity

While all assignments require clear instructions and expectations, a little vagueness helps foster creativity. In other words, do not be too prescriptive regarding format and content when you set up a video assignment. Students will be more focused on fitting your parameters and expectations than really engaging with the challenge and the materials and presenting their own take on the subject matter. The video format enables students to express themselves in a freer, less commonly used format and thereby has the potential to set them free to explore how and what they want to present. The more restrictions you impose by very detailed instructions and criteria, the less you will see creativity. Have the courage to allow for a little bit of vagueness to make space for creativity.

Of course this element of vagueness does not preclude from setting expectations, a grading rubric, and good instructions on how to work with technology to support the students in their efforts. Be clear on the formal parameters, but vague on the specifics. Encourage students to gain practice and confidence from perseverance and to benefit from overcoming vagueness and unusual challenges. After all, overcoming challenges is a lot of what academic studies are all about-encourage students to embrace challenges and vagueness with confidence and creativity.

4.2 Creativity Helps Out of the Comfort Zone

Faced with a video assignment, most students are likely to feel rather uncomfortable and on unfamiliar grounds. Providing space for creativity and making the assignment their own enables students to move outside their comfort zone. They can then look at the challenge rather than the expectations, find ways to make themselves shine, showcase what they can and want to do, and how they want to present themselves.

Most students notice very quickly what they can and cannot do given the limitations of a video assignment, the time available to them to make it work, as well as their access to resources and materials to complete the task at hand. They will become creative, looking around to identify existing video materials, creating their own, putting together text, music, photographs, and images-along with academic materials and readings. As they explore the boundaries of their own abilities and creativity to overcome, students think outside the box-and outside their comfort zone-to take on a video assignment, putting ideas, words, and thoughts into moving pictures.

4.3 Out of Comfort Zone Helps Community

Anyone who is pushed or pulled out of their comfort zone usually seeks support from his or her community. As students start a program of study, their cohort or learning community is not quite there yet - fellow students are no more than a list of names and maybe profile pictures. Yet, facing a video assignment, students will quickly turn to each other and build trust amongst their peers as they overcome the challenge presented to them.

Faced with the challenge of producing a video assignment, students will ask for help in their surroundings, whether it is a partner, a child, a colleague, or a friend. Community building becomes an integral part of video assignments in a plethora of ways.

Students will find many ways to express their uncertainty and seek help with technology and content. Be patient and supportive-but do not try to fix things too much. The students will figure it out and turn to each other, sparking more creativity along the way. The common experience turns strangers randomly thrown together in a program into respected and trusted peers very quickly. As their community builds along, they may curse their instructor more than once, and at the same time relish in what they have accomplished in the end. As students share and showcase the results of their work in a compact short video format, the confidence they gain as individuals and as a community pays back the effort required.

4.4 Community Helps Learning

As students become engaged with and build their community, they increasingly learn from and with each other. This is common in face-to-face classrooms, where students share expertise and knowledge, explain readings or concepts presented, form study groups, or simply meet up for a coffee. All of these social elements are less common in the online or blended learning environments, simply because the contact is more disconnected and distant. Activities such as the video assignments support breaking down these barriers by strengthening the community and generating a safe space among the cohort. Completing a challenge such as a video assignment lessens the fear to engage with new materials and the unknown; it increases the interest to engage with other as friends rather than strangers, and it helps students to learn more about conflict as well as their selves in conflict (important both inside and outside a program of study focused on conflict analysis and management).

As the video assignment supports the community coming together, the learning increases manifold, both related to the program of study and to life beyond the classroom. The best learning journeys combine solitude and fellowship.

4.5 Learning Becomes Reflective Practice

Learning new concepts, ways of thinking, or ways of looking at the world and understanding what is happening are surely important parts (and motivation) of any program of study. Video assignments help enhance learning by turning it into reflective practice. As students improve their ways to turn information into audio-visual materials highlighting a particular aspect or content, they practice the following through reflection: What do I want to present? How do I want to present it? Who am I and what do I want to (re)present? How am I perceived and how do I present myself? Irrespective of the program of study, with more practice, the students embody reflective practice. Reflective practice in this context represents a systems approach to seeing the impact of the individual on the whole and engaging more holistically. Any interaction becomes active, pro-active, and reactive at the same time, embracing prevention and sustainability of knowledge and skills concurrently. Through reflective practice, students find and sharpen their own voice, making a difference in their own unique way.

In conclusion, there are many benefits from video assignments for learning inside and outside the classroom, for the individual student and cohort, the learning community and instructor, and lifelong learning. In many ways video assignments capture the essence of the Learning and Teaching Model and the present-day classroom, where technology is a tool that enables and enhances learning and teaching in an engaged and interactive manner across all media.

The following are examples for video assignments from various courses and programs delivered at RRU.

5.1 CAMN 520 - Introduction to Conflict Management Processes (2013, MA/Dip Conflict Analysis and Management)

Course developer and instructor: Dr. Eva Malisius
Assignment 1: Are you ready for conflict analysis and management practice?
To mark the beginning of your learning journey in the CAM program, you will compile a short video clip.

In addition to introducing yourself to your fellow students and instructor, the objective of the clip is to demonstrate your understanding of conflict analysis and management practice as well as your readiness for engaging in the CAM program.

This assignment will be graded like any other assignment for the course or program, following the grading matrix provided. The 3-5 minute clip should be brief, concise, and analytical, demonstrating your reflection on the program, readings, and core themes outlined below. Please include references to readings/concepts throughout all sections as applicable.
Introduction

Please include your name and hometown/place of residence

Personal background

What is your motivation for enrolling in the CAM program?

Do you have any previous CAM related knowledge and training?

What are your expectations for the program?

Definition of conflict

What is conflict? What does it represent? What can be done about conflict?

What makes conflict interesting and valuable?

What makes conflict destructive and detestable?

Conflict example

What is a typical example for conflict that you encounter in your private or professional life?

What happens and what it is about? Who is involved? Why is it relevant to you?

What would you like to (or what are you going to) do about it? What would make a difference in this conflict?

Conclusion and outlook
Please include your expectations for the residency and this course in particular.

Length: 3 - 5 minute clip.
Graded: worth 20% of course grade.

5.2 GBLD522 - Managing Difficult Relationships Within and Across Community Dynamics (2014, MA Global Leadership)

Course developer and instructor: Dr. Eva Malisius
Assignment 1: Presenting a Community in Conflict
The purpose of this assignment is to enhance your awareness of the dynamics and tensions between and across stakeholders in an existing community. Identify a community that you are familiar with and/or one where you have access to public information about conflicts, tension, and challenges in that community. The choice is yours. You may choose: (a) a community that you have covered or heard about in a different course, (b) a community that you have worked with or would like to work in, or (c) the community you live in. Be mindful not to simply duplicate what has been done already in another course because you do not want to plagiarise yourself or others. If you choose a community that you have worked on previously, you will need to generate a new perspective on that community.

Make sure you are able to take a balanced stance to analyse and present the dynamics of your chosen community without bias or passion for a particular group or cause. Sometimes this can be difficult when you are analysing your own community or one that you have worked with very closely. Confirm the suitability of your choice with your instructor.

The key guiding questions for your assignment are:

What defines this community?

Who are the key actors?

What are the dynamics, key challenges, and conflicts that face the community?

Determine the audience for your assignment. This can be either (a) the community leadership from whom you will require buy-in to implement a change process, (b) a donor/funding organization board that you are pitching a project funding proposal to, or (c) a more general audience that you are alerting to the situation in the community. Indicate your choice of audience at the beginning of the assignment and make sure you cater your assignment to your respective audience.

Describe your community in all its richness, highlighting its assets, analysing its dynamics, and acknowledging its challenges and complexities. Provide a brief background and basic statistical data for your community (geographical location, demographics and some historical facts). Limit this section to what is essential for understanding the wider context. Focus your assignment on the key dynamics of the community: what are key values shared? What are some underlying conflicts and how do they affect the relationships between the community groups? How does the community make decisions? How does the community interact with the national/regional level? How does it interact with other communities? What are the key challenges for community development?

At the end of your assignment, indicate your recommendations for the future of the community and what could be done to address difficult relationships within and with other communities.

Your assignment may be presented as a written submission or a video.

Written submissions should not exceed 2,000 words (approximately eight double-spaced pages, not including cover page, table of contents or reference list; standard APA formatting and referencing applies). Accepted written formats are: a community profile to be posted on a professional, field-focused blog; a background report for an assessment of fact-finding visit; contributing material for a donor funding application; a public presentation at an academic conference; or a different format agreed upon with your instructor.

Video submissions should be 3-5 minutes. The presentation format is flexible (Prezi, narrated PowerPoint, Slideshare, or video clip). To find out more about putting together an engaging presentation, consult the RRU Library's guide on video or multimedia essays. Accepted visual formats are: a community profile to be posted on a professional, field-focused blog; a profile presentation to be posted on the website of a community, regional association, or international organization contributing visual material for a funding application to a donor; a public presentation at an academic conference; or a different format agreed upon with your instructor.

When choosing the video format for your assignment, make sure you reference materials using APA style and respect copyright. Do not underestimate the time commitment related to choosing the video format especially if this is a new process for you.

This assignment is due at the end of Week 5 and is worth 30% of your final grade.

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Engaging Students in Life-Changing Learning

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Eva Malisius Assistant Professor School of Humanitarian Studies Royal Roads University While the integration of technology has become more commonplace in academic classrooms, many instructors hesitate to integrate video assignments into courses.

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Many educators work hard to expand their students' knowledge and get them to think in various ways every day. Short of increasing homework assignments and forcing longer school hours, how can educators increase rigor in their students? Teachers often turn to educational models to develop their lessons, classroom activities, and teaching tools to get their students working at a deeper level of understanding.
Level 3: Strategic Thinking
Norman Webb's Depth of Knowledge (DOK) framework is a highly regarded model that has been proven to be useful in understanding what type of knowledge is required to solve problems in academia. Webb has outlined different levels of content complexity and understanding. Let's take a look at an example, the DOK summary definitions for mathematics, which follow:
Level 4: Extended Thinking
Level 1: Recall

This level is the basic recall of information, such as a fact, definition, term, or a procedure. Typically, this is as simple as remembering a formula or following a recipe.

Level 2: Skills and Concepts

The second level requires a student to make informed decisions about problem-solving and procedures. In this level, students are asked to complete multiple steps in order to find a solution, like collecting and then displaying data in a chart.

This level requires reasoning, planning, using evidence, and a higher level of thinking. Asking students to explain their thinking is a part of this level. This level is more complex and abstract than the previous two.

The last level of the of the four is the most complex. This level requires complex reasoning, planning, developing, and thinking most likely over a period of time. A student both designing and conducting an experiment is a demonstration of this level.

Interested in learning how Edmentum incorporates Webb's DOK framework into our programs? Check out our technology-enhanced 21st century item types!

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Webb's Depth of Knowledge Framework: The Basics

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Norman Webb's Depth of Knowledge (DOK) framework is a highly regarded model that has been proven to be useful in understanding what type of knowledge is required to solve problems in academia. Webb has outlined different levels of content complexity and understanding.

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by TeachThought Staff
For in-person professional development from TeachThought on effective instructional strategies or any other topic your school or district might need, contact us today.
Student-centered teaching is teaching designed for the student.

This means that planning often begins with the student in mind as opposed to a school policy or curriculum artifact, for example. Done well, it can disarm some of the more intimidating parts of academia, while also shortening the distance between the student and understanding.

Put another way, student-centered teaching is teaching that is 'aware' of students and their needs above and beyond anything else. It places students at the center of the learning process.

This isn't as simple as it sounds, especially without shifting one's mindset towards that approach. We recently shared 32 Research-Based Instructional Strategies. The following infographic via Mia MacMeekin provides additional tools (in the form of strategies) that can help create a learning environment that can, depending on the context, more approachable, friendly, or familiar to students in your classroom.
See Also 28 Critical Thinking Question Stems & Response Cards
Let us know in the comments which are your favorites, or any good ones you think it might have missed.
28 Student-Centered Instructional Methods

28 Student-Centered Instructional Strategies

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Executed well, student-centered instructional methods can disarm some of the more intimidating parts of academia.

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When it comes to learning, we all instinctively know who should be in the driver's seat.

The learner.

Sure, we need to build the capacity of our youngest and our oldest to take the steering wheel and drive, but, we should be doing that in a way that is akin to how student-driver cars are built: with a fail-safe in the hands (or feet) of the instructor, and everything else in the hands of the student.

Getting to learner-driven learning is a multiple-pathway process, but here are three intersections where we can look to make the "right" turn when we arrive.

Question, rather than answer. In terms of putting learning in the hands of learners, it is much more powerful to know the questions, than to know the answers. The best educators aren't the keepers of content. They are the sharers of questions, happy to know less about information and more about inquiry. Building a conversation, class or course around a series of questions helps to showcase that learning is about a process. Yes, it is a process of seeking answers, but also one of uncovering new questions to ask. Since a question, by its nature, is not an endpoint, educating through questioning puts the power in the hands of those who will be learning the new questions to ask. And that often allows the power to be shared by all. It took me a long time to realize the value of saying "I don't know," but once I discovered that I didn't lose anything through this statement -- and rather, gained more for myself, and my students -- I felt confident saying it regularly, paired with a "let's find out."

Keep it interactive. While a quest built on questions serves as a great foundation, we need to make sure that if we want learners to do the driving, we keep the learning about "doing." After all, we can't do all our driving from the passenger seat -- at least not with current technology; not yet anyway. We all need to feel engaged, and to do that, we need to feel as if we are a part of the learning experience. In other words, it is doing "with us," rather than "to us." When learners drive the learning, they are fully engaged in the thinking, doing and reflecting that occurs. For example, I recently had an opportunity to lead a webinar using a very different virtual tool. The tool, called Shindig, builds in much of what we need to feel in order for a webinar to happen with us, rather than to us. With avatars, integrated video, and opportunities to break up into small discussion groups, it is the most face-to-face virtual experience I have ever had. After that session, I finally realized why webinars had never worked for me before: I had previously felt like an audience member, rather than a participant. The same is the case for any learner-driven experience; learners must be participants.

Follow up. Even after learners are doing the actual driving, they can still run into trouble. The tank can be on empty, a tire can go flat, a battery can go bad. In all these situations, support is a necessity. Learner-driven learning can't be just about the learner doing the driving 24/7. As skills build and/or problems develop, we need to provide follow-up to keep the vehicle -- and the learner -- headed in the right direction, and the right direction for the learner, not necessarily for us. In my book, "Professional Development That Sticks," I talk about the necessity to provide future opportunities for learning and support so that all that has been learned so far doesn't become deserted and overgrown, much like an abandoned road. One of the best things we can do to keep learning in the hands of the learner is to make it clear that we're invested in them charting their own course, and that we're there to help them find their way.

There are many potential drivers along the path of learning. But there is really only one subset of drivers who should be behind the wheel. Those are the ones with the licenses to learn, in other words, those who are currently occupying a learning frame. And that means that if we aren't currently in that frame, we need to be comfortable sitting in the passenger seat and letting the learner take the wheel.
Fred Ende (@fredende) is the assistant director of Curriculum and Instructional Services for Putnam/Northern Westchester BOCES in Yorktown Heights, N.Y. Fred blogs at www.fredende.blogspot.com, Edutopia, ASCD EDge and SmartBrief Education. His book, Professional Development That Sticks is available from ASCD. Visit his website: www.fredende.com.
____________________________________

Like this article? Sign up for ASCD SmartBrief to get news like this in your inbox, or check out all of SmartBrief's education newsletters, covering career and technical education, educational leadership, math education and more.

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When it comes to learning, we all instinctively know who should be in the driver's seat. The learner.

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If you're seeing this message, it means we're having trouble loading external resources on our website.

If you're behind a web filter, please make sure that the domains *.kastatic.org and *.kasandbox.org are unblocked.

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Discover how the role of the teacher is changing in blended-learning environments. What parts of the job stay the same and what is different? How does an organization support teachers in making the transition to blended learning?

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The ISTE Educator Standards challenge educators to deepen their practice, empower students and rethink traditional approaches to education.

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Association of College & Research Libraries (ACRL)

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Introduction

The importance of images and visual media in contemporary culture is changing what it means to be literate in the 21st century. Today's society is highly visual, and visual imagery is no longer supplemental to other forms of information. New digital technologies have made it possible for almost anyone to create and share visual media. Yet the pervasiveness of images and visual media does not necessarily mean that individuals are able to critically view, use, and produce visual content. Individuals must develop these essential skills in order to engage capably in a visually-oriented society. Visual literacy empowers individuals to participate fully in a visual culture.

Visual Literacy Defined

Visual literacy is a set of abilities that enables an individual to effectively find, interpret, evaluate, use, and create images and visual media. Visual literacy skills equip a learner to understand and analyze the contextual, cultural, ethical, aesthetic, intellectual, and technical components involved in the production and use of visual materials. A visually literate individual is both a critical consumer of visual media and a competent contributor to a body of shared knowledge and culture.

In an interdisciplinary, higher education environment, a visually literate individual is able to:

Determine the nature and extent of the visual materials needed

Find and access needed images and visual media effectively and efficiently

Interpret and analyze the meanings of images and visual media

Evaluate images and their sources

Use images and visual media effectively

Design and create meaningful images and visual media

Understand many of the ethical, legal, social, and economic issues surrounding the creation and use of images and visual media, and access and use visual materials ethically

Visual Literacy and Higher Education

Across disciplines, students engage with images and visual materials throughout the course of their education. Although students are expected to understand, use, and create images in academic work, they are not always prepared to do so. Scholarly work with images requires research, interpretation, analysis, and evaluation skills specific to visual materials. These abilities cannot be taken for granted and need to be taught, supported, and integrated into the curriculum.

Notably, some K-12 and higher education standards include visual literacy as one of several key literacies needed for success in contemporary society. ¹ Many discussions of transliteracy, metaliteracy, and multimodal literacy also include visual literacy among the literacies important for today's learners. A diverse body of literature on visual literacy and visual studies also exists. Yet standards outlining student learning outcomes around interdisciplinary visual literacy in higher education have not been articulated. The Visual Literacy Competency Standards for Higher Education addresses this gap in the literature and provides tools for educators seeking to pursue visual literacy with college and university students.

The Visual Literacy Competency Standards for Higher Education establish an intellectual framework and structure to facilitate the development of skills and competencies required for students to engage with images in an academic environment, and critically use and produce visual media throughout their professional lives. The Standards articulate observable learning outcomes that can be taught and assessed, supporting efforts to develop measurable improvements in student visual literacy. In addition to providing tools for educators across disciplines, the Standards offer a common language for discussing student use of visual materials in academic work and beyond.

Visual Literacy and Information Literacy

The Visual Literacy Standards were developed in the context of the Information Literacy Competency Standards for Higher Education, and are intended to complement the Information Literacy Standards. The Visual Literacy Standards address some of the unique issues presented by visual materials. Images often function as information, but they are also aesthetic and creative objects that require additional levels of interpretation and analysis. Finding visual materials in text-based environments requires specific types of research skills. The use, sharing, and reproduction of visual materials also raise particular ethical and legal considerations. The Standards address these distinct characteristics of images and visual media and challenge students to develop a combination of abilities related to information literacy, visual communication, interpretation, and technology and digital media use.

Implementation and Use of the Standards

The Standards may be used as a whole, or in part, depending on curricular needs and overall learning goals of a program or institution. A visual studies course or a year-long series of courses involving visual materials may be an appropriate context for full implementation of the Standards. In other circumstances, the individual standards may be more useful as stand-alone tools for teaching and assessing specific sets of learning outcomes. Depending on the assignment or project, it is possible that two or three of the standards would be applicable and useful, but the remaining standards would not be relevant. Implementation of the Standards may also vary across disciplines, depending on how visual materials are used in that discipline. Individual disciplines may choose to articulate additional discipline-specific visual literacy learning outcomes.

The Standards follow a linear structure, but it is understood that student information behavior is iterative. ² Students may search, interpret, and evaluate simultaneously. Appropriate learning outcomes may be employed as needed, and visual literacy learning may not necessarily follow a progression from Standard 1 to Standard 7.

Visual literacy education is typically a collaborative endeavor, involving faculty, librarians, curators, archivists, visual resources professionals, and learning technologists. Integrating visual literacy into the curriculum requires partnerships and shared implementation strategies across academic departments and units. Libraries play an important role in this process by selecting and providing quality image resources, developing research and subject guides for images, teaching image research strategies, and raising awareness of the ethical use of visual media. Libraries are also established partners in working with students to develop the critical thinking and evaluation skills essential to participation in visual culture.

The accessibility of visual materials and the needs of differently abled individuals, including visually impaired students, is an important consideration in visual literacy instruction and Standards implementation. Adaptive or assistive technologies, such as audio descriptions of visual materials or multimodal access to visual media, could be components of an accessibility strategy for visual materials.

Standards Development Process

The Visual Literacy Competency Standards were collaboratively written by the members of the Visual Literacy Standards Task Force (VLTF), using the Information Literacy Competency Standards as a foundational document. In March 2010, the ACRL Information Literacy Standards Committee gave support to the ACRL Image Resources Interest Group's (IRIG) proposal to develop Visual Literacy Competency Standards. The Visual Literacy Standards Task Force reviewed the visual literacy and standards literature and developed a public bibliography in Zotero; appointed an Advisory Group comprised of librarians, technologists, curators, and administrators; created a blog for communication and community engagement; conducted open meetings and discussion groups; and engaged in outreach with multiple organizations. The first public draft of the Standards was distributed in February 2011.

Notes

1. Two of these standards are Standards for the 21st-Century Learner, American Association of School Librarians, 2007; and NCTE Framework for 21st Century Curriculum and Assessment, National Council of Teachers of English, 2008, http://www.ncte.org/library/NCTEFiles/Resources/Positions/Framework_21stCent_Curr_Assessment.pdf.

2. Head, Alison J. and Michael B. Eisenberg. Truth be Told: How College Students Evaluate and Use Information in the Digital Age. Project Information Literacy, Information School, University of Washington, 2010.

Standards, Performance Indicators, and Learning Outcomes

Standard One

The visually literate student determines the nature and extent of the visual materials needed.
Performance Indicators:
1. The visually literate student defines and articulates the need for an image.
Learning Outcomes:
2. The visually literate student identifies a variety of image sources, materials, and types.
Learning Outcomes:
Standard Two

The visually literate student finds and accesses needed images and visual media effectively and efficiently.
Performance indicators:
1. The visually literate student selects the most appropriate sources and retrieval systems for finding and accessing needed images and visual media.
Learning Outcomes:
2. The visually literate student conducts effective image searches.
Learning Outcomes:
a. Develops a search strategy appropriate to the image need and aligned with available resources
b. Recognizes the role of textual information in providing access to image content, and identifies types of textual information and metadata typically associated with images (e.g., captions or other descriptions, personal or user-generated tags, creator information, repository names, title keywords, descriptions of visual content)
c. Recognizes that images are often organized differently than text-based information and that this affects the way images can be accessed (e.g., absence of full-text search, variations in controlled vocabularies, lack of subject terms)
d. Identifies keywords, synonyms, and related terms for the image needed, and maps those terms to the vocabulary used in the image source
e. Uses images to find other images through exploration, social linking, visual search engines, or browsing
f. Performs image and topical research concurrently, with each informing the other in an iterative resource-gathering process
g. Assesses the quality, quantity, and appropriateness of images retrieved, and revises the search strategy as necessary

3. The visually literate student acquires and organizes images and source information.
Learning Outcomes:
a. Retrieves or reproduces the needed image using appropriate technologies or systems (e.g., download functions, copy and paste, scanning, cameras)
b. Accesses physical objects as needed to support the image research objective (e.g., site visits to archives, repositories, museums, galleries, libraries)
c. Organizes images and the information that accompanies them for personal retrieval, reuse, and scholarly citation

Standard Three

The visually literate student interprets and analyzes the meanings of images and visual media.
Performance indicators:
1. The visually literate student identifies information relevant to an image's meaning.
Learning Outcomes:

2. The visually literate student situates an image in its cultural, social, and historical contexts.
Learning Outcomes:
a. Describes cultural and historical factors relevant to the production of an image (e.g., time period, geography, economic conditions, political structures, social practices)
b. Examines the purposes and meanings of an image in its original context
c. Explores choices made in the production of an image to construct meaning or influence interpretation (e.g., framing, composition, included or excluded elements, staging)
d. Describes the intended audience for an image
e. Explores representations of gender, ethnicity, and other cultural or social identifiers in images
f. Investigates how the audience, context, and interpretation of an image may have changed over time

3. The visually literate student identifies the physical, technical, and design components of an image.
Learning Outcomes:
a. Describes pictorial, graphic, and aesthetic elements of an image (e.g., color, composition, line, shape, contrast, repetition, style)
b. Identifies techniques, technologies, or materials used in the production of an image
c. Determines whether an image is an original or a reproduction
d. Examines an image for signs of editing, alteration, or manipulation (e.g., cropping, color correction, image enhancements)

4. The visually literate student validates interpretation and analysis of images through discourse with others.
Learning Outcomes:
a. Participates in classroom and other discussions about images
b. Seeks expert and scholarly opinion about images, including information and analysis found in reference sources and scholarly publications
c. Informs analysis with discipline-specific perspectives and approaches

Standard Four

The visually literate student evaluates images and their sources.
Performance indicators:
1. The visually literate student evaluates the effectiveness and reliability of images as visual communications.
Learning Outcomes:
a. Evaluates how effectively an image achieves a specific purpose
b. Assesses the appropriateness and impact of the visual message for the intended audience
c. Critiques persuasive or manipulative strategies that may have been used in image production to influence interpretation
d. Evaluates the use of visual signs, symbols, and conventions to convey meaning
e. Analyzes the effect of image editing or manipulation on the meaning and reliability of the image
f. Determines the accuracy and reliability of graphical representations of data (e.g., charts, graphs, data models)
g. Evaluates images using disciplinary criteria

2. The visually literate student evaluates the aesthetic and technical characteristics of images.
Learning Outcomes:
a. Evaluates the aesthetic and design characteristics of images (e.g., use of color, composition, line, shape, contrast, repetition, style)
b. Evaluates the technical characteristics of images (e.g., resolution, size, clarity, file format)
c. Evaluates the quality of image reproductions, based on indicators such as color accuracy, resolution, manipulation levels, and comparison to other reproductions

3. The visually literate student evaluates textual information accompanying images.
Learning Outcomes:
a. Evaluates information that accompanies images for accuracy, reliability, currency, and completeness
b. Uses observation of visual content to evaluate textual information
c. Verifies information that accompanies images by consulting multiple sources and conducting research as necessary

4. The visually literate student makes judgments about the reliability and accuracy of image sources.
Learning Outcomes:
a. Assesses reliability and accuracy of image sources based on evaluations of authority, and point of view or bias
b. Makes judgments about image sources based on evaluations of image and information quality
c. Critiques how an image source may create a new context for an image and thereby change its meaning

Standard Five

The visually literate student uses images and visual media effectively.
Performance indicators:
1. The visually literate student uses images effectively for different purposes.
Learning Outcomes:
2. The visually literate student uses technology effectively to work with images.
Learning Outcomes:
a. Uses appropriate editing, presentation, communication, storage, and media tools and applications to prepare and work with images
b. Determines image file format, size, and resolution requirements for a project, and converts images accordingly
c. Edits images as appropriate for quality, layout, and display (e.g., cropping, color, contrast)

3. The visually literate student uses problem solving, creativity, and experimentation to incorporate images into scholarly projects.
Learning Outcomes:
a. Experiments with different ways of integrating images into academic work
b. Uses visual thinking skills to clarify and solve problems

4. The visually literate student communicates effectively with and about images.
Learning Outcomes:
Standard Six

The visually literate student designs and creates meaningful images and visual media.
Performance Indicators:
1. The visually literate student produces visual materials for a range of projects and scholarly uses.
Learning Outcomes:
a. Creates images and visual media to represent and communicate concepts, narratives, and arguments (e.g., concept maps, presentations, storyboards, posters)
b. Constructs accurate and appropriate graphic representations of data and information (e.g., charts, maps, graphs, models)
c. Produces images and visual media for a defined audience
d. Aligns visual content with the overall purpose of project

2. The visually literate student uses design strategies and creativity in image and visual media production.
Learning Outcomes:
a. Plans visual style and design in relation to project goals
b. Uses aesthetic and design choices deliberately to enhance effective communication and convey meaning
c. Uses creativity to incorporate existing image content into new visual products

3. The visually literate student uses a variety of tools and technologies to produce images and visual media.
Learning Outcomes:
a. Experiments with image-production tools and technologies
b. Identifies the best tools and technologies for creating the visual product
c. Develops proficiency with a range of tools and technologies for creating images and visual media

4. The visually literate student evaluates personally created visual products.
Learning Outcomes:
Standard Seven

The visually literate student understands many of the ethical, legal, social, and economic issues surrounding the creation and use of images and visual media, and accesses and uses visual materials ethically.
Performance Indicators:
1. The visually literate student understands many of the ethical, legal, social, and economic issues surrounding images and visual media.
Learning Outcomes:
2. The visually literate student follows ethical and legal best practices when accessing, using, and creating images.
Learning Outcomes:
a. Identifies institutional (e.g., museums, educational institutions) policies on access to image resources, and follows legal and ethical best practices
b. Tracks copyright and use restrictions when images are reproduced, altered, converted to different formats, or disseminated to new contexts
c. States rights and attribution information when disseminating personally created images

3. The visually literate student cites images and visual media in papers, presentations, and projects.
Learning Outcomes:
a. Gives attribution to image creators in citations and credit statements to acknowledge authorship and author rights
b. Includes source information in citations and credit statements so visual materials can be reliably found and accessed by other scholars and researchers
c. Cites visual materials using an appropriate documentation style

Appendix 1: Sources and Bibliography

In preparing the Standards, the Task Force consulted a broad range of literature on visual literacy, related literacies, and education standards. The complete bibliography consulted is publicly available in the ACRL/IRIG Visual Literacy Bibliography in Zotero ( http://www.zotero.org/groups/acrl_irig_visual_literacy_bibliography).

Key Sources:

Bamford, Anne. The Visual Literacy White Paper. Adobe Systems Pty Ltd, Australia, 2003. http://www.adobe.com/uk/education/pdf/adobe_visual_literacy_paper.pdf.

Choi, Youngok. "Effects of Contextual Factors on Image Searching on the Web." Journal of the American Society for Information Science and Technology 61, no. 10 (2010): 2011-2028.

Green, David. Using Digital Images in Teaching and Learning: Perspectives from Liberal Arts Institutions. Academic Commons, 2006.

Information Literacy Competency Standards for Higher Education. Association of College & Research Libraries, 2000.

Nixon, Andrea Lisa, Heather Tompkins, and Paula Lackie. Curricular Uses of Visual Materials: A Mixed-Method Institutional Study. Carleton College, Dean of the College Office, 2008. http://apps.carleton.edu/curricular/support/assets/CUVMFinal.PDF.

Visual Literacy Standards Task Force (VLTF)

Denise Hattwig, Chair
University of Washington

Joanna Burgess
Reed College

Kaila Bussert
Cornell University

Ann Medaille
University of Nevada, Reno

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ACRL Visual Literacy Competency Standards for Higher Education

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The importance of images and visual media in contemporary culture is changing what it means to be literate in the 21st century. Today's society is highly visual, and visual imagery is no longer supplemental to other forms of information. New digital technologies have made it possible for almost anyone to create and share visual media.

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* Statista - The Statistics Portal for Market Data, Market Research and Market Studies

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Screencastify | Screen Recording and Video Editing

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Screencastify is the leading screen recorder for Chrome. Install the extension to record, edit, and share videos in seconds. Create video class assignments, training and tutorials, and make business communication faster.

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Coggle is online software for creating and sharing mindmaps and flowcharts. It works online in your browser: there's nothing to download or install. Log in to start diagramming!

Whether you're taking notes, brainstorming, planning, or doing something awesomely creative, it is super simple to visualise your ideas with Coggle. Share with as many friends or colleagues as you like. Changes you make will show up instantly in their browser, wherever they are in the world

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The clear way to share complex information. Coggle is a collaborative mind-mapping tool that helps you make sense of complex things. Create unlimited mind maps and easily share them with friends and colleagues.

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Reference List: Electronic Sources - Purdue OWL® - Purdue University

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Note: This page reflects the latest version of the APA Publication Manual (i.e., APA 7), which released in October 2019. The equivalent resource for the older APA 6 style can be found here.