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Kevät 2019
Ylioppilaskokelaan tekniset valmiudet tuottaa kuvia biologian ensimmäisessä digitaalisessa ylioppilaskokeessa keväällä 2018

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Theseus: ELÄMÄÄ KYNÄN JA PAPERIN JÄLKEEN : Ylioppilaskokelaan tekniset valmiudet tuottaa kuvia biologian ensimmäisessä digitaalisessa ylioppilaskokeessa keväällä 2018

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Lopputyössä kehitetyn triangelimallin korjattu versio.

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Toimii samalla logiikalla kuin Photoshop. Vaatii hieman alkuorientaatiota, mutta monipuolinen ohjelma, jonka käyttö tukee jatko-opintoja ja työelämän tarpeita.

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The Free & Open Source Image Editor

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GIMP - The GNU Image Manipulation Program: The Free and Open Source Image Editor

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267s.
Esimerkiksi äidinkielen, kuvaamataidon ja historian yhdistäminen monilukutaidon avulla.

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Joitakin työkaluja alkuun pääsemiseksi erityisesti tvt:n opetuskäytön lisäämistä harkitseville aineopettajille #Jaajotainpäivä 2015 - by Marja Oilinki

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https://www.slideshare.net/IrinaRekiranta/pro-gradu-irina-rekiranta

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Joensuun seudun TVT-opetuskäytön suunnitelma

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Joensuun seudun
tvt-opetuskäytön suunnitelma

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Digipassin esittely
Digipassin I-tason vaatimukset

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Lukiomme yhtenä keskeisenä kehittämishankkeena lukuvuonna 2016-2017 on ollut Melun digipassi. Melun digipassin idea on, että ensinnäkin sen avulla turvataan kaikille lukiomme suorittaneille tietyt jatko-opintojen, työelämän ja lukion kannalta oleelliset tietotekniset taidot. Lisäksi digipassista on ns. II-taso, jonka keskeisenä ideana on tunnistaa ja tunnustaa lukiolaisten syvempiä taitoja.

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TVT-strategia 2019–2022
Osaamistasotaulukko

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eNorssi 10/2018

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Mary Lee Ledbetter, Monitoring Editor

Abstract

The drawing of visual representations is important for learners and scientists alike, such as the drawing of models to enable visual model-based reasoning. Yet few biology instructors recognize drawing as a teachable science process skill, as reflected by its absence in the Vision and Change report's Modeling and Simulation core competency. Further, the diffuse research on drawing can be difficult to access, synthesize, and apply to classroom practice. We have created a framework of drawing-to-learn that defines drawing, categorizes the reasons for using drawing in the biology classroom, and outlines a number of interventions that can help instructors create an environment conducive to student drawing in general and visual model-based reasoning in particular. The suggested interventions are organized to address elements of affect, visual literacy, and visual model-based reasoning, with specific examples cited for each. Further, a Blooming tool for drawing exercises is provided, as are suggestions to help instructors address possible barriers to implementing and assessing drawing-to-learn in the classroom. Overall, the goal of the framework is to increase the visibility of drawing as a skill in biology and to promote the research and implementation of best practices.

INTRODUCTION

It is difficult to imagine teaching, learning, or doing biology without the use of visual representations. As in physics, chemistry, and other science, technology, engineering, and math (STEM) disciplines, the spatial and temporal dimensions of biology span many orders of magnitude and involve complexity that challenges the limits of human comprehension. Visual representations are a powerful tool, because they help to make the unseen seen and the complex simple.

This power of visuals has been used by scientists from the representational anatomical works of Leonardo da Vinci to the theoretical phylogenetic work of Charles Darwin. In this essay, we encourage biology instructors of students ages K-16 and beyond to explicitly train students not only to interpret visual information in textbooks, journal articles, slide presentations, websites, and classroom whiteboards, but also to create drawings, for two reasons: 1) drawing is a powerful tool for thinking and communicating, regardless of the discipline (e.g., Roam, 2008); and 2) drawing is a process skill that is integral to the practice of science, used in the generation of hypotheses, the design of experiments, the visualization and interpretation of data, and the communication of results (e.g., Schwarz et al., 2009; Ainsworth et al., 2011).

Even though biology has a rich tradition of illustrating natural history, it lags behind physics and chemistry in acknowledging and explicitly teaching drawing as a skill, especially the drawing of abstract visual models as a tool for reasoning ( National Research Council [NRC], 2012). Model-based reasoning is a type of problem solving that enables analysis of complex and/or abstract concepts. Different types of models are used for problem solving across STEM disciplines, including verbal, mathematical, visual, dynamic, and physical models ( Table 1 ; e.g., Harrison and Treagust, 2000; Koba and Tweed, 2009). Model-based reasoning is a powerful tool for fostering conceptual change and meaningful learning in students (e.g., Jonassen et al., 2005; Blumschein, et al., 2009). When used in science, these abstract, explicit representations of systems can be used singly and in combination to generate predictions and explanations ( Schwarz et al., 2009).

Table 1.

The vast majority of illustrations in biology texts, in primary literature papers, and on whiteboards in classrooms are abstract, visual models. Many biology instructors draw models in their classrooms and prompt students to draw as well, but rarely with a self-awareness of this strategy as a teachable science process skill and rarely from the perspective of modeling.

In a recent study of faculty perceptions of teaching the process of science in biology, drawing or making models was not included among the 22 science skills assessed, except in the creation of graphs from data ( Coil et al., 2010). Likewise, the Vision and Change document ( American Association for the Advancement of Science [AAAS], 2011) includes Modeling and Simulation as one of the core competencies in biology, yet defines modeling narrowly in the mathematical sense. We advocate for the revision of the Vision and Change definition to align with the Discipline-Based Education Research report ( NRC, 2012) to include visual model-based reasoning as embraced in physics (e.g., vector diagrams), chemistry (e.g., bonding diagrams), engineering (e.g., circuit diagrams), and math (e.g., diagrams to solve word problems).

The goals of this essay are to increase the visibility of drawing as a skill in biology and to provide a framework to promote the research and implementation of best practices. We have experienced a number of barriers to progress as we have researched the literature on drawing-to-learn. These barriers include a diffuse literature scattered across diverse disciplines ranging from nursing and cognitive psychology to secondary education and math; diverse study subjects ranging from kindergarteners to adults; inconsistent use of terminology; lack of clearly articulated goals or best practices for assigning drawing in science class; seemingly contradictory results in drawing studies; and a number of complicating factors that raise the question of transferability of the results from one study to the next. These frustrations have inspired us to distill the complexity of drawing into a "big picture" framework that can serve as a launching point to facilitate future work in biology.

This essay will deliver a framework in three parts: 1) a definition of drawing with an explanation of its facets; 2) a clear articulation of the diverse pedagogical goals of drawing-to-learn; and 3) a proposed set of teaching interventions that can serve both as prompts for interested instructors and also as testable hypotheses for researchers. This essay is not intended as a comprehensive literature review but rather as a sampling and synthesis of insights gleaned from diverse fields.

WHAT IS A "DRAWING"?

There is no consensus in the literature on the definition of "drawing," and many terms (e.g., sketch, diagram, external representation, external model, visualization, illustration, picture) are used differently in different papers. We embrace an inclusive definition of drawing to encourage drawing-to-learn as a parallel endeavor to other pedagogical movements such as writing-to-learn (e.g., Klein, 1999; Libarkin and Ording, 2012; Reynolds et al., 2012; Mynlieff et al., 2014), and talking-to-learn (e.g., Tanner, 2009). That is, we define drawing broadly as

a learner-generated external visual representation depicting any type of content, whether structure, relationship, or process, created in static two dimensions in any medium.

This definition, while inclusive, masks a number of complicating factors central to the use of drawing in the biology classroom. The following discussion will illuminate four of these factors.

Drawings Vary in the Extent to Which They Are Learner Generated

Visual literacy is the ability of students both to interpret visual representations that are provided by instructors and also to create visual representations on their own (e.g., Schönborn and Anderson, 2010). But interpretation and creation are not distinct categories-they represent ends of a continuum ( Figure 1 ). At one end of the continuum, students can be asked to view and interpret an instructor-generated or instructor-selected model in class or in homework. At the other end of the continuum, students can be asked to draw their own model starting from a "blank slate." The entire range of the continuum represents visual learning (learning using images), but the degree to which students are engaged in active learning (constructing their own knowledge based on prior knowledge and experience; e.g., Freeman et al., 2014) increases as the students take on more responsibility for their drawing. For the remainder of this essay, "drawing" will include any visual representation that is either partially or fully learner generated.

Drawings Are External Models That Involve the Formation of Internal Models

It may seem self-evident that drawings are external representations (physically visible outside the mind of the creator); however, the literature suggests that an important interaction occurs between external models and internal models (mental models in the "mind's eye"; e.g., Johnson-Laird, 1980; Seel, 2003; Jonassen et al., 2005).

First, consider that the brain naturally uses spatial information to encode other kinds of information, such as verbal information, increasing the brain's capacity for memory and learning (e.g., Chun and Jiang, 1998; Guida and Lavielle-Guida, 2014). It follows, then, that students learn more from combining verbal and visual information than from verbal information alone ( Pavio, 1986), which appears to be true regardless of "learning style" ( Rohrer and Pashler, 2012; Kirschner and Merriënboer, 2013).

Next, consider how verbal and visual information are integrated. Mayer (2009) proposes in his cognitive theory of multimedia learning that students create a mental model in their working memory by performing three cognitive tasks: 1) selecting verbal and visual information from materials presented (sensory processing) and from prior knowledge (long-term memory), 2) organizing verbal and visual information, and 3) integrating those elements into a mental model. Van Meter and Garner (2005) extended this theory in their generative theory of drawing construction, proposing that the drawing of a physical model can occur after the creation of a mental model or in parallel with selecting, organizing, and integrating information. We have created a visual model to summarize these ideas in Figure 2 . Note that the creation of an external model requires not only mental processes but also motor coordination to manipulate the drawing medium into the desired image.

This framework helps to make sense of seemingly contradictory results in the literature. For example, Leutner et al. (2009) observed that students who created only a mental model experienced higher learning gains than students who created a mental model plus a drawing. In this case, it appears that the creation of a mental model was itself the critical step in learning and that the drawing process increased cognitive load in a way that was unproductive to learning ( Sweller, 1988; de Jong, 2010), possibly because the students had little experience or confidence with drawing and used their time inefficiently. Other studies suggest that the generation of an external model is important both as a catalyst to create a mental model, and as a way to improve cognitive efficiency while learning. For example, drawings can be used to offload information to free up working memory ( Larkin and Simon, 1987; Harrison and Treagust, 2000; Jonassen et al., 2005; Koba and Tweed, 2009). Further, it is difficult to assess a student's internal model.

In sum, it is important to recognize that when an instructor assigns a drawing exercise to a student or when a scientist draws a model to think with, the actual drawing that results may be the desired outcome (e.g., to communicate to instructors or colleagues) or may be a means to the creation of a mental model (to construct knowledge) and, therefore, an effective strategy for instructors to access and assess the student's learning and identify misconceptions (e.g., Köse, 2008; Dikmenli, 2010).

Drawings Vary in the Extent to Which They Are Representational or Abstract

One variable that contributes to the varied use of terms for drawings is the extent to which the drawings are intended to be representational ("true to life") or abstract (analogical). Some authors use "drawings" to refer only to representational drawings (e.g., Van Meter and Garner, 2005), wherein drawings are a subset of the larger category, diagrams (e.g., Uesaka and Manalo, 2011). Others use "drawings" to refer to any learner-generated visualization, including those with quantitative information, such as graphs (e.g., Ainsworth et al., 2011). We embrace the latter approach for drawing-to-learn, with "drawings" embracing the full continuum from representational to abstract ( Figure 3 ).

Structures or objects are often the first category to come to mind when a student or instructor thinks of drawings, but processes and relationships can also be depicted and explored via drawings. For example, students in a biology lab may be asked to draw cells or anatomical structures as viewed through a microscope, but they may also be asked to draw a flowchart to understand the process of meiosis or a phylogenetic tree to decipher the relationships among taxa. A few examples are illustrated in Table 2 .

When viewing these examples from biology, there are three points to recognize: drawings can vary across scale; drawings can vary in their integration of text; and drawings can vary in the level of abstraction that is suitable to the context. First, consider that, because drawings can be used across scales and all levels of organization from atomic to global-even within the same representation-they are appropriate for all fields of biology, ranging from biochemistry and molecular biology to genetics, evolution, and ecology. Further, some drawing types, such as flowcharts, graphs, and concept maps, can be applied to all disciplines.

Drawings can also range in the extent to which they contain words. Some drawings contain no words at all, such as a drawing depicting the wing pattern of a particular species of butterfly or the leaf morphology of a particular species of oak tree. Other drawings contain a few labels, such as a drawing of a cell containing labeled organelles or a drawing of a flower containing labeled reproductive structures. At the other end of the spectrum, some drawings are composed mostly of words, numbers, lines, and/or arrows, but with obvious spatial relationships, such as in flowcharts, concepts maps, graphs, and phylogenetic trees (see Table 2 ).

Finally, drawings can vary to the degree in which they should be representational or abstract, depending on context. For example, a highly representational drawing of a wolf might be appropriate to a study of wolf behavior (where the stance and position of ears and tail is germane to the point), but a mere box with the word "wolf" might be appropriate in a food web or concept map ( Figure 3 ). This distinction is important, because many students and instructors are insecure about their ability to draw. Artistry is not a prerequisite for most uses of drawing as a tool. In many cases, structures or processes can be represented by simple shapes that are easy to create. Thus, the fear of drawing is a barrier that can be overcome with transparency about intended use in a given context ("A box with 'wolf' is all that is needed!") and practice in the intended use in that context (K.Q., unpublished data).

Drawings Can Be Made in Any Two-Dimensional Medium

Just as there is variation in the level of abstraction of drawings, so too is there variation in how they are produced. The word "drawing" often suggests paper and pencil-reminiscent of art class-but student drawings can vary in medium from pencil on paper to marker on whiteboard to stylus on tablet. An increasing number of programs enable students to draw/construct images online and in classroom management systems, improving the number of options available to instructors, especially of large-enrollment or digitally delivered courses (e.g., BeSocratic, Learning Catalytics). Three-dimensional physical models and kinesthetic activities are closely related to drawing and are certainly of educational and scientific value but are beyond the scope of this essay, as are dynamic animations and computer simulations.

In terms of cognitive processes, the principle of selecting, organizing, and integrating information ( Figure 2 ) applies to drawing no matter the medium (e.g., Mayer, 2009). However, this does not mean that all students (or instructors or scientists) will draw equally well in all media. There are two types of barriers that might be important regarding medium. One is experience-the ability of a student to draw in one medium, such as pencil on paper, does not necessarily transfer to ability in another medium, such as stylus on tablet, and depends on the student's familiarity with the new medium. Differences in the sensory-motor experience, the needed hand-eye coordination, and knowledge of the functional capacity of the medium could require practice to master.

Second, some media have inherent limitations. Color coding is not possible when only a black pen is available, and precise markings are not possible using a fingertip on a touch screen. More research on the effects of drawing medium on learning is needed (e.g., Mayer et al., 2005; Templeman-Kluit, 2006; Ainsworth, 2008). Meanwhile, instructors should be mindful of the opportunities and limitations of different drawing media.

WHY ASK STUDENTS TO DRAW?

With the definition of drawing established, the next task is to make sense of the many reasons for using drawing. The effective use of drawing in the classroom and the effective measurement of drawing as a tool depend on the alignment between desired outcomes, assessment, and activities (e.g., Cohen, 1987; Wiggins and McTighe, 1998). Thus, transparency regarding goals is essential. We have created a matrix ( Table 3 ) to serve as a framework for distinguishing the variety of pedagogical goals found in the literature ( Table 4 ). The matrix categorizes the goals according to whether drawings are on the representational or abstract ends of the continuum ( Figure 3 ) and whether they are intended as formative or summative exercises. Formative exercises are used to help students build their own knowledge and practice skills and are used by instructors to enable targeted feedback to students. Summative exercises are used by students to communicate their knowledge and skills and are used by instructors for evaluating student performance, such as for course grades.

Table 3.

Table 4.

Topic

Sample of References

Interpreting visual information

Tufte, 1983, 1990, 2003; Mayer and Sims, 1994; Baum and Offner, 2008; Gilbert et al., 2008; Mayer, 2009; Schönborn and Anderson, 2010; Kress and van Leeuwen, 2006; Rose, 2012; Stephens, 2012

Drawing to enhance motivation

Glynn and Muth, 2008; Alias et al., 2002

Drawing to reveal misconceptions

Rennie and Jarvis, 1995; Palaez et al., 2005; Ekici et al., 2007; Köse, 2008; National Science Foundation, 2008; Shepardson et al., 2009; Dikmenli, 2010

Drawing to elicit or reveal students' mental models

Hmelo-Silver et al., 2007; Hay et al., 2008; Shepardson et al., 2009, 2011; Ifenthaler et al., 2011; Dauer et al., 2013; Anderson et al., 2014

Drawing as a learning tool

Gobert and Clement, 1999; Hyerle, 2000; Novick, 2000; Van Meter and Garner, 2005; Van Meter et al., 2006; Koba and Tweed, 2009; Edens and Potter, 2010; Ridley and Rogers, 2010; Schwamborn et al., 2010, 2011; Eddy et al., 2013

Drawing as a science process skill

Tufte, 1983; Grosslight et al., 1991; Harrison and Treagust, 2000; Löhner et al., 2005; Hmelo-Silver et al., 2007; Ridley and Rogers, 2010; Ainsworth et al., 2011; NRC, 2012

Drawing to enhance observation

Edwards, 1979; Van Meter and Garner, 2005; Lerner, 2007; Baldwin and Crawford, 2010; Ridley and Rogers, 2010

Drawing to enhance model-based reasoning

Grosslight et al., 1991; Kindfield, 1994; Harrison and Treagust, 2000; Hmelo-Silver et al., 2007; Uesaka et al., 2007; Roam, 2008; Rosengrant et al., 2009; Schwarz et al., 2009; Schönborn and Anderson, 2010; Uesaka and Manalo, 2011; Bassok and Novick, 2012; NRC, 2012

Drawing to connect concepts/ideas

Hmelo-Silver et al., 2007; Dauer et al., 2013; Long et al., 2014

Drawing to enhance metacognition

Stow, 1997; Kiyokawa et al., 2012

Drawing to show quantitative information

Tufte, 1983; Padilla et al., 1986; Stern et al., 2003; Picone et al., 2007; Uesaka et al., 2007; Uesaka and Manalo, 2011

Drawing to communicate

Roam, 2008; Watson and Lom, 2008 (student photos); Ridley and Rogers, 2010; Ainsworth et al., 2011

Practice improves drawing-to-learn; it is a teachable skill

Mioduser and Santa María, 1995; Gobert and Clement, 1999; Harrison and Treagust, 2000; Van Meter and Garner, 2005; Van Meter et al., 2006; Uesaka et al., 2007; Rosengrant et al., 2009; Schwarz et al., 2009; Chittleborough and Treagust, 2007; Hegarty, 2011; Dauer et al., 2013; Hay et al., 2013

Visual design for scientists

Tufte, 1983, 1990, 2003; Frankel, 2002; Fry, 2008; Frankel and DePace, 2012

One common goal cited in the formative-representational quadrant is the use of drawings to enhance observational skills (e.g., Baldwin and Crawford, 2010; Ridley and Rogers, 2010). Louis Agassiz of the Harvard Museum of Comparative Zoology captured this sentiment in his assertion that "A pencil is one of the best eyes" ( Lerner, 2007, p. 382). For example, students can be asked to draw cells as seen through the microscope to explore cell structure.

The summative-representational quadrant focuses less on seeing and more on communicating what has been observed and learned. Before the advent of photography, representational drawing was essential to science as a means of recording and disseminating knowledge. In terms of teaching and learning, representational drawings are a means of assessing student performance, such as the accuracy and completion of a lab exercise on plant growth. Overall, seeing and communicating are distinct, but aligned, goals-a student (or instructor or scientist) with more practice seeing will be better equipped to communicate what has been seen.

Goals for drawings are quite diverse in the formative-abstract quadrant of the matrix, in the top, right-hand section of Table 3 . For students, the goal of this quadrant is to make visual models to help them construct their own knowledge, which involves the creation of both internal and external models ( Figure 2 ). The creation of these models helps students to acquire and remember content knowledge, connect concepts into a big picture, process data, solve problems, and design and interpret experiments. Drawing models can also help motivate students and make them more self-aware of their own learning. For instructors, this quadrant can be used as a diagnostic tool to elicit students' mental models, such as their conception of the relationship between genes and evolution ( Dauer et al., 2013), and to reveal misconceptions, such as the common misconception that photosynthesis turns CO ₂ into O ₂ ( Köse, 2008) or that DNA replication occurs during mitosis and meiosis ( Dikmenli, 2010). Instructors can then design interventions appropriate to students' needs.

The abstract-summative goals are aligned with many of the abstract-formative goals; they are similar in their use, yet distinct. The focus of this quadrant is for students to reveal their knowledge and problem-solving skills to the instructor, to fellow students, or to others, usually for points that determine grades. Familiarity with the visual conventions that are used in the discipline and acceptable for the audience dictates how well the students can accurately communicate concepts through abstract representations. In this manner, the student experience in this quadrant prepares them for the communication of scientific information that is integral to the practice of science.

To our knowledge, there has been no formal measure of instructor practice in the formative and summative use of drawing in biology classrooms nationally. However, our informal surveying of colleagues around the United States has revealed a diversity of practices. For example, one college biology instructor said that she uses abstract drawings on exams but does not give students formative opportunities to draw in class. Another instructor said that he uses extensive abstract drawing in class but not on exams due to his large class sizes. Further, some instructors use drawings extensively all semester, while others use them only in one topic area. And some instructors are extremely enthusiastic and purposeful about their use of drawings, outlining several pedagogical goals for their use, while others were surprised by this novel topic and had to consider for a few moments whether or not they used drawing ("What does 'drawing' mean exactly?") in class. This variety of practices reveals a need for alignment between formative and summative elements of Table 3 . If drawing skills are an important skill, they should be part of a summative assessment of students. And if drawing skills are part of a summative assessment, they should be aligned with formative experiences in the same drawing category (i.e., representational or abstract).

In sum, the purpose of the matrix is to help add clarity to discussions of why instructors would invest time and effort into assigning and assessing drawing exercises. Assigning drawings to students to help them engage (improve motivation) or see (improve observation skills) are very different pedagogical goals than assigning drawings to help students understand (lower-order cognitive skill) or solve a problem (higher-order cognitive skill), but all are important. Likewise, assigning drawings to students to help them learn (student-centered goal) and assigning drawings so that instructors can assess learning (instructor-centered goal) are very different pedagogical goals, but both can be used to improve student learning. Finally, teaching drawing as a learning tool (such as the use of concept maps to help memorize content or see the big picture) is a different goal than teaching drawing as a science process skill (such as drawing models to design an experiment), but both are valid and worthwhile. Overall, the key is for instructors and researchers to articulate goals clearly so that appropriate interventions can be designed and aligned between the formative and summative quadrants to achieve those goals.

WHAT ARE SOME SUGGESTED PRACTICES FOR TEACHING DRAWING FOR MODEL-BASED REASONING IN BIOLOGY?

With the goals for drawing-to-learn in mind, the next step is to consider how to scaffold drawing skills to meet those goals-that is, how can instructors provide a sequence of support that helps students to eventually achieve mastery of the skill on their own? It is beyond the scope of this essay to propose teaching practices to support all of the diverse goals for drawing-to-learn. For the remainder of this essay, we will focus on using drawings for model-based reasoning, because this is an area with enormous, yet unrealized potential (e.g., Ainsworth et al., 2011; NRC, 2012; see Introduction). This example also serves to model how drawing could be scaffolded to help achieve other pedagogical goals in biology.

When planning an intervention to help students draw models for model-based reasoning, it is helpful to have an endpoint in mind in terms of desired modeling skills. The literature has articulated some of the differences between novice and expert learners regarding the drawing and use of models in various STEM disciplines (e.g., NRC, 2012; see other references in Table 4 ). We have simplified and synthesized these differences into a framework in Table 5 to show where students typically start, and where we intend for them to end up. In general, novice learners tend to view models as static summaries of reality created by others, which they must memorize, whereas expert learners tend to view models as flexible thinking tools. Explicit instruction can help novice learners to develop more expert-like skills in model-based reasoning.

Table 5.

Aspect of models

Novice learners

Expert learners

Given the goal of moving students to more expert-like practices, and based on the constellation of factors discussed in the literature (see Table 4 and the discussion here), we propose three major categories of interventions that may improve the ability of students to draw models to learn. These interventions can serve as a starting framework for interested instructors and also as testable hypotheses for biology education researchers. To ground these interventions in learning theory, we invoke the theory of cognitive capacity (see Sweller, 1988; de Jong, 2010). This theory predicts that learning will be efficient when distractors to learning are minimized and the full cognitive capacity of the student is focused on the learning goal. Conversely, learning will be inefficient if the learner experiences cognitive load that is unproductive to the learning goals (e.g., Mayer et al., 2001; Mayer, 2009). Thus framed, the three interventions are as follows:

1. Affect: interventions to improve student motivation and attitudes toward drawing-to-learn will encourage students to assign more cognitive capacity to these activities.

2. Visual literacy: interventions that explicitly teach the skill of translating verbal-to-visual information and visual-to-verbal information as well as accepted symbol use within biology subdisciplines will enable students to spend more of their cognitive capacity on important concepts and principles rather than on the act of drawing.

3. Model-based reasoning: interventions that model and give students practice with the flexibility of models as reasoning tools, as well as feedback on the efficacy of their models, will enable students to spend more of their cognitive capacity on problem solving rather than the act of modeling and will increase the likelihood that students will draw models to solve problems on their own, without prompting.

First, we will outline the teaching and learning challenges in each of these categories, and then we will offer suggestions for practices that might address these challenges. At the end, we will consider some of the practical considerations to ease the use of drawing-to-learn in the classroom.

Affect

A student's affect, or emotional state, is critical to learning success, because it influences motivation-the amount of time and effort a student is willing to commit to learning ( Bransford et al., 2000). Affect changes over time and context and can be positively or negatively influenced by instructor behavior and interventions in the classroom ( Anderson and Bourke, 2000). While some aspects of affect are resistant to change, such as strongly held values or deep anxieties stemming from childhood experiences, others can be influenced relatively quickly and effectively, providing instructors with opportunities to improve student motivation and thus learning ( Kobella, 1989).

There are multiple interacting dimensions to affect, which are beyond the scope of this paper (see Anderson and Bourke, 2000). Here we offer a framework of four affective dimensions as an introduction to the subject: attitude, value, self-efficacy, and interest ( Figure 4 ).

For example, a student might have a poor attitude toward drawing models because of negative associations or experiences or simply because they do not enjoy the activity. Some students feel so uncomfortable drawing that they do not want to participate (e.g., Mohler, 2007; Baldwin and Crawford, 2010). Other students may like drawing in general but feel that drawing is something to be done in art class, not in science class (K.Q., unpublished data). As such, they will not value the approach and will not be motivated to use it.

Similarly, students may be unmotivated to draw models, because they have poor self-efficacy. "I'm not good at drawing" is a common classroom refrain. Students with low self-efficacy may also suffer anxiety due to the threat of harsh judgment of their work ( Anderson and Bourke, 2000). Further, students may not be interested in drawing models due to a perception that the costs outweigh the benefits. For example, some students do not bother to draw models to help them solve math problems due to the perception that drawing models will be difficult, even though students are more likely to solve problems correctly when using models ( Uesaka et al., 2007; Uesaka and Manalo, 2011). Similarly, in physics, students must be consistently encouraged and incentivized to draw models to solve problems early on but eventually create their own models spontaneously, even when credit is not given to do so ( Rosengrant et al., 2009). Affective instruments have been used in other STEM disciplines to measure attitudes toward drawing (e.g., engineering; Alias et al., 2002), but there are little published data on student affect toward drawing in biology (but see Lovelace and Brickman, 2013; Trujillo and Tanner, 2014).

By applying the general principles of affect (e.g., from Anderson and Bourke, 2000) toward, drawing, we propose several interventions for addressing problems of affect in Table 6 . The efficacy of these interventions is testable using the methods outlined in Lovelace and Brickman (2013).

Overall, the goal is to be explicit with students about the importance of models, to scaffold their use in class to make models easier to use, and to be transparent about expectations to avoid frustration and fear on the part of the students.

Visual Literacy

Models are composed of multiple elements that are abstractions of the real world. To successfully interpret and draw visual models, students must develop visual literacy-the skill to read and write visual or symbolic language, including the ability to translate verbal to visual (e.g., Stern et al., 2003; Van Meter et al., 2006; Schwamborn et al., 2010), visual to visual (e.g., Johnstone, 1991; Novick and Catley, 2007; Hegarty, 2011), or visual to verbal (e.g., Schönborn and Anderson, 2010). These components of visual literacy are illustrated in Figure 5 .

When a student translates visual to visual, the translation process can be "horizontal," from one drawing to another at the same scale (such as two different representations of "chromosome"), or "vertical," from a drawing at one scale to a drawing at another scale (such as a condensed chromosome viewed at the cellular level vs. a chromosome viewed as a segment of DNA double helix; see Figure 5 ). Students across STEM disciplines struggle particularly with vertical translations (e.g., NRC, 2012).

Note that these visual translation steps may occur internally as a student develops an internal model or can require the additional translation from internal model to an external model (see Figure 2 ), which involves not only sensory and cognitive modalities, but also motor coordination and familiarity with the drawing medium used.

Symbols vary in the degree to which they are representational, or isomorphic, to the concepts they represent. For example, a wolf in a food web can be represented with varying levels of detail (see Figure 3 ); each wolf symbol is nonetheless easily interpreted. Visual language also differs across subdisciplines of biology (e.g., Novick, 2006; NRC, 2012). For example, an arrow used to represent transcription in a diagram of biology's central dogma infers base pairing of DNA and RNA nucleotides; an arrow in a food web infers the transfer of energy and matter via consumption in a trophic relationship; and an arrow in a chemical reaction indicates a change in the state of matter. This heterogeneity can lead to misunderstandings and misconceptions, such as the interpretation of a DNA→RNA arrow in the central dogma to mean that DNA is itself converted into RNA ( Wright et al., 2014).

Visual literacy is rarely taught explicitly by instructors; this occurs, in part, because instructors tend to be experts in their discipline and do not experience the foreign language-like appearance of visual representations to some students (e.g., Mioduser and Santa María, 1995; Schönborn and Anderson, 2010; Wright et al., 2014). Unfortunately, when students lack the skill to create effective external models, the creation of external models can hinder learning compared with the creation of mental models alone, either due to the increased cognitive demands incurred from the unscaffolded mental processes ( Leutner et al., 2009) or due to the creation of inaccurate models that impair learning (e.g., Schwamborn et al., 2010).

With practice, however, students can learn to pick out important information, avoid distraction by surface features, and focus on making connections among important concepts ( Mioduser and Santa María, 1995; Gobert and Clement, 1999; Harrison and Treagust, 2000; Van Meter et al., 2006; Hegarty, 2011; Dauer et al., 2013). We offer some proposed interventions for addressing problems of visual literacy in Table 7 .

Model-Based Reasoning

As Table 5 summarized, novice learners tend to view models as static, authoritative "truths" and tend to be distracted by surface features, whereas expert learners view models as a flexible abstraction of reality that can be manipulated and used as a thinking tool. Overall, novices allocate more time and effort to creating models, whereas experts allocate more time and effort to using their models to find solutions ( NRC, 2012). Modeling is challenging, because it requires the investment of cognitive effort (e.g., Uesaka and Manalo, 2011) and cognitive flexibility ( DeHaan, 2009). Fortunately, this skill can be improved with instruction and practice (see references in Table 4 ).

The creation and use of models can be parsed into four tasks: construction, use, evaluation, and revision ( Schwarz et al., 2009). To succeed in drawing models to reason, students must not only be able to create a model, but must also apply it to solve a problem or make a prediction, evaluate its efficacy, and revise as necessary. For example, students who draw highly accurate models benefit more from drawing models than those who draw low-accuracy models ( Van Meter et al., 2006; Rosengrant et al., 2009), so iteration and revision is needed to develop expert-like modeling skills. Table 8 proposes some interventions for instructors in each of the four categories. Overall, the goal for instructors is to be transparent with students about what they are asking them to do and to give students plenty of practice and feedback.

HOW CAN DRAWING-TO-LEARN BE MADE MORE PRACTICAL FOR INSTRUCTORS?

The above discussion is framed in terms of the student experience, but the same principles apply to instructors, who vary in their experiences and skills. Thus, interventions in affect, visual literacy, and model-based reasoning have the potential to help instructors (and scientists) improve their skills in using drawings to reason in the same way that they are helpful to students (see references in Table 4 ).

What else can help instructors? Fortunately, some minor changes to instruction have the potential to produce meaningful learning gains for students. For example, the mere reference to illustrations in the textbook as "models" could possibly help to move a student closer to an expert perspective on the dynamic nature of knowledge in science. Similarly, increased attention to the affect of students regarding the drawing of visual models could result in a valuable increase in motivation ( Anderson and Bourke, 2000). We have consolidated the prompts from Tables 6 - 8 and formatted them into a summary timeline ( Figure 6 ) to serve as a visual guide to help instructors scaffold drawing-to-learn in the classroom. Other resources in the literature provide alternate teaching guides ( Harrison and Treagust, 2000) and learning progressions ( Schwarz et al., 2009) for drawing models to learn in science.

To further facilitate both the scaffolding and assessment of drawing models to learn, we have adapted the Blooming Biology Tool created by Crowe et al. (2008) to focus specifically on several commonly used modeling topics in biology ( Table 9 ). Because drawing exercises can occur at all levels of thinking as defined by Bloom's taxonomy ( Bloom et al., 1956; Anderson et al., 2001), an instructor can scaffold modeling by first introducing formative exercises at lower-order cognitive levels and then working up to assignments at higher-order cognitive levels.

Table 9.

The assessment of drawings can be daunting to instructors, especially those teaching large-enrollment courses. For example, it is important that students receive quality formative feedback on their models to make sure they are not harboring misconceptions or are not adrift from the intent of the exercise. But how is an instructor to give thoughtful feedback on graphs, concept maps, phylogenetic trees, or meiosis diagrams in a class of 500 students?

In an effort to suggest some possible solutions, we have generated a list of strategies from our own experience, from colleagues teaching undergraduate biology, and from the literature ( Table 10 ). For example, we have learned from personal experience that it helps to prescribe drawing activities by providing a starting point (see Figure 1 ) or key of symbols to use, both to help students understand expectations and to limit the possible range of solutions. Instructors can also use different technology-based modeling tools to help their students build models (e.g., Jonassen et al., 2005) and a rubric to facilitate assessment (see Allen and Tanner, 2006). Other colleagues have had success with a random-call method, selecting a few student models at random to critique in class. Peer review can also be effective, especially when used in combination with a rubric, with the caveat that this method tends to be more successful with lower-order cognitive tasks than higher-order cognitive tasks ( Freeman and Parks, 2010). In sum, there are a number of possible solutions to facilitate assessment, the effectiveness of which will depend on context in the class. These proposed solutions represent hypotheses that can be tested and ranked under different conditions and with different student populations via biology education research.

Table 10.

Teaching challenge

Proposed solution

Drawings are difficult to assess, because they are so variable and/or complex.

Prescribe drawing activities by giving students a key of symbols to use or other explicit instructions.

Prescribe drawing activities by giving students a starting point for their drawings (see Figure 3 ).

Prescribe drawing activities by keeping the content area focused.

Use a rubric to assess drawn models (and give the students the rubric ahead of time so they understand the objectives and criteria).

Note that sometimes it is easier to assess a simple drawing than a verbal response.

The instructor does not have the technical or cognitive capacity to collect visual information, only verbal information.

Ask students to make a model, then write a caption describing the structure or outcome of the model, then submit only the caption.

The instructor does not have the technical or cognitive capacity to collect visual information, only verbal information.

Ask students to make a model, then answer verbal questions based on the model (e.g., via clickers).

Course enrollment is too large to give feedback to all students on their drawn models.

Assign a model, then present one solution to the model and ask students to compare their own models with the sample solution.

Ask students to submit drawn models, then select just a few examples to present and critique in class ("random call" method).

Ask students to swap their models with their neighbors and peer evaluate the models based on stated criteria.

Use classroom management software (e.g., Learning Catalytics, BeSocratic) that allows students to submit drawn answers to questions.

Hand a random student a tablet in class and ask him or her to draw; the student's image will appear on the screen.

CONCLUSION AND NEXT STEPS

Every biology instructor asks his or her students to interpret biological models, because we all offer visuals to students, and many of these visuals are models. Further, many instructors ask their students to draw their own models at some point-whether lipid bilayers, chromosomes in meiosis, graphs, phylogenetic trees, concept maps, or food webs-either as formative or summative activities. Biology instructors do this because model-based reasoning is intuitively a powerful tool for conceptual change and is inherent to the process of science. However, many instructors are not self-aware of drawing as a science process skill, and thus do not value the skill and do not scaffold it explicitly for their students.

We have argued in this essay that the drawing of visual models deserves more attention as a science process skill in biology, akin to efforts in other STEM disciplines. The Vision and Change list of core competencies ( AAAS, 2011) should be augmented to reflect this change, as supported by evidence in the Discipline-Based Education Research report ( NRC, 2012) and elsewhere. We have also provided a synthetic, multifaceted framework to help structure future use of drawing-to-learn and further research on best practices in biology.

There is a great deal that we do not know about drawing-to-learn in biology, and thus a wealth of opportunities for more work, including the testing of many of the hypotheses proposed in this essay and in the literature. For example, which types of interventions are most successful in improving
students' ability to draw and reason with their models? What are the barriers that limit the utility of drawing exercises in class? How do gender, ethnicity, background experience, and content knowledge influence student abilities and/or affect regarding drawing-to-learn? Are insights from research on drawing one type of model transferable to other types?

We look forward to lively and productive discussions of drawing-to-learn in biology as part of the larger movement toward teaching problem solving (not just memorization) and science process skills (not just content) to cultivate the next generation of educated scientists and citizens.

Acknowledgments

We thank the many colleagues who have discussed drawing-to-learn with us on our campuses, at conferences, and beyond. Special thanks to Tessa Andrews, Norris Armstrong, Peggy Brickman, Alison Crowe, Cara Gormally, Robin Heyden, Scott Freeman, Karin Johnson, Julie Libarkin, David Quillin, Julie Stanton, Mary Pat Wenderoth, and two anonymous reviewers for their constructive criticism on various drafts of this article.

Articles from CBE Life Sciences Education are provided here courtesy of American Society for Cell Biology

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Drawing-to-Learn: A Framework for Using Drawings to Promote Model-Based Reasoning in Biology

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Mary Lee Ledbetter, Monitoring Editor The drawing of visual representations is important for learners and scientists alike, such as the drawing of models to enable visual model-based reasoning. Yet few biology instructors recognize drawing as a teachable science process skill, as reflected by its absence in the Vision and Change report's Modeling and Simulation core competency.

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Tekniikka matematiikan sähköisessä ylioppilaskokeessa huolettaa lukiolaisia. Jos haluat varmistaa, että osaat kaikki kokeessa tarvittavat tekniset työkalut, ota haltuun nämä kolme asiaa.

Matematiikka siirtyy sähköiseen yo-kokeeseen viimeisenä aineena keväällä 2019. Abitreenit haastatteli yo-kokeiden sähköistymisen projektipäällikkö Matti Lattua ja erityisasiantuntija Thomas Vikbergiä Ylioppilastutkintolautakunnasta. He tietävät matematiikan sähköistymisestä kaiken. Lattu ja Vikberg listasivat tärkeimmät asiaa, jotka kannattaa ottaa haltuun matematiikan sähköiseen yo-kokeeseen.

1. Opettele kirjoittamaan YTL:n kaavaeditorilla

Ylioppilastutkintolautakunta on kehittänyt matematiikan yo-koetta varten kaavaeditorin, jolla voi kirjoittaa matemaattisia kaavoja symboleja.

Kaavaeditoria tarvitaan yo-kokeen A-osassa, koska silloin tietokoneessa ei ole laskinohjelmia käytössä. Kaavaeditori on väline kirjoittaa matematiikkaa koesuoritukseen.

Kun käyttää laskinohjelmia kokeen B-osassa, ei kaikkia välivaiheita tarvitse kirjoittaa erikseen, vaan ne voi ottaa suoraan ulos laskimesta.

-Joku voi käyttää editoria myös B-osassa esimerkiksi luonnostelemalla ensin paperille ja kirjoittamalla sitten puhtaaksi kaavaeditorilla. Tehtävien tekoon ei ole yhtä oikeaa tapaa, Lattu lisää.

Ole kärsivällinen, jos editorilla kirjoittaminen tuntuu aluksi hitaalta ja kömpelöltä. Harjoittelemalla editorin saa nopeasti haltuun. Treenaa esimerkiksi kirjoittamalla yhden kurssin kotitehtäviä puhtaaksi editorilla.

2. Opettele ainakin yksi laskinohjelma

Laskinohjelmien käytön opettelemisesta on hyötyä matematiikan yo-kokeessa. Yo-kokeessa on tarjolla neljä erilaista laskinohjelmaa, mutta se, kuinka monta niistä haluaa opetella, on oma valinta. Yhdelläkin pärjää.

-Lukioissa on varmasti eroja siinä, miten laskinohjelmia käytetään. Joissain lukioissa voidaan käyttää yhtä ohjelmaa johonkin tiettyyn käyttötarkoitukseen ja toista johonkin toiseen. Joissain lukioissa puolestaan voidaan harjoitella vain yksi ohjelma, jota käytetään kaikkiin käyttötarkoituksiin, sanoo Lattu.

3. Opettele piirtämään

Piirtäminen on tärkeä taito matematiikan kokeessa, sillä kuvat ovat tyypillinen osa matematiikan vastauksia.

Matematiikan yo-kokeessa on käytössä neljä piirto-ohjelmaa. Tarkoitus ei ole hämmentää opiskelijoita, vaan tarjota monipuolisesti vaihtoehtoja. Jos ohjelmien paljous ahdistaa, ota haltuun niistä yksi.

Joissakin laskinohjelmissakin on piirto-ominaisuuksia. Jälleen on omasta lukio-opetuksesta kiinni, miten piirto-ohjelmia opetetaan.

-Kuvioita voi toki selittää myös sanallisesti, mutta teknisesti on helpompaa piirtää kuva. Se on erittäin tehokas tapa välittää informaatiota, Vikberg kommentoi.

Lattu muistuttaa, etteivät sensorit arvostele vastauksissa pelkästään kuvia vaan vastausta kokonaisuutena. Hän sanoo, että jotkut opiskelijat voivat olla erittäin taitavia selittämään kuvia myös sanallisesti.

Piirto-ohjelman osaamisesta on hyötyä myös muissa aineissa, kuten maantieteessä. Ei siis kannata ajatella, että piirto-ohjelmaa opettelee ainoastaan matematiikkaa varten.

Aiheeseen liittyvät linkit

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Jännittääkö matematiikan sähköinen yo-koe? Ota haltuun nämä kolme teknistä asiaa!

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Tekniikka matematiikan sähköisessä ylioppilaskokeessa huolettaa lukiolaisia. Jos haluat varmistaa, että osaat kaikki kokeessa tarvittavat tekniset työkalut, ota haltuun nämä kolme asiaa. Matematiikka siirtyy sähköiseen yo-kokeeseen viimeisenä aineena keväällä 2019. Abitreenit haastatteli yo-kokeiden sähköistymisen projektipäällikkö Matti Lattua ja erityisasiantuntija Thomas Vikbergiä Ylioppilastutkintolautakunnasta. He tietävät matematiikan sähköistymisestä kaiken.

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Hyvä TVT-taitojen koonti

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Tieto- ja viestintäteknologian taidot ovat edellytys opinnoista selviytymiselle ja työelämään astumiselle. Mitä taitoja jokaisen tulisi hallita ja missä niitä voi kartuttaa?

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https://www.sciencedirect.com/science/article/pii/S2211949317300558

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Fifth-grade students who created some type of art-such as a drawing, writing a rap song, singing a science lesson, or choreographing a dance-that reflected specific classroom lessons, retained science-based knowledge longer than students who didn't make art in the same class, according to a new study from Johns Hopkins University. These interdisciplinary findings support the benefits of broader arts integration into conventional classrooms.

As a specific example, the researchers found that students who memorized and sang a song with lyrics that held science-based lessons remembered the content much longer and with better detail than most classmates who tried to retain textbook content learned by rote without a song. This paper, " The Effects of Arts-Integrated Instruction on Memory for Science Content," was recently published in Trends in Neuroscience and Education.

The main goal of this randomized control trial was to determine if an arts-integrated curriculum had any direct impact on learning. The primary focus was on students' long-term memory for science content in astronomy and life science classes or environmental science and chemistry.

Mariale Hardiman from the JHU School of Education was the first author of this study. "Our study provides more evidence that the arts are absolutely needed in schools. I hope the findings can assuage concerns that arts-based lessons won't be as effective in teaching essential skills," Hardiman said in a statement.

"When we talk about learning, we have to discuss memory. Children forget much of what they learn and teachers often end up reteaching a lot of content from the previous year," Hardiman added. "Here we're asking, how exactly can we teach them correctly to begin with so they can remember more?"

For this study, Hardiman and colleagues from the School of Education and Center for Talented Youth at Johns Hopkins enlisted 350 students from 16 different classrooms in Baltimore, Maryland. The trial was designed to measure retention of science content using arts-integrated science learning in comparison to conventional science instruction that didn't incorporate the arts.

During two sessions that lasted between three to four weeks, students were randomly assigned to one arts-integrated science curriculum and one conventional class. Eleven teachers taught both types of classes. Each fifth-grade student rotated through one arts-integrated class and one conventional class.

As the parent of a sixth grader who attends a private K-8 day school that regularly incorporates drawing into science classes, I can corroborate the benefits of arts-integrated pedagogy on academic learning. This week, my daughter spent two days pouring her artistic passion into creating a detailed topographical map (below) of the "Hydrologic Cycle" for a school project due today.

My daughter is lucky. I'm grateful that she's able to attend a day school that reflects the pedagogical philosophy of my alma mater, Hampshire College. When Julia Child's sister co-founded this K-8 school, their mission was to create a "character-building" learning environment that incorporated the arts and an appreciation for nature into academic lessons. Unfortunately, for many students across the country, budget cuts to arts programs and a lack of appreciation for nature do not reflect these core values.

Notably, the Johns Hopkins researchers found that incorporating the arts into classroom learning was most beneficial to low-achieving students who tended to struggle academically.

This study has some limitations. For example, more research is needed to pinpoint whether the benefits of arts-integrated learning are primarily the result of effective instruction, exposure to the arts in general, specific types of art-based lesson plans, or a combination of these interventions in non-arts-based classroom environments. As a next step, Hardiman plans to work with the researchers and educators involved in this study to fine tune an evidence-based, art-integrated pedagogy that expands on the initial findings of this study.

"Our data suggests that traditional instruction seems to perpetuate the achievement gap for students performing at the lower levels of academic achievement. We also found that students at advanced levels of achievement didn't lose any learning from incorporating arts into classrooms, but potentially gained benefits such as engagement in learning and enhanced thinking dispositions. For these reasons, we would encourage educators to adopt integrating the arts into content instruction," Hardiman concluded.

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Arts-Integrated Pedagogy May Enhance Academic Learning

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Fifth-grade students who created some type of art-such as a drawing, writing a rap song, singing a science lesson, or choreographing a dance-that reflected specific classroom lessons, retained science-based knowledge longer than students who didn't make art in the same class, according to a new study from Johns Hopkins University.

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perusopetukseen TVT-suunnitelma vuosille 2019-2021

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Opetussuunnitelma ei kuitenkaan tarkemmin jaottele näiden alueiden sisältöjä. Monille opettajille saattaa olla vaikeaa miettiä mitä sisältöjä ja taitoja hänen tulisi opetuksessaan ottaa oppilaiden kanssa harjoittelun alle. Osalla opettajista myös omat TVT-taidot ovat riittämättömät näiden osa-alueiden läpikäymiseen ja he tarvitsevatkin tarkempia suuntaviivoja opetuksensa suunnitteluun. Ilomäen (2008) mukaan opettajien TVT-taidot ovat vahvasti heterogeenisia.

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Opetussuunnitelma ei kuitenkaan tarkemmin jaottele näiden alueiden sisältöjä. Monille opettajille saattaa olla vaikeaa miettiä mitä sisältöjä ja taitoja hänen tulisi opetuksessaan ottaa oppilaiden kanssa harjoittelun alle. Osalla opettajista myös omat TVT-taidot ovat riittämättömät näiden osa-alueiden läpikäymiseen ja he tarvitsevatkin tarkempia suuntaviivoja opetuksensa suunnitteluun. Ilomäen (2008) mukaan opettajien TVT-taidot ovat vahvasti heterogeenisia.

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The decline of arts subjects in schools is not only impacting the creative industries, but is also having a damaging effect on sectors such as science and medicine, an education charity has warned.

Experts are claiming that some science students lack the "tactile general knowledge" that can be gained from creative learning, despite exhibiting high exam grades.

Education charity the Edge Foundation has published a report claiming the narrow academic curriculum offered by the government's English Baccalaureate is "not fit for purpose to tackle a 21st-century economy".

The charity's chief executive, Alice Barnard, said the government was simply "paying lip service" to the importance of the arts but contracting this with policy.

"Creative subjects matter less under Progress 8 [accountability] measures. The relentless focus on performance tables makes teachers feel compelled to 'teach to the test'... It is not just the creative industries expressing concern about having a talent pipeline for the future, but employers across all sectors and industries," she said.

The report calls for dramatic changes to the national curriculum and demands that creativity should be at the heart of all learning if the UK is to prosper.

Roger Kneebone, who is professor of surgical education at Imperial College London, warned the loss of creative skills among medical and science students had become a concern among his scientific colleagues.

He said: "We have students who have very high exam grades, but lack the tactile general knowledge - they struggle even to perform chemistry experiments.

"An example is of a surgeon needing some dexterity and skill in sewing or stitching. It can be traced back to the sweeping out of creative subjects from the curriculum. It is an important and an increasingly urgent issue."

At an event held to mark the launch of the Edge Foundation's report, the director of the V&A, Tristram Hunt, will argue that skills gained from subjects such as drama and music will "enable young people to navigate the changing workplace of the future and stay ahead of the robots".

What is the EBacc?

The English Baccalaureate (EBacc) is a performance measure for schools in England, implemented by the government.

It comprises a set of core subjects that are compulsory for all those taking the EBacc. These are English, maths, science (either double or triple award), a foreign language and either history or geography.
This means students will take a minimum of seven GCSEs.

It was introduced for schools in England in 2010, however under continued government encouragement has been increasing in prominence ever since.

At present, the government's aim is to ensure that 90% of pupils sit the EBacc at GCSE by 2025.

Read our comprehensive guide to the EBacc here

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Ohjelma toimii pitkälti samoin kuin MS Paint.

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Pinta: Painting Made Simple! - PintaProject/Pinta

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Its goal is to provide users with a simple yet powerful way to draw and manipulate images on Linux, Mac, Windows, and *BSD.

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Ylivoimaisesti eniten käytetty digitaalinen piirrustusohjelma lukioissa.

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LibreOffice, Download, download LibreOffice, download options, Windows, Linux, Mac OS X

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Inkscape is professional quality vector graphics software which runs on Linux, Mac OS X and Windows desktop computers.

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Requirements

The current Dia release has been tested successfully on Windows 8.1, 8, 7, Windows Vista and Windows XP, Linux and Mac OS X.

The download page provides download packages for Mac OS X and Linux as well as information about Dia on older Windows versions.

Troubleshooting

If you encounter any problems with dia, please read through the FAQ first.

You should also check the bug reports.

License

Dia is free software available under the terms of the GNU GNU General Public License, the GPLv2.

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Dia draws your structured diagrams: Free Windows, Mac OS X and Linux version of the popular open source program

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Dia is free (open source) drawing software. Sketch your favorite structured diagrams! Windows version available as a free download.

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https://blog.edu.turku.fi/paussi/pedagogiset-mallit/digitaalinen-piirtaminen-kritalla-ja-kosketuskynalla/

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Krita is a professional FREE and open source painting program. It is made by artists that want to see affordable art tools for everyone.

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Verkkopohjainen piirto-ohjelma (myös ladattavissa)

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The best drawing experience in a browser

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Kuvankäsittelyn ehdoton kuningas. 12,39€/kk.

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Adobe -valokuvausjäsenyys | Professional Photo Editing Software

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Uusi Lightroom on ensimmäinen täydellinen valokuvauspalvelu, jota voi käyttää ja jolla voi muokata missä vain. Siinä on myös 1 Ttavu pilvitilaa. Photoshop:llä voit muunnella kuvia mielikuvituksesi mukaan.

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Oppimateriaalien kehittäminen, hyödyntäminen ja rooli tieto- ja viestintätekniikan opetuksessa.

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JYX - Oppimateriaalien kehittäminen, hyödyntäminen ja rooli tieto- ja viestintätekniikan opetuksessa

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ICT information and communication technology computer science learning material textbook electronic learning material e-learning material education upper level of comprehensive school design-based research Kehittämistutkimus tieto- ja viestintätekniikka tietotekniikka opetus opetusaineisto oppimateriaali digitaalinen oppimateriaali oppikirjat peruskoulu yläkoulu

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Kesäkuun kunniaksi vierailijakynään on tarttunut Helsingin yliopistossa luokanopettajaksi opiskeleva Herta Donner. Herta kirjoittaa kokemuksistaan Oppiminen ja opettaminen digitaalisissa ympäristöissä -opintokokonaisuudesta, jota on tarjottu vuodesta 2019 lähtien 25 opintopisteen laajuisena, valinnaisena opintokokonaisuutena Helsingin yliopiston tutkinto-opiskelijoille. EduDigi-opintokokonaisuutta toteutetaan DigiErko-koulutuksen rinnalla ja tavoitteena on rakentaa tietoa yhteisöllisesti; opinnot tarjoavat tutkinto-opiskelijoille mahdollisuuden verkostoitumiseen sekä näköalapaikan kentällä tapahtuvaan, ajankohtaiseen kehittämistoimintaan, ja vastaavasti jo työelämässä toimivat opettajat pääsevät kuulemaan opettajankoulutuksen ajankohtaisista kehityssuunnista ja pohtimaan tulevien kasvatusalan ammattilaisten kanssa nykyisessä työelämässä toimimisen edellytyksiä ja mahdollisuuksia.

Under läsåret 2022-2023 deltog jag vid Helsingfors universitet i kurshelheten Lärande och undervisning i digitala miljöer. I det här blogginlägget kommer jag att berätta om hur jag upplevde kurserna.

Som man kanske kan gissa av namnet på kurshelheten behandlades digitalisering i skolan och samhället ur flera intressanta perspektiv. Som blivande klasslärare upplevde jag att jag fick viktiga insikter om hur fenomenet digitalisering i praktiken påverkar skolvardagen och hela samhället. Digitalisering och användning av digitala hjälpmedel i skolan är ett ämne som, av goda orsaker, väcker mycket känslor och diskussion både i medier och bland lärare. I och med otroligt snabb och ständigt pågående teknologisk utveckling kan det vara svårt att bedöma vilka verktyg som är gynnsamma för elevernas inlärning och vilka som är överflödiga - eller rent av distraherande. Det finns också flera risker kopplade till till exempel barns användning av internet som många pedagoger är medvetna om, men som kan kännas svåra att hantera i en situation som ständigt förändras.

Ett lösningsinriktat fokus var genomgående för alla kurserna, detta utan att skygga för de utmaningar som digitalisering för med sig. Vidiskuterade mycket och gick i praktiken in på hur man som lärare kan arbeta med olika digitala verktyg på ett konstruktivt sätt. De blev särskilt intressanta tack vare att kursens deltagare inte enbart bestod av universitetsstudenter, utan också lärare på olika utbildningsstadier och andra som länge varit verksamma i arbetslivet. Det här konkretiserade på ett meningsfullt sätt kursinnehållet och man fick insikt om dagsaktuella utmaningar och möjligheter relaterade till kursernas tematik. Också en mängd olika föreläsare gästade kurserna, vilket bidrog med otroligt bred sakkunnighet och många perspektiv.

Kursernas undervisningsspråk är finska, och därför tvekade jag först lite på om jag skulle klara mig, då mitt modersmål och studiespråk är svenska. Jag funderade över hur det skulle gå att delta i komplexa diskussioner eller skriva längre texter på finska. Det visade sig ändå snabbt att språket inte blev något problem, då atmosfären på kursen från början kändes välkomnande och trygg. Examinationsuppgifterna gick bra att skriva på svenska, vilket också gjorde tillägnandet av all ny kunskap lättare för mig.

Kursernas examinationsuppgifter var också i övrigt ganska flexibla och gav möjlighet till ett mera kreativt utförande än vad jag vant mig vid på universitetet. Vi skrev egna bloggar där vi förankarade våra reflektioner om kursinnehållet till aktuell forskning. Kursdeltagarna uppmuntrades att närma sig blogginläggen multilitterärt, och jag utförde dem bland annat i form av en vlogg, en podcast och använde mig överlag av mycket visuellt material. Det här gjorde utförandet mera inspirerande och var dessutom en konkret övning i hur man multimodalt kan skapa pedagogiskt meningsfulla helheter.

Sammanfattningsvis upplever jag att kurshelheten bidrog med mycket sådant som annars inte på djupet tagits upp under min studietid. I och med att digitaliseringen genomsyrar hela samhället och framtida elevers liv känns det värdefullt att ha satt sig in i och reflekterat mer djupgående över ämnet. Som vi diskuterade flera gånger under kurserna, är digitalisering inte något man kan välja att inte ta i beaktande som lärare, utan en oåtskiljbar del av dagens samhälle och något som eleverna har rätt att utveckla aktörskap i relation till.

- Herta Donner, Klasslärarstudent vid Helsingfors universitet år 2023

Uncategorized#vierailijakynä

Luokanopettajan ammatillinen toimijuus opetuksen digipedagogisessa kehittämisessä -artikkeli on ilmestynyt. Artikkelissa jäsennetään luokanopettajien tekemää digipedagogista kehittämistyötä oman osaamisen, työyhteisön odotusten ja ulkopuolelta tulevien (maailma muuttuu, mitä digitalisaatiosta pitää opettaa?) kehittämispaineiden keskellä. Aineisto on kerätty DigiErko-koulutuksiin Helsingin, Turun ja Itä-Suomen yliopistoissa osallistuneilta opettajilta. Bloggauksen on kirjoittanut väitöskirjatutkija Satu Piispa-Hakala, joka on myös artikkelin ensimmäinen kirjoittaja.
Read more

Tutkimus digierko, digipedagogiikka, digitalisaatio, opetuksen digitalisointi, oppiminen ja opettaminen digitaalisissa ympäristössä

Lisätty todellisuus ja sen käyttö opetuksessa kiinnostavat kovasti tällä hetkellä. AR:n mahdollisuudet havainnollistamisessa ja opetuksen pelillistämisessä ovat lupaavia. Erilaisia alustoja käyttöön on runsaasti, mutta miten lisätyn todellisuuden käyttö toimii opetuksessa? Mari Hakanen ja Janne Heiskanen Itä-Suomen yliopiston Rantakylän normaalikoulusta kirjoittavat opetuskokeilusta, jossa käytettiin Tarina-sovellusta.

Read more

AR, #vierailijakynä, AR, digierko, digipedagogiikka, opettajaopiskelijat, oppiminen ja opettaminen digitaalisissa ympäristössä Lisätty todellisuus, opetuskokeilut

Vuoden 2023 ensimmäisessä blogikirjoituksessa Loimaan kaupungin pedagogisina tvt-koordinaattoreina toimivat DigiErko-alumnit Anna-Reetta Aalto ja Janne Rautiainen esittelevät yhtenä Suomen parhaina innovaatioina palkittua ideaansa Loimaan Robotiikkalainaamosta.
Robotiikkalainaamon idea syntyi vuonna 2017, kun Loimaan kaupungin tieto- ja viestintäteknologian koordinaattorit Anna-Reetta Aalto ja Janne Rautiainen suunnittelivat ohjelmoinnin ja robotiikan käyttöä opetuksessa opetussuunnitelman mukaisesti. Syntyi idea, jonka myötä oli mahdollisuus tarjota eri tasoisia ohjelmoitavia robotteja seudun kaikkien peruskoulujen käyttöön. Tällainen idea koko seudun kouluja palvelevasta lainaamosta olikin täysin ainutlaatuinen. "Opetussuunnitelma velvoittaa opettajia opettamaan koodausta, mutta ilman tarkoituksenmukaisia välineitä se on todella haastavaa. Loimaalla opettajilla on erittäin kattava mahdollisuus integroida koodaus osaksi opetusta robotiikkalainaamon avulla", Janne Rautiainen kertoo ideasta.

Robotiikkalainaamon lähtökohtana on yhtenäinen koodauspolku läpi perusopetuksen. Robottivalinnat on tehty tämän perusteella. Tällä hetkellä Robotiikkalainaamossa on BeeBot, Lego WeDo 2.0, Lego Spike ja Lego EV3 -robotteja. Anna-Reetta Aalto lisää: "Ennen tätä lainaamon perustamista kouluilla oli se tilanne, että heillä oli käytössä ehkä vain yksi robotti, joka opetuksessa tarkoitti sitä, että yksi koodaa ja loput seuraavat sivusta. Nyt kun teimme koko kaupungin kattavan lainaamon, saimme tarpeeksi robotteja ja näin jokainen pääsee kädestä pitäen itse koodaamaan aina sieltä ykkösluokasta peruskoulun loppuun saakka." "Kun yksi luokka tai koulu saa homman haltuun, niin robotit siirtyvät toiseen paikkaan, ja muutkin pääsevät sitten tehokkaasti opettelemaan", Rautiainen jatkaa.

Haasteeksi idealle muodostui robotiikkahankintojen korkea hinta, johon seudun elinkeinoelämä tarjoutui ratkaisijaksi. Loimaan Robotiikkalainaamo on siitä ainutlaatuinen Suomessa ja koko maailmassa, että se on toteutettu paikallisten yritysten kanssa yhteistyössä. Robotiikkalainaamon ovat mahdollistaneet Loimaan kaupunki, Loimaan kauppakamariosasto, Pemamek sekä Novida. Tätä yhteistyötä jatketaan edelleen ja Lainaamoa päivitetään.
Loimaan Robotiikkalainaamo palkittiin yhtenä Suomen parhaista innovaatioista
Loimaan Robotiikkalainaamo voitti Suomen Nuorkauppakamareiden järjestämän Tuottava Idea -kilpailun vuoden 2020 yhteiskuntasarjan päävoiton. Kilpailun voittajat saivat mm. onnittelutekstin New Yorkin Time Squaren valotauluun. Tuottava Idea on Suomen Nuorkauppakamarit ry:n järjestämä kilpailu, jonka tavoitteena on edistää innovointia, nostaa esille uusia liikeideoita ja korostaa niiden merkitystä yhteiskunnallisen kehityksen avaintekijöinä.

Kilpailun tuomariston jäsen Jarkko Kurvinen Palveluna Oy:sta kuvaili kilpailun voittajaideoissa olevan runsaasti potentiaalia Suomen rajojen ulkopuolella saakka ja hänen mukaansa Loimaan Robotiikkalainaamo toimii erinomaisena innovaationa ja esimerkkinä siitä, miten nuorten kyvykkyyksiä voidaan lisätä ja osaamista kehittää jo pienestä pitäen robotiikan ja koneälyn saralla. Vain harvalla yksittäisellä koululla olisi varaa hankkia näin laaja ja moderni robotiikkalaitteisto itselleen, ja lainaamon perusajatus palvelee koko seudun lapsia ja nuoria - siksi idea nähtiin valtakunnallisesti merkittävänä, kestävän kehityksen mukaisena ja yhteiskunnallisesti palkittavana innovaationa Tuottava Idea -kilpailussa. Robotiikkalainaamon ideaa voisi hyvin monistaa Suomen ja maailman mittakaavassa muillekin paikkakunnille ja kouluille.

Lue lisää: https://www.robotiikkalainaamo.fi/

- Anna-Reetta Aalto ja Janne Rautiainen

Kirjoittajat ovat luokanopettajia (KM), Loimaan kaupungin pedagogisia tvt-koordinaattoreita sekä DigiErko-alumneja. Aalto toimii lisäksi Turun yliopiston opettajankoulutuslaitoksella yliopisto-opettajana Uudet digipedataidot 0-100! -koulutuksessa.

Uncategorized#vierailijakynä

Lokakuun blogijulkaisussa haluamme nostaa esiin aina yhtä ajankohtaisen kysymyksen siitä, pitääkö koulun aina olla edistyksen kärjessä vai voitaisiinko opetussektorilla edetä maltillisemmin? OpenDigi-hankkeen (2020) yhteydessä tuotetuissa ja täten jo aiemmin julkaistuissa podcasteissa Turun yliopiston professori Erno Lehtinen ja Helsingin yliopiston professori Hannu Simola keskustelevat laajemmin siitä, miksi koulun kehittäminen on niin vaikeaa. Mikäli olet siis joskus pohtinut, onko teknologian hyödyntäminen opetuksessa ja oppimisprosesseissa perustelua, kannattaa podcastit ottaa kuunteluun. Osa 1 - Mikä on koulun tarkoitus? Osa 2 - Mitä koulun erityispiirteitä koulutusta kehittävien tahojen tulisi huomioida, jotta koulutuksemme laatu pysyy korkeana tulevaisuudessakin?

Aiheeseen liittyvää luettavaa:

Lehtinen, E., Vauras, M. & Lerkkanen, M.-K. (2016). Kasvatuspsykologia. Jyväskylä: PS-kustannus

Simola, H. (2015). Koulutusihmeen paradoksit: esseitä suomalaisesta koulutuspolitiikasta. Tampere: Vastapaino.

Simola, H. (2020). Koulun muuttamisen antinomiat - Koulutussosiologinen näköala kohti realistisia utopioista. Kasvatus, 51(2), 113-128.

Uncategorized

Valtakunnallisen DigiErko -verkoston syyskuun webinaarissa osallistuttiin ensin Kaisa Vuorisen vahvuusajattelua, vahvuuskieltä, ja voisiko jopa sanoa vahvuuselämää, avaavaan alustukseen. Sen jälkeen osallistujat laativat pienryhmissä Hyvinvoivan digiopettajan huoneentauluja. Niistä tuli niin upeita, että pyysimme luvan jakaa ne blogissa. Eli tässä ole hyvä, muistutuksia ja ideoita hyvinvoinnista digiopen arkeen!

Kaikissa huoneentauluissa on yhteisiä piirteitä. Oleellista on rajojen tunteminen ja asettaminen. Arjessa tarvitaan myös palauttavaa toimintaa paineistetun digiopetustyön vastapainoksi. Huoneentauluissa muistutetaan myös resilienssistä ja armosta itseä, työtä ja työyhteisöä kohtaan. Myös innostuminen ja rohkeus kokeilla ovat oleellisia elementtejä. Ryhmä kaksi vertasi digiopen arkea kuntosaliin, kuten alla sanotaan "löydä oma laitteesi ja ohjelmasi"! Kaikki ei toimi kaikilla.

Ryhmä 3 muistutti, että digiopen roolista olisi tärkeä päästä irti välillä myös työaikana. Ei aina ja kaikkialla voi olla se digivastaava. On tärkeää olla myös yhteisön rivijäsen ilman jatkuvaa erityisvastuupäivystystä. Pitää olla mahdollisuus myös heittäytyä ei tietämisen -tilaan.

Kuten moni muukin työ, myös opettajan työ on jatkuvasti kehittyvää ja kehitettävää. Ei sitä voi tehdä yksin. Yhdessä tekeminen, verkostojen vahvistaminen ja ylläpitäminen sekä tietysti mielekkäiden asioiden tekeminen pitävät yllä positiivista virettä ja työssä jaksamista. Ryhmä 1 kirjasi tauluun myls, että toiveikkuutta pitää pitää yllä.

Kuten ryhmä 4 muistuttaa, anna arvoa sille, mitä jo nyt osaat! Teknologinen kehitys on niin nopeaa ja digitalisaatio niin kaikenkattavaa, että aallon harjalla kestäminen on mahdotonta niillä resursseilla, joita arjessa opetustyötä tekevillä on. Digi on renki, jonka pitää tukea arkea ja opettamista, ei päästetä sitä piiskan varteen komentelemaan!

Tuhannet kiitos digierkoillemme! Te olette ehtaa timanttia ja kultaa!

Ja sinä, joka et ollut paikalla, mitä sinun hyvinvoivan digiopen huoneentaulussasi lukee?

Digierko - tapahtumat digipedagogiikka, oppiminen ja opettaminen digitaalisissa ympäristössä, webinaari

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Kesäkuun kunniaksi vierailijakynään on tarttunut Helsingin yliopistossa luokanopettajaksi opiskeleva Herta Donner. Herta kirjoittaa kokemuksistaan Oppiminen ja opettaminen digitaalisissa ympäristöissä -opintokokonaisuudesta, jota on tarjottu vuodesta 2019 lähtien 25 opintopisteen laajuisena, valinnaisena opintokokonaisuutena Helsingin yliopiston tutkinto-opiskelijoille.

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TVT-opetus

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Tieto- ja viestintätekniikka - Jyväskylän yliopiston Koppa

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"Oppilaille,  tuleville tietoyhteiskunnan kansalaisille, tulisi opettaa niin sanottuja tulevaisuuden taitoja (21st century  skills) riittävien jatko-opinto- ja työelämävalmiuksien sekä kansalaistaitojen takaamiseksi" (Muhonen, Kaarakainen & Savela, 2015).

TVT-taitojen hallitsemista pidetään tärkeänä tulevaisuuden yhteiskunnassa toimimisessa, eivätkä ne, vastoin monia oletuksia, ole riittävällä tasolla. Kaarakaisen & Kivisen (2015) mukaan nuorten teknologiataidot eivät ole sillä tasolla, joita 'diginatiivisukupolveen' on liitetty. Heidän mielestään on tärkeää miettiä miten riittävän teknologiaosaaminen taataan ja  tarvittavat osaamispolut varmistetaan.

Opetussuunnitelma ei kuitenkaan tarkemmin jaottele näiden alueiden sisältöjä. Monille opettajille saattaa olla vaikeaa miettiä mitä sisältöjä ja taitoja hänen tulisi opetuksessaan ottaa oppilaiden kanssa harjoittelun alle. Osalla opettajista myös omat TVT-taidot ovat riittämättömät näiden osa-alueiden läpikäymiseen ja he tarvitsevatkin tarkempia suuntaviivoja opetuksensa suunnitteluun. Ilomäen (2008) mukaan opettajien TVT-taidot ovat vahvasti heterogeenisia. Suurella osalla opettajista on riittävät taidot jokapäiväisten rutiinitoimintojen suorittamiseen, mutta he kamppailevat mielekkään TVT:n pedagogisen käytön löytämisessä. Lisäksi edelleen löytyy joukko opettajia,  joiden perustaidotkin ovat heikolla tasolla.

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Selvitys lukiolaisten suhteesta tieto- ja viestintätekniikkaan sekä sähköisiin oppimateriaaleihin

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Viimeisin päivitys: 5 tuntia sitten

Opeka-kyselyn esittely

Miten voin ottaa Opekan käyttöön kuntaan tai kouluun?

Opekaa käyttää

Opeka tutkimuksessa

Tampereen yliopiston TRIM-tutkimuskeskus toteutti perusopetuksen digitalisaation nykytilaa kuvaavan selvityksen osana valtioneuvoston yhteistä selvitys- ja tutkimustoimintaa (TEAS). Lue lisää aiheesta!

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Viimeisin päivitys: 5 tuntia sitten Opeka-kyselyn esittely Miten voin ottaa Opekan käyttöön kuntaan tai kouluun? Tampereen yliopiston TRIM-tutkimuskeskus toteutti perusopetuksen digitalisaation nykytilaa kuvaavan selvityksen osana valtioneuvoston yhteistä selvitys- ja tutkimustoimintaa (TEAS). Lue lisää aiheesta!