wheatblog

personal weblog of James "Wheatbread" Martin

Theory and Practice

My first trip through grad school was in English, and my primary focus was literary theory. My second trip through was in educational technology. I enjoy theory and philosophy more than your average bear, but my approach to training development has always been a pragmatic, from-the-ground-up affair. I have a general distrust of buzzword-compliant theoretical discussions of instructional design. There’s a vast difference between talking about instructional media and producing it. And it is the production of it that has always been my best teacher.

This doesn’t mean theory has no role to play. Theory can guide practice, just as feedback from the trenches can guide theory. But, since talking about the proper design of instructional media takes so little effort, compared to actually creating any of it, there tends to always be a surplus of theorizing in the weird little world of educational technology. My words here are complicit in this surplus. Pontificating about instructional design is easier than learning Objective-C, which is what I should be working on right now.

Take, for example, the ardent defenders of certain cherished instructional design models, like ADDIE, which is short for Analysis Design Development Implementation and Evaluation. It is a generic model for training development and one deeply cherished by many instructional designers. Its origins are shrouded in mystery, but it dates at least to the mid 1970s, possibly much earlier. The main (and, I maintain, legitimate) criticisms of it focus on it’s linearity. In its most basic form, each stage is discrete and must be completed before the next stage can begin. There are more flexible ways of implementing it, of course, but the very fact that its name is a mnemonic device for remembering the sequence of the steps in its design process should be some indication that these criticisms are not without merit. It is a “waterfall” model, and all waterfall models suffer from these sorts of criticisms.

ADDIE also suffers from the fact that, like other waterfall models, it encourages what is sometimes called ‘big-design-up-front.” The idea is that a through a priori analysis can best identify problems in advance, where they are less costly to fix. There are some strengths to this idea. Many creative folks eschew planning, seeing it as a bound on their creativity (which it, of course, is, though that is part of the point). And the folks who excel at project management aren’t, generally, the same folks who create the solutions. They have their sort of creativity, to be sure. But they play a role similar to that of movie producers. Their job is to keep things on schedule and on budget. They also wear ties. I think they actually enjoy wearing ties.

Going boldly forward without a plan sounds romantic, but it can often end tragically. There’s real time to be saved by employing some basic project management principles to instructional design projects. The problem, of course, is that anticipating every problem up front isn’t possible. Shortcomings in the vision of a project, unforeseen technical issues, and bad design decisions often only become clear at the point of implementation and evaluation. Some versions of the ADDIE idea recognize this limitation and attempt to include feedback and evaluation into the early stages as well as the later ones. The irony, of course, is that all of this up-front planning, in an effort to avoid potentially expensive pitfalls latter on, take quite a lot of time and money to do.

Instructional design, and education in general, has always drawn on other disciplines. I wish it would draw more on software development methodologies, which have, for the most part, moved past these strict, linear models and into more flexible, iterative strategies involving multiple loops of rapid prototyping and feedback. (An umbrella term for many of these approaches is RAD, which is short for Rapid Application Development.) A lot of what instructional media designers create these days is, in fact, software. So why shouldn’t the development of it be guided by similar principles? I think it clearly should, at least for those who would rather develop solutions than talk about them.

Popularity: 12% [?]

Widget Updates

I updated my Adobe Captivate 4 widgets to take advantage of the latest version (beta 1.2) of Infosemantics’ Widget Factory API. Here are the download links for the latest (v2) versions:

Popularity: 14% [?]

ClosedCaptionsOn & ClosedCaptionsOff (AS3) widgets for Adobe Captivate, Version 1

ClosedCaptionsOn and ClosedCaptionsOff are two ActionScript 3 widgets for Adobe Captivate. They allow developers to turn closed captioning on and off arbitrarily at any point in a slide. These were developed and tested in Captivate 4. I’ll be testing them in Captivate 5 as soon as I get a copy.

[Update: This post links to an outdated version of the widget. Check the software page for a link to the most recent version. (Edited 7/22/2010)]

Installation

  1. Download ClosedCaptions_AS3.zip.
  2. Unzip the archive (in WinXP, right-click → Extract All…)
  3. Copy ClosedCaptionsOn_AS3.swf  and ClosedCaptionsOff_AS3.swf to Captivate’s Gallery (C:\Program Files\Adobe\Adobe Captivate 4\Gallery\Widgets)
  4. Open or create a new project in Captivate. Be sure the ActionScript version is set to AS3. In Captivate 4, you can set the ActionScript version of your project by choosing File → Preferences. Then select Project → Publish Settings in the Category pane.
  5. Select a slide in Edit View and insert an instance of the ClosedCaptionsOn_AS3.swf from the Widget window (Window → Widget).
  6. Adjust the start time via the widget’s Options → Appear After setting or by adjusting its starting position on the timeline.
  7. Add some slide notes (Window → Slide Notes) and convert them to speech by clicking the Text to speech column header (check marks will be added to each line) and then the Convert to speech button.
  8. Click the Closed Caption column. Check marks will be added, indicating that the speech will be closed captioned.
  9. Use Audio → Audio Management to adjust the synchronization between the captions and the speech by selecting each slide, clicking the Closed Caption icon, and dragging the numbered markers.
  10. Publish or Preview → Project (F4) to test.

You can add as many instances of ClosedCaptionsOn and ClosedCaptionsOff as you like. I tend to add an *On at the beginning of each titled slide, as this seems to work best in projects using a TOC to ensure that titles are on at the beginning of each TOC section. Users can still toggle captions on or off via the play bar, if you include the closed captioning button in your playback control.

Popularity: 18% [?]

PauseMeNow (AS3) widget for Adobe Captivate, Version 1

PauseMeNow is a simple static widget for Adobe Captivate developers which allows you to insert an arbitrary pause at any point in a slide. It’s coded in ActionScript 3, which means it will only work in Captivate projects which use the AS3 format. It was developed and tested in Captivate 4. I’ll be testing it in Captivate 5 as soon as I get a copy.

[Update: This post links to an outdated version of the widget. Check the software page for a link to the most recent version. (Edited 7/22/2010)]

Installation

  1. Download PauseMeNow_AS3.zip.
  2. Unzip the archive (in WinXP, right-click → Extract All…)
  3. Copy PauseMeNow_AS3.swf to Captivate’s Gallery (C:\Program Files\Adobe\Adobe Captivate 4\Gallery\Widgets)
  4. Open or create a new project in Captivate. Be sure the ActionScript version is set to AS3. In Captivate 4, you can set the ActionScript version of your project by choosing File → Preferences. Then select Project → Publish Settings in the Category pane.
  5. Select a slide in Edit View and insert an instance of the PauseMeNow_AS3.swf from the Widget window (Window → Widget).
  6. Adjust the start time via the widget’s Options → Appear After setting or by adjusting its starting position on the timeline.
  7. Publish or Preview → Project (F4) to test.

Thanks

Thanks to Michael Lund, Jim Leichliter, and Whyves for inspiration. Thanks to Infosemantics for the Widget Factory API, which I used to develop this widget.

Popularity: 22% [?]

Book Roundup, Part I

Having stalled out at about the halfway point of the last two novels I started, I’ve been on a nonfiction kick of late. I wanted to jot down some impressions of them. I’ll start with the volume that seemed to kick off the current streak and work forward from there in the next few posts:

Klosterman, Chuck. Klosterman IV: A Decade of Curious People and Dangerous Ideas.

Chuck Klosterman is (primarily) a music journalist. I recall stumbling across a few of his articles online, and I ended up adding this volume to my wish list, just to check him out. It’s one of several books I received for Christmas last year. I picked it up one evening, out of curiosity and boredom, and had a very hard time putting it back down. I’m not a fast reader, but I plowed through these essays in a few days of spare moments.

Klosterman’s forte is the “profile,” those long-form interviews that aren’t really interviews, where the journalist spends some time with an interviewee and writes a piece, generally with some sort of latent thesis, which attempts to depict the essence of the artist and/or his/her work. A good profile narrates the circumstances of the encounter with the interviewee and contains some direct quotation, but is really a lose form whereby the interviewer can go off on a variety of tangents. As such, profiles can veer toward hagiography, criticism, or arm-chair psychoanalysis. When they’re good, they’re essays in the truest sense. Going back to the French etymology of the word, they are attempts to understand.

This collection is divided into three sections. The profiles are mostly in the first section, titled “Things that are True.” Each essay has a brief introduction that contextualizes it. These sometimes connect the essay in question to other essays in the volume, explain the circumstances under which it was written or initially received, or comment on how the author’s ideas have evolved since first filing it. There are profiles here on U2, Morrissey, Val Kilmer, Radiohead, Billy Joel and a surprisingly good one on Britney Spears. What’s really compelling is that these essays are strong regardless of what you think about each of these artists. Klosterman’s reflections on them and interactions with them are the focus, and that, here, is good thing.

The second part (“Things that Might Be True”) is mostly a collection of briefer essays from Klosterman’s days at Esquire, which are often lighter fare and are more editorial in nature. I didn’t find these as substantial or memorable as those in the first section, owing in part to Klosterman’s political leanings, which are more-or-less libertarian and of a rather knee-jerk sort. There are some good things here, including  ”Bonds vs. America,” a take on Barry Bonds that I found compelling even though I don’t know or care anything about sports.

The final section, “Something that isn’t True at All,” is a fairly long short story, with some clearly autobiographical elements, that I found entertaining. Klosterman is, when he’s funny, a Woody Allen type character, if Woody Allen had grown up, as Klosterman did,  in Minnesota, listening to a lot of heavy metal. And, like Allen, he amplifies his own obsessions and neuroses for comic effect.

I think Klosterman’s a guy whose writing you either love or hate. When he’s on his game, he’s really solid. When he’s out of his depth, not so much. For me, this was an uneven but, still, solidly entertaining collection.

Popularity: 27% [?]