I’ve been thinking about learning analytics and, while some Unis have managed to solve parts of the problem, I think that we need to confront the complexity of the problem, to explain why it’s so challenging. I break it into five key problems.
- Data. We don’t currently collect enough of it to analyse, what we do collect is of questionable value and isn’t clearly tied to mechanisms, and we have not confronted the spectre of what we do with this data when we get it.
- Mechanisms linking learning and what is produced. The mechanisms are complex. Students could be failing for any number of reasons, not the least of which is crap staff. Trying to work out what has happened by looking at outputs is unlikely to help.
- Focus. Generally, we measure things to evaluate people. This means that students do tests to get marked and, even where we mix this up with formative work, they tend to focus on the things that get them marks. That’s because it’s how we’ve trained them. This focus warps measurement into an enforcement and judgment mechanism, rather than a supportive and constructive mechanism.
- Community. We often mandate or apply analytics as an extension of the evaluation focus above. This means that we don’t have a community who are supported by analytics, we have a community of evaluators and the evaluated. This is what we would usually label as a Panopticon, because of the asymmetrical application of this kind of visibility. And it’s not a great environment for education. Without a strong community, why should staff go to the extra effort to produce the things required to generate more data if they can’t see a need for it? This is a terribly destructive loop as it requires learning analytics to work and be seen as effective before you have the data to make learning analytics work!
- Support. When we actually have the data, understand the mechanism, have the right focus and are linked in to the community, we still need the money, time and other resources to provide remediation, to encourage development, to pay for the technology, to send people to places where they can learn. For students and staff. We just don’t have that.
I think almost all Unis are suffering from the same problems. This is a terribly complex problem and it cannot be solved by technology alone.
It’s certainly not as easy as driving car. You know that you make the car go faster by pushing on one pedal and you make it go slower by pushing on another. You look at your speedometer. This measures how often your wheels are rotating and, by simple arithmetic, gives you your speed across the road. Now you can work out the speed you want to travel at, taking into account signs, conditions and things like that. Simple. But this simple, everyday, action and its outcomes are the result of many, many technological, social and personal systems interacting.
The speedometer in the car is giving you continuously available, and reasonably reliable, data on your performance. You know how to influence that performance through the use of simple and direct controls (mechanism). There exists a culture of driver training, road signage and engineering, and car design that provides you with information that ties your personal performance to external achievement (These are all part of support, focus and community). Finally, there are extrinsic mechanisms that function as checks and balances but, importantly, they are not directly tied to what you are doing in the car, although there are strong causative connections to certain outcomes (And we can see elements of support and community in this as we all want to drive on safe roads, hence state support for this is essential).
We are nowhere near the car scenario with learning analytics right now. We have some measurements of learning in the classroom because we grade assignments and mark exams. But these are not continuous feedback, to be consulted wherever possible, and the mechanisms to cause positive change in these are not necessarily clear and direct. I would argue that most of what we currently do is much closer to police enforcement of speed. We ask students to drive a track and, periodically, we check to see if they’re doing the correct speed. We then, often irrevocably from a grading sense, assign a mark to how well they are driving the track and settle back to measure them again later.
Learning analytics faces huge problems before it reaches this stage. We need vast quantities of data that we are not currently generating. Many University courses lack opportunities to demonstrate prowess early on. Many courses offer only two or three measurements of performance to determine the final grade. This trying to guess our speed when the speedo only lights up every three to four weeks after we have pressed a combination of pedals.
The mechanisms for improvement and performance control in University education are not just murky, they’re opaque. If we identify a problem, what happens? In the case of detecting that we are speeding, most of us will slow down. If the police detect you are speeding, they may stop you or (more likely) issue you a fine and eventually you’ll use up your licence and have to stop driving. We just give people low marks or fail them. But, combine this with mechanism issues, and suddenly we need to ask if we’re even ready to try to take action if we had the analytics.
Let’s say we get all the data and it’s reliable and pedagogically sensible. We work out how to link things together. We build community support and we focus it correctly. You run analytics over your data. After some digging, you discover that 70% of your teaching staff simply don’t know how to do their jobs. And, as far as you can see, have been performing at this standard for 20 years.
What do you do?
Until we are ready to listen to what analytics tell us, until we have had the discussion of how we deal with students (and staff) who may wish to opt out, and until we have looked at this as the monstrous, resource-hungry, incredibly complex problem that it is, we really have to ask if we’re ready to take learning analytics seriously. And, given how much money can be spent on this, it’s probably better to work out if we’re going to listen before we invest money into a solution that won’t work because it cannot work.
Have you heard of NaNoWriMo? National Novel Writing Month has been around since 1999 and is now far more widespread than national boundaries and has become relatively large, with 325,142 participants on six continents in 2014. The idea is simple: over the 30 days of November, you write 50,000 words that are (notionally) all directed towards a fictional novel.
I’ve taken part twice in the past and produced two … rapidly written works of fiction. I have never claimed to be a good writer, I’m certainly not a published writer, but I can put a number of words down on the page in a day. They even make sense, most of the time, and I’ve ended up with stories that real people have actually read and enjoyed!
I like NaNoWriMo. I like it as a concept, because it demystifies the concept of writing that many words by saying “Hey! Don’t get caught up on perfect prose, just start by writing.” I like the community because, despite the large number of people who show up and have no intention of doing it, there are enough like minds to give you support when you need it. I like it personally, as it’s a great way to get down a long draft of a work, even if you don’t do anything else with it. It’s a bit of external structure (and scaffolding) for those of us who aren’t professional authors.
Being me, of course, I’m all about seeing if we can get people doing something that they didn’t think possible, so I look at NaNoWriMo as a success for anyone who writes one more word than they otherwise would have in November. Sure, getting down a whole novel would be awesome but any steps forward are good steps.
We could talk a lot about how this kind of constrained activity can work in a creative setting but, if you know my work, you’ll have a fairly good idea that I think that everyone taking part should have “enjoyment” as their primary goal, with a possible outcome of their first long-form work as a happy side-effect. 50K shouldn’t be a burden but a guide. 1,700 words a day can be more manageable than many people think and, at the end of November, you may have done something you never thought possible.
Whatever happens, you’ll be thinking creatively and that, in my book, is always awesome. “Almighty creativity”, as the late Bob Ross might say.
I’ll be doing NaNo again this year and, if you’re thinking about it, check out the web site or my shortish guide to speed writing (AntifreezePub) that I’ve written based on my own experiences over the years. As always, if you think there should be a better speed writing guide, feel free to write it/find it and link to it in the comments!
I decided to have an outrageous book cover to inspire me and get me into the right mood. (Currently a working copy with placeholder artwork, as I have no idea what will make it into the final draft.)
Almost all of us benefit from writing practice and this is an interesting way to get a lot of practice in a short time. If you do it, have fun, and feel free to buddy up with me under the username jnick.
Given how much research there is to tell us that intrinsic bias is having a terrifying effect on hiring decisions and opportunity, it’s great to have some good news to report when a company decides to address the issue.
Deloitte U.K are going to start using a school-blind approach in its hiring process (WaPo link), which will potentially benefit thousands of school- and college-leavers who would have been perceived to come from “less suitable” educational pedigrees. They are also planning to work out how students performed relative to their peers in a given school, rather than against broad district or national levels. Deloitte are now part of a growing group of companies who have moved beyond “Am I getting the best people” to understanding that their biassed perception of best may be preventing them from seeing some candidates at all. They could be picking their “best” from a much broader range of better, if only they’d address those biases.
This is certainly not going to end bias overnight (there are so many other issues to address) but it’s a great start.
An artist’s educator’s statement (or artist educator statement) is an artist’s educator’s written description of their work. The brief verbal representation is for, and in support of, his or her own work to give the viewer the student/a peer/an observer/questioning parents/unconvinced politicians/citizens/history understanding. As such it aims to inform, connect with artistic/scientific/educational/societal/intellectual/political contexts, and present the basis for the work; it is therefore didactic, descriptive, or reflective in nature. (Wikipedia + Nick Falkner)
Fear thrives in conditions of ignorance and deprivation. Ignorance is defeated by knowledge. Deprivation is defeated by fairness, equality and equity.
Education shares knowledge and provides the basis for more knowledge. Education attacks ignorance, fights fear, champions equality and saves the world.
If I am always learning then I can model learning for my students and adapt my practice to reflect changes in education as my knowledge increases. Who are my students? What do they need to know? How can I teach them? When will I know if they have the knowledge that they need? What do I need to do today, tomorrow and the day after that?
I have made mistakes but I will try not to make the same mistakes again. The essence of education is that we pass on what we have learned and keep developing knowledge so that we do not have to make the same mistakes again.
That is why I am an educator.
The Internet is full of posts and comments that reflect an overwhelming desire to judge people and tell them that they are wrong, twinned with intellectual cowardice. We see people saying “Oh, that’s wrong” without ever having the courage to put up anything that says “This is what I believe. This is my statement. This is my truth.”
You cannot achieve your potential when all you do is react. The echo is not the statement.
This has inspired me to clearly state what I believe about what I do. I regularly make comment on what I believe we should be doing in education so, to be consistent and to remove all uncertainty about my intentions, the next post on this blog is my educator’s statement. A statement of what I believe you need to know to understand my work, derived from the concept of the artist’s statement.
Put up your own. Share your truth. Be brave.
Walidah Imarisha very generously continued the discussion of my last piece with me on Twitter and I have updated that piece to include her thoughts and to provide vital additional discussion. As always, don’t read me talking about things when you can read the words of the people who are out there fixing, changing the narrative, fighting and winning.
Thank you, Walidah!
The Only Way Forward is With No Names @iamajanibrown @WalidahImarisha #afrofuturism #worldcon #sasquanPosted: August 23, 2015
Edit: Walidah Imarisha and I had a discussion in Twitter after I released this piece and I wanted to add her thoughts and part of our discussion. I’ve added it to the end so that you’ll have context but I mention it here because her thoughts are the ones that you must read before you leave this piece. Never listen to me when you can be listening to the people who are living this and fighting it.
I’m currently at the World Science Fiction Convention in Spokane, Washington state. As always, my focus is education and (no surprise to long term readers) equity. I’ve had the opportunity to attend some amazing panels. One was on the experience of women in art, publishing and game production of female characters for video gaming. Others were discussing issues such as non-white presence in fiction (#AfroFuturism with Professor Ajani Brown) and a long discussion of the changes between the Marvel Universe in film and comic form, as well as how we can use Science Fiction & Fantasy in the classroom to address social issues without having to directly engage the (often depressing) news sources. Both the latter panels were excellent and, in the Marvel one, Tom Smith, Annalee Flower Horne, Cassandra Rose Clarke, and Professor Brown, there was a lot of discussion of both the new Afro-American characters in movies and TV (Deathlok, Storm and Falcon) as well as how much they had changed from the comics.
I’m going to discuss what I saw and lead towards my point: that all assessment of work for its publishing potential should, where it is possible and sensible, be carried out blind, without knowledge of who wrote it.
I’ve written on this before, both here (where I argue that current publishing may not be doing what we want for the long term benefit of the community and the publishers themselves) and here, where we identify that systematic biases against people who are not western men is rampant and apparently almost inescapable as long as we can see a female name. Very recently, this Jezebel article identified that changing the author’s name on a manuscript, from female to male, not only included response rate and reduced time waiting, it changed the type of feedback given. The woman’s characters were “feisty”, the man’s weren’t. Same characters. It doesn’t matter if you think you’re being sexist or not, it doesn’t even matter (from the PNAS study in the second link) if you’re a man or a woman, the presence of a female name changes the level of respect attached to a work and also the level of reward/appreciation offered an assessment process. There are similar works that clearly identify that this problem is even worse for People of Colour. (Look up Intersectionality if you don’t know what I’m talking about.) I’m not saying that all of these people are trying to discriminate but the evidence we have says that social conditioning that leads to sexism is powerful and dominating.
Now let’s get back to the panels. The first panel “Female Characters in Video Games” with Andrea Stewart, Maurine Starkey, Annalee Flower Horne, Lauren Roy and Tanglwyst de Holloway. While discussing the growing market for female characters, the panel identified the ongoing problems and discrimination against women in the industry. 22% of professionals in the field are women, which sounds awful until you realise that this figure was 11% in 2009. However, Maurine had had her artwork recognised as being “great” when someone thought her work was a mans and “oh, drawn like a woman” when the true owner was revealed. And this is someone being explicit. The message of the panel was very positive: things were getting better. However, it was obvious that knowing someone was a woman changed how people valued their work or even how their activities were described. “Casual gaming” is often a term that describes what women do; if women take up a gaming platform (and they are a huge portion of the market) then it often gets labelled “casual gaming”.
So, point 1, assessing work at a professional level is apparently hard to do objectively when we know the gender of people. Moving on.
The first panel on Friday dealt with AfroFuturism, which looks at the long-standing philosophical and artistic expression of alternative realities relating to people of African Descent. This can be traced to the Egyptian origins of mystic and astrological architecture and religions, through tribal dances and mask ceremonies of other parts of Africa, to the P.Funk mothership and science-fiction works published in the middle of vinyl albums. There are strong notions of carving out or refining identity in order to break oppressive narratives and re-establish agency. AfroFuturism looks into creating new futures and narratives, also allowing for reinvention to escape the past, which is a powerful tool for liberation. People can be put into boxes and they want to break out to liberate themselves and, too often, if we know that someone can be put into a box then we have a nasty tendency (implicit cognitive bias) to jam them back in. No wonder, AfroFuturism is seen as a powerful force because it is an assault on the whole mean, racist narrative that does things like call groups of white people “protesters” or “concerned citizens”, and groups of black people “rioters”.
(If you follow me on Twitter, you’ve seen a fair bit of this. If you’re not following me on Twitter, @nickfalkner is the way to go.)
So point 2, if we know someone’s race, then we are more likely to enforce a narrative that is stereotypical and oppressive when we are outside of their culture. Writers inside the culture can write to liberate and to redefine identity and this probably means we need to see more of this.
I want to focus on the final panel, “Saving the World through Science Fiction: SF in the Classroom”, with Ben Cartwright, Ajani Brown (again!), Walidah Imarisha and Charlotte Lewis Brown. There are many issues facing our students on a day-to-day basis and it can be very hard to engage with some of them because it is confronting to have to address your own biases when you talk about the real world. But you can talk about racism with aliens, xenophobia with a planetary invasion, the horrors of war with apocalyptic fiction… and it’s not the nightly news. People can confront their biases without confronting them. That’s a very powerful technique for changing the world. It’s awesome.
Point 3, then, is that narratives are important and, with careful framing, we can discuss very complicated things and get away from the sheer weight of biases and reframe a discussion to talk about difficult things, without having to resort to violence or conflict. This reinforces Point 2, that we need more stories from other viewpoints to allow us to think about important issues.
We are a narrative and a mythic species: storytelling allows us to explain our universe. Storytelling defines our universe, whether it’s religion, notions of family or sense of state.
What I take from all of these panels is that many of the stories that we want to be reading, that are necessary for the healing and strengthening of our society, should be coming from groups who are traditionally not proportionally represented: women, People of Colour, Women of Colour, basically anyone who isn’t recognised as a white man in the Western Tradition. This isn’t to say that everything has to be one form but, instead, that we should be putting systems in place to get the best stories from as wide a range as possible, in order to let SF&F educate, change and grow the world. This doesn’t even touch on the Matthew Effect, where we are more likely to positively value a work if we have an existing positive relationship with the author, even if said work is not actually very good.
And this is why, with all of the evidence we have with cognitive biases changing the way people think about work based on the name, that the most likely approach to improve the range of stories that we will end up publishing is to judge as many works as we can without knowing who wrote it. If we wanted to take it further, we could even ask people to briefly explain why they did or didn’t like it. The comments on the Jezebel author’s book make it clear that, with those comments, we can clearly identify a bias in play. “It’s not for us” and things like that are not sufficiently transparent for us to see if the system is working. (Apologies to the hard-working editors out there, I know this is a big demand. Anonymity is a great start. :) )
Now some books/works, you have to know who wrote it; my textbook, for example, depends upon my academic credentials and my published work, hence my identify is a part of the validity of academic work. But, for short fiction, for books? Perhaps it’s time to look at all of the evidence and to look at all of the efforts to widen the range of voices we hear and consider a commitment to anonymous review so that SF&F will be a powerful force for thought and change in the decades to come.
Thank you to all of the amazing panellists. You made everyone think and sent out powerful and positive messages. Thank you, so much!
Edit: As mentioned above, Walidah and I had a discussion that extended from this on Twitter. Walidah’s point was about changing the system so that we no longer have to hide identity to eliminate bias and I totally agree with this. Our goal has to be to create a space where bias no longer exists, where the assumption that the hierarchical dominance is white, cis, straight and male is no longer the default. Also, while SF&F is a great tool, it does not replace having the necessary and actual conversations about oppression. Our goal should never be to erase people of colour and replace it with aliens and dwarves just because white people don’t want to talk about race. While narrative engineering can work, many people do not transfer the knowledge from analogy to reality and this is why these authentic discussions of real situations must also exist. When we sit purely in analog, we risk reinforcing inequality if we don’t tie it back down to Earth.
I am still trying to attack a biased system to widen the narrative to allow more space for other voices but, as Walidah notes, this is catering to the privileged, rather than empowering the oppressed to speak their stories. And, of course, talking about oppression leads those on top of the hierarchy to assume you are oppressed. Walidah mentioned Katherine Burdekin & Swastika Nights as part of this. Our goal must be to remove bias. What I spoke about above is one way but it is very much born of the privileged and we cannot lose sight of the necessity of empowerment and a constant commitment to ensuring the visibility of other voices and hearing the stories of the oppressed from them, not passed through white academics like me.
Seriously, if you can read me OR someone else who has a more authentic connection? Please read that someone else.
Walidah’s recent work includes, with adrienne maree brown, editing the book of 20 short stories I have winging its way to me as we speak, “Octavia’s Brood: Science Fiction Stories from Social Justice Movements” and I am so grateful that she took the time to respond to this post and help me (I hope) to make it stronger.