A Crisis in Physics Education: Games to the Rescue!

An education in Physics develops both strong cognitive and practical skills. These are well-matched to the needs of employers, from engineering to banking. Physics provides the foundation for all engineering and scientific disciplines including computing technologies, aerospace, communication, and also biosciences and medicine. In academe, Physics addresses fundamental questions about the universe, the nature of reality, and of the complex socio-economic systems comprising our daily lives. Yet today, there are emerging concerns about Physics education: Secondary school interest in Physics is falling, as is the number of Physics school teachers. There is clearly a crisis in physics education; recent research has identified principal factors. Starting from a review of these factors, and from recommendations of professional bodies, this paper proposes a novel solution – the use of Computer Games to teach physics to school children, to university undergraduates and to teacher-trainees.

Enhancing Student Learning Experiences in Sport Psychology Modules Using Practical Activities

The University of Worcester states in its most recent strategic plan (2013 – 2018) a set of enduring values that guide and direct the activities of the institution. The first listed, and perhaps the most important value is the striving to be “an outstanding university at which to be a student”. This is further supplemented by values such as “to inspire our students to reach their full potential through excellent, innovative teaching, scholarship and research” (University of Worcester 2013: p.4). One of the many ways in which the institution strives to provide this outstanding educational experience is through regular engagement, both formal and informal, with students at a number of points in each semester. Regular experiences of collating formal and informal feedback has led to the identification of a common theme amongst Higher National Diploma (HND) students in the Institute of Sport and Exercise Sciences (ISES), where they consistently request ‘more practicals’. The ISES modules however are designed to incorporate a high degree of interaction, practical activities and tasks. This is especially important for those studying at HND level as research suggests differences in learning preferences exist when compared to undergraduate students, the former preferring a more tactile style of learning (Peters et al. 2008). Using an introductory Sport Psychology HND module as an example, practical activities and tasks are fully embedded in the taught sessions to enable contextual links to be made between the learning outcomes and their subsequent use. Examples of these include: a. interviewing athletes to produce a performance profile (Butler & Hardy 1992); b. completing psychometric instruments such as the Competitive State Anxiety Inventory-2 (CSAI-2) to measure competitive anxiety in sport (Martens et al. 1990) and demonstrate data collection and construct measurement; c. performing relaxation interventions on the students to demonstrate how specific techniques (in this instance, decreasing somatic anxiety) might work in practice; d. demonstrating how observational learning facilitates skill acquisition by creating experimental conditions that the students participate in, in teaching a new skill. Nevertheless owing to the students' previously stated on-going requests for more practical activities, it became evident that assumptions about what students consider an effective means of experiential or active learning in the context of sport-related disciplines of study needed to be investigated. This is where the opportunity to undertake an action research project arose, this being a practical method commonly employed in pedagogical enquiry to aid reflection on teaching and assessment practice for the purposes of working towards continuous improvement.

From Kandinsky to Java (The Use of 20th Century Abstract Art in Learning Programming)

At the University of Worcester we are continually striving to find new approaches to the learning and teaching of programming, to improve the quality of learning and the student experience. Over the past three years we have used the contexts of robotics, computer games, and most recently a study of Abstract Art to this end. This paper discusses our motivation for using Abstract Art as a context, details our principles and methodology, and reports on an evaluation of the student experience. Our basic tenet is that one can view the works of artists such as Kandinsky, Klee and Malevich as Object-Oriented (OO) constructions. Discussion of these works can therefore be used to introduce OO principles, to explore the meaning of classes, methods and attributes and finally to synthesize new works of art through Java code. This research has been conducted during delivery of an “Advanced OOP (Java)” programming module at final-year Undergraduate level, and during a Masters’ OO-Programming (Java) module. This allows a comparative evaluation of novice and experienced programmers’ learning. In this paper, we identify several instructional factors which emerge from our approach, and reflect upon the associated pedagogy. A Catalogue of ArtApplets is provided at the associated web-site.

Teaching Rules or Teaching Creativity: a Paradigm Shift

Structure is everything in a screenplay we are told. If indeed there are any rules to screenwriting then this would be carved in tablets of stone. Within pedagogical frameworks we are diligent in our instruction of the three acts, advocating it as a paradigm. We pass on tools for the analysis of character that are gleaned from psychology. But I have seen students struggle with this toolbox. They feel constrained by concrete techniques. So often seeing principles as rules, structure as restriction. The stifling of free-form ideas is further compounded by the plethora of books that claim the path to glory lies only in structural devices. Some even purport to have a formula, a simple prescriptive model that will bestow almost certain success. Yet this is an industry that abhors formula, that hungers for the fresh and the new. Without bravado, imagination and experimentation with character and form, the best structured screenplay in the world is merely a typing exercise. As educators we have a duty to retain a balance between letting a student’s mind dance and keeping them to the tempo. This study will compare a variety of diverse structures, from Hegel to Alcoholics Anonymous, Kubler Ross to Jung. It will analyse recent journal articles, on both new techniques in teaching creativity and new approaches to the instruction of screenwriting, to suggest a model of how best to inform the application of structure to HE students and keep creativity uppermost. A structure of emotional truth. An equal appreciation of both the tools of our craft and an imaginative exploration of character and world that can unlock our originality and our artistry.

Introducing Game Development into the Computing Curriculum: a Progressive Methodology

The Computer Game industry is big business, the demand for graduates is high, indeed there is a continuing shortage of skilled employees. As with most professions, the skill set required is both specific and diverse. There are currently over 30 Higher Education Institutions (HEIs) in the UK offering Computer games related courses. We expect that as the demand from the industry is sustained, more HEIs will respond with the introduction of game-related degrees. This is quite a considerable undertaking involving many issues from integration of new modules or complete courses within the existing curriculum, to staff development. In this paper we share our experiences of introducing elements of game development into our curriculum. This has occurred over the past two years, starting with the inclusion of elements of game development into existing programming modules, followed by the validation of complete modules, and culminating in a complete degree course. Our experience is that our adopting a progressive approach to development, spread over a number of years, was crucial in achieving a successful outcome.

A Taste of Research: Reflections on a Summer Vacation Research Assistantship

Research is closely intertwined in teaching and learning psychology as a science-based discipline and various methods are used to enable psychology students to grasp the nature of psychological research. VRA (Vacation Research Assistantship) schemes give students the unique opportunity to ‘taste’ what research is truly about, and develop important skills and knowledge in the process and ‘test’ their interest in a research career. VRAs provide a research-based teaching providing an experiential approach to learning, where both the student and educator are engaged as partners in the research process, reducing the role division between student and educator. This paper reflects on a VRA process and outcomes in respect of student learning and experience using as framework the teaching –research nexus (Griffiths, 2004). Both student’s and educator’s reflections are discussed as well as directions for future developments and research.