MIME-Version: 1.0
Content-Type: multipart/related; boundary="----=_NextPart_01CA45D2.17B46EF0"
This document is a Single File Web Page, also known as a Web Archive file. If you are seeing this message, your browser or editor doesn't support Web Archive files. Please download a browser that supports Web Archive, such as Microsoft Internet Explorer.
------=_NextPart_01CA45D2.17B46EF0
Content-Location: file:///C:/D327B253/Portfolios_and_E-Portfolios.htm
Content-Transfer-Encoding: quoted-printable
Content-Type: text/html; charset="us-ascii"
Portfolios and E-Portfolios
This presentation contains content that your browser may not be able to =
show
properly. This presentation was optimized for more recent versions of Micro=
soft
Internet Explorer.
•“Very simp=
ly
put, a portfolio is a collection of evidence that is gathered together to show a person’s lear=
ning
journey over time and to
demonstrate their abilities. Portfolios can be specific to a particular discipline, or very br=
oadly encompass a person’s lifelong learning. Many
different kinds of evidence=
can
be used in a portfolio: samples of writing,
both finished and unfinished; photographs; videos; research projects; observations and evaluations of=
supervisors, mentors and peers; and reflective thi=
nking about all of these. In
fact, it is the reflections on the pieces of evidence, the reasons they were chosen and w=
hat
the portfolio creat=
or
learned from them, that are the key aspect to a portfolio.”
[emphasis ours]
Butler, P., “A Review Of The Litera=
ture
On Portfolios And Electronic Portfolios,” Creative Commons Attributi=
on-NonCommercial-ShareAlike 2.5 License, October 2006.<=
/span>
T=
here are
numerous typologies that attempt to capture the variety of Portfolios in =
use
in the Academy. The reading distributed to you before today’s sympo=
sium
, for example, cites Lorezo and Ittleson (2005) who “describe
distinctions between student, teaching, and institutional portfolios.R=
21;
W=
e offer a list
of three types of portfolios that focus on individual students:
A=
Personal
Discovery Portfolio gro=
ups
artifacts that the user finds significant for her or his development.
Composition is free form and left to the discretion of the user. Since the
portfolio is for personal discovery, the contents can be anything relevan=
t to
the portfolio developer. Least directed portfolio.
A=
Presentation
or Showcase portfolio includes examples of a student’s best wor=
k,
presented for purpose of finding a job or being admitted to a program for
additional training or education. Such portfolios may also be used to
highlight the achievements of the student before committees or judging for
competitions.
Career Portfolios might be
considered a sub-category of the Presentation or Showcase portfolio which
features a tailored assortment of the best professional work aimed atr
promotion or finding a job.
A=
Learners
Portfolio is designed to document development. It is learner focused.=
It
includes examples of work that illustrate successive stages in learning. =
Such
portfolios have been part and parcel of teacher training and nursing prog=
rams
for some time. They have also been common features of education programs =
in
the performing and visual arts for many years. Such portfolios are much m=
ore
structured than Personal Discovery portfolios, and structured differently
than Presentation or Showcase portfolios. In most cases, a defined select=
ion
of artifacts must be included in the portfolio, although some portfolios
allow students the discretion to include other materials that they deem
critical to understanding their journey as learners. The better learning
portfolios also require that students include artifacts illustrating that
they have reflected on their learning activities. A basic premise underli=
es
the concept of the learning portfolio: that learning only occurs when
learning activities are combined with reflection. Learning portfolios may
also be used for assessment, by students themselves, their teachers, or
larger educational institutions Assessment portfolios are an important su=
bset
of learning portfolios.
T=
he Assessment
Portfolio might be considered a sub-category of the Learners Portfolio
that is specifically constructed for evaluative purposes. It is primarily
evaluator focused. There is substantial interaction between the evaluator=
and
the student. As with other learning portfolios, the student is responsible
for assembling the artifacts, but they are chosen in accordance with
guidelines established by the evaluators. Because the method of evaluatio=
n is
clearly established at the outset, assessment portfolios may include a na=
rrower
set of artifacts.
•The learning
portfolio, according to the most thoughtful
professionals, must embrace and probe “the sources, coherence, and worth of
learning,” which i=
s only
possible when it is “combined with the power of collaboration and mentoring.
=
•More simply stat=
ed,
the learning portfolio must address
the process of learning and not just be a product of it, a collection of
“objects.”
•
•
•See
JohnZubizarreta, The Learning Portfolio: Reflective Practice for
Improving Student Learning
The
Contents of the Learning Portfolio: Students, Documents,
“Collaborators”
•Reflection
•
•
•
•
•
•DocumentationCollaboration
•
Portfolio
=
;
See JohnZubizarreta, The Learning Portfolio: Reflective Practice for Improving
Student Learning
(San Francisco: Ank=
er
Publishing Company, Inc., 2004).
Much=
of our
commentary about this slide, and indeed the slide itself, is taken from J=
ohn
Zubizarreta’s The Learning Portfolio, cited on the previous
screen:
1=
. Reflection is essential to learning. Hence
portfolios need to include products of reflection. These may include
something as formal as a “Philosophy of Learning,” written as=
a
cover document to the portfolio; or, better, a number of shorter reflecti=
ve pieces
that show the evolution of student’s thinking about her or his
learning. The reflective portion of the portfolio might address questions
such as, (a) What, how, when, and why did I learn? (b) What have I
accomplished with my learning? (c) What products and/or outcomes do I hav=
e to
demonstrate learning? (d) What measures and accounting do I have of my
learning? (e) What difference has learning made in my life? (f) What plan=
s do
I have to continue learning? (h) What supporting evidence do I have?
2=
.Documentation includes artifacts of learni=
ng such
as essays, exams, works of art, evidence of participation in internships,
service learning, global experiences; knowledge of languages beyond
one’s native language; video clips of performances or activities. T=
heoretically,
the list is limitless. However, the choice of which artifacts to include =
is
best made through reference to portfolio guidelines and as a result of
collaboration;
3=
.Collaboration is the third crucial compone=
nt of
the learning portfolio. In creating and choosing artifacts for their
portfolios, students consult with others. Obviously their professors are =
an
important part of this process, but so may be advisors, portfolio coordin=
ators,
and, at many institutions, peer mentors.
<=
span
style=3D'mso-special-format:bullet;position:absolute;left:-4.43%;font-fami=
ly:
Arial'>•Can enhance student learning by
–Focusing student thinking
–Translating theory into practice
–Operationalize student
organizational skills and communication
<=
span
style=3D'mso-special-format:bullet;position:absolute;left:-4.43%;font-fami=
ly:
Arial'>•Focus students on learning as a process
–They see evolution of their own learning
<=
/div>
–Can reflect on events that
transition learning for them
F=
ocus Student
Thinking: All the material students are presented with can be
overwhelming. Portfolios can help them focus on some aspect or instance of
the material on which they can build and integrate.
T=
ranslate
Theory into Practice: Because portfolios are necessarily concrete
representations of student learning the act of finding, compiling, and
reflecting on specific artifacts that relate to more abstract theory helps
move the student from theory to practice.
O=
perationalize
student organizational skills and communication: The process of turni=
ng
learning into practice forces students to think of problems in ways that =
can
be measured and displayed. In addition, the reflection component encourag=
es
work on communicating their ideas in a meaningful manner.
E=
volution of
Learning: We often forget as we progress in any endeavor how we have
moved and the types of changes we have made over time. This puts that typ=
e of
progress in a concrete form for them to reflect upon.
R=
eflection of
Transitioning Events: Somewhat related to the previous, but more
analytical on the learners part. Not only do they see HOW their work has
changed, but here the reflection involves the events and opportunities th=
at
LED to that change.
–Increases the types and number of different artifacts
that can be included
–Changes the interaction between artifacts and =
communication
of learning
–Portfolio development becomes a learning and <=
span
style=3D'position:absolute;top:73.75%;left:14.04%;width:79.96%;height:6.0%=
'>creative
act of its own
–Crea=
tes
new opportunities and new problems
See Butler, P., “A Review Of The
Literature On Portfolios and Electronic Portfolios,” Creative Commons
Attribution-NonCommercial-Share=
Alike
2.5 License, October 2006. for additional items
See =
Butler article
page 12 for an expanded list if needed.
Adopting, Buildi=
ng,
and Implementing an E-Portfolio
Nicole
Buzzetto-More and Ayodele Alade
•Identify Needs&=
#13;
•Determination,
Assessment, & Budget
•System Selection
and Strategic Planning
•Development
=
;
•Implementation =
and
Growth
Buzzetto-More, N. & Alade, A. (2008),
“The pentagonal e-portfolio model for selecting, adopting, building,=
and
implementing an
e-portfolio,” Journal of
Information Technology Education 7, 45-70.
=
•Questions of platform type (home grown, open source, or commercial), and, if commercial, whethe=
r =
it should be hosted on a provider site or on a university site
Sweat-Guy, R., & Buzzetto-More, N. A.
(2007). A Comparative Analysis of Common E-Portfolio Features and <=
/span>Available Platforms. Issues in
Informing Science and Information Technology Education 5(1), 327-342.
There are numerous typologies that att=
empt
to capture the variety of Portfolios in use in the Academy. The reading distributed to you before today’s
symposium , for example, cites Lorezo and Ittleson (2005) who <=
span
style=3D'font-size:75%'>“describe distinctions between student,
teaching, and institutional portfolios.”
We offer a list of three types of port=
folios
that focus on individual students:
A Personal Discovery Portfolio grou=
ps
artifacts that the user finds significant for her or his development. Composition is free form and left to the discretio=
n of
the user. Since the portfolio is for personal discovery, the contents can be anything relevant to the portfolio
developer. Least directed portfolio.<=
b>
A Presentation or Showcase portfolio <=
/b>includes examples of a student’s best work,
presented for purpose of finding a jo=
b or
being admitted to a program for additional training or education. Such
portfolios may also be used to highli=
ght
the achievements of the student before committees or judging for
competitions.
Career Portfolios might be considered a sub-category of the Presentation or Showcase
portfolio which features a tailored
assortment of the best professional work aimed atr promotion or finding a
job.
A Learners Portfolio is designed to document development. It is learner
focused. It includes examples of work that illustrate
successive stages in learning. Such portfolios have been part and parcel of
teacher training and nursing programs=
for
some time. They have also been common features of education programs in the
performing and visual arts for many y=
ears.
Such portfolios are much more structured than Personal Discovery portfolio=
s,
and structured differently than
Presentation or Showcase portfolios. In most cases, a defined selection of
artifacts must be included in the
portfolio, although some portfolios allow students the discretion to inclu=
de
other materials that they deem critic=
al to
understanding their journey as learners. The better learning portfolios al=
so
require that students include artifac=
ts
illustrating that they have reflected on their learning activities. A basic
premise underlies the concept of the =
learning
portfolio: that learning only occurs when learning activities are combined
with reflection. Learning portfolios =
may
also be used for assessment, by students themselves, their teachers, or la=
rger
educational institutions Assessment
portfolios are an important subset of learning portfolios.
The Assessment Portfolio might be considered a sub-category of the Learners
Portfolio that is specifically constr=
ucted
for evaluative purposes. It is primarily evaluator focused. There is
substantial interaction between the e=
valuator
and the student. As with other learning portfolios, the student is respons=
ible
for assembling the artifacts, but the=
y are
chosen in accordance with guidelines established by the evaluators. Because
the method of evaluation is clearly
established at the outset, assessment portfolios may include a narrower se=
t of
artifacts.
3
4
Much
of our commentary about this slide, and indeed the slide itself, is taken =
from
John Zubizarreta’s The Learn=
ing
Portfolio, cited on the previous
screen:
1.Reflection is essential to learning. Hence portfolios need to
include products of reflection. These may
include something as formal as a “Philosophy of Learning,” wri=
tten
as a cover document to the portfolio;=
or,
better, a number of shorter reflective pieces that show the evolution of
student’s thinking about her or=
his
learning. The reflective portion of the portfolio might address questions =
such as, (a) What, how, when, and why did I learn?=
(b)
What have I accomplished with my learning? (c)
What products and/or outcomes do I have to demonstrate learning? (d) What
measures and accounting do I have of =
my
learning? (e) What difference has learning made in my life? (f) What plans do I have to continue learning? (h) What
supporting evidence do I have?
2.
<=
/span>
2.Doc=
umentation
includes artifacts of learning su=
ch as
essays, exams, works of art, evidence of participation
in internships, service learning, global experiences; knowledge of languag=
es
beyond one’s native language; v=
ideo
clips of performances or activities. Theoretically, the list is limitless.=
However, the choice of which artifacts to include =
is
best made through reference to portfolio guidelines
and as a result of collaboration;
3.
<=
/span>
3.Col=
laboration
is the third crucial component of=
the
learning portfolio. In creating and choosing artifacts for their portfolios, students consult with others. Obvious=
ly
their professors are an important par=
t of
this process, but so may be advisors, portfolio coordinators, and, at many=
institutions, peer mentors.
Focus Student Thinking: All the material students are
presented with can be overwhelming. Portfolios can help them focus on some
aspect or instance of the material on which they can build and integrate.&=
#13;
Translate Theory into Practice: Because portfolios a=
re
necessarily concrete representations of student learning the act of findin=
g,
compiling, and reflecting on specific artifacts that relate to more abstra=
ct
theory helps move the student from theory to practice.
Operationalize student organizational skills and communi=
cation:
The process of turning learning into practice forces students to think of
problems in ways that can be measured and displayed. In addition, the
reflection component encourages work on communicating their ideas in a
meaningful manner.
Evolution of Learning: We often forget as we progres=
s in
any endeavor how we have moved and the types of changes we have made over
time. This puts that type of progress in a concrete form for them to refle=
ct
upon.
Reflection of Transitioning Events: Somewhat related=
to
the previous, but more analytical on the learners part. Not only do they s=
ee
HOW their work has changed, but here the reflection involves the events and
opportunities that LED to that change.
6
7
See Butler article page 12 for an expanded list if needed.<=
/div>
The learning portfolio, according to the most thoughtful professiona=
ls,
must embrace and probe “the sources, coherence, and worth of
learning,” which is only possible when it is “combined w=
ith
the power of collaboration and mentoring.
More simply stated, the learning portfolio must address the process =
of
learning and not just be a product of it, a collection of
“objects.”
See JohnZubizarreta, =
The
Learning Portfolio: Reflective Practice for Improving Student Learni=
ng
(San Francisco: Anker Publishing Company, Inc., 2004).
Questions of platform type (home grown, open source, or commercial),
and, if commercial, whether it should be hosted on a provider site o=
r on
a university site
![](3D"slide0022_image001.gif")
![](3D"notes_flag.gif")
No=
tes![](3D"buttons.gif")
