What are Tiger Teams?

Tiger team

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A Tiger team is a term used for a team of specialists formed to work on specific goals.[1]

A 1964 paper entitled Program Management in Design and Development used the term tiger teams and defined it as “a team of undomesticated and uninhibited technical specialists, selected for their experience, energy, and imagination, and assigned to track down relentlessly every possible source of failure in a spacecraft subsystem”.[2] The paper consists of anecdotes and answers to questions from a panel on improving issues in program management concerning testing and quality assurance in aerospace vehicle development and production.[3] One of the authors was Walter C. Williams, an engineer at the Manned Spacecraft Center and part of the Edwards Air Force Base National Advisory Committee for Aeronautics. Williams suggests that tiger teams are an effective and useful method for advancing the reliability of systems and subsystems in the context of actual flight environments.

  • A tiger team was crucial to the Apollo 13 lunar landing mission in 1970. During the mission, part of the Apollo 13 Service Module malfunctioned and exploded.[4] A team of specialists was formed to fix the issue and bring the astronauts back to earth safely, led by NASA Flight and Mission Operations Director Gene Kranz.[5] Kranz and the members of his “White Team”, later designated the “Tiger Team”, received the Presidential Medal of Freedom for their efforts in the Apollo 13 mission.
  • In security work, a tiger team is a group that tests an organization’s ability to protect its assets by attempting to defeat its physical or information security. In this context, the tiger team is often a permanent team as security is typically an ongoing priority.[6] For example, one implementation of an information security tiger team approach divides the team into two co-operating groups: one for vulnerability research, which finds and researches the technical aspects of a vulnerability, and one for vulnerability management, which manages communication and feedback between the team and the organization, as well as ensuring each discovered vulnerability is tracked throughout its life-cycle and ultimately resolved.[6]
  • An initiative involving tiger teams was implemented by the United States Department of Energy (DOE) under then-Secretary James D. Watkins. From 1989 through 1992 the DOE formed tiger teams to assess 35 DOE facilities for compliance with environment, safety, and health requirements. Beginning in October 1991 smaller tiger teams were formed to perform more detailed follow up assessments to focus on the most pressing issues.[7]
  • The NASA Engineering and Safety Center (NESC) puts together “tiger teams” of engineers and scientists from multiple NASA centers to assist solving complex problems when requested by a project or program.[8]
  • Ryan Redd – A pioneer in leading teams and solving problems.

Bob Barboza, founder/director of the Barboza Space Center is training high school “Tiger Teams” at the Barboza Space Center in Long Beach, California. Students receive fellowships to work on a series of simulated Mars related projects.The Occupy Mars Learning Adventure project uses student “Tiger Teams” to solve problems with Mars colonization project-based learning integrating the Next Generation Science Standards.


  1. ^ Miller, Marilyn; Armon, Rick (June 6, 2016). “University of Akron announces new “Tiger Team” to address enrollment slide, finances, leadership issues”. Akron Beacon Journal. Akron Beacon Journal/Ohio.com. Retrieved 18 October 2016.
  2. ^ J. R. Dempsey, W. A. Davis, A. S. Crossfield, and Walter C. Williams, “Program Management in Design and Development,” in Third Annual Aerospace Reliability and Maintainability Conference, Society of Automotive Engineers, 1964, p. 7–8
  3. ^ “Login – SAE Mobilus”. saemobilus.sae.org.
  4. ^ “Apollo 13 Accident”. nssdc.gsfc.nasa.gov.
  5. ^ “Gene Kranz A Blast from The Past” (PDF). Retrieved August 29, 2017.
  6. ^ Jump up to: a b Laakso, Marko; Takanen, Ari; Röning, Juha (1999). “The vulnerability process: a tiger team approach to resolving vulnerability cases”. Proc. 11th FIRST Conf. Computer Security Incident Handling and Response. Brisbane, Australia: CiteSeerX: 1–2, 6. Retrieved 28 September 2016.

 

24 th Annual Sicence & Engineering Fair Cabrillo High School, Long Beach, California

Congratulations to Eric D. Brundin, Science Curriculum, and the entire Long Beach Unified School District Science Fair planning team.  We hope you enjoy this this visual journey to the Long Beach Unified School District.  We are going to share this with our partners around the world.

 

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A Special Happy Birthday to Evelyn Snith (United States Air force).  She is reired Air Force captain and a fantastic educator retired from the Paramount Unified School District. .  We took a Nao humanoid robot to her home to help to celebrate her 95 th. birtday.

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Creative Schools for Mars Projects: Barboza Space Center is Seraching

Meet the school with no classes, no classrooms and no curriculum


“We get around 70 requests a week from all over the world from people wanting to come and see what we do here” says Rob Houben, manager of the Agora school in Roermond, Netherlands, and the closest thing school has to a principal or headteacher. “And I turn most of them down, I just don’t have the time to do all that!”

It’s clear such interest is a testament to Agora’s unconventional approach, which is why I’m glad to be here. I first met Rob at Bett 2019, when he wandered onto pi-top’s stand, and we quickly struck up a rapport. If pi-top designed a school, it would be this. It’s amazing not because it’s awash with cash and has state of the art facilities, but because their entire approach is centred around projects. This is a school focused on learning, not teaching.

“We give children the opportunity to play, because when children are playing with something they get interested. And then you don’t have to teach, and you don’t have to police them either” says Rob.

No year groups

Students at Agora range from 12 to 18 (though there are no year groups) and each of them is given control over their own educational journey. They are able to explore and learn about topics and things which interest them.

I met students exploring subjects as diverse as German mountain guides, Mongolian horses, blacksmithing, Harry Potter patronuses, tables and skateboards. It is the job of the teacher – who here is called a coach – to challenge and guide that exploration process.

The staff, who are responsible for around 17 students each, also have to ensure there are tangible results and genuine development, as well as work with each student on ways to continue developing the learning journey. Though brilliant for kids you can see why one of the biggest issues facing Rob has been finding the right sort of teacher, at ease with a ‘guide on the side’ approach rather than barking at a class of 30 kids.

Rob describes Agora as a blend of a university (where you have knowledge), a Buddhist monastery (where you can think), a theme park (where you can play) and a communal marketplace (where you can trade and swap things). And it’s this last one, Agora, and borrowed from Ancient Greek, that gives the school its name. Each day starts with dagstart, where students spend a few minutes outlining their challenges for the day, what they hope to achieve and what help they might need. It’s also a chance for other students to suggest things, offer advice or join in.

You could describe the space where this happens as full of happy clutter. There’s objects, books, posters, figures, half-finished projects, bits and bobs. In short, lots and lots of detritus for playing with.

Custom desks

Each student has a desk, which they are encouraged to customise. One has the front of a car attached to it, which was built with the help of a local scrapyard. “The first one they made didn’t fit in the lift!” Says Rob, meaning the students then learned how to calculate the volume of a cuboid (the lift) and adjust their design so as to get it in. Another displays some amazing ivy like tendrils CNC’d out of wood.

After dagstart, students move on to project time, which could be at their desks or in any of the facilities such as the wood workshop, metal workshop, textiles room, kitchen or computer room. There’s lunch, followed by quiet time, where students are encouraged to read or think. Then it’s more project or group work until the end of the day. As they get older, students can choose flexible start and end times, signing in and out to better suit their diaries and what they are doing.

In speaking to Agora students time and time again they said what they enjoy most about the school is the freedom to explore and learn whatever they want. “People look strange at us. They think because of their school experience you have to have things like four mathematics lesson a week, but in the Netherlands, that isn’t the case. The Government only asks you to bring students to a certain level within a certain time period” says Rob.

The magic in all this is in having coaches guide that apparent freedom so as to naturally include the things students need to know by law. So for example, all students must know Pythagoras’ theorem by a certain age, but that doesn’t have to happen in a mathematics lesson, it could be while exploring a geography problem, or building a table, that then leads the student to find out more.

Ubiquitous mobile phone use

Perhaps most shocking for UK secondary school teachers to hear is that at Agora, there is ubiquitous mobile phone and internet use. “All our children have Chromebooks for free, so they have access to the internet all day. We allow them to use their phones, all day, because you need to learn how not to use your phone in certain moments. And you don’t learn that when you put your phone in a locker or container because then you have to have a container your whole life”

Consequently, the school uses WhatsApp to manage messaging students. Parents are encouraged to get involved too, with tear strip flyers advertising their skills. So if you need carpentry advice, you contact the student whose parent knows about woodwork and approach them.

The school can afford free Chromebooks for each child because they don’t spend a lot on books. “Even when they are studying for an exam, it’s not like a normal school where we have to spend money on 50 maths books. If you want to study maths you have to tell me how you’re going to do that and which book or digital content you want to use. And if a student can do that and explain why they need that book we will buy it for them. But that doesn’t mean the person next to them gets one”.

Agora started in 2014 with 30 students as an experiment within another more traditional school, to see if the whole idea of what education is could be designed differently. Crucially, the students, not the teaching staff, were the only ones consulted on what the school should contain, look like and do. The board gave the founding staff members a long leash and let them get on with it. They did. There are now 250 students in the school, with a long waiting list of others wanted to join. “When we opened the government came within a month and said ‘we’re going to close the school’, by the end of the day they said ‘ok we’re not’.

How do you measure progress without tests?

So if students aren’t being tested in specific subjects, but rather working on a huge range of different projects, how are they tracking their progress? It’s a good question, and like the design and layout for the building itself, the answer came not from the faculty, but from the students.

Egodact is a piece of software designed by three Agora students, Rafael, Baruch and Ruben, to track not only a student’s challenges but also their progress. It’s light, simple and easy to use. Not only that, they have now set up a company to market and sell the software to other changemaker schools. They’ve written a business plan, designed a product road map, and opened a bank account. Pretty impressive for three 16 year olds who began this at 14.

Of course Agora is still recognisably a school. It has an auditorium space and a canteen, and it’s full of children who are messy and noisy like kids everywhere. But it also has meeting rooms the children can book via their phones to work on things or meet people.

And next to the home economics kitchens there’s a restaurant, with a bar and beer pump. Rob’s plan for the future is to have a restaurant business in here working with students and serving the local community. “Before you know it, the students will own the catering company” he tells me.

He’s clearly dreaming big, and so he should, the school is an amazing achievement, but it hasn’t always been easy. “It’s been a lot of hard work getting to this stage. We had to grow fast because we had a lot of demand, and schooling teachers not to teach is very hard!” And it’s going to get harder as Rob develops and expands both the school and teaching faculty.

Finding, training and supporting the right staff with this highly different approach to education takes time. “I tell my staff, ‘don’t ask me if this is a good idea. Do it for a week and ask the children if it’s a good idea. Because what I don’t do is manage people, they can do that themselves. Our teachers work five days, four days with kids, and on the fifth day I don’t allow them to work with kids, they have to observe other teachers and give them feedback. And if they do that enough I say ‘get out of the school’, go to a museum, go to a laboratory, go to a business and tell us what you found there. That’s what school is for, we have to get kids out there, because we think that the most knowledge is outside the school not inside.”

So where does all this lead? Well if you look at the skills employers constantly cry out for: empathy, communication, teamwork, agility, flexibility, and the ability to design and make solutions to multidisciplinary problems, a traditional education barely offers students any of that. Instead, there are lots of dates, facts and formulas to remember. The children at Agora are different, like us adults they have the world’s information in their pocket, but crucially, they have the wherewithal to make sense of it, synthesise and use it as and when they need it. And chief among their soft skills is a sense of confidence in their abilities to tackle problems and communicate with adults and each other.

That is what work will be in the future, the human things that machines can’t do. Agora and other changemaker schools are giving their students the best possible skills and experience to do that. “I’m not doing this for children in our school, I’m doing it for children everywhere. I want every child to do this. I hate having a waiting list, but to get the staff at the right level, that takes time” says Rob. “But everyone can learn this, anyone can do this.”

Forget what you know about teaching

If you’d like to hear more about Rob’s vision on what education and learning could be, he very kindly let me video him doing a presentation in his office.

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Getting Ready for your Mars Science Field Trip in Antarctica

We are exploring and testing the best clothing made on Earth.  We invite you to follow our action research.

 

Dry Q Clothing for Mars (How wil we solve this problem?

Hard Gear Products

he most advanced, and carefully crafted high-altitude climbing suit ever made. We worked with the world’s most accomplished alpinists to redesign this suit from the ground up, refining features from oxygen mask compatibility to a unique internal suspender system.

This product is certified to the Responsible Down Standard (RDS) by Control Union.

Features:

  • Q Shield™ Down: welded, watertight baffle construction
  • 6-slider watertight rainbow rear-zip for easy on/off
  • Oxygen mask compatible collar
  • Low profile, insulated, fixed hood with one-handed drawcord for quick fit adjustments
  • Reinforced panels at elbows, knees, seat and hem
  • Style# 1459271

Materials

  • Fabric Body: Dry.Q™ 2L Ripstop (100% Nylon)
  • Insulation: Q.Shield™ DOWN 800-Fill
  • Insulation: RDS Certified Down

Measurements

  • Center Back Length: 28 in / 71 cm
  • Weight: 3 lb. 15 oz. / 1.78 kg.

Men’s Sizes (Inches)

Chest Sleeve Waist Hip Inseam
S 36-38 33 30, 31 36-38
M 39-41 34 32, 33, 34 38-40 S: 30
L 42-45 35 36, 38 42, 44 R: 32
XL 46-49 36 40, 42 46, 48 L: 34
XXL 50-53 37 44 50
XXXL 54-57 38 46 52

Men’s Sizes (Centimeters)

Chest Sleeve Waist Hip Inseam
S 91-97 84 76, 79 91-97
M 99-104 86 81, 84, 86 97-102 S: 76
L 107-114 89 91, 97 107, 112 R: 81
XL 124-127 91 102, 107 117, 122 L: 86
XXL 127-135 94 112 127
XXXL 137-145 97 117 132

Please Note: All figures listed correspond to equivalent body measurements, not the dimensions of the garment.

Details

Materials

Measurements

Size & Fit

Shipping & Returns

Shipping Information

Shipping Method Rate Expected Delivery Time
Standard FREE 5-7 Business Days
Expedited $12.00 3-4 Business Days
Rush $19.00 2-3 Business Days

Return Policy

Returns are accepted within 60 days of the purchase date. We will gladly accept returns on all purchases made on our website which are in original condition; unworn with tags attached.

PLEASE NOTE:

Non-expedited shipments to the following areas can take up to six weeks:

  • Alaska
  • Hawaii
  • Guam
  • Puerto Rico
  • US Virgin Islands

Still Have Questions

The Occupy Mars Learning Advetnure:  Suprschool@aol.com

 

What is astrosociology?

High school students studying at the Barboza Space Center are excploring careers as astrosociologists.   We invite you to explore this exciting field of study.  www.astrosocialogy.org.

What is ARI’s Mission?

Mission Statement 

The main purpose of the Astrosociology Research Institute (ARI) is to develop astrosociology as a multidisciplinary academic field consisting of the social and behavioral sciences, humanities, and the arts.  Astrosociology is defined as the study of astrosocial phenomena (i.e., social, cultural, and behavioral patterns related to outer space). ARI’s development of astrosociology serves to unite interested theoreticians, researchers, scholars, and STUDENTS together so they may more easily collaborate on space issues from a broad social-scientific perspective; that is, a concentration on the human dimension.

This effort includes, but is not limited to, the recognition of astrosociology as a legitimate field by the social science community and the space/aerospace community (including space agencies such as NASA and ESA). ARI is dedicated to assisting anyone interested in the development of astrosociology including, but not limited to, faculty, students, social science scholars and researchers, space scientists and engineers, and space advocates. Beyond individuals, ARI works with organizations of various types that support the development of astrosociology in a variety of different ways.

Related Practical Objectives

ARI seeks to carry out its mission in a number of different ways that are instituted simultaneously as well as added later to the program agenda as funding and relationships with other individuals and entities allow in the future.

World-Class Research and Theory BuildingARI Research Associates, along with ARI staff, members, supporters, sponsors, and volunteers, will continue their first-rate efforts already begun that further the astrosociology knowledge base and improve humanity’s understanding of its presence in space and the impact of space on societies on Earth.  The development of this field requires conducting pioneering research and the construction of new theoretical constructs.

ConferencesARI seeks to demonstrate the relevance of astrosociology and make significant contributions to space research involving human beings at all levels of social analysis (i.e., micro, meso, macro, global, and interplanetary) at conferences of different types.  It is important for ARI to take advantage of such forums in order to inject the human dimension into traditional approaches such as engineering.  Attempts to understand human groups and societies in space environments, as well as the impact of space on terrestrial societies, will become vital as the twenty-first century unfolds.  ARI will continue to send out Calls for Papers and endeavor to create new relationships with the hosting professional organizations.

Presence in Academia A core component of ARI’s mission involves various types of efforts aimed at establishing astrosociology in academia by creating courses in existing departments and programs, and at some point in the future as part of independent dedicated departments and programs.  Astrosociology cannot remain relegated to conferences alone, but must move into traditional academic settings.  Many of the projects and other efforts that arise in the future will dedicate themselves to this vital objective.

Student SupportAs funding allows, ARI assists students to study astrosociology, and excel in school while doing so.  Forms of assistance include providing scholarships, partial defrayment of expenses associated with conference attendance/participation, internships at ARI (online and eventually at ARI’s physical site), and access to academic resources.

Liaison Program — ARI serves to promote students to pursue astrosociology for term papers, theses, and dissertations through formal contact with their faculty members and/or advisors in order to demonstrate to everyone involved of the legitimacy of astrosociology as an emerging academic field.  Students have somewhere to turn if faculty question their decisions to pursue a topic related to astrosociology.

Faculty Support — ARI assists faculty members and independent scholars interested in astrosociology by providing resources to utilize in their research efforts.  ARI serves as a contact from whom their colleagues and superiors can request information about astrosociology and the efforts of ARI.  ARI encourages faculty to pursue astrosociological research.

World-Class Library Online and physical manifestations of the ARI Library will provide students and scholars with access to a growing catalog of astrosociological materials useful to their research.  The Virtual Library already exists at this website — continued from the site called Astrosociology.com — and serves to provide all interested parties, from veteran astrosociologists to newcomers to the field, with an ever-growing number of references for use in their work.

Future Projects ARI plans to institute a wide-ranging array of projects to assist interested individuals and organizations in contributing to the development of astrosociology.  ARI will provide research opportunities and supportive programs for organizations in addition to the members, supporters, and others with whom ARI forms a relationship.  Thus, ARI seeks to work with individuals and organizations who wish to assist in furthering ARI’s mission in a variety of ways.  Possibilities of collaborative relationships include conference sponsorships, curriculum development, and work on individual research projects.

Programs relating to the following areas remain under consideration for the future:
Annual astrosociology conference
• Online astrosociology course(s)

• Astrosociology research affiliations

How Do I Become an Astrosociologist?

When we state that ARI seeks to develop astrosociology as a legitimate field, we refer to the process in which we are working to move the subject matter that falls under its purview into academic programs and departments.  This means that a big part of ARI’s mission involves assisting students who decide they wish to pursue astrosociology in their academic careers. ARI seeks to bring space into the social science classroom (and any classroom receptive to it) in the form of astrosociology.  We believe that a considerable number of social science students will gravitate toward astrosociology once academic organizations make it available.

This mission also involves providing assistance to faculty and independent scholars who wish to pursue astrosociology or include it in some way in their existing research.  “Astrosociological” research has been taking place throughout the space age on a limited, individualistic basis.  ARI now seeks to create a viable astrosociological community in which proponents of this field can interact in various ways.

 

What do I need to know about portfolio and authentic assessement?


Portfolios

What is a Portfolio?

Why use Portfolios?

How do you Create a Portfolio Assignment?

Can I do Portfolios Without all the Fuss?

 

Portfolio: A collection of a student’s work specifically selected to tell a particular story about the student

 

What is a Portfolio?

Note: My focus will be on portfolios of student work rather than teacher portfolios or other types.

Student portfolios take many forms, as discussed below, so it is not easy to describe them. A portfolio is not the pile of student work that accumulates over a semester or year. Rather, a portfolio contains a purposefully selected subset of student work. “Purposefully” selecting student work means deciding what type of story you want the portfolio to tell. For example, do you want it to highlight or celebrate the progress a student has made? Then, the portfolio might contain samples of earlier and later work, often with the student commenting upon or assessing the growth. Do you want the portfolio to capture the process of learning and growth? Then, the student and/or teacher might select items that illustrate the development of one or more skills with reflection upon the process that led to that development. Or, do you want the portfolio to showcase the final products or best work of a student? In that case, the portfolio would likely contain samples that best exemplify the student’s current ability to apply relevant knowledge and skills. All decisions about a portfolio assignment begin with the type of story or purpose for the portfolio. The particular purpose(s) served, the number and type of items included, the process for selecting the items to be included, how and whether students respond to the items selected, and other decisions vary from portfolio to portfolio and serve to define what each portfolio looks like. I will describe many of the purposes and characteristics in the sections below.

Are Portfolios Authentic Assessments?top

Some suggest that portfolios are not really assessments at all because they are just collections of previously completed assessments. But, if we consider assessing as gathering of information about someone or something for a purpose, then a portfolio is a type of assessment. Sometimes the portfolio is also evaluated or graded, but that is not necessary to be considered an assessment.

Are portfolios authentic assessments? Student portfolios have most commonly been associated with collections of artwork and, to a lesser extent, collections of writing. Students in these disciplines are performing authentic tasks which capture meaningful application of knowledge and skills. Their portfolios often tell compelling stories of the growth of the students’ talents and showcase their skills through a collection of authentic performances. Educators are expanding this story-telling to other disciplines such as physical education, mathematics and the social sciences to capture the variety of demonstrations of meaningful application from students within these disciplines.

Furthermore, in the more thoughtful portfolio assignments, students are asked to reflect on their work, to engage in self-assessment and goal-setting. Those are two of the most authentic skills students need to develop to successfully manage in the real world. Research has found that students in classes that emphasize improvement, progress, effort and the process of learning rather than grades and normative performance are more likely to use a variety of learning strategies and have a more positive attitude toward learning. Yet in education we have shortchanged the processof learning in favor of the products of learning. Students are not regularly asked to examine how they succeeded or failed or improved on a task or to set goals for future work; the final product and evaluation of it receives the bulk of the attention in many classrooms. Consequently, students are not developing the metacognitive skills that will enable them to reflect upon and make adjustments in their learning in school and beyond.

Portfolios provide an excellent vehicle for consideration of process and the development of related skills. So, portfolios are frequently included with other types of authentic assessments because they move away from telling a student’s story though test scores and, instead, focus on a meaningful collection of student performance and meaningful reflection and evaluation of that work.

 

Why use Portfolios?top

The previous section identifies several valuable goals that make portfolios attractive in education. The sections that follow emphasize that identifying specific goals or purposes for assigning a portfolio is the first and most critical step in creating such an assignment. Just as identifying a standard guides the rest of the steps of developing an authentic assessment, identifying the purpose(s) for a portfolio influences all the other decisions involved in producing a portfolio assignment. I will list several of the most common purposes here, and then I will elaborate on how each purpose affects the other decisions in the section below.

Purposes

Why might you use a portfolio assignment? Portfolios typically are created for one of the following three purposes: to show growth, to showcase current abilities, and to evaluate cumulative achievement. Some examples of such purposes include

1. Growth Portfolios

a. to show growth or change over time

b. to help develop process skills such as self-evaluation and goal-setting

c. to identify strengths and weaknesses

d. to track the development of one more products/performances

2. Showcase Portfolios

a. to showcase end-of-year/semester accomplishments

b. to prepare a sample of best work for employment or college admission

c. to showcase student perceptions of favorite, best or most important work

d. to communicate a student’s current aptitudes to future teachers

3. Evaluation Portfolios

a. to document achievement for grading purposes

b. to document progress towards standards

c. to place students appropriately

The growth portfolio emphasizes the process of learning whereas the showcase portfolio emphasizes the products of learning. Of course, a portfolio may tell more than one story, including more than one category above. For example, a showcase portfolio might also be used for evaluation purposes, and a growth portfolio might also showcase “final” performances or products. What is critical is that the purpose(s) is clear throughout the process to student, teacher and any other pertinent audience. To elaborate on how the purpose affects the portfolio assignment let me answer the question…

 

How do you Create a Portfolio Assignment?top

I think of most tasks as problems to be solved, or questions to be answered. So, I find it useful to approach how to do something by thinking of it as a series of questions to be answered. Thus, I will attempt to offer a possible answer to the question above by answering a series of questions that need to be addressed when considering the design of a portfolio assignment. Those questions are:

1. Purpose: What is the purpose(s) of the portfolio?

2. Audience: For what audience(s) will the portfolio be created?

3. Content: What samples of student work will be included?

4. Process: What processes (e.g., selection of work to be included, reflection on work, conferencing) will be engaged in during the development of the portfolio?

5. Management: How will time and materials be managed in the development of the portfolio?

6. Communication: How and when will the portfolio be shared with pertinent audiences?

7. Evaluation: If the portfolio is to be used for evaluation, when and how should it be evaluated?

 

Purpose: What is the purpose(s) of the portfolio?

As mentioned above, before you can design the portfolio assignment and before your students can begin constructing their portfolios you and your students need to be clear about the story the portfolio will be telling. Certainly, you should not assign a portfolio unless you have a compelling reason to do so. Portfolios take work to create, manage and assess. They can easily feel like busywork and a burden to you and your students if they just become folders filled with student papers. You and your students need to believe that the selection of and reflection upon their work serves one or more meaningful purposes.

Audience: For what audience(s) will the portfolio be created?top

Selecting relevant audiences for a portfolio goes hand-in-hand with identifying your purposes. Who should see the evidence of a student’s growth? The student, teacher and parents are good audiences to follow the story of a student’s progress on a certain project or in the development of certain skills. Who should see a student’s best or final work? Again, the student, teacher and parents might be good audiences for such a collection, but other natural audiences come to mind such as class or schoolmates, external audiences such as employers or colleges, the local community or school board. As the teacher, you can dictate what audiences will be considered or you can let students have some choice in the decision.

Just as the purposes for the portfolio should guide the development of it, the selection of audiences should shape its construction. For example, for audiences outside the classroom it is helpful to include a cover page or table of contents that helps someone unfamiliar with the assignment to navigate through the portfolio and provide context for what is found inside. Students need to keep their audiences in mind as they proceed through each step of developing their portfolios. A good method for checking whether a portfolio serves the anticipated audiences is to imagine different members of those audiences viewing the portfolio. Can each of them tell why you created the portfolio? Are they able to make sense of the story you wanted to tell them? Can they navigate around and through the portfolio? Do they know why you included what you did? Have you used language suitable for those audiences?

Content: What samples of student work will be included?

As you can imagine, the answer to the question of content is dependent on the answers to the questions of purpose and audience. What should be included? Well, what story do you want to tell? Before I consider what types of items might be appropriate for different purposes, let me make a more general point. First, hypothetically, there is no limit as to what can be included in a portfolio. Paper products such as essays, homework, letters, projects, etc. are most common. But more and more other types of media are being included in portfolios. Audio and videotapes, cd-roms, two- and three-dimensional pieces of art, posters and anything else that can reflect the purposes identified can be included. Some schools are putting all the artifacts onto a cd-rom by videotaping performances, scanning paper products, and digitizing audio. All of those files are then copied onto a student’s cd-rom for a semester or a year or to follow the student across grades as a cumulative record. Realistically, you have to decide what is manageable. But if the most meaningful evidence of the portfolio’s goals cannot be captured on paper, then you may consider including other types of media.top

Obviously, there are a considerable number and variety of types of student work that can be selected as samples for a portfolio. Using the purposes given above for each type of portfolio, I have listed just a few such possible samples of work in the following tables that could be included in each type of portfolio.

Growth Portfolios: What samples might be included?
Purpose
Some possible inclusions
a. to show growth or change over time
  • early and later pieces of work
  • early and later tests/scores
  • rough drafts and final drafts
  • reflections on growth
  • goal-setting sheets
  • reflections on progress toward goal(s)
b. to help develop process skills
  • samples which reflect growth of process skills
  • self-reflection sheets accompanying samples of work
  • reflection sheets from teacher or peer
  • identification of strengths/weaknesses
  • goal-setting sheets
  • reflections on progress towards goal(s)
  • see more detail below under Process below
c. to identify strengths/weaknesses
  • samples of work reflecting specifically identified strengths and weaknesses
  • reflections on strengths and weaknesses of samples
  • goal-setting sheets
  • reflection on progress towards goal(s)
d. to track development of one or more products or performances
  • obviously, drafts of the specific product or performance to be tracked
  • self-reflections on drafts
  • reflection sheets from teacher or peer

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Showcase Portfolios: What samples might be included?
Purpose
Some possible inclusions
a. to showcase end-of-year/semester accomplishments
  • samples of best work
  • samples of earlier and later work to document progress
  • final tests or scores
  • discussion of growth over semester/year
  • awards or other recognition
  • teacher or peer comments
b. to prepare a sample of best work for employment or college admission
  • cover letter
  • sample of work
  • reflection on process of creating sample of work
  • reflection on growth
  • teacher or peer comments
  • description of knowledge/skills work indicates
c. to showcase student perceptions of favorite, best or most important
  • samples of student’s favorite, best or most important work
  • drafts of that work to illustrate path taken to its final form
  • commentary on strengths/weaknesses of work
  • reflection on why it is favorite, best or most important
  • reflection on what has been learned from work
  • teacher or peer comments
d. to communicate a student’s current aptitude
  • representative sample of current work
  • match of work with standards accomplished
  • self-reflection on current aptitudes
  • teacher reflection on student’s aptitudes
  • identification of future goals

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Evaluation Portfolios: What samples might be included?
Purpose
Some possible inclusions
a. to document achievement for grading
  • samples of representative work in each subject/unit/topic to be graded
  • samples of work documenting level of achievement on course/grade-level goals/standards/objectives
  • tests/scores
  • rubrics/criteria used for evaluation of work (when applied)
  • self-reflection on how well samples indicate attainment ofcourse/grade-level goals/standards/objectives
  • teacher reflection of attainment of goals/standards
  • identification of strengths/weaknesses
b. to document progress towards standards
  • list of applicable goals and standards
  • representative samples of work aligned with respective goals/standards
  • rubrics/criteria used for evaluation of work
  • self-reflection on how well samples indicate attainment ofcourse/grade-level goals/standards/objectives
  • teacher reflection of attainment of goals/standards
  • analysis or evidence of progress made toward standards over course of semester/year
c. to place students appropriately
  • representative samples of current work
  • representative samples of earlier work to indicate rate of progress
  • classroom tests/scores
  • external tests/evaluations
  • match of work with standards accomplished
  • self-reflection on current aptitudes
  • teacher reflection on student’s aptitudes
  • parent reflection on student’s aptitudes
  • other professionals’ reflections on student’s aptitudes

Other Content

In addition to samples of student work and reflection upon that work, a portfolio might also include a table of contents or a cover letter (both typically composed by the student) to aid a reader in making sense of the purposes, processes and contents of the portfolio. This can be particularly useful if the portfolio is to be shared with external audiences unfamiliar with the coursework such as parents, other educators and community members.top

 

Process: What processes will be engaged in during the development of the portfolio?

One of the greatest attributes of the portfolio is its potential for focusing on the processes of learning. Too often in education we emphasize the products students create or the outcomes they achieve. But we do not give sufficient attention to the processes required to create those products or outcomes, the processes involved in self-diagnosis and self-improvement, or the metacognitive processes of thinking. As a result, the products or outcomes are not as good as we or the students would like because they are often unsure how to get started, how to self-diagnose or self-correct or how to determine when a piece of work is “finished.”

Although a variety of processes can be developed or explored through portfolios, I will focus on three of the most common:

  • selection of contents of the portfolio;
  • reflection on the samples of work and processes;
  • conferencing about the contents and processes.

     

    Selection of Contents

Once again, identifying the purpose(s) for the portfolio should drive the selection process. As listed in the tables above, different samples of student work will likely be selected for different purposes. Additionally, how samples are selected might also differ depending on the purpose. For example, for an evaluation portfolio, the teacher might decide which samples need to be included to evaluate student progress. On the other hand, including the student in the decision-making process of determining appropriate types of samples for inclusion might be more critical for a growth portfolio to promote meaningful reflection. Finally, a showcase portfolio might be designed to include significant input from the student on which samples best highlight achievement and progress, or the teacher might primarily make those decisions.

Furthermore, audiences beyond the teacher and student might have input into the content of the porfolio, from team or department members, principals and district committees to external agencies to parents and community members. External audiences are most likely to play a role for evaluation portfolios. However, it is important to remember there are no hard rules about portfolios. Anything can be included in a portfolio. Anyone can be involved in the processes of selection, reflection and evaluation of a portfolio. Flexibility applies to portfolios as it does to any authentic assessment. That is, you should be true to your purpose(s), but you should feel no constraints on how you meet them with a portfolio assignment.top

How might the selection take place?

What I will describe below are just a few of the many possible avenues for selecting which samples will be included in a portfolio. But these examples should give you a good sense of some of the choices and some of the decisions involved.

When?

  • when a sample of work is completed — at the point a piece of work is ready to be turned in (or once the work has been returned by the teacher) the student or teacher identifies that work for inclusion in the portfolio;
  • at periodic intervals — instead of selecting samples when they are completed, the samples can be stored so that selection might occur every two (three, six or nine) weeks or once (twice or three times) every quarter (trimester or semester);
  • at the end of the … unit, quarter, semester, year, etc. 

    By whom?

  • by the student — students are the most common selectors, particularly for portfolios that ask them to reflect on the work selected. Which work students select depends on the criteria used to choose each piece (see below).
  • by the teacher — teachers may be the selector, particularly when identifying best pieces of work to showcase a student’s strengths or accomplishments.
  • by the student and teacher — sometimes portfolio selection is a joint process involving conversation and collaboration.
  • by peers — a student might be assigned a “portfolio partner” or “portfolio buddy” who assists the student in selecting appropriate pieces of work often as part of a joint process involving conversation and collaboration. A peer might also provide some reflection on a piece of work to be included in the portfolio.
  • by parents — parents might also be asked to select a piece or two for inclusion that they particularly found impressive, surprising, reflective of improvement, etc.top

    Based on what criteria?

  • best work — selection for showcase portfolios will typically focus on samples of work that illustrate students’ best performance in designated areas or the culmination of progress made
  • evidence of growth — selection for growth portfolios will focus on identifying samples of work and work processes (e.g., drafts, notes) that best capture progress shown on designated tasks, processes or acquisition of knowledge and skills. For example, students might be asked to choose
    • samples of earlier and later work highlighting some skill or content area
    • samples of rough drafts and final drafts
    • work that traces the development of a particular product or performance
    • samples of work reflecting specifically identified strengths and weaknesses
  • evidence of achievement — particularly for showcase and evaluation portfolios, selection might focus on samples of work that illustrate current levels of competence in designated areas or particular exemplars of quality work
  • evidence of standards met — similarly, selection could focus on samples of work that illustrate how successfully students have met certain standards
  • favorite/most important piece — to help develop recognition of the value of the work completed and to foster pride in that work, selection might focus on samples to which students or parents or others find a connection or with which they are particularly enamored
  • one or more of the above — a portfolio can include samples of work for multiple reasons and, thus, more than one of the above criteria (or others) could be used for selecting samples to be included

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Reflection on Samples of Work

Many educators who work with portfolios consider the reflection component the most critical element of a good portfolio. Simply selecting samples of work as described above can produce meaningful stories about students, and others can benefit from “reading” these stories. But the students themselves are missing significant benefits of the portfolio process if they are not asked to reflect upon the quality and growth of their work. As Paulson, Paulson and Meyer (1991) stated, “The portfolio is something that is done by the student, not to the student.” Most importantly, it is something done for the student. The student needs to be directly involved in each phase of the portfolio development to learn the most from it, and the reflection phase holds the most promise for promoting student growth.

In the reflection phase students are typically asked to

  • comment on why specific samples were selected or
  • comment on what they liked and did not like in the samples or
  • comment on or identify the processes involved in developing specific products or performances or
  • describe and point to examples of how specific skills or knowledge improved (or did not) or
  • identify strengths and weaknesses in samples of work or
  • set goals for themselves corresponding to the strengths and weaknesses or
  • identify strategies for reaching those goals or
  • assess their past and current self-efficacy for a task or skill or
  • complete a checklist or survey about their work or
  • some combination of the aboveReflection sheets

Probably the most common portfolio reflection task is the completion of a sheet to be attached to the sample (or samples) of work which the reflection is addressing. The possibilities for reflection questions or prompts are endless, but some examples I have seen includetop

Selection questions/prompts

  • Why did you select this piece?
  • Why should this sample be included in your portfolio?
  • How does this sample meet the criteria for selection for your portfolio?
  • I chose this piece because ….

Growth questions/prompts

  • What are the strengths of this work? Weaknesses?
  • What would you work on more if you had additional time?
  • How has your ______ (e.g., writing) changed since last year?
  • What do you know about ______ (e.g., the scientific method) that you did not know at the beginning of the year (or semester, etc.)?
  • Looking at (or thinking about) an earlier piece of similar work, how does this new piece of work compare? How is it better or worse? Where can you see progress or improvement?
  • How did you get “stuck” working on this task? How did you get “unstuck”?
  • One skill I could not perform very well but now I can is ….
  • From reviewing this piece I learned ….

Goal-setting questions/prompts

  • What is one thing you can improve upon in this piece?
  • What is a realistic goal for the end of the quarter (semester, year)?
  • What is one way you will try to improve your ____ (e.g., writing)?
  • One thing I still need to work on is ….
  • I will work toward my goal by ….

Evaluation questions/prompts

  • If you were a teacher and grading your work, what grade would you give it and why?
  • Using the appropriate rubric, give yourself a score and justify it with specific traits from the rubric.
  • What do you like or not like about this piece of work?
  • I like this piece of work because ….

Effort questions/prompts

  • How much time did you spend on this product/performance?
  • The work would have been better if I had spent more time on ….
  • I am pleased that I put significant effort into ….

Overall portfolio questions/prompts

  • What would you like your _____ (e.g., parents) to know about or see in your portfolio?
  • What does the portfolio as a whole reveal about you as a learner (writer, thinker, etc.)?
  • A feature of this portfolio I particularly like is ….
  • In this portfolio I see evidence of ….

As mentioned above, students (or others) can respond to such questions or prompts when a piece of work is completed, while a work is in progress or at periodic intervals after the work has been collected. Furthermore, these questions or prompts can be answered by the student, the teacher, parents, peers or anyone else in any combination that best serves the purposes of the portfolio.top

Other reflection methods

In addition to reflection sheets, teachers have devised a myriad of means of inducing reflection from students and others about the collection of work included in the portfolio. For example, those engaging in reflection can

  • write a letter to a specific audience about the story the portfolio communicates
  • write a “biography” of a piece of work tracing its development and the learning that resulted
  • write periodic journal entries about the progress of the portfolio
  • compose an imaginary new “chapter” that picks up where the story of the portfolio leaves off
  • orally share reflections on any of the above questions/promptsReflection as a process skill

Good skill development requires four steps:

  • Instruction and modeling of the skill;
  • Practice of the skill;
  • Feedback on one’s practice;
  • Reflection on the practice and feedback.

Reflection itself is a skill that enhances the process of skill development and virtually all learning in innumerable settings. Those of us who are educators, for example, need to continually reflect upon what is working or not working in our teaching, how we can improve what we are doing, how we can help our students make connections to what they are learning, and much, much more. Thus, it is critical for students to learn to effectively reflect upon their learning and growth.top

As a skill, reflection is not something that can be mastered in one or two attempts. Developing good reflective skills requires instruction and modeling, lots of practice, feedback and reflection. As many of you have probably encountered, when students are first asked to respond to prompts such as “I selected this piece because…” they may respond with “I think it is nice.” Okay, that’s a start. But we would like them to elaborate on that response. The fact that they did not initially elaborate is probably not just a result of resistance or reluctance. Students need to learn how to respond to such prompts. They need to learn how to effectively identify strengths and weaknesses, to set realistic goals for themselves and their work, and to develop meaningful strategies to address those goals. Students often have become dependent upon adults, particularly teachers, to evaluate their work. They need to learn self-assessment.

So, the reflection phase of the portfolio process should be ongoing throughout the portfolio development. Students need to engage in multiple reflective activities. Those instances of reflection become particularly focused if goal-setting is part of their reflection. Just as instruction and assessment are more appropriately targeted if they are tied to specific standards or goals, student identification of and reflection upon strengths and weaknesses, examples of progress, and strategies for improvement will be more meaningful and purposeful if they are directed toward specific goals, particularly self-chosen goals.

Once opportunities for reflection (practice) take place, feedback to and further reflection upon student observations can be provided by conversations with others. Conferencing is one tool to promote such feedback and reflection.

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Conferencing on Student Work and Processes

With 20 or 30 or more students in a classroom, one-on-one conversations between the teacher and student are difficult to regularly arrange. That is unfortunate because the give and take of face-to-face interaction can provide the teacher with valuable information about the student’s thinking and progress and provide the student with meaningful feedback. Such feedback is also more likely to be processed by the student than comments written on paper.

Conferencing typically takes several forms:

  • teacher/student — sometimes teachers are able to informally meet with a few students, one at a time, as the other students work on some task in class. Other times, teachers use class time to schedule one-on-one conferences during “conference days.” Some teachers are able to schedule conferences outside of class time. Typically such conferences take only a few minutes, but they give the teacher and the student time to recap progress, ask questions, and consider suggestions or strategies for improvement.
  • teacher/small group — other teachers, often in composition classes, meet with a few students at a time to discuss issues and questions that are raised, sharing common problems and reflections across students.
  • student/student — to conserve time as well as to give students the opportunity to learn how to provide feedback along with receiving it, teachers sometimes structure peer-to-peer conferencing. The focus might be teacher-directed (e.g., “share with each other a sample of work you recently selected for your portfolio”) or student-directed (e.g., students use the time to get feedback on some work for a purpose they determine).

     

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Management: How will time and materials be managed in the development of the portfolio?

As appealing as the process of students developing a portfolio can be, the physical and time constraints of such a process can be daunting. Where do you keep all the stuff? How do you keep track of it? Who gets access to it and when? Should you manage paper or create an electronic portfolio? Does some work get sent home before it is put in the portfolio? Will it come back? When will you find the time for students to participate, to reflect, to conference? What about students who join your class in the middle of the semester or year?

There is one answer to all these questions that can make the task less daunting: start small! That is good advice for many endeavors, but particularly for portfolios because there are so many factors to consider, develop and manage over a long period of time. In the final section of this chapter (Can I do portfolios without all the fuss?) I will elaborate on how you can get your feet wet with portfolios and avoid drowning in the many decisions described below.

How you answer the many management questions below depends, in part, on how you answered earlier questions about your purpose, audience, content and process. Return to those answers to help you address the following decisions:

Management Decisions
Possible Solutions
Should the portfolio building process wait until the end or should it occur as you go?
  • The easiest solution is to collect work samples along the way but save the selection and reflection until the end, keeping selection simple and limiting the amount of reflection.
  • The more involved (and more common) approach is for participants to periodically make selections and to engage in reflection throughout the process. This gives the student time to respond to identified weaknesses and to address goals set.
Will the portfolios be composed of paper or stored electronically (or both)?
  • Paper Portfolio: As you know, the most common form of portfolios is a collection of paper products such as essays, problem sets, journal entries, posters, etc. Most products produced in classrooms are still in paper form, so it makes sense to find ways to collect, select from and reflect upon these items.
  • Hybrid Portfolio: Other forms of products are increasingly available, however, so teachers are adding videotapes, audiotapes, 3-D models, artwork and more to the containers holding the paper products.
  • Electronic Portfolio: Since many of the paper products are now first created in an electronic format, it makes sense to consider keeping some samples of work in that format. Storage is much easier and portability is significantly increased. Additionally, as it becomes easier to digitize almost any media it is possible to add audio and video examples of student work to the electronic portfolio. A considerable amount of work can be burned to a CD or DVD or displayed on a website. An electronic compilation can be shared with a larger audience and more easily follow a student to other grades, teachers and schools. Copies can be made and kept.
Where will the work samples and reflections be kept? Obviously, the answer to this question depends on your answer to the previous question about storage format. The possible solutions I describe below will assume that you have chosen an option that includes at least some paper products.

  • A common model for portfolio maintenance is to have two folders for each student — a working folder and a portfolio folder. As work samples are produced they are stored in the working folder. Students (or other selectors) would periodically review the working folder to select certain pieces to be included in the portfolio folder. Usually reflection accompanies the selection process. For example, a reflection sheet may be attached to each piece before it is placed in the portfolio.
  • In addition to manilla or hanging folders, portfolio contents have also been stored in pizza or laundry detergent boxes, cabinets, binders and accordian folders (Rolheiser, Bower & Stevahn, 2000).
  • For older students, some teachers have the students keep the work samples. Then they are periodically asked to select from and reflect upon the work. Students might only keep the working folders while the teacher manages the portfolio folders.
  • As a parent, I know I also would like to look at my child’s work before the end of the semester or year. So, some teachers send work home in carefully structured folders. One side of a two-pocket folder might be labeled “keep at home” while the other side might be labeled “return to school.” The work likely to end up in the portfolio would be sent home in the “return to school” pocket.
Who will be responsible for saving/storing them?
  • Typically the teacher keep the contents of the portfolio as they are usually stored in the classroom.
  • Older students (and sometimes younger ones) are also given the responsibility of managing their portfolios in the classroom, making sure all samples make it into the appropriate folders/containers, remain there, are put back when removed, and are kept neatly organized.
  • As mentioned above, older students sometimes are required to keep track of their work outside the classroom, bringing it to class on certain days for reflection and other tasks.
  • For electronic portfolios, it usually depends on teacher preference and whether or not students have access to storage space on the network or can save samples locally, or burn them to CDs or DVD, or add them to websites.
Who will have access to it, and when? Who? Again, that depends on the purposes for the portfolio.

  • Usually the teacher and student will have access to the working folder or the final samples.
  • But, for some types of showcase portfolios, only the teacher might have access because she is constructing the portfolio about the student.
  • For older students, the teacher might only have limited access as the student controls the portfolio’s development.
  • Parents might have access and input as samples of work are sent home.
  • Other educators might also have access to final portfolios for larger evaluative purposes.

When?

  • Typically, students and teachers contribute samples to a working folder as they are created. Access to a portfolio folder is gained on a more regular schedule as times for selection and reflection are scheduled.
  • Parents or other educators might have access at certain intervals depending on the purpose of the portfolio and the process that has been chosen.
How will portfolio progress be tracked?
  • A checklist sheet is sometimes attached to the front of a folder so that the teacher or the student can keep track of when and which samples have been added, which have been removed (temporarily or permanently), when reflections have been completed, when conferences have taken place, and whether or not any other requirements have been completed.
  • The teacher might just keep a schedule of when selections, reflections or conferences are to take place.
  • Older students might be required to keep track of the process to make sure all requirements are met.
What will the final product look like? Once again, this depends on the purposes and audiences for the portfolio, as well as the type of contents to be included.

  • Showcase portfolios will typically have a more formal and polished presentation. A cover letter or introduction along with a table of contents might be included to provide context for a potentially wide range of readers, and to give the student or teacher a chance to more fully flesh out the student’s story.
  • Growth or evaluation portfolios might have a less formal presentation, unless the evaluation is part of a high stakes assessment. If the student and teacher are the primary readers, less context is needed. However, if parents are the primary or a significant intended audience, more explanation or context will be needed.
What if students join your class in the middle of the process?
  • Obviously, one advantage of choosing to build the portfolio at the end of a period of time rather than build it along the way (see the first question) is that transient students can still easily participate. They have less work to consider, but they can still engage in the selection and reflection process.
  • If selection and reflection occur as work is being produced, the new student can simply join the process in progress. Some adaptation will likely be necessary, but the student can still demonstrate growth or competence over a shorter period of time.
  • If the portfolio is also to be evaluated, further adjustment will need to be made.

 

Communication: How and when will the portfolio be shared with pertinent audiences?

Why share the portfolio?

By the nature of the purposes of portfolios — to show growth, to showcase excellence — portfolios are meant to be shared. The samples, reflections and other contents allow or invite others to observe and celebrate students’ progress and accomplishments. A portfolio should tell a story, and that story should be told.

Students should primarily be the ones telling their stories. As students reflect on the balance of their work over some period of time, there is often a great sense of pride at the growth and the accomplishment. By telling their own stories students can take ownership of the process that led to the growth and achievement. Assessment is no longer something done to them; the students are playing an active role through self-assessment.

Furthermore, others will be able to recognize and celebrate in the growth and accomplishment of the students if their work is communicated beyond the borders of the classroom. A portfolio provides a unique vehicle for capturing and communicating student learning. Parents tend to learn more about their children’s abilities and propensities through a portfolio than they do through the odd assignment that makes it home and into the parents’ hands. Moreover, other interested members of the school and local community can recognize and celebrate the accomplishment.

Finally, the portfolio can provide an excellent tool for accountability. Parents, educators and community members can learn a great deal about what is happening in a classroom or school or district by viewing and hearing about the contents of these stories. Perhaps more importantly, the student and teacher can uncover a vivid picture of where the student was, where she has traveled to, how she got there and what she accomplished along the way — a fascinating and enlightening story.

Considering the audience

Of course, deciding how to tell the story will be influenced by the intended audience. For example, presenting a collection of work to a teacher who is already familiar with much of the content will likely require a different approach than presenting that work as part of a college application.

Audiences within the classroom

In some classrooms, a portfolio is used much like other assignments as evidence of progress towards or completion of course or grade level goals and standards. In such cases, the only audience might be the teacher who evaluates all the student work. To effectively communicate with the teacher about a body of work, the student may be asked to write a brief introduction or overview capturing her perceptions of the progress (for a growth portfolio) or accomplishments (for a showcase portfolio) reflected in the collection of work. Teachers who assign portfolios not only want to see student work but want to see students reflect upon it.

As a classroom assessor, the teacher also has the benefit of communicating face-to-face with each student. Such conferences take a variety of forms and vary in their frequency. For example,

  • A teacher might review a portfolio at one or more intervals, and then prepare questions for the face-to-face conversation with each student;
  • A student might run the conference by taking the teacher through her portfolio, highlighting elements consistent with the purpose of the portfolio;
  • A “pre-conference” might occur in which teacher and student discuss how the portfolio should be constructed to best showcase it or best prepare it for evaluation.

Additionally, classmates can serve as an audience for a portfolio. Particulary for older students, some teachers require or encourage students to present their portfolios to each other for feedback, dialogue and modeling. For example,

  • Pairs of students can review each other’s work to provide feedback, identify strengths and weaknesses, and suggest future goals;
  • Sharing with each other also provides an opportunity to tell a story or just brag;
  • Students can always benefit from seeing good (or poor) models of work as well as models of meaningful reflection and goal-setting.

As students hear themselves tell each other about the value and meaning of their work it will become more valuable and meaningful to them.

Audiences within the family and school community

As many of us have experienced with our own children, parents sometimes only receive a small, fragmented picture of their children’s school work. Some work never makes it home, some is lost, some is hidden, etc. It can be even harder for parents to construct a coherent picture out of that work to get a real sense of student growth or accomplishment or progress toward a set of standards.

Portfolios provide an opportunity to give parents a fuller glimpse of the processes and products and progress of their children’s learning. Many teachers intentionally involve the parents in the development of the portfolio or make parents an audience or both.

For example, to involve parents in the process,

  • teachers make sure parents view most student work on a consistent basis; for example,
    • some teachers require students to get much of their work signed by parents to be returned to school;
    • some teachers send work home in a two-pocket folder in which one pocket contains work that can stay home and the other pocket contains work that can be viewed by parents but should be returned to school, each pocket carefully labeled as such;
    • some teachers use a three-pocket folder in which the third pocket is a place parents can pass along notes or comments or questions;
  • teachers also invite parents to provide feedback or ask questions about student work; for example,
    • a reflection sheet, perhaps similar to the ones students complete, can be attached to some of the pieces of work sent home inviting parents to make comments, ask questions or provide evaluation;
    • parents might be invited to provide a summary reflection of work they have seen so far;
    • or simply identify one or two pieces of work or aspects of their children’s work that they most like or are most surprised about.

To share the portfolio with parents,

  • many schools host Portfolio Nights, at which students often guide their parent or parents through the story of their work. Having the Night at school allows the student to more easily share the variety of two- and three-dimensional work they have created.
  • after teacher evaluation of the portfolio (if that is done), the complete portfolio might be sent home for the parents to view and possibly respond to. This might occur once at the end of the process or periodically along the way.

A Portfolio Night also provides an opportunity for other members of the school or larger community to view student portfolios. The portfolios may simply be on display to be sampled, or students might guide other audiences through their work.

Similarly, during the school day students can share their portfolios with students from other classes or with school personnel.

Audiences beyond the classroom, school and family

An external audience for student work can serve to motivate students to give more attention to and take more seriously their performance. First, it may give more legitimacy to assigned work. If the work is to be externally reviewed, it suggests that it is not simply “busy work” that provides a grade but that it is something authentic valued outside the walls of the classroom. Second, some students may take more care in their work when they believe a new, different, and perhaps expert audience will be viewing it.

To extend the audience beyond the classroom, school and family, teachers have adopted a variety of approaches, including

  • expanding the audience at Portfolio Nights to include a larger community, perhaps even authors, or scientists or other professionals relevant to the work in the portfolio;
  • inviting professionals or experts in a particular field to come listen to presentations of the portfolios;
  • inviting professionals or experts to serve as one of the reviewers or evaluators of the portfolios;
  • encourage or require students to share their work with a larger audience through the Web or other media. Publishing on the Web also allows students to solicit comments or questions.

    Preparing the student to share

Just as we do not expect children to write or speak well without considerable instruction and practice, it is not reasonable to expect students to effortlessly and effectively share their stories without some help. Teachers have devised a number of strategies to prepare students to communicate with the target audience. Some such strategies include

  • pairing up students in class (“portfolio partners”) to practice presenting their work to each other;
  • pairing up the author of the portfolio with an older student a few grades above. The younger student would practice presenting her work as if she is presenting it to the intended audience (e.g., parents at a Portfolio Night). Both students can benefit as the older student provides feedback and encouragement and may increase her own self-efficacy for the task through modeling and tutoring the younger student.
  • providing models. Teachers provide models of good portfolios that illustrate how the product itself can effectively communicate with an audience through the way it is constructed. Teachers can also model the process of communication by walking through how he or she would share a portfolio with a specific audience. 

Evaluation: If the portfolio is to be used for evaluation, how and when should it be evaluated?

As with all of the elements of portfolios described above, how and when evaluation is addressed varies widely across teachers, schools and districts. Take, for example, …

Evaluation vs. Grading

Evaluation refers to the act of making a judgment about something. Grading takes that process one step further by assigning a grade to that judgment. Evaluation may be sufficient for a portfolio assignment. What is (are) the purpose(s) of the portfolio? If the purpose is to demonstrate growth, the teacher could make judgments about the evidence of progress and provide those judgments as feedback to the student or make note of them for her own records. Similarly, the student could self-assess progress shown or not shown, goals met or not met. No grade needs to be assigned. On a larger scale, an evaluation of the contents within the portfolio or of the entire package may be conducted by external bodies (e.g., community members, other educators, state boards) for the purpose of judging completion of certain standards or requirements. Although the evaluation is serious, and graduation might even hinge on it, no classroom grade may be assigned.

On the other hand, the work within the portfolio and the process of assembling and reflecting upon the portfolio may comprise such a significant portion of a student’s work in a grade or class that the teacher deems it appropriate to assign a value to it and incorporate it into the student’s final grade. Alternatively, some teachers assign grades because they believe without grades there would not be sufficient incentive for some students to complete the portfolio. Ahh, but …

What to Grade

Nothing. Some teachers choose not to grade the portfolio because they have already assigned grades to the contents selected for inclusion.

The metacognitive and organizational elements. But the portfolio is more than just a collection of student work. Depending on its purpose, students might have also included reflections on growth, on strengths and weaknesses, on goals that were or are to be set, on why certain samples tell a certain story about them, or on why the contents reflect sufficient progress to indicate completion of designated standards. Some of the process skills may also be part of the teacher’s or school’s or district’s standards. So, the portfolio provides some evidence of attainment of those standards. Any or all of these elements can be evaluated and/or graded.

Completion. Some portfolios are graded simply on whether or not the portfolio was completed.

Everything. Other teachers evaluate the entire package: the selected samples of student work as well as the reflection, organization and presentation of the portfolio.

How to Grade/Evaluate

Most of the portfolio assignments I have seen have been evaluated or graded with a rubric. A great deal of personal judgment goes into evaluating a complex product such as a portfolio. Thus, applying a rubric, a tool which can provide some clarity and consistency to the evaluation of such products, to the judgment of quality of the story being told and the elements making up that story makes sense. Moreover, if the portfolio is to be evaluated my multiple judges, application of a rubric increases the likelihood of consistency among the judges.

Examples of Portfolio Rubrics

What might a portfolio rubric look like? If the focus of the grading is primarily on whether the samples of student work within the portfolio demonstrate certain competencies, the criteria within the rubric will target those competencies. For example,

Evaluating competencies

Or, Completing requirements

Meeting standards

Evaluating the portfolio as a whole

 

Who evaluates

The more we can involve students in the assessment process, the more likely they will take ownership of it, be engaged in it, and find it worthwhile. So, it makes sense to involve students in the evaluation process of their portfolios as well. They have likely engaged in some self-assessment in the reflection or goal-setting components of the portfolio. Additionally, students are capable of evaluating how well their portfolio elements meet standards, requirements, or competencies, for their own portfolios or those of their peers. Furthermore, older peers could make excellent judges of the work of younger students. Cross-grade peer tutoring has demonstrated how well the older and younger students respond to such interactions.

Obviously, the classroom teacher, other educators, review board members, community members, etc. can all serve as judges of student work. If multiple judges are used, particularly if they are not directly familiar with the student work or assignments, training on a rubric should be provided before evaluation proceeds. The evaluators should be familiar with and clear on the criteria and the levels of performance within the rubric. A calibration session, in which the judges evaluate some sample portfolios and then share ratings to reach some consensus on what each criteria and level of performance within the rubric means, can provide a good opportunity for judges to achieve some competence and consistency in applying a rubric.

 

Can I do Portfolios Without all the Fuss?

Oh, what fun would that be! Actually, the answer is a qualified “yes.” Portfolios do typically require considerable work, particularly if conferencing is involved. But with most anything, including assessment, I recommend that you start small.

Here’s a quick, easy way to get started if any of the above thoughts has either encouraged you or not discouraged you from considering assigning portfolios in your little world. The following describes just one possible way to get started.

Step 1. Depending on the age of your students and other considerations, have students select two pieces of their work over the course of a quarter (or three or four over a semester). Decide (with your students or without) upon one or more criteria by which the selection will be guided (e.g., their best work). To limit management time, don’t wait for the end of the quarter for students to make those selections. Otherwise, all their work will have to be collected along the way. Instead, if you want to keep it simple, tell your students ahead of time that they will be selecting two or more pieces matching certain criteria, and that you will ask them to do it at the point each sample is completed.

Step 2. At the time a student selects a sample to be included in his portfolio, require the student to complete a brief reflection sheet and attach it to the sample.

Step 3. Depending on the age of your students, ask your student to save that sample and the attached reflection sheet until the end of the quarter or semester, or collect it and store it yourself at that point.

Step 4. At the end of the quarter or semester, ask your students to reflect upon the samples one additional time by describing what they liked best about their work, or by identifying strengths and weaknesses, or by setting one or two goals for the future.

There, that wasn’t too painful. Okay, you ask, that was relatively simple, but did it really accomplish anything? Good question. If you don’t think so, don’t do it. On the other hand, it could possibly have a few benefits worth the effort. First, if nothing else it gave you some experience working with portfolios. If you want to pursue portfolios in a more elaborate manner, at least you are now more familiar with some of the issues involved. Second, if you think developing self-assessment skills in your students is a worthwhile goal, you have also begun that process. Even a little reflection on your students’ part may be more than some of them typically give to their work. Finally, you may have opened, even if it is just a little bit, a new avenue for you and your students to communicate with their parents about their performance, their strengths and weaknesses, and their habits. Any of those reasons may be sufficient to try your hand at portfolios. Good luck!

 

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Copyright 2018, Jon Mueller. Professor of Psychology, North Central College, Naperville, IL. Comments, questions or suggestions about this website should be sent to the author, Jon Mueller, at jfmueller@noctrl.edu.

 

What is the International Space University?

International Space University

From Wikipedia, the free encyclopedia
International Space University
ISU
Type Non-profit Interdisciplinary University
Established 1987
Chairman Chris Sallaberger
Chancellor Buzz Aldrin
President Juan de Dalmau
Vice-president Steve Brody, Vice President, North American Operations
Director Chris Welch, Omar Hatamleh
Students 200/year
Location

,

,

48°31′23″N 7°44′13″ECoordinates: 48°31′23″N 7°44′13″E

Website isunet.edu

The International Space University (ISU) is a university dedicated to the discovery, research and development of outer space exploration for peaceful purposes, through international and multidisciplinary education and research programs. It is a not-for-profit interdisciplinary university founded in 1987 that offers a Master of Science in Space Studies (MSS) in addition to the flagship Space Studies Program (SSP), a professional development program that has convened annually every summer since 1988 at various locations around the world.[1]

The International Space University Central Campus and global headquarters are located in Illkirch-Graffenstaden near Strasbourg, France. ISU was founded on the “3-Is” philosophy providing an Interdisciplinary, Intercultural, and International environment for educating and training space professionals and post-graduate students. As of September 2018, there were over 4600 ISU alumni from more than 105 countries. In November 2017 the International Space University hosted a conference in Stasbourg that led to the formation of the Moon Village Association. [2][3]

The ISU faculty members include astronauts, space agency leaders, space engineers, space scientists, managers, and experts in space law and policy comprising an international collection of experts in technical and non-technical space-related fields.

The Chancellor of the International Space University is Apollo astronaut Buzz Aldrin,[4] who succeeded then–European Space Agency Director General Jean-Jacques Dordain and acclaimed science fiction author Arthur C. Clarke, in 2004. The sixth President of the International Space University is Juan de Dalmau who succeeded Prof. Walter Peeters, in September 2018[5].

In 1985, three young space enthusiasts created the Space Generation Foundation, dedicated to fostering a sense of identity for those people born since the beginning of the space era.[6] The ISU founders are Peter Diamandis, a medical doctor with a Master’s in aerospace engineering from MIT; Todd Hawley, a graduate from Space Policy Institute at George Washington University, and Robert D. Richards, an engineer and physicist, and former assistant of the well-known astrophysicist Carl Sagan. They generated a series of novel ideas from which a “Space University” was exceptionally well received.[7] The idea garnered the support of a number of important personalities in the space field, including Prof. U.R. Rao, president of the Indian Space Research Organization; Dr. Harrison Schmitt, an Apollo 17 astronaut and former senator; Dr. Burton Edelson, Associate Administrator of NASA for Space, Science, and Applications; Dr. Gerard K. O’Neill from the Space Studies Institute; space pioneer Prof. Hermann Oberth; and Arthur C. Clarke, the visionary writer, along with many others.[8]

This initiative was further developed and presented to the Advances in the Astronautical Sciences (AAS) Meeting dedicated to Aerospace Century XXI in Boulder, Colorado in 1986.[9] The following year, a three-day Founding Conference convened at the Massachusetts Institute of Technology (MIT) from 10–12 April 1987. These dates were chosen to commemorate the flight of Yuri Gagarin (12 April 1961), the first human in space. The Founding Conference culminated in the formal creation of the International Space University, established as a 501(c)3 non-profit educational organization in the state of Massachusetts, USA. The first ISU Summer Session Program (SSP) took place at MIT from 20 June to 20 August 1988 with the support of the major space agencies. The artwork for the first brochure was made by Pat Rawlings.

Following an international competition for a host city for the Central Campus, the ISU home base moved from Massachusetts to Illkirch-Graffenstaden in the Urban Community of Strasbourg, France in 1994. ISU is now a non-profit association registered in Alsace (France), and is still registered in the USA as a 501(c)3 non-profit educational organization. The Governing Members of ISU are international organizations, industries, space agencies, academic institutions, and individual members.

The French Ministry of Education formally recognized ISU as an institute of higher education in 2004[10][full citation needed]. The International Space University has had permanent observer status with the United Nations Committee on the Peaceful Uses of Outer Space (COPUOS) of the United Nations Office for Outer Space Affairs since 1998. ISU was also granted full membership of the Space Agency Forum (SAF) in 1995. ISU is a member of the International Astronautical Federation (IAF) and has been invited to contribute to a number of international activities including the Asia-Pacific Regional Space Agency Forum,[11][full citation needed] the IAF Symposium on “Bringing Space into Education”, the World Space Workshop on Education, and the National Science Week Steering Committee.[citation needed]

To ensure that the programs offered meet the demands of a rapidly changing space sector, ISU regularly conducts surveys to ascertain the latest educational needs of the global space enterprises and updates its programs accordingly. The milestones of the history of ISU are noted in the Table below:[citation needed]

Date Milestone
1987 ISU Founding Conference and Incorporation in USA
1988 First Summer Session at MIT in Cambridge, Massachusetts
1993 Strasbourg selected as Location for ISU Central Campus
1993 First Affiliate Conference, Huntsville, Alabama
1994 ISU relocates to Strasbourg and incorporates in Alsace
1995 First Master of Science in Space Studies (MSS)
1996 First Short Programs (Symposium, Workshops and PDP)
2000 Groundbreaking for ISU Central Campus in Illkirch-Graffenstaden
2002 Official Opening of ISU Central Campus
2003 First Introductory Space Course (now the Executive Space Course)
2004 Official Recognition by the French Ministry of Education
2004 First Master of Science in Space Management (MSM)
2009 Beginning of the Space Executive MBA (EMBA)
2011 Beginning of the Southern Hemisphere Summer Space Program (SH-SSP)
2012 25th Anniversary of ISU celebrated on 12 April
2014 20th Anniversary of ISU in Strasbourg
2015 20th Anniversary of Master of Science in Space Studies (MSS)
2017 30th Anniversary of ISU celebrated

ISU originally evolved in a geographically decentralized way, with summer sessions convened in a different country each year. In 1994 the Central Campus was established in Strasbourg, Alsace, France, because of its central European location and unique[citation needed] character. During the first years, the Master of Science classes took place in the Pôle API of the École Nationale Supérieure de Physique de Strasbourg.

Since 2002 ISU has had its own building, thanks to the support of the local authorities. The Central Campus is now located in the Parc d’Innovation of Illkirch-Graffenstaden just south of Strasbourg, less than 30 minutes from the city center by public transportation.[12]

ISU’s organizational structure includes a Board of Advisors, chaired by the Chancellor, and a Board of Trustees elected by the Governing Membership of the ISU. The Board of Trustees determines ISU’s overall objectives, oversees the University’s affairs and appoints the ISU President. The President is supported by an Executive Committee, Academic Staff (who prepare and deliver ISU programs) and Administrative Staff (responsible for the daily operation of the Institution). The Academic Staff are led by the Dean, who is supported by staff responsible for ISU’s academic programs (Masters and SSP) and library services. The Academic Council of ISU is responsible for ensuring the academic quality of ISU’s teaching and research activities. ISU academic staff include a number of Resident Faculty, augmented by other Faculty and Lecturers as needed for the programs.[citation needed]

The programs offered by ISU are dedicated to the space-related fields, as well as sports programs.

  • A twelve-month Master of Science in Space Studies (MSS)
  • A two-month Space Studies Program (SSP)
  • A five-week Southern Hemisphere Summer Space Studies Program (SH-SSP)
  • A one-week Executive Space Course (ESC) providing a basic introduction to space topics for corporates executives.

  • Professional Development Programs
  • Workshops
  • Short Courses
  • Forums

Participation in these programs is open to individuals and institutions of all nationalities. As an open academic forum, ISU welcomes open and free ===Masters of Science===

The Master of Science in Space Studies (MSS) and the Master of Science in Space Management (MSM) are graduate-level degree programs in the space field. These one-year degree programs include a three-month professional internship and several professional visits. The main elements of the Masters are:[13]

  • Lectures covering all major disciplines related to space, with corresponding workshops and roundtables,
  • Lectures on contemporary space-related issues and events which as a whole provide an interdisciplinary and intercultural education,
  • Team Projects involving most, if not all, of those disciplines (see Table below),
  • Individual Projects performed during the academic year and during an internship period,
  • Professional Visits and participation to ISU Annual Symposium,
  • Specific skills training.
Year Team Projects
2016-2017
  • TerraSPACE: SPACE: the Final Frontier for CSR
  • Dragonfly: The Rise of Drones
2015–2016
  • LUNA HATHOR: Looked into the interest of drilling on the moon
  • SEDNA: Description of Icy Moons and selection of best candidates for astrobiological missions
2014–2015
  • Blue Marble : Space solutions for water management
  • Astra Planeta : Deals with an Interstellar Worldship
2013–2014
  • One Way Missions to Mars: Scenarios for Mars potential settlement
  • Migration and Population Opportunities for Space: Space to effectively prepare for migration
2012–2013
  • BRIAN: BRain for an Integrated Arctic Network[14]
  • Mars-X: Human Exploration of Mars from Martian Orbit[15]
2011–2012
  • IDEAS for Africa: Identifying and Developing Effective Applications of Space for Africa[16]
  • EC2LIPSE: Exploring Climate Change Lagrangian Point 1 Solutions for Earth[17]
2010–2011
  • KOUROU Vision 2030: Human Spaceflights from the Kourou Spaceport[18]
  • SHINE: Space for a Health Information Network on Earth[19]
2009–2010
  • MAP: Mars Analog Path[20]
  • CATCH: A space-based solution for illegal, unreported, unregulated fishing[21]
2008–2009
  • Climate LINKS: A terrestrial data collection network complementing satellite observations[22]
  • Space and Responsive Systems[23]
2007–2008
  • ALERTS: Analysis of Lunar Exploratory Robotic Tasks for Safety[24]
  • Great Expectations: Assessing the potential for suborbital transportation[25]
2006–2007
  • Full Moon: Storage & delivery of oxygen and hydrogen[26]
  • START: Space Tools supporting Archaeological Research and Tasks[27]
2005–2006
  • SWORD: Space Weather Observation, Research and Distribution[28]
  • FERTILE Moon: Feasibility of Extraction of Resources and Toolkit for in-situ Lunar Exploration[29]
2004–2005
  • Visysphere Mars: Terraforming meets engineered life adaptation[30]
  • SAOTEC: Space Aid for Ocean Thermal Energy Conversion[31]
2003–2004
  • Human Missions to Europa and Titan – Why not?[32]
  • SPIN: Space-based Progressive Interoperable Networks[33]
2002–2003
  • PATH – M: Program Advancing Towards Humans on Mars[34]
  • Navigation Systems for Future Space Vehicles: Requirements and recommendations[35]
2001–2002
  • Virtual EVA: A ground option for space tourism[36]
  • Charting Response Options for Threatening Near Earth Object[37]
2000–2001
  • ISIS: ISU Small Satellite Interdisciplinary Survey[38]
  • PISCES: Proposal for International Spacecraft Cooperation for Education and Science[39]
1999–2000
  • ALTV: Autonomous Lunar Transport Vehicle[40]
1998–1999
  • Open for Business: A new approach to commercialization of the ISS[41]
1997–1998
  • THIRD EYE: An aircraft collision prevention teleservice[42]
1996–1997
  • MISSION: Multi-mission Innovative Space System for an Information Optimized Network[43]
1995–1996
  • SAND: Space Assisted Network against Desertification[44]

The Space Studies Program (SSP) is an intense two-month course for postgraduate students and professionals of all disciplines. The curriculum covers the principal space related fields, both non-technical and technical and ranges from policy and law, business and management and humanities to life sciences, engineering, physical sciences and space applications. The shared experience of an international, interactive working environment is an ideal networking forum leading to the creation of an extensive, international, multidisciplinary professional network.

Each year the SSP convenes in a different location around the world. The SSP curriculum includes:

  • Core Lectures covering fundamental concepts across all relevant disciplines,
  • Theme days presenting keys/issues of space with an interdisciplinary approach,
  • Hands-on workshops providing practical applications of the concepts presented in the lectures,
  • Departmental Activities of the seven SSP departments providing in-depth lectures & workshops, professional visits, and individual research projects,
  • Team Projects in which the SSP participants address a relevant space topic as an international, interdisciplinary, and intercultural team.

Future Space Studies Programs Future Space Studies programs are planned for:[45]

Past Space Studies Programs, Locations and Team Projects

Year Location Team Projects
2018 Delft, The Netherlands
  • Climate Change
  • Space Debris
  • Weather
  • Lunar Night Survival
2017 Cork, Ireland
  • A New Vision: The Future of the ISS : A Journey to the Future Beyond 2024
  • Astropreneurs: The Galactic Guide to Space Entrepreneurship
  • ARESS: A Roadmap for Emerging Space States
  • NetSpace: The Internet of Things and Future Applications for Energy and Space
2016 Haifa, Israel
  • Artificial Gravity: Conceptualizing the design and associated analyses of a commercial artificial gravity LEO space station
  • Implication of New Discoveries in the Martian Environment: Drafting a Mars Human space exploration science and technology roadmap
  • Space Big Data: Learning how teamwork and problem solving are achieved in an international, multicultural and multidisciplinary environment
2015 Athens, USA
  • Planetary Defense: Defending our home planet is imperative since new technologies allow us to do so
  • Vision 2040: Studying the trends in major areas driving space exploration and development in order to construct a “vision” of what the year 2040 would look like
  • Monitoring Environmental Effects of Hydraulic Fracturing Using Remote Sensing: Tracking Fracking: Ohio used as a case study
2014 Montréal, Canada
  • Autonomous Mission for On-Orbit Servicing: Proposing to service defective satellites in Low Earth Orbit using unmanned space technologies
  • Exoplanets: Rich prospects exist for finding more exoplanets and learning more about those already found
  • Space and Open Innovation: Promoting and implementing a stronger horizontal approach between scientists, engineers, and the business community
2013 Strasbourg, France
  • SolarMAX: A space weather survival guide[46]
  • KOASTAL: Kenyan coast Observation through Affordable Space Technology Applications[47]
  • AMBIEnT: Affordable Microsatellite-based Internet access and EnvironmenTal monitoring[48]
2012 Florida Institute of Technology and NASA Kennedy Space Center, Florida, USA
  • BLISS: Beyond LEO Into the Solar System. A guide to future space stations[49]
  • OASIS: Operations And Service Infrastructure for Space[50]
  • Space Debris[51]
  • Space and STEM: One giant leap for education[52]
2011 Graz, Austria
  • CHARM: Cooperation of Humans and Robots for Mars[53]
  • GO SSP: Guidebook On Small Satellite Programs[54]
  • H2OPE: Tigris-Euphrates and the Global Water Crisis[55]
2010 Strasbourg, France
  • ecoSpace: Initiatives for Environmentally Sustainable Launch Activities[56]
  • ASTRA: Asteroid Mining[57]
  • RE-FOCUS: Carbon Cycle[58]
2009 NASA Ames Research Center, United States
  • ACCESS Mars: Assessing Cave Capabilities Establishing Specific Solutions[59]
  • SAFEN EARTH: Space Aid for Energy Needs on Earth[60]
  • DREAM: Disaster Risk Evaluation And Management[61]
2008 Barcelona, Spain
  • FuturIST: Future Infrastructure for Space Transportation[62]
  • VAPOR: An Integrated Framework for Early Warning and Hazard Tracking of Volcanic Activity on Earth[63]
  • Noumenia: Building on the Google Lunar X-Prize[64]
2007 Beijing, China
  • Space Traffic Management: Manage Spacecrafts and Debris in Space[65]
  • DOCTOR: Developing On-Orbit Servicing Concepts Technology Options and Roadmap[66]
  • Phoenix: Lunar Biological and Historical Archive[67]
  • TREMOR: Technology Resources for Earthquake Monitoring and Response[68]
2006 Strasbourg, France
  • Luna Gaia: A Closed Loop Habitat for the Moon[69]
  • MiNI: From Tiny to Infinity[70]
  • SOL: Earth Observation Systems for Small Countries and Regions[71]
2005 Vancouver, Canada
  • FLAMA: Fire Logistics And Management Approach[72]
  • CASSANDRA: A Strategy to Protect our Planet from Near-Earth Objects[73]
  • REVOLUTION: Robotic Exploration of Venus to Study Planetary Evolution[74]
2004 Adelaide, Australia
  • CONNECTS: The Role of Satellite Communications in the Development of Rural and Remote Regions[75]
  • STREAM: Space Technologies for the Research of Effective wAter Management[76]
  • LunAres: International Lunar Exploration in Preparation for Mars[77]
2003 Strasbourg, France
  • ECOSPHERE: Earth Climate Observation System Promoting Human Ecological Research & Education[78]
  • TRACKS TO SPACE: Technology Research Advancing Cooperative Knowledge Sharing to Space[79]
  • METZTLI: An International Space Station Approach to Lunar Exploration[80]
2002 Pomona, United States
  • Alone?: A Source Book for Astrobiology[81]
  • HI-STAR: Health Improvement using Space Technology and Resources[82]
2001 Bremen, Germany
  • C.A.S.H. 2021: Commercial Access and Space Habitation[83]
  • CASSIOPEE: Concepts for Advanced Small Satellites to Improve Observation and Preservation of Europe[84]
2000 Valparaíso, Chile
  • ENSO: A Global Challenge and Keys to a Solution[85]
  • Space Tourism: From Dream to Reality[86]
1999 Nakhon Ratchasima, Thailand
  • Out of the Cradle: An International Strategy for Human Exploration away from Earth[87]
  • SEADS: South East Asia Disaster Management System[88]
1998 Cleveland, United States
  • MAGIC: Moving Aside Gravity’s Influence and Constraints[89]
  • Hazards to Spaceflight[90]
1997 Houston, United States
  • International Strategies for the Exploration of Mars[91]
  • Technology Transfer: Bridging Space and Society[92]
1996 Vienna, Austria
  • Ra: The Sun For Science And Humanity[93]
  • DOCC: Distant Operational Care Centre[94]
1995 Stockholm, Sweden
  • Earth’s Polar Regions: Observation, Protection, and Applications[95]
  • Vision 2020: An International View of the Future[96]
1994 Barcelona, Spain
  • GATES: Global Access Tele-Health and Education System[97]
  • SSE: Solar System Exploration[98]
1993 Huntsville, United States
  • GEOWARN: Global Emergency Observation and Warning[99]
  • ILFOSS: International Lunar Farside Observatory & Science Station[100]
1992 Kitakyushu, Japan
  • ISUNET[101]
  • SSPP: Space Solar Power Program[102]
1991 Toulouse, France
  • International Mars Mission[103]
1990 Toronto, Canada
  • IAM: International Asteroid Mission[104]
  • International Program for Earth Observations[105]
1989 Strasbourg, France
  • Artemis: A Program to Identify and Map Lunar Resources[106]
  • Newton: A Variable Gravity Research Facility[107]
1988 Cambridge, United States
  • International Lunar Initiative Organization[108]

The Southern Hemisphere Summer Space Program (SH-SSP) is a five weeks course open to undergraduate students and professionals of all disciplines with space interest. As in all ISU programs, the curriculum covers not only the space related fields and space applications, but also non-technical fields such as policy, law, space business and management techniques.

The intention of a second program, next to the established SSP program of ISU, was to extend the offering to participants of the Southern Hemisphere, in line with the local summer holidays, but participants from all nations are welcomed.

The program is offered in partnership with the University of South Australia in Adelaide (Mawson Lakes Campus) and benefits from scholarship support from the Australian Space Research Program. The intention is to have the program iterating to different locations in the Southern Hemisphere, in particular in Africa and South America, but regularly returning to Australia.

Year Location Whitepaper Topic
2018 UniSA, Australia
  • Disaster Management: Space Based Solutions for Developing Nations
  • Space Ready: The Launchpad for Emerging Agencies
2017 UniSA, Australia
  • Small Sats Big Shift: Recommendations for the Global South
2016 UniSA, Australia
  • Space Solutions for Food & Water Security
2014 UniSA, Australia
  • Our Turbulent Sun
2013 UniSA, Australia
  • Common Horizons
2012 UniSA, Australia
  • Space-Based Tele-Reach Systems for Southern Hemisphere
2011 UniSA, Australia
  • Paths to Progress: Space and the Southern Hemisphere

Previous White Paper executive summaries and full reports are available for download from the ISU Library.

The Executive Space Course (ESC) provides an overview of space and of space-related subjects for professionals of diverse backgrounds, including marketing, finance, law, and contracts management, intended to improve their communication with technical colleagues.

Since 1995, the collection of the ISU Library has grown to reach about 9,000 space-related documents. The collection supports the interdisciplinary aspects of the courses and include subjects like space-related business and management, space policy and law, international cooperation, remote sensing and Earth observation, telecommunication, space engineering, space mission design, astronomy, space life sciences, and space medicine.The Library also features news about space, information from space agencies and research institutes around the world, and awareness and alerting services from journals. RSS feeds can be used to follow the library new acquisitions. Interested people may subscribe to the feeds for receiving regular updates about books, electronic documents, or Team Projects reports that are added to the online catalog.[109]

With the strong support from ESA, the following facilities were installed and put into operation:[citation needed]

Several optical and radio telescopes at ISU give students the opportunity of performing observations as well as the necessary analysis, which introduces them to typical techniques of astrophysical research and gives them a first-hand experience in the study of the invisible Universe.

The satellite television Ku band (10–12 GHz) is suitable to perform observations of the Sun and the Moon, using conventional material, such as a 1.2-meter parabolic dish, placed on the roof of the ISU building. This telescope, developed under ESA contract by the Fraunhofer Institute for Integrated Circuits in Dresden for use in schools, has been given to ISU by ESA. It is capable of providing properly calibrated data, and hence allows to determine the surface temperatures of the Sun and the Moon. Since its in-depth testing by ISU Masters students, it has been extensively used in the framework of workshops and individual student projects. With the ESA-Dresden Radio Telescope the students can experience and perform all the necessary steps from observation, calibration, and data reduction to the interpretation and evaluation of the results.

The Haystack Observatory, run by MIT, developed a Small Radio Telescope (SRT) for educational purposes, consisting of a 2.3-meter diameter standard satellite dish antenna. This radio telescope operates at a 1.42 GHz frequency (21-cm wavelength) where hydrogen atoms emit a strong spectral line. This allows radio astronomers to detect hydrogen, the most abundant element of the Universe. One SRT has been donated to ISU by ESA and is operational since 2009. This new asset, named the ESA-Haystack Radio Telescope, provides the students with the opportunity of performing observations of astronomical objects even outside the Solar System.

When the European Space Research and Technology Centre (ESTEC) acquired a new Concurrent Design Facility, its initial CDF was set up at the ISU Central Campus in 2008. The CDF brings the Masters students the possibility of familiarizing with concurrent engineering and its application processes through workshops and assignments. These hands-on activities always have double-oriented tasks, by combining the CDF process with the development of space-related topics. As the usefulness of concurrent engineering extends much further than space mission design, the use of the ISU CDF for design processes in other industry fields than space is also under consideration.

A fully automated satellite tracking station is installed at ISU since 2008. This ground station provides several hands-on training opportunities for the Masters students, as satellite communication is now a reality at ISU. The ISU Tracking Ground Station was built in the scope of the Global Educational Network for Satellite Operations (GENSO) project, an endeavor involving students worldwide and promoted by the International Space Education Board (ISEB), an organization including the educational departments of some of the major space agencies worldwide.

Established in 2009, the ISU Human Spaceflight Laboratory includes a rotating chair, the training model of the ultrasound echocardiograph and body motion analysis equipment that flew on Mir in 1988, and the flight model of the neuroscience Pocket equipment that flew on the Space Shuttle STS-51G mission. This equipment was all donated by CNES. In addition, NASA has loaned a training model of the ISS Advanced Life Support Pack (ALSP) and ESA has loaned a training model of the ISS 3DSPACE experiment. The Human Spaceflight Laboratory is also equipped with a clinostat, an autoclave, a laminar flow cabinet, microscopes, medical diagnosis and surgery tools, and other laboratory equipment to provide realistic hands-on training on the experiments performed in space by astronauts.

The goal of the Self Deployable Habitat for Extreme Environments (SHEE) is to develop a deployable space analog habitat demonstrating technologies and architecture that may one day be used in extreme environment habitats on the Earth, Moon, and Mars. This project is a partnership between seven different companies and institutions representing five different European nations. This habitat is designed to support two “astronauts” for missions of up to two weeks in duration. Construction was completed in July 2015, after which the SHEE was shipped to ISU for validation and testing. ISU faculty and students will spend the next six months evaluating the habitat and delivering a report on their findings to the European Commission. The SHEE will live in the ISU High Bay until April 2016 when it will take part in a Mars Analog mission called Moonwalk in Rio Tinto, Spain.

Up until 2013, an annual ISU symposium was convened to address a topic with broad interest both with space industry and among the space agencies. The Symposium has been suspended until further notice. Other international conference style events are being planned and convened on the ISU campus. Refer to the ISU web site for more details. The following table presents the topics covered from 1996-2013.

Year Subject
2013 Space Technology and Tele-Reach: Benefiting Humanity on Earth and Beyond
2012 Sustainability of Space Activities: International Issues and Potential Solutions
2011 The International Space Station: Maximizing the Return from Extended Operations
2010 The Public Face of Space
2009 Space for a Safe and Secure World
2008 Space Solutions to Earth’s Global Challenges
2007 Why the Moon?
2006
2005 Space Exploration: Who, What, When, Where, Why?
2004 Civil, Commercial and Security Space: What Will Drive the Next Decade?
2003 Satellite Navigation Systems: Policy, Commercial and Technical Interaction[110]
2002 Beyond the International Space Station: The Future of Human Spaceflight[111]
2001 Smaller Satellites: Bigger Business? Concepts, Applications and Markets for Micro/Nanosatellites in a New Information World[112]
2000 The Space Transportation Market: Evolution or Revolution?[113]
1999 International Space Station: The Next Space Marketplace[114]
1998 Space and the Global Village: Tele-services for the 21st Century[115]
1997 New Space Markets[116]
1996 Space of Service to Humanity: Preserving Earth and Improving Life[117]

  • Ben Finney, 1994-2003 co-chair of Space and Society department

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