Personal Blogs

On 29 February 2024 I attended an academic conduct review briefing for module teams. The aim of this blog is to share some highlights that may be useful for colleagues (and to also try to remember what was covered, since there’s always a lot going on).

During the introduction, it was highlighted that the number of academic referrals have increased over the last 5 years. Two thirds of these typically relate to study skills and poor academic practice. In other words, this relates to what could be called inadvertent misconduct.

There are some specific challenges. Investigations take time, there is an obvious need for consistency with decision making, a need for transparency, and continually emerging threats, such as essay mills and the arrival of generative AI. To respond to this changing landscape, there is a new VLE page for staff, a new academic conduct tariff, new guidance on StudentHome, a new referral form, and new processes and study skills arrangements.

Academic integrity principles for assessment design

Assessment design is important. Good assessment design should ‘reduce the motivation and opportunities for plagarism’ and focus should be on how learning takes place, as well as what is learnt.

An important point that I noted was that module teams should look at patterns of academic conduct referrals. One way to respond to repeated issues is, of course, to consider the assessment design. To help with this, there some useful principles of assessment which I share below.

A key theme of these principles is authenticity. This is connected with need for to assessments that focus on problem solving, perhaps solving problem that might have an open ended answer.

Here are the ten principles that were shared during the session.

Principle 1: Reward academic integrity

Make sure students reflect on their skills and capabilities that demonstrate academic integrity.

Principle 2: Assess higher skills

Assess metacognitive skills where students actively create an answer, with an emphasis on construction and their own thinking. This point is, of course, linked to the principle of refletion.

Principle 3: Open-ended solutions

This principle is related to authenticity. It’s possible to see authenticity within the undergraduate computing project module.

Principle 4: Diversify assessment formats

This is linked to how students might relate assessment to their own interests and preferences. Providing a variety of different assessment formats also speaks to the importance of accessibility and diversity.

Principle 5: Authentic assessment

Making an assessment real by sharing an exciting concept can enhance motivation. Make an assessment authentic by drawing on their own experience.

Principle 6: New assignment questions

To limit the risk of academic conduct, prepare new assignment questions every year. Design the assignments in such a way that students cannot re-use a previous answer. In other words, make it difficult for students to directly benefit if the questions were to be shared.

Principle 7: Process besides product

Ask students to submit interim versions of assignments or ask them to provide a demonstration. In the computing project module, students are asked to submit a draft EMA as an assessment.

Principle 8: Making quality criteria transparent

Make rubrics transparent; share with students how assessments are made so everyone knows what the module team (and the university) is looking for. 

Principle 9: Generating and acting on feedback

Encourage students to generate their own feedback, which helps to develop critical thinking. This relates to a principle of peer assessment. This is used, to a limited extent in a software engineering module, where students comment on interim designs. 

Principle 10: Authentication methods

Are students who they say they are? There used to be a time when students had carry out written exams by attending exam centres at a specific date and time. As a part of this, students needed to show a form of ID, such as a passport or a driving licence. An alternative approach would be for a student to have a conversation with a tutor about their assignment.

TurnitIn

A recent development has been the increased availability of TurnItIn to students. Module teams and staff tutors always used to receive TurnItIn reports. These reports indicated whether a submission contained words found in other online resources. A typical TurnItIn report might highlight legitimate quotes that a student used to evidence an argument, as well as uncited text.

On many modules students can now submit an earlier version of an assignment into TurnItIn. In turn, they can review a ‘similarity report’ to gain confidence that their assignment is adhering to sound principles of good academic practice. More information about TurnItIn can be typically found within a module’s assessment handbook.

Resources

A whole host of useful resources are available to students. The blog post Study Skills Resources: what is available? offers a handy summary of some of the most useful.

Reflections

I’m not sure where these assessment principles come from. I really like them. I can bring these ten points into module team meetings. Their focus on authenticity strikes me as being really important. It is important in terms of problem solving, skill development and the application of knowledge.

Putting the assessment design principles to one side for a moment, tutors are really important. If appropriate, students can refer students for additional support sessions, and can also refer students to study advisors who work within the student support team.

Students can then be referred to additional support needs, and referral to a study advisor. In my experience tutors may sometimes get a sense when a student may have used Generative AI.

Acknowledgements

Acknowledgements are duly given to the academic conduct review team who facilitated this session. The principles shared in this blog post are their own, and I take no credit for them. I hope I’ve summarised them effectively.

When planning your project, an important question to ask is: how can I tell if my project has been a success?

The extent of your evaluation very much depends on what you do during your project. For some projects, you might consider asking your stakeholders the question: “does this solve your problem?” You can ask this question in different ways: you could prepare a short survey (if you have a number of stakeholders), carry out an interview, or carry out a usability study.

If you consider design (rather than coding) to be your strong point, you may choose to carry out an interaction design project, where the output may well be a detailed high level prototype that could be presented using a prototyping tool. Since you may sidestep some of the important software development skills that you might otherwise demonstrate, is really important to ensure that you carry out your interaction design project in a really thorough way to clearly satisfy the requirement that your project is all about computing. If you are confident with software development and enjoy this aspect of your studies, you may well want to combine design with an aspect of software development; it is completely up to you.

Most interaction design projects are iterative. In fact, a practical recommendation is that a solid project that is based on the interaction design module should have three different development iterations, or phases. The thinking behind this is that this gives you the best opportunity to demonstrate your skills. When you get to the end you may want to ask the question: has my project solved the problem I set out to solve?

Consider an example of an app that could to pre-order a coffee from a local café, or to book a slot for your dog in a pet grooming parlour (you can choose another example if you prefer). 

Iteration 1: First initial sketches

Designs can be presented (and detailed) using different levels of fidelity, which (of course) relates to the idea of detail. A low fidelity design (or sketch) might be a rough sketch on paper (which is known as a paper-based prototype). A high fidelity design might be a design that closely resembles the final product. There are other terms that you might want to consider too: the idea of a vertical prototype (a prototype that covers a small bit of functionality in a lot of depth), or a horizontal prototype (a prototype that covers all the functionality of a product, but in a small amount of depth).

You might begin your design by creating some low fidelity designs, perhaps using paper-based prototyping. In other words, writing a bunch of sketches. You might want to combine this with other approaches from interaction design, such as the writing of user profiles and scenarios. It is up to you. Whatever you do needs to link back to the requirements of whatever it is you are designing. Different products will treat requirements in different ways.

When you have completed your first round of sketches (which could be made either using a pen or pencil, or using a tool), you should show them to whoever has the problem that needs to be solved (the café owner, or manager of the pet grooming parlour) to carry out your first round of evaluations.

Iteration 2: Wireframes

When you have received feedback, and have further refined your requirements, it is then a good idea to try to flesh out your design. You might have a second round of sketches, or you might move from pencil and paper to a prototyping tool. Choose whatever tool or product works best for you and your project.

When you have completed you second set of designs, go back to your stakeholders to get some further feedback. Here you should get some useful data (information about what works well, and what needs to be looked at in a bit more detail) to further refine you prototype further.

Iteration 3: Higher Fidelity prototypes

A high fidelity prototype is all about showing what a final (or polished) version of a product or system might look like. With this final iteration (or phase) you might get elements of your designing working. You may well develop software and create databases. 

As well as considering prototypes in terms of low and high fidelity, there is another couple of dimensions that can be considered helpful: horizontal and vertical prototypes. A horizontal prototype is a demonstration of a design across all its key functionality, but to a limited depth. A vertical prototype, on the other hand, means that you implement a small amount of functionality in a lot of depth. With a vertical prototype, you may well ‘go deep’ with the technology; you may have to choose appropriate software components and frameworks, and justify your choice.

When it comes to your project report, you should share your high fidelity prototype by walking your examiner through a series of screenshots.

Depending on the aim of your project, you might stop at this point. You may well have demonstrated a lot of technical skill and knowledge in a lot of detail. If your project is less about practical software development and more about design, it would be a good idea to carry out a final evaluation of your prototype to answer the question: does my design do what it supposed to do?

Using the DECIDE framework

The DECIDE framework can help you to plan (and run) an evaluation. It is featured within the interaction design module and its accompanying set text. Taking a letter at a time, here are the components of the framework: 

Determine the goals (of your evaluation): What are you aiming to get from your evaluation? Remember, this isn’t the goals of your project, it is the goals of your evaluation. What do you need to do to determine whether it is a success.

Explore the questions: What questions are you trying to find answers for? Or, alternatively, what questions do you need to ask to carry out an evaluation?

Choose the evaluation approach or paradigm: How are you going to approach your evaluation? You can choose a number of different approaches. You might wish to carry our a heuristic evaluation (which doesn’t involve users), a predictive evaluation (to predict how efficient your design is, perhaps using a cognitive walkthrough approach), or user testing (which can involve real users).

Identify the practical issues: This point relates to the detail of how you run your evaluation. If you need participants, how will you go about recruiting them? How will you ensure they are representative? How will you collect data? Will you be making notes on a data collection form, or if you’re carrying out an interview, will you be using the voice recorder app on your mobile phone? When you have captured data, where will you be storing your data, and how will you be making sure your data is secured.

Decide about the ethical issues: If you involve anyone in your evaluation, you need to think about ethics. Essentially, you need to gain permission, and you need to make sure that everyone knows what your evaluation is all about. An important point to emphasise is that you’re carrying out an evaluation of the performance of a product or a solution rather than the performance of your participants. Remember that your participants are always more important than the task of completing your evaluation. 

Evaluate: With your evaluation all planned, your data collection approach chosen, and permission gained, it is now time to carry out your evaluation. After you’ve gathered your data, it is time to analyse your data, interpret your data and then share your findings. In terms of your project report, this will mean the need to write a summary or conclusion.

Carrying out your evaluation

The DECIDE framework helps you to understand why you intend to carry out your evaluation, what criteria for success you consider to be important, and how you intend to carry out your evaluation.

If your project has an evaluation section, a recommendation is to show what you did in series of step by steps. In other words, adopt a narrative approach. Use a series of appendices to share the resources you may have created during the course of your evaluation. If participants are involved in your evaluations, consider taking a photograph of the environment in which an evaluation takes place, sharing that photograph within the body of your report.

Reflections

Although I have suggested three phrases or iterations is often appropriate for an interaction design project, there are no ‘right’ number of iterations. Every project is different. Whilst carrying you’re your project you may discover that you need more phases, and more evaluations.

References

Rogers, Y., Sharp, H., Preece, J. (2023) Interaction Design: Beyond Human-Computer Interaction, 6th Edition. Wiley.

You have a plan, you have identified all your resources and the skills that you need, and you’ve identified a good number of risk and accompanying mitigations. If things start to go wrong, you should look to your risk log to see if it (and your accompanying mitigations) might be able to help. If they don’t help, there are many things you can start to do.

When things start to go wrong, start to make notes of what has happened, and how you have responded to what has happened. In other words, add entries to your project log. If you haven’t started a project log, start one. It is never too late.

Even though you may have prepared a plan (and identified risks) at the start of your project, these are not set in stone. Your project plan and all the other elements of planning (your resource, skill and risk summaries) should always be updated.

An important tip: keep two versions of your Gantt chart; the plan that you prepared at the very start of your project, and a version that you continually update throughout your project. 

If things are not going to plan, do update your plan, and make a note of why you think this is the case. If things happen in your life which mean that you have to break your regular study pattern, and you find that key project milestones will be delayed, write down what has happened and replan your project. If you need advice about how to approach this, do get in contact with your tutor.

The reason for writing everything down is simple: it gives you some useful material you can use when you get to write your reflection section.

At the time of writing, the reflection section of your project report accounts for 20% of the overall project score. This means that there are a lot of marks available just for writing about what has happened during your project (and saying what you have learnt).

If everything went to plan and there were no surprises, your reflection section would be pretty uninteresting. Examiners are not very fond of uninteresting project reports. If your project doesn’t go to plan, this gives you something to write about.

To summarise, projects can and do go wrong. If you realise that your project has elements of complexity that you never expected, and need to replan, that is completely okay. If life intervenes which means that you need to reevaluate your project’s aims and objectives, that is okay too. Both of these situations will lead to a changed project which means you have a really interesting story to tell in your reflection section.

If you’re unsure about anything, my biggest tip is, of course, contact your tutor to book in a chat.

1 September 2024

I’ve been looking through some of the databases we have access to. I had a look at the Oxford English Dictionary (OED), Early English Books Online (EEBO), Eighteenth Century Collections Online (ECCO), The Reading Experience Database (UK RED) and ProQuest One Literature (PQ1L).

I did a few random searches in EEBO and I was amazed at the number of curious books I could find. When messing with ECCO I was very impressed that it could relate textual searches to sections of manuscripts. The Defoe search was a great exercise. I found the UK RED database interesting, but a bit more curious. I’m guessing it can be useful to understand more about how texts are talked about, received (by the reader and readers) and shared. It was interesting to discover a suggestion that Austen had read Gulliver’s Travels, evidenced by a letter where she mentions horses.

What struck me about the PQ11 database is the extent to which it is possible to gain more directly access articles written by critics. For the A233 I was relying on the OU library to find critical perspectives and voices. Whilst I did okay, there this might have been a more useful (and faster) too.

This activity has also helped me to think about my day job. When I was a computing research student I remember discovering an article that related literary criticism and choosing bits of software to solve a problem. At the time, I didn’t really fully appreciate what it was going on about and why it was important. I’m now beginning to see its point. Practicing software engineers need to be critics. At this point, I’m on the cusp of digressing completely, so I need to stop. I’m noting all this down since I wanted to remember this reflection.

A final task in the morning: a listen to the audio about how the module approaches equality and diversity, and how it speaks to people from different backgrounds. A great listen.

5 September 2024

My module blocks have arrived! They are now decorating my desk, and will probably do so for a couple of weeks. This said, I’ve done couple of random bits of early ‘study’. 

I’ve leafed through the introduction to the Turkish Embassy Letters. Having once written a travelogue of my own, I have a feeling that this might me ‘my kind of book’.

I enjoyed ‘The Playhouse’ video. There’s a lot in that one; the history of The Globe and The Rose theatres. One of the things I’m going to do is to have a cycle down to the South Bank to find ‘New Globe Walk’ and ‘Rose Alley’. I need to watch this one again.

I’ve also had a watch of the Book 1 Chapter 1 video, Performing As you like it. In the introduction, Danson Brown shared the view that “the old fashioned view was that the text was king”. The director who is featured in the video asks the question about whether performance should be king.

It was also suggested that the job of a director is to make the text clear, and to help the audience believe the characters. Often, directors make some cuts of the text to make plays more accessible. In the video there are comments about the interpretation of words and the playing scenes.

An interesting comment is that As You Like It is a play about education, that “it is a practical tutorial in love”. Being new to the play, and having only been through the text once, I’ve yet to form my own view, but it’s an interesting perspective.

The key point of the video is that there’s a difference between how academics read and analyse the texts, and how directors interpret texts so they can be performed. Everything depends on your perspective.

The final thing I do is to have a quick look at the independent study section, just to get a feel for what we have in store. All the independent study sections are in a single document, which makes everything easy to navigate; there is one section for each of the block chapters. The option for the first chapter are: explore another Shakespeare comedy (which is an activity I quite like the look of), read the introduction to the set text (which is quite lengthy), read two essays (which look quite interesting), and review timelines of As You Like It (which will take quite a bit of time).

I’m clearly going to be busy.

8 September 2024

One of my lockdown discoveries was cycling. From where I live in London, I discovered that I can relatively easily cycle to most of central London. Itching for a bit of exercise, I decided to go on a mini field trip, to find the site of The Rose playhouse.

It wasn’t too difficult to find: I picked up a cycle path from Greenwich, followed the path to London Bridge, and then headed towards Southwark Bridge. When heading north, I took a left, and then took a right, and then found Rose Walk, which was featured in one of the materials on the module materials. It took me about 35 minutes to get there, which was pretty good going.

It turns out that the venue has 6 plays in a single day! On one Saturday, the programme begins with Dr Faustus by Marlowe, and then finishes with Hamlet. These are all clearly abridged; each play is said to last one hour.

I’m going to have to come back.

11 September 2024

Towards the end of last week, I noticed a copy of Bill Bryson’s biography of Shakespeare languishing on my shelves. I can’t remember where it came from; I think it must have been either a Christmas or birthday present. I’m roughly halfway through it, and there’s a lot that I recognise that is also covered in the Greenblatt text.

One thing that really interested me was a reference to other writers. Kyd gets a mention. There was also a reference to someone called Thomas Heywood (Wikipedia) who is said to have written over 200 plays (of which only a small number are said to survive). Who is this Heywood?

13 September 2024

Continuing with independent study, I found a couple of interesting resources on BBC Sounds: an episode of In Our Time that was all about Marlowe, and short three part crime drama, which was all about Marlowe’s death. I have no idea about how they will stretch it out to three hours… If I can find the time to listen, I’ll find out.

I listened to In Our Time early one morning, but fell asleep, waking up at the moment where the presenters were discussing what evidence there is about Marlowe being a spy. I really need to give it another listen when I’m a bit more awake.

As an aside, Marlowe is buried not too far from a new bakery I regularly visit. I’m getting to know Deptford quite well, but I don’t tend to visit too many ale houses.

14 September 2024

Over the last couple of days, I watched an RSC production of Love's Labour's Lost on Drama Online.

To help with my study I downloaded a copy of the text from Project Guttenberg.

When learning plays, I tend to read a synopsis on Wikipedia to help me to figure out what is going on.

An independent study task is to compare the play with As You Like it. Some things that I’m going to look at are: characters, plot, setting, and use of language. Specifically, how verse and prose used? Also, is it a similar length to As You Like It?

I’m not going to write a lot here, since I’m going to let the play sit with me for a while. 

I really liked was the RSC’s staging, especially the context that the production used, which worked really well with the ending, amplifying the themes of the play. I also liked that it had a play within a play, which reminded me of A Midsummer Night’s Dream. Two three simplistic points: there was the role of the clown (which has some similarities to As You Like It), and the role that verse plays, and there is a diversity (but a symmetry) of characters.

Another thought that crossed my mind: perhaps I could watch Dr Faustus, which is also available on Drama Online. I’ve heard it mentioned so many times. I know it only by reputation.

I’m keen to get ahead, since I know that I have a challenging couple of months in front of me, where I won’t have an environment that is very conducive to study, whilst doing my best to do my day job.

15 September 2024

As hoped, I watched a production of Dr Faustus through the Drama Online library. What follows are a rough set of notes, since I’m letting it all sit with me for a while. The production was impressive, taking place on two levels in the Greenwich Theatre, which I’ve been to a couple of time before. (I think It was by the same production company with made a version of The Dutchess of Malfi, which we covered on an earlier module).

The play had clear and direct references to scholarship and study. Faustus mentioned the disciplines of medicine, law and divinity, whilst expressing an interest in divinity. This may well link to Marlowe’s experience of being a scholar at Cambridge, and having been from Canterbury (I picked all this up through an episode of In Our Time). Faustus ignored all these subjects in favour of necromancy, where he conjured up a spirit called Mephistophilis who was a constant presence through the play.

I’ve noted down the occasional interesting line, such as “I think hell is a fable”, which I expect had a dramatic effect. There were also regular references to ‘books’, books which provide details about how to do necromancy. This reminded me quite a bit of The Tempest, where there is Prospero. Notably, towards the end of the play, I noted down the words “I’ll burn my books” when Faustus became overwhelmed by the impact of his own actions.

Remembering a discussion from In Our Time, an interesting question to ask is: could Marlowe have written comedies? There were certainly some funny moments in the Drama Online production.

Whilst I was watching Dr Faustus, I was reminded of Harry Potter, and the young wizards use of Latin sounding incantations to execute spells. The thought that is rattling through my head is: how come ghosts, spirits and magic have such a hold on art and literature? Why do they feature so regularly in depictions of the human condition? Not being spiritual at all, and not being a follower of any religion, this is something that I struggle with. This said, this might speak to why I find studying the humanities interesting.

I liked Dr Faustus. Without using too many words, I found it a pretty scary play. The Drama Online struck me as the Elizabethan version of a horror movie.

16 September 2024

I’ve found a series on BBC Sounds called The Shakespeare Sessions. I recently listened to an episode called Exit Burbage which I thought was really interesting. I do recommend it. There’s a reference to an archive in Washington, a recreation of the Blackfriars Theatre in Virginia, a reference to a painting of Burbage in the Dulwich Picture Gallery, which I’ve never visited.

Looking on a map, the road next to Dulwich Picture Gallery is called Burbage Road.

I need to make a visit.

18 September 2024

I’ve finally finished the Bryson book. I enjoyed it. I particularly liked the section where he talks about Shakespeare’s changing reputation over time. There was also a reference to the Folger library, which was mentioned in the podcast I listened to.

Next steps: continue to have a listen to the BBC Sounds series that I found, and finally get onto reading the first chapter of the module block. After this, I’ll return back to the module website to see what else is coming up.

I’m very mindful that I need to continue to get ahead, but I’m also mindful that the module starts soon.

20 September 2024

I went to see a production of Hamlet last night. It took place at a local theatre. I was really looking forward to it. I had been to the ‘studio’ bit of my local theatre, but not the main one, which has a capacity of eight or nine hundred. I was intrigued about what it was going to be like. I was also in for an unexpected surprise; the box office had upgraded my ticket (to make sure the audience gets a bit closer to the stage).

The production was by a company called The Lord Chamberlain’s Men; a name of a company that is mentioned in the module materials (but it obviously wasn’t the same one, having been founded in 2005).

The performance lasted just over two hours, which meant that there were clearly some sections that were cut. Plus, all the actors had to speak pretty quickly to get through all the action. Being a ‘traditional’ company, all the women were played by men. Whilst they did a pretty good job of it, I did question this particular nod towards authenticity.

The pace had a curious effect on how Hamlet came across. The actor who played the miserable prince was positively cheery. This said, he was very good at fencing.

The performance made me reflect on how I related to the play. It’s themes of grief and loss resonated, and its conclusion emphasises potential consequences of it were to become all encompassing. Grief is about life, but grief can cast a shadow over light.

I think I’m beginning to ‘get’ the cathartic role of tragedies.

24 September 2024

A fellow student from our WhatApp group said “it’s starting to get real” after announcing that it was possible to book on tutorials.

I’ve booked onto pretty much everything I could. My diary is now jam packed with interesting sounding events.

It is starting to get real.

25 September 2024

An email from my tutor, which had a link to a very reassuring and thorough introductory video. 

Interestingly, I don’t make a video recording for my undergrad students (yet), but I do for my postgrad students, where make an Adobe Connect empty room recording. 

As a part of his video, he asked two questions: what I was looking forward to (Shakespeare), and what I wasn’t looking forward to (Austen).

No study today; I’ve been too busy marking exams.

30 September 2024

A couple of days ago I heard from my tutor; we exchanged a couple of friendly emails.

I’m aware that this pre-start month is slipping through my fingers and the module is just about to begin. I’ve not done anything of note over the last week, other than vaguely identifying which lever arch file I’m going to use for all my notes.

Next week I’m going to try to start a regular study habit. Before I login to my work inbox, I’m going to spend a bit of quality time with my module materials. There. I’ve written it. I’m hoping to make myself accountable. To myself.

Good luck to all fellow A334 students!

This month has been challenging for a whole host of personal reasons (which I’m not going to be going into). Amidst my personal challenges, I did manage to get away for a two week break, which much needed. During those two weeks I went cycling, tried to do some swimming (I’m not good at swimming) and do some reading for A334.

One of the first things I managed to do was to finish an audio book of Pride and Prejudice. I feel as if I did rush listening to it, since there are bits of the story that I don’t quite grasp, but I do appreciate that there were all kinds of shenanigans happening in Brighton.

I was given a lovely gift for my birthday: a text called Will in the World, by critic Stephen Greenblatt. You could say I devoured it in a couple of sittings. I don’t read many biographies, but when I do, I really enjoy them. This text is what you might call a biography that extensively draws upon Shakespeare’s plays. I really liked it.

I managed to find a BBC Radio 3 production of The Spanish Tragedy, which I listened to whilst reading the recommended course text. The radio production was abridged, which meant that I regularly got lost. I have no idea (yet) what to make of it, but I quite liked what I read, and what I listened to. I have yet to make any notes, or to buy any extensive amounts of stationary to facilitate the making of my notes.

Next up was reading though a version of The Country Wife by William Wycherley. I got completely lost and had no idea what was going on. The most I understood was that there was some cross dressing going on. I’m hoping the module materials (when I got stuck into them) will help me to figure it all out.

Before my holiday, I managed to download a copy of Gulliver’s Travels by Swift. Although I think there is a bit of guidance from the module team about which books to focus on, I found myself reading the whole text. Whilst reading, I remembered a recent television documentary which caused quite a sensation (BBC culture website). Whilst reading Gulliver’s Travels, I remembered of the tone of the documentary, and how its enthusiasm and energy reminded me of Swift’s writing.

What I really loved about Gulliver’s Travels was his summary of academia; there was a lot that I could recognise. A real surprise was that the text has something to say about generative AI, which can be found in his description of something called The Engine (Wikipedia). All this took me on a short journey to Swift’s Wikipedia biography, which was fascinating.

Two texts that I did want to delve into (but didn’t have the time) was The Turkish Embassy Letters (but I had forgotten that there wasn’t a Project Guttenberg version I could download to my Kindle), and the Arabian Nights’ stories.

Since I had watched a production of As You Like It and Julius Caesar before travelling away, I next gave these plays a read. It was interesting reading these plays almost back to back; a contrast between light and dark. Shakespeare really ratchets up the tension in Julius Caesar a bit at a time. I don’t think I would have been able to get as much out of reading the plays if I hadn’t seen two really good productions.

I did have a plan to read Hamlet on a very long train ride, but I found that I had run out of mental energy.

One of the other things that I did was download an audio book version of Persuasion. I think I got up until chapter 5 before losing track of what was going on. I have some very long drives ahead of me in forthcoming months, so I’m sure I’ll be able to find the time, but I might restrict myself to just the bits I need to read for the module materials.

Another thing that I managed to do is to briefly look through the blocks. I have mixed feelings about the poetry in the second block, and was mildly shocked at some of the more racy verses that we have in store a bit later on.

A few days after getting back from my holiday, I finally found my way to the module website, where I started to look at the module guide. I was surprised by the bit that said there was 40% of our weekly study time is going to be spent on independent study. There was also a mention of (potentially) using a blog too. This is going to be interesting.

Perhaps my time spent reading Greenblatt was time very well spent.

I’m worried about one thing: the need to find both the quiet and the time to study everything. I’m in a situation where I can’t get “quiet time” easily, since there’s such a lot going on. Reflecting on this, my approach might well be to get up early in the morning.

My next steps: continue to read the module guide, watch some of the module videos, and start to find my way around the module website.

A question that I’m regularly asked is: “what do I need to submit?”

The answer is pretty simple: you only need to submit a Word single document. Some obvious follow questions are, of course: “what should my Word document contain?” and “I’ve written some software as a part of my project, should I include this? If so, how?” or “During my project, I’ve done a lot of design work, and I have a load of sketches and some prototypes – how can I submit these?”.

A principle to return to this: TM470 is all about showing off. You can ‘show off’ in a couple of different ways. One of the most important sections of your EMA is the section of your report that summarises the account of the work that you have carried out on your project. In this section, you should make sure that you highlight the best bits of work that you have done. This might include a design, a diagram, or bits of code for important functions that may have been particularly develop. If you have a lot of code, or many different screenshots or sketches, choose the best ones, and put all the others within a series of appendices. An important point to remember is: you can include any number of appendices in your EMA report.

A related question that I’m sometimes asked is: “should I include a weblink to some working software, or an app that can be downloaded?” The answer is: no; you don’t have to do this. Whilst your examiner (the reader of your EMA) may appreciate this, there isn’t an obligation to provide links to a working version of any software you have created. Your project report must, however, be sufficiently detailed to ensure they can evaluate the learning that has taken place over the duration of your project.

If your project relates to a particular setting or context, a further practical suggestion is to provide some photographs of that setting. If you are developing an app that solves a problem, you might want to include a photograph of the setting where your app is used. Give your photograph a figure number, and refer to it in the body of your text.

To summarise, you only need to submit a written report, your EMA. You don’t need to need to provide a working prototype, but you do need to provide sufficient detail to ensure that the examiner is convinced about what you have done. If you haven’t got things working at you had hoped, it is okay to say this too; this makes for an interesting report. It isn’t what you have built that is the focus, it is what you have learnt (and demonstrated) through the building of something, and how you write about it that really matters.

On 23 May 24 I attended an AL development event (in my capacity as an OU tutor) that was all about Generative AI (which is abbreviated to here as GenAI). This blog sits alongside a couple of other blogs that I shared last year that also relate to GenAI and what this means for education, distance learning, and education practice.

What follows is some notes that I made during a couple of the sessions I attended, and what points and themes I took away from them. I also share some critical perspectives. Since GenAI is a fast moving subject, not just in terms of the technology, but in terms of policy and institutional responses, what is presented here is also likely to age quickly.

Opening keynote

The event opened with a keynote by Mychelle Pride which had the subtitle: Generative AI in Learning, Teaching and Assessment I won’t summarise it at length. Instead, I’ll share some key points that I noted down.

One important point was that AI isn’t anything new. A couple of useful resources were shared, one from the popular press, How AI chatbots like ChatGPT or Bard work – visual explainer (The Guardian) and another from industry: The rise of generative AI: A timeline of breakthrough innovations (Qualcomm).

An interesting use case was shared through a YouTube video: Be My Eyes Accessibility with GPT-4. Although clearly choreographed, and without any indication of whether any of this was ‘live’, one immediately wonders whether this technology is solving the right problems. Maybe this scenario implicitly implies that visually impaired people should adapt to the sighted world, whereas perhaps a better solution might be for the world to adapt to people with visual impairments? I digress.

There are clear risks. One significant concern lies with the lack of transparency. Tools can be trained with data that contains biases; in computing there’s the notion of GiGO: garbage in, garbage out. There’s also the clear potential that GenAI tools may accept and then propagate misinformation. It is clear that “risks need to be considered, along with the potential opportunities”.

A point was shared from a colleague Michel Wermelinger who was quoted saying “academic conduct is a symptom, not the problem”, which directly takes us to the university’s academic conduct policies about plagiarism.

In this session I learnt a new term: “green light culture”. The point here was that there are a variety of positions that relate to GenAI: in HE there are policy decisions that range from ‘forbid’ to ‘go ahead’.

I made a note of a range of searching questions. One of them was: how might students use Generative AI? It might become a study assistant, it might facilitate language learning, or support with creative projects. Another question was: how could pedagogies be augmented by AI? Also, is there a risk of over dependence in how we use these tools? Could it prevent us from developing skills? How can we assess in a generative AI world? Some answers to this question may be to have project-based assessment, collaborative assessment, to use complex case studies, and to consider the use of oral assessments. 

A point is that students will be using Generative AI in the future, which means that the university has a responsibility to educate students about it

Towards the end of the keynote, there was some talk about all this being revolutionary (I’ll say more about this later). This led onto a closing provocative question: what differentiates you (the tutor) from Generative AI?

During the keynote, some interesting resources were shared:

• Alpha Go Documentary (YouTube)
• Jisc: A Generative AI Primer
• How to use generative AI creatively in Higher Education

Teaching and learning with AI across the curriculum

The aim of a session by Mirjam Hauck was to explore the connection between AI and pedagogy, and to also consider the issue of ethics.

Just like the previous presentation, there were some interesting resources that were shared. One of them was a talk: TED Talk: How AI could save (not destroy) education.

Another resource was a recent book, Practical Pedagogy: 40 New Ways to Teach and Learn by Mike Sharples which students and staff can access through the OU Library.

I had a quick look at it, just to see what these 40 new ways were. Taking a critical perspective, I realised that the vast majority of these approaches were already familiar to me, in one way or another. These are not necessarily ‘new’ but are instead presented in a new way, in a useful compendium. The text also shares a lot of informal web links, which immediately limits the longevity of the text. It does highlight academic articles, but it doesn’t always cite them within a description of a pedagogy. My view is: do consider this text as something that shares a useful set of ideas, rather than something that is definite.

During this session, there were some complementary reflections about how GenAI could be linked with pedagogy: it could be used to help with the generation of ideas (but to be mindful that it might be regenerating ideas and bits of text that may be subject to copyright), play a role within a Socratic dialogue, or act as a digital assistant for learning (which was sometimes called an AIDA – an AI digital assistant).

Power was mentioned in this session, with respect to the power that is exerted by the corporations that develop, run, and deploy AI tools. The point I had in my mind during this part of the session was: ‘do be mindful about who is running these products, why, and that they hope to get from them’.

A brief aside…

Whilst I was prepping this blog, I was sent a related email from Hello World magazine, which is written for computing educators. In that email, there was a podcast which had the title: What is the role of AI in your classroom? 

There was an interesting discussion about assessment, and asking the question of ‘how can this help with pedagogy?’ and ‘how can we adapt our own practices?’ A further question is: ‘is there a risk that we dumb down creativity?’

A scholarship question?

A few times this year tutors have been in touch with me, to ask the question: ‘I’ve seen a students answer in a script that makes me think they may well have used Generative AI. What do I do?’ Copying TMA questions, or any other elements of university materials into a Generative AI tool represents a breach of university policy, and can potentially be viewed as an academic conduct issue. The question is: what do tutors do about this? At the moment, and without any significant evidence, tutors must mark what they have been given.

An important scholarship question to ask is: how many tutors think they are being presented with assessments that may have been produced by Generative AI tools?

Reflections

There was a lot of take on board during this session. I need to find the time to sit down and work through some of the various resources that were shared in this session, which is (in part) the reason for this blog.

When I was a computing undergraduate I went to a couple of short seminars about the development of the internet. When it came to the topic of the web browser, our lecturer said: “this is never going to catch on; who is going to spend time creating all these web pages and HTML tags?” Every day I make use of a web browser; it is, of course, an important bit of software that is embedded within my phone. This connects with an important point: it is notoriously difficult to predict the future, especially when it comes to how technologies are used. There are often unintended consequences, both good and bad.

Being a former student of AI (late in the last century) I’m aware that the fashions that surround AI is cyclical. With each cycle of hype, there are new technologies and tools. Following an early (modern) cycle of AI, I remember a project called SHRDLU, which demonstrated an imaginary world, where users could interact with natural language. This led to an expression that they key challenges had been solved, and all that needs to be done is to scale everything up. Reality, of course, is a whole lot more complicated.

A really important point to bear in mind is that GenAI (in the general sense) cannot reason. You can’t play chess with it. There are, however, other tools within the AI toolset that can do reasoning. As a postgrad student, I had to write an expert system that helped to solve a problem: to figure out a path through a university campus.

I’ve also been around for long enough to see various cycles of hype regarding learning technologies: I joined when e-learning objects were the fashion of the day, then there was the virtual learning environment, and then there was a craze that related to learning analytics. In some respects, the current generation of AI feels like a new (temporary) craze.

Embedding AI into educational tools isn’t anything new. I remember first hearing about the integration of neural networks in the early 2000s.  In 2009 I was employed on a project that intended to provide customised digital resources for learners who have different requirements and needs.

As the models get bigger, more data they hoover up, and the greater potential of these tools generating nonsense. And here lies a paradox: to make effective use of GenAI within education, you need education.

Perhaps there is a difference between generally available generative AI, to generative AI that is aligned to particular contexts. This takes me to an important reflection: no GenAI tool or engine can ever know what your own context is. You might ask it some questions and get a sensible sounding response, but it will not know why you’re asking a question, and what purpose your intended answer may serve. This is why the results produced by a GenAI tool might look terrible, or suspicious if submitted as a part of an assessment. Context is everything, and assessments relate to your personal understanding of very particular learning context.

Although the notion of power and digital corporations was mentioned, there’s another type of power that wasn’t mentioned: electrical power. I don’t have figures to hand, but large language models require an inordinate amount of electrical energy to do what they do. Their use has real environmental consequences. It's easy to forget this.

Here is my view: it is important to be aware of what GenAI is all about, but it is also really important not to get carried away and caught up in what could be thought of as technological froth. It’s also important to always remember that technology can change faster than pedagogy. We need to apply effective pedagogy to teach about technology. 

In my eyes, GenAI, or AI in many of its other forms isn’t a revolution that will change everything, or is an existential threat to humanity; it is an evolution of a set of existing technologies.

It’s important to keep everything in perspective.

Resources

A number of resources were highlighted in this session which are worth having a quick look at:

• Open Learn: An introduction to artificial intelligence – a free short course that also addresses the history of AI.
• Exploring Generative AI: critical skills and ethical use – some useful resources from the OU library.
• Generative AI for students – OU policy guidance for students.

Acknowledgements

Many thanks to the presenters of this professional development event, and the team that put this event together. Lots to look at, and lots of think about.

7 April 2024

I am procrastinating in a really productive way: I’m reading ahead! I’ve been reading Startdust. It is interesting note that there are a number of different versions. I accidentally downloaded the text only version. What you do need is the illustrated version. The illustrations add a huge amount to the text, since on its own, I found the text quite hard to follow.

I’ve made it part way through the chapter that I shouldn’t be reading.

It’s time to begin to collate all my notes, to prepare for the writing of the TMA. I’ve got notes in two different places: pencil scribbles in the set text, and digital highlights on the PDF version that I’ve been reading using my Kindle. I’ll see how I get on.

12 April 2024

I’ve downloaded an audio book of The Dispossessed. Today I’m helping a friend get settled in his new house. Since it’s quite a drive away, listen to The Dispossessed whilst I’m driving. I found the first couple of chapters unfathomable, and I have no idea what is going on.

13 April 2024

I’m stuck at home with a dodgy ankle that was caused by too much running about, and the messing about with furniture didn’t’ help it one bit. Subsequently, this gives me a bit of time to complete TMA 4! I edit together a set of notes from my reading, I then have a go to edit up my story, and then cycle round a loop of editing a few times. I’m quite pleased with what I’ve written, but less happy with the reflective section, where I’m really struggling with word count. 

I really like Propp’s actants, but I feel pretty dumb, since the extent of my reflection seems to be: ‘I like them, and they have helped me’. I think I know where I’m going to let myself down in the TMA, but it has nearly got to that point where I’ve just got to submit it.

14 April 2024

It’s ‘listening to The Dispossessed’ day. I’m making reasonable progress, but it’s slow and long going. I’ve really got to concentrate to understand what on earth is going on. Since it’s all a bit weird, I don’t know what detail is going to be important, and what detail adds to the overall atmosphere. I don’t think I like it. I glimpsed at the module materials, and there is a comment that the text places demands on the reader. I’m struggling and I’m not even reading it.

It really isn’t good that I’ve fallen asleep twice. On the second occasion I slept through half a chapter. This has never happened.

15 April 2024

One hour of listening before I start work. The Dispossessed has become very weird. Let’s say: I appreciate it, but I don’t like it. I appreciate it’s difficult to predict the future, but spacemen reading books and sending letters? As for all the faux physics, that bit is really starting to grate.

16 April 2024

Another chapter first thing in the morning. The further I get into it, the more I’m drawn to it. I’m surprised at how much action there is!

It’s time to get back to studying a bit more systematically again. I’m back to the online module materials. There are bits that I’ve missed in the previous section, but I need to keep moving forward. It’s onto the video and audio material that relate to Stardust. There are interviews and videos to work through. I’ll skive off a bit of my day job, with the justification that everything I’m doing here is connected (in one way or another).

I’m on a roll: I’ve reviewed all the audio and video clips in the Le Guin weeks, making some notes. My next activity has been to prep a TMA 5 document. Noticing there’s a fair amount of supplementary material, I start to download articles from the library.

Before I’ve finished today, I’m going to have a quick look in the Shakespeare section to see if there’s any audio or video materials I can have a look or listen to.

17 April 2024

Struggling with ankle aches and pains, I join the queue to the GP, whilst listening to chapter 11 of The Dispossessed. 

When I get back from the queue, I make the following post to the A233 ‘laid back’ Facebook group: “I think I've done a 180 turn when it comes to The Dispossessed. I've gone from: 'this is really tedious, and is continually making me fall asleep' to 'this is really amazing stuff!'. Two chapters on the audio book to go. Keep with it; there are Urasti propetarian dividends to be had, even though it initially might sound like a lot of nonsense (if it is your kind of thing).”

I’m now browsing through the Journal of Science Fiction Studies, when I really ought to be browsing through the IEEE Transactions on Software Engineering. 

It’s all related, right?

During the planning stages of your project, it is really important to consider resources. There is a link between the notion of resources and one of the module learning outcomes:

L03. Identify, list and justify the resources, skills and activities needed to carry out the project successfully. Identify and address any associated risks

To satisfy the requirements for a distinction level project, you need to have:

… identified the resources, skills and activities, the timely availability of which is essential. Has judged risks appropriately.

Resources can be thought of in a couple of ways. Firstly, you should draw upon and use academic resources. Your choice of these resources will make up your literature review chapter. Secondly, there are the resources that you will need to use to get your project done. There is, of course, a link between both of these types of resources and the skills that you need to apply.

There is another link to bear in mind, which is a link to the risks that you have to take account of. Some risks that you identify might lead you choosing certain types of resources over another. Whatever you do, it is going to be important to justify your decisions about what you have done within your project report. Your considerations need to be convincing.

To read more about risk, and how it relates to TM470, it is worth reading an accompanying blog, Considering project risks. 

Academic resources

Your TM470 project is all about building on your earlier learning and studies. This means that you need to identify what academic resource might be useful when thinking about your project. The starting point is, of course, the previous modules you have studied. 

The TM470 module materials has a resource called Preparing a Literature Search, which you should read. To offer some complementary guidance, the following blog offers a bit of guidance: TM470 Understanding the Literature review.

The library also maintains a list of links to online databases that relate to ICT which might be useful. A really important point (which I share to students) is: the OU library is your friend. It is a huge resource. Do make sure you find the time to look at it.

When working on your project, it is worthwhile thinking about the following categories of academic resources:

• Module materials.
• Textbooks that accompany module materials.
• Academic articles (such as those found within academic journals).
• User guides or instruction manuals.
• Technical websites.

It is all very well knowing which modules, textbooks, articles and databases may help you with your project, but when it comes to your TM470 project you actually need to get on and do something. This takes us to the following section, which addresses the question: ‘what do I need to complete my project?’

Resources you need to complete your project

Your TM470 project will be typically based on a level 3 module. The TM470 module team have written a number of few short articles about what a project (which is based on an earlier level 3 module) might look like.

You might want to draw on TM356 Fundamentals of Interaction Design, for example. In doing so, you may wish to apply the interaction design life cycle. With ID projects, students should ideally carry out a number of design iterations, potentially leading to either a high fidelity prototype, or a design of a particularly implemented software tool or system.

There are many different approaches to prototyping. A prototype can, of course, being as a paper prototype, and then lead onto a series of higher fidelity prototypes. Some students have used PowerPoint, for example. There are other tools that could be used, such as Balsamiq, Adobe XD or Figma. When you have created a design, you will need to carry out an evaluation. This leads to the questions: ‘what do we do to carry out an evaluation?’ and ‘what do we need to carry out an evaluation?’.

Unpicking this further, we can identify different broad categories of resources that we might need.

Software: Software products, such as prototyping tools, software development environments, or products to help you manage information or aspects of your project.

People: Put more broadly, the people category includes stakeholders. Stakeholders can be defined as anyone influenced by or affected by a project. People might also be participants; people who might help you with the testing or evaluation of your product.

Tools: Broadly, tools are anything that helps you to do what you need to do. If you’re capturing requirements and interviewing stakeholders, you might want to use a data recorder. If you’re carrying out an evaluation, might choose to make notes about happens.

Facilities: by facilities you might think about rooms, spaces, or physical places where project related activities occur. If you’re gathering requirements and need to run a focus group, you’ll need to find a place where this takes place. If you will be creating software as a part of your project, you will need a computer and maybe some server space to get it working. If you are evaluating an interface, you’ll need to find somewhere to do that evaluation. 

Different projects will require, of course, different resources. Since your project is only small, you should only use what you have easy access to.

The link to skills

By identifying the resources you need for your project, you will begin to think about the skills you have, the skills that you need to apply, and the skills you need to develop.

As mentioned earlier, resources can be thought being in two broad types: academic resources, and resources you need to complete your project. When writing and preparing your literature review, you may well develop your academic reading and critical thinking skills. When it comes to project resources and project management, you may well need specific skills to make progress on your project.

Practical advice

The different two types of resources needed to be treated differently. Think of your literature review as a narrative (or story) of what you have read. Don’t present a summary of papers, or articles that are relevant to your project. Instead, show the examiner what you have read, what readings are going to be useful within your project, and explain why they are important. There are different ways to structure a literature review, but a practical recommendation is to adopt a thematic approach.

Let’s turn to the other type of resources: project resource. In the planning section of your report, create a table that summarises the resources you need. Give each resource a name, and then offer a brief summary of that it is and why it is important to your project. If appropriate, you might even want to provide a reference.

When you have prepared table of resources (which could include different types of software, people, tools, and facilities), it is time to write about skills. Just as you did with your list of resources, create a table that summarises the skills that you will either need to have, or need to master in order to use these resources.

Considering reflection

Identifying the resources and skills that you need is both important and helpful.

When you get to the end of your project, you will need to complete the reflection section. When you get to this bit of your project ask yourself:

• Did you choose the right set of resources?
• Have you developed the skills that you expected to develop?

There is always a further question to ask, which is:

• Have there been any surprises?

There is (or will be) a whole other blog that relates to reflection, and the importance it plays in TM470.

Acknowledgements

Many thanks to the TM470 project team and fellow TM470 tutors. Although this blog (and other TM470 blogs) are intended to provide useful additional guidance, always refer to the module materials. If you have any questions, please do contact your tutor.

The nature and character of risk can influence your project in a big way. 

To begin, it is perhaps useful to define what risk means. Drawing on the M815 project management module, I have found the following two definitions:

‘The potential of situation or event to impact on the achievement of specific objectives.’ (APM, 2019, p. 215)

‘An uncertain event or condition that, if it occurs, has a positive or negative effect on one or more project objectives.’ (PMI, 2017, p. 10)

Fundamentally, risk can influence your choice of project model, and directly influence how you gather requirements. If everything is known, and you are not going to be doing anything risky, you might opt for a simplistic project model. If there are elements of your project that you know nothing about, and have never done certain tasks, you might choose an iterative approach.

When you have chosen a project model for your project, you can then start to think about how risk will potentially influence the different phases of your project. To do this well, you need to a number of things:

Write your risks down. By doing this, you will begin to create what is sometimes called a risk register. 

• The next task is to consider how important your risks are.
• You the need to consider how to deal with those risks.
• In some cases you may choose to mitigate against risks. In other words, if these risks were to appear, you need to know how to respond to them.
• After having done this, you then need to make some changes to your plan. You might, for example, choose to add more slack into certain elements of your schedule if you need to use some of your mitigations.

When it comes to TM470 you should be carrying out risk planning from the very start of your project since it can guide what you do. Importantly, LO3 directly relate to how you deal with risk:

L03. Identify, list and justify the resources, skills and activities needed to carry out the project successfully. Identify and address any associated risks

To gain a distinction, you must have

… identified the resources, skills and activities, the timely availability of which is essential. Has judged risks appropriately.

Module materials

There are a number of sections within the TM470 module materials that you should look to.

Section 2.5 Risk in project lifecycles: This section relates to the point that the structure of your project may well be driven by risks.

Section 3.2 Risk Assessment: This section encourages you to consider risk in two different ways: impact, and likelihood. There are three different levels of each. A practical suggestion is offered; you might want to think about creating a risk table (which is a bit like a mini risk register). The decision on how you present and summarise your risks is, of course, up to you. It is, of course, dependent upon your project.

Section 3.3 Risk management: This is about how you deal with the risks that you identify. Do you avoid a risk, find a way through, or accept that something is a risk?

Risk analysis

In the TM470 FAQ a fellow tutor, Karl Wilcox, has written about the notion of risk analysis, which extends what is mentioned in sections 3.2 and 3.3. Karl begins with a simple question: where do risks come from? Karl offers some practical advice:

‘One primary source is the list of resources that you need for your project (which is why we ask you to provide one). Since you have identified a need for each of those resources, the lack of any resource will affect your project plan to a greater or lesser extent. Some might be trivial but you should definitely go through all your resources and ask yourself whether each one should have an entry in your risk register or not.

The other main source of risks is "external events". Obviously, you need to be a bit sensible about this and really just consider events that apply specifically to you, so illness, illness of a family member, unexpected work commitments, etc.

Finally, there is a smaller source (that may not be relevant to your particular project) but is there a possibility that some part of your project turns to be impossible? (Or more likely, prohibitively difficult). Do you need to develop new skills? (Another reason we ask for a list of these…) What if it turns out that something just doesn't "click" and you find that skill too hard? Are there any possibly technical or legal or ethical issues that might arise?’ (Wilcox, 2024)

Karl relates a number of potential risks to the different tables that you have been asked to create. For each skill or resource, is there an accompanying risk?

How do we deal with, or mitigate our risks? Karl offers some practical advice, which I abridge for brevity:

‘These [mitigations] can take many forms, from exploring alternatives, adding in contingency time, or sometimes carrying out activities specifically to minimise risk, or at least to bring forward a better understanding of them. … Active steps include things like taking backups of all your work to mitigate the risk of hardware failure, or replacing a laptop that you know to be a bit flaky. If you need input from other people, can you at least get some time in their diaries now, rather than leaving it until later to find out they are not available?

In reality, especially with the limited timescale (and limited personnel resources!) of a TM470 project the most likely response to a risk actually arising is "do fewer things", but again you can prepare for this. Are there parts of your project that you can consider as "stretch" goals, to be achieved if everything goes well but that can be set aside if things go ill? Can you perhaps arrange your plan so that a crude "prototype" of your final deliverable can be developed early, so at least you will have something working if things fall apart at a later stage?’ (Wilcox, 2024).

Karl’s comments about ‘stretch goals’ is both interesting and useful. Another way to think of this is in terms of what a ‘minimum viable product’ might look like. Here we can see an implicit link between the project model and risk. For example, if things do go ‘ill’, we may well wish to curtail a final iteration (if we adopt an iterative lifecycle, of course).

It is worth noting that Karl takes all this pretty seriously: 

‘So I don't see the "Risk Analysis" part of TM470 as simply being a "paper" exercise, in which the construction of a risk register listing risks, likelihood, impact and mitigation for a dozen or so factors is presented in TMA01 and then ignored. That may well gain you some of the marks but it can actually be a genuinely useful exercise that will affect what you do and how you do it and give you a much better chance to complete the project to your own satisfaction and gain better marks all around!’ (Wilcox, 2024).

The Risk Register

Following on from Karl’s FAQ, fellow tutor Trevor Forsythe shared a forum post with his TM470 students, outlining what types of information that you might hold in a risk register. His post had been based the PRINCE2 approach to managing risk (PRINCE2, 2024).

Trevor began by writing: ‘this is one of those learning outcomes that is regularly reviewed, and we are looking to see how students assess and manage risk. A quick search of the Internet will identify a number of risk templates either in word or Excel formats. There is no mandated template to use so you will have to identify one that you think works for your project. As an example, a risk register could contain the following …’

What follows is an abridged and edited version of what Trevor shared (which draws on the PRINCE2 original):

• Risk identifier: Provides a unique reference for every risk entered into the risk register, typically a numeric or alphanumeric value.
• Date registered: The date the risk was identified. This is helpful with knowing whether the current version of the risk is the one that is up to date.
• Risk category: The type of risk in terms of the project’s chosen categories (e.g. schedule, quality, legal, technical, learning, hardware). 
• Risk description: The risk in terms of the cause, event (threat or opportunity) and effect (in words of the impact) e.g. "my hardware could fail and I lose all my software development".
• Probability impact: It is helpful to estimate the inherent values (pre-response action) and residual values (post-response action). These should be recorded in accordance with the project’s chosen scales.
• Proximity:  This would typically state how close to the present time the risk event is anticipated to happen (e.g., imminent, within the management stage, within the project, beyond the project). Proximity should be recorded in accordance with the project’s chosen scales.
• Risk response: Actions to be taken to resolve the risk. These actions should be aligned with the chosen response categories. Note that more than one risk response may apply to a risk. For example "regular backups of software and configurations will be made into a cloud storage system e.g. OneDrive or Dropbox”.

Materials from other modules

Although TM470 is primarily intended to build on your earlier level 3 studies, if you have previously studied TM254 Managing IT: the why, the what and the how, it is worthwhile visiting Block 3, Part 6: Software quality, risk and risk management. In this block, there are three sections which have particular relevance to TM470, which are: Section 3.1 Categories of risk, Section 3.2 Risk assessment, and Section 3.3 Risk management. It is also worth noting that the TM254 module website (which you may still have access to, if you finished studying this module only a few years ago) has an extensive glossary, which defines the terms: risk register, risk mitigation, risk management, risk exposure, risk reduction, and others.

Although risk isn’t explicitly studied in TM353 IT systems: planning for success, it might be useful to review Block 3, Part 3, Part 3 – How to recover from failure: Business Continuity Planning, which includes a Business Continuity Management Toolkit.

Looking forward to the OU postgraduate module, M815 Project Management, sees the link between risk and project planning and management discussed and handled in quite an extensive way. Risk management is, of course, a subject all of its own. 

Summary

Risk can guide not only what is done, but how things are done. In TM470 LO3 indicates that you need to demonstrate your understanding of risk, and how it relates to your project. For the sake of TM470, a practical approach is necessary. It is important to keep things simple (since the project only lasts for a relatively small amount of time), but it is important to make sure that risks are clearly and carefully considered. A practical recommendation: create a risk table, and keep it updated throughout your project. When you get to the end, make sure you reflect on your approach to risk, and what you learnt from it.

References

Association for Project Management (APM) (2019) APM Body of Knowledge. 7th edn. Princes Risborough: Association for Project Management.

Prince 2 (2024) Prince2 wiki: Risk Register. Available at: https://prince2.wiki/management-products/risk-register/  (Accessed 15 April 2024)

Project Management Institute (PMI) (2017) PMI Lexicon of Project Management Terms. Version 3.2. Available at: https://www.pmi.org/pmbok-guide-standards/lexicon (Accessed: 15 April 2024). 

Wilcox, K. (2024) Risk Analysis - what makes a good one?  TM470 FAQ.

Acknowledgements

Many thanks are ended to Karl Wilcox and Trevor Forsythe whose words have directly found their way into this article. Thanks are also extended to the TM470 module team, and the other module teams that are mentioned: TM254 and TM353.

If your TM470 project is all about the developing software to solve a problem, requirements are really important. Requirements are all about specifying what needs to be built and what software needs to do. A good set of requirements will also enable you to decide whether or not your software development has been successful. They can help you to answer the question: “does it do what we expect it to do?” There is a direct link between requirements and testing.

The exact nature of your requirements will depend on the nature of your project. There are different types of requirements. Two high level types of requirements are: functional requirements and non-functional requirements. Modules such as TM354 Software Engineering provide some further information about the different types and categories, and different aspects you might want to consider. 

One thing that you need to decide on is: how to you write down your requirements? The decisions that you take will, of course, relate to what your project is all about. Some projects will need formal approaches, perhaps using Volere shells, whereas other projects may use something like use case diagrams. If your project is interaction design heavy, your requirements may be embodied with artefacts such as sketches, prototypes, scenarios and personas. To learn more about these different approaches, you need to refer back to the module materials for some of the modules you have studied. You should also consider having a look in the OU library to see what you can find.

There is also, of course, also a link between your chosen project model, and your choice of requirements. Stakeholders are also of fundamental importance: you need to know who to speak with to uncover what your requirements are. You need to make a decision about how to record your requirements, and justify why you have adopted a particular approach. Different people will, of course, understand requirements in different ways. How you speak to fellow software engineers will be different to how you speak to end users.

I recently listened to a really interesting podcast about requirements engineering from something called Software Engineering Radio, which is associated with the IEEE Software magazine. Here's a link to the podcast: Software Requirements Essentials: SE Radio 604 Karl Wiegers and Candase Hokanson.

Although this is just over an hour (and I know everyone is busy), it is worth a listen.

Some key themes and topics addressed in this podcast includes:

• What do requirements mean?
• What is requirements elicitation?
• How can requirements be presented? Or, what is does a requirement specification look like?
• Do users know what they need?
• How much requirements analysis is needed?

The podcast concludes with a question which begins: what tips would you share for someone who is involved with an ongoing project? (The answer to this question is very pragmatic)

Reflections

An interesting reflection (and comment that emerged from this podcast) is that the requirements approach that you adopt relates to the risks that are inherent within your project, and the implications of any potential software failures. This, in turn, is linked to the LSEP issues which are starting to be explored within your TM470 TMA 2.

When you are addressing requirements, you can highlight different requirement gathering approaches in your literature review. Do use module materials that you have previously studied as a jumping off point to do some further reading about the subject by looking at resources you can find in the OU library, but do be mindful about getting sucked into various ‘rabbit holes’; requirements engineering is a subject all of its own. When it comes to your TM470 project, you need to make practical decisions, and justify your decisions.

In some ways, this short blog follows on from a blog I wrote last year, which has a similar title: Preparing for the summer: A233 reading list.

I’m writing this blog after having my registration for A334 English literature from Shakespeare to Austen confirmed. I'm probably getting ahead of myself since I still have a quite a lot to do on A233; one more TMA and an EMA, which I'm not really started to think about. 

Just like last year, to get ahead, I’m going to try to do a bit of reading over the summer. What follows is a reading list that I’ve liberated from the module information page. Where possible, I’ve provided a link to a version from Project Guttenberg which can be downloaded to an e reader (which is something that I’ll just before I go on holiday). Do note that the version that is linked to is, of course, different to the text that is referenced.

If you do make use of the Guttenberg version, do note that there may well be significant differences between the text that is officially recommended by the module team, and the downloaded version. The editorial that the officially recommended is often useful.

I’m clearly not going to get through all these in one summer since some of these texts are unfeasibly long. One thing that I have learnt from the study of the OU literature modules is that the reading is often quite directed. In this list there are some novels that I have always wanted to find the time to read; I’ve started reading the Austen novels a couple of times, so that is probably where I’m going to start.

I’ve adjusted the format of the reference to make them a bit more like the official CiteThemRight Harvard format which the university adopts.

Montagu, M. W. (2012) The Turkish Embassy Letters. Edited by T. Heffernan and D. O'Quinn. Broadview Press. ISBN 9781554810420

Kyd, T., (2009) The Spanish Tragedy. Edited by A. Gurr and J.R. Mulryne. (New Mermaids) Methuen. ISBN 9781408114216

Swift, J., (2002) Gulliver's Travels. Edited by A.J. Rivero. Norton. ISBN 9780393957242

Wycherley, W. (2014) The Country Wife. Edited by T. Stern, (New Mermaids) Methuen. ISBN 9781408179895

Molière (2008). The Misanthrope, Tartuffe and Other Plays. Edited by M. Slater. Oxford World's Classics. ISBN 9780199540181

Austen, J. (2019) Pride and Prejudice. Oxford World's Classics. ISBN 9780198826736

Austen, J. (2008) Persuasion. Oxford World's Classics. ISBN 9780199535552

Mack, R.L. (ed) (2009) Arabian Nights' Entertainments. Oxford World's Classics. ISBN 9780199555871

Daniell, D. (ed) (1998) The Arden Shakespeare: Julius Caesar. Methuen. ISBN 9781903436219

Shakespeare, W. (2009). As You Like It. Edited by M. Hattaway. Cambridge University Press. ISBN 9780521732505

Rousseau, J.J. (2008) Confessions. Edited by P. Coleman. Oxford World's Classics. ISBN 9780199540037

Thompson, A. and Taylor, N. (eds) The Arden Shakespeare: Hamlet. Bloomsbury. ISBN 9781472518385

Additional note: judging by the reading list it does look like both Hamlet and Julius Caesar may well be studied. I have no idea what the two Arden Shakespeare study books contain. To prepare, I’ve provided links to ebooks for both of these plays:

Shakespeare, W. (2019) Hamlet. Project Guttenberg.

Shakespeare, W. (2023) Julius Caesar. Project Guttenberg.

A final note is that I'm sure whether the link to Arabian Nights' Entertainments is correct, but I'm sure I'll figure it out when I get to the study materials.

Acknowledgements

This reading list has been directly liberated from the A334 module website. I have no connection with the module team, and it is entirely possible that this reading list may change. Always rely on the recommendations from the module team, rather than any materials that are mentioned in this blog.

One of the interesting things about the OU Computing and IT (Q62) qualification, and closely related qualifications is that it is accredited by the British Computer Society (BCS).

The TM470 undergraduate project module plays an important role in that accreditation, since it enables students to gain direct experience of running and managing their own project, which is an important graduate skill.

Although I’m not (yet) a member myself, the BCS is what you call a professional association. It supports, develops and campaigns for its members. Gaining an OU Computing and IT degree means that you may be able to apply to become something called a Chartered IT Professional (CITP). If you become a BCS member, and a CITP, you can be accepted into something called a public CITP register, which is a further formal accreditation of your status and standing as an IT professional.

Universities that offer degrees that are accredited by the BCS have to go through a formal accreditation process, which is described in an accreditation guidelines document (BCS, pdf).

For those studying TM470, it is worth having a quick look at section 2.5, which is about major projects which are described as follows: “projects must include the students undertaking practical work of some sort using computing/IT technology. This is most frequently achieved by the creation of an artefact as the focus for covering all or part of an implementation lifecycle.” (p.12).

What follows is an abridged version of a summary of what a final project report should contain, according to the BCS (p.12):

• Elucidation of the problem and the objectives of the project.
• An in-depth investigation of the context and literature, and where appropriate, other similar products.
• Where appropriate, a clear description of the stages of the life cycle undertaken.
• Where appropriate, a description of how verification and validation were applied at these stages.
• Where appropriate, a description of the use of tools to support the development process.
• A critical appraisal of the project, indicating the rationale for any design/implementation decisions, lessons learnt during the course of the project, and evaluation.
• A description of any research hypothesis.
• In the event that the individual work is part of a group enterprise, a clear indication of the part played by the author in achieving the goals of the project and its effectiveness.
• References

Looking at the project from another perspective, undergraduate students must demonstrate:

Their ability to apply practical and analytical skills present in the programme as a whole.

• Innovation and/or creativity.
• Synthesis of information, ideas, and practices to provide a quality solution together with an evaluation of that solution.
• That their project meets a real need in a wider context.
• The ability to self-manage a significant piece of work.
• Critical self-evaluation of the process.

For TM470 students, all these elements are reflected not only in the module materials, the tuition that is offered by tutors, but also the TM470 learning outcomes (blog). There is also an implicit link here to my more practical suggestions about TM470 Project report structure (blog).

There is, of course, no compulsion or requirement to join a professional association like BCS when you have completed TM470. It is completely up to you, but it does give you a further opportunity to formally recognise your skills and abilities.

Acknowledgements

Acknowledgements are duly given to the BCS. The bullet points summarised above can be found in their accreditation guidelines document, which was last accessed 12 March 2024. At the time of writing I have no formal connection or link to the BCS.