Pendahuluan
Pengembangan kemampuan staf medik sebagai clinical teacher merupakan salah satu area penting dalam pengembangan staf selain area pengembangan kemampuan penelitian dan evidence based practice dan pengembangan kepakaran dan keahlian sesuai bidang ilmu. Staf medik sebagai clinical teacher akan sangat berperan dalam menjadi panutan bagi para mahasiswa kedokteran dan residen selain menjadi narasumber dalam transfer pengetahuan dan keterampilan. Clinical teacher juga berperan sebagai mentor dalam memfasilitasi pengembangan kemampuan profesionalisme mahasiswa dan residen dan sebagai supervisor yang membimbing dan mengarahkan mahasiswa dan residen dalam melatihkan kompetensi dalam situasi klinik yang sebenarnya dengan tetap menjaga keselamatan pasien (Bowen, 2006).
Pentingnya pengajaran dan supervisi sistematis terhadap seluruh bentuk pendidikan yang terjadi pada rumah sakit pendidikan kian menjadi perhatian. Hal ini terungkap jelas dalam kriteria dari salah satu badan akreditasi internasional untuk rumah sakit, Joint Commission International (JCI). Dalam JCI Accreditation for Hospitals tahun 2012 tercakup standar untuk Academic Medical Center Hospitals atau Rumah Sakit Pendidikan yang dikenal dengan istilah Medical Professional Education (MPE) Standards. Standar tersebut terdiri dari 7 poin utama yang menekankan peran rumah sakit dalam penyelenggaraan pendidikan. Ketujuh standar ini mengikat berbagai pihak, termasuk di dalamnya pihak pimpinan dan manajemen RS, dosen klinik, mahasiswa dan residen (JCI Accreditation for Hospitals, 2013).
Oleh karena itu, staf medis sebagai clinical teacher perlu memiliki kemampuan khusus untuk memanfaatkan kasus klinik yang tersedia untuk pembelajaran mahasiswa atau residen seoptimal mungkin dengan tetap memerhatikan kenyamanan dan keselamatan pasien. Kemampuan khusus ini perlu ditunjang dengan pengetahuan dan keterampilan mengajar di setting klinik, mengenali karakteristik peserta didik, memberikan dukungan, menjadi panutan, memberikan umpan balik, memanfaatkan ‘teaching moments’ saat berada di berbagai setting pelayanan klinik, melakukan supervisi, observasi, asesmen terhadap pengetahuan, keterampilan dan perilaku mahasiswa dan residen di situasi praktik klinik yang sebenarnya.
Tujuan
Pada akhir pelatihan, peserta diharapkan mampu:
1. Mendeskripsikan konsep pengajaran pada tahap klinik dan penerapannya dalam program pendidikan dokter dan dokter spesialis .
2. Menjelaskan konsep clinical reasoning dan perannya dalam pembelajaran klinik.
3. Mendeskripsikan dan menerapkan teknik microskills.
4. Menerapkan cara pemberian umpan balik yang konstruktif.
5. Mendeskripsikan konsep dan tata cara pelaksanaan bedside teaching.
6. Mempraktekkan cara pengajaran keterampilan klinik atau keterampilan prosedural.
7. Menjelaskan prinsip asesmen di praktik klinik.
8. Menerapkan prinsip asesmen dalam penggunaan instrumen evaluasi workplace-based assessment (Mini-CEX, logbook, portfolio, dan 360° assessment).
9. Menjelaskan prinsip refleksi diri dan mampu menyusun refleksi diri sebagai clinical teacher.
Lingkup Bahasan
1. Deskripsi tentang pelatihan clinical teacher.
2. Prinsip pembelajaran praktik klinik (principles of clinical teaching).
3. Prinsip penalaran klinik (clinical reasoning).
4. Prinsip refleksi diri sebagai staf pengajar klinik (reflection on current teaching).
5. Microskills teaching.
6. Pemberian umpan balik yang konstruktif (giving constructive feedback).
7. Dinamika Kelompok.
8. Profesionalisme dan prinsip pemberian dukungan terhadap peserta didik bermasalah
9. Humanisme dan kompetensi budaya.
10. Pengajaran di bedside (bedside teaching).
11. Procedural skills tutorial.
12. Prinsip asesmen dan workplace-based assessment.
13. Mini-CEX & 360° assessment.
14. Logbook & Portfolio.
WAKTU DAN TEMPAT PELATIHAN
BATCH 3
Waktu: Senin – Kamis, 14-17 September 2015
Tempat: Ruang Kuliah Departemen Radiologi Fakultas Kedokteran UI Salemba.
BATCH 4
Waktu: Senin – Kamis, 28 September – 1 Oktober 2015
Tempat: Ruang Senat Akademik Fakultas (SAF) Fakultas Kedokteran UI Salemba.
Evaluasi Pelatihan
Pelatihan ini dirancang selama 40 jam. Peserta yang jumlah kehadirannya dalam pelatihan 100%, serta menyelesaikan tugas dalam bimbingan individual, berhak memperoleh sertifikat.
Pendaftaran
Bagi Staf Pengajar Fakultas Kedokteran UI yang ingin mengikuti pelatihan CLINICAL TEACHER FKUI BATCH 3 dan BATCH 4 tahun 2015, dapat melakukan pendaftaran melalui tautan PENDAFTARAN dan mengunduh SURAT PERNYATAAN KESEDIAAN MENJADI PESERTA lalu mengirimkannya melalui email ke sdmfkui@gmail.com.
Periode pendaftaran:
Batch 3 :
tanggal 18 – 31 Agustus 2015 atau setelah kuota peserta sebanyak 40 orang terpenuhi.
Batch 4:
tanggal 1 – 18 September 2015 atau setelah kuota peserta sebanyak 40 orang terpenuhi.
Informasi Pelatihan
Sdri. Dessy (Sekretariat SDM FKUI, Tlp. 08561765753, email: sdmfkui@gmail.com)
ditulis oleh:
Humas FKUI
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PEPERONI Werbe- und PR-Agentur GmbH, Friedrichstraße 23A, 10969 Berlin, 03025771771Design practitioners and
researchers acknowledge the benefits of using graphical representations and storyboards to communicate and elaborate
designs. However, in the context of user experience design, the
communication of intangible aspects of interaction that
are crucial for experiences is a challenge, even -or in particular-
when working with visual images. In this work, we explore storyboarding in targeted experience design. Based on a
literature review and our insights from iterative application and adjustment of the method in various projects, we developed the two-level storyboarding method.
The introduced method makes use of analogy design and the traditional storyboarding technique.
In the first stage, emotional aspects of interactions are captured in an analogy.
In the second stage, the design team develops the storyboard
frames that describe the intended experience inspired by the emotional correspondences of the analogy.
The method was conceptualized for application in collaborative workshops, in a semi-formal proceeding.
The main advantage of the two-stage storyboarding method is
that experience-related aspects remain in focus by using an analogy, while understanding and creativity
are enhanced by sketching. In future work, we aim to fine-tune
the method, propose ways to archive storyboards
and conduct a summative evaluation of the method.
Design practitioners and researchers acknowledge the benefits
of using graphical representations and storyboards to communicate and elaborate designs.
However, in the context of user experience design, the communication of intangible aspects of interaction that
are crucial for experiences is a challenge, even -or in particular- when working with visual images.
In this work, we explore storyboarding in targeted experience design.
PEPERONI Werbe- und PR-Agentur GmbH, Friedrichstraße 23A, 10969 Berlin,
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Wird daher (fast) nie von einer einzelnen Person durchgeführt.
“Innerhalb” und “außerhalb” eines Projektes nehmen verschiedene Rollen mit unterschiedlichen Funktionen ihre Plätze ein. Im Projektmanagement ist Kommunikation ein sehr wichtiger, aber oft unterschätzter Bereich.
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My contribution aims to modify current concepts of unreliable narration in literature and
film. Although in film studies it is more common to talk of mind-game movies, this notion is not synonymous with unreliable narration: mind-game movies
are films which question (the perception of) reality through the deployment
of various specific ambiguities, whereas
unreliable narration excludes – in my definition – the ambiguity by using an unexpected plot twist.
In order to account for all narrative techniques which produce strange effects and call
attention to themselves, I introduce the new concept of perturbatory narration. Conceived of as a transmedial and transgeneric mode of narration, this umbrella term includes the interplay of unreliable and paradoxical narration (i.e.
Fantastic Narration. Each of these disturbs the reader’s or viewer’s process of orientation within the fictional world,
which can result in either stronger immersion or, on the contrary, a breach of the aesthetic illusion. Based on a
typology of unreliable narration, my analysis of three films
of the new Argentine cinema aims to show this typology’s validity, but
also its limits: elements of the paradoxical and fantastic which are intertwined with the unreliable narration point to
the necessity of a new, broader narratological concept, one which could then be described as perturbatory narration.
Ein Beispiel: Bei der Niederschrift dieser Arbeit
machte eine Nachricht die Runde, nach der Deckard, der “Blade Runner” in Ridley Scotts gleichnamigen Film (USA 1982) selbst ein “Replikant” sei.
10. Juli 2000). Nun ist diese Frage sicher nicht zweitrangig,
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stellen. Oder, um es anders zu formulieren: Sie entsteht gerade
erst in einem bildlichen Medium, weil diese Offenheit
dort generiert werden kann. Berühmt wurde der Film aber nicht in erster Linie wegen seiner
Story (z.B. Geheimnisse” (Lynch/Rodley, 43: “Das Schöne am Film ist, dass er ein wenig
von dem erzählen kann, wo die Wörter versagen. Clarke, J.
(1976) u.a.: Jugendkultur als Widerstand. Crouch,
S (1993): Man in the Mirror. In: Diedrichsen: Yo!
hermeneutics! Decker, J. L. (1994): The State of Rap.
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PEPERONI Werbe- und PR-Agentur GmbH, Friedrichstraße 23A, 10969 Berlin, 03025771771Design practitioners and researchers acknowledge the benefits of using graphical representations and storyboards
to communicate and elaborate designs. However, in the context of user experience design, the communication of intangible aspects of interaction that are crucial for experiences is a
challenge, even -or in particular- when working with visual images.
In this work, we explore storyboarding in targeted experience design. Based on a literature review and our insights
from iterative application and adjustment of the method in various projects, we developed the
two-level storyboarding method. The introduced method makes use
of analogy design and the traditional storyboarding technique.
In the first stage, emotional aspects of interactions are captured in an analogy.
In the second stage, the design team develops the
storyboard frames that describe the intended
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The method was conceptualized for application in collaborative
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two-stage storyboarding method is that experience-related aspects remain in focus by using an analogy, while understanding and creativity are enhanced by sketching.
In future work, we aim to fine-tune the method, propose ways to archive storyboards and conduct
a summative evaluation of the method. Design practitioners and researchers acknowledge the
benefits of using graphical representations and storyboards to communicate and elaborate designs.
However, in the context of user experience design, the communication of intangible aspects of interaction that are
crucial for experiences is a challenge, even -or in particular-
when working with visual images. In this work, we explore storyboarding
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