The Air Force Reserve Officer Training Corps (AFROTC) is an in-college, officer-commissioning program that adds a layer of military training to your education. Upon successful completion of the AFROTC training program and receipt of at least a bachelor's degree, you will be commissioned as a second lieutenant in the United States Air Force. Once on active duty, you will receive specialized training in a career field.

The AFROTC, an academic department at over 1,100 civilian colleges and universities, is one of three commissioning sources for the United States Air Force, along with the Academy and Officer Training School. Cadets take ROTC classes in addition to their normal degree course work.

Watch Spring 2019 - ROTC Commissioning (Due to Covid-19, the Spring 2020 Commissioning was not in-person. The Spring 2019 is the most accurate in-person ceremony. No cadets Commissioned Fall 2019.) video

Spring 2019 - ROTC Commissioning (Due to Covid-19, the Spring 2020 Commissioning was not in-person. The Spring 2019 is the most accurate in-person ceremony. No cadets Commissioned Fall 2019.)

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Constructing a syllabus is an important component of the course design process. The following materials reflect a research-supported framework to help create a pathway to success in your course. Each semester, Innovative Learning reviews the syllabus framework, identifying needed updates and resources.

The Word files linked below outline Required and Recommended components for your syllabus. Many of these components are already in your Brightspace shell. They just need updates specific to your course. The files below include language that comes directly from University policies or is suggested by the University Senate or specific units. Other sample language reflects an autonomy-supportive classroom that can influence student perception and performance (Young-Jones, Levesque, Fursa & McCain 2019). Italicized text indicates notes to instructors. Plain text provides examples of language.

Tips for creating your syllabus:

• Don’t revise what you don’t have to. The University Policies and Statements and Student Services widget in the Brightspace shell are updated each semester and automatically populated. You may add additional resources that might help your students to your syllabus.

Once your syllabus is complete, please also upload it to Purdue’s Course Insights syllabus archiving system. For questions related to the syllabus framework, email innovativelearningteam@purdue.edu.

Note: The Purdue syllabus guidelines are influenced by Instruction Matters: Purdue Academic Course Transformation (IMPACT) and the resources available through Purdue’s Brightspace learning management system (LMS). It also addresses criteria of the valid and reliable syllabus rubric published by the University of Virginia Center for Teaching Excellence (Palmer, Bach & Streifer 2017). Components fall under five categories: 1) Essential course information, instructor contact information, and course description, 2) Specific, student-centered learning outcomes and objectives that are clear, articulated and measurable (Bristol et al 2019), 3) Assessment strategies for all graded assignments that make explicit connections between learning outcomes, activities, and content, 4) Pedagogical approaches and activities that help students achieve the course outcomes and objectives, and 5) Policies and approaches that foster engaging, student-centered learning environments.

References

Adena Young-Jones, Chantal Levesque, Sophie Fursa & Jason McCain (2019): Autonomy-supportive language in the syllabus: supporting students from the first day. Teaching in Higher Education. DOI: 10.1080/13562517.2019.1661375.

Levesque-Bristol, C., Flierl, M., Zywicki, C., Parker, L.C., Connor, C., Guberman, D., Nelson, D., Maybee, C., Bonem, E., FitzSimmons, J., & Lott, E. (2019). Creating Student-Centered Learning Environments and Changing Teaching Culture: Purdue University’s IMPACT Program. National Institute for Learning Outcomes Assessment (NILOA).

Palmer, M. S., Bach, D. J., & Streifer, A. C. (2014). Measuring the promise: A learning‐focused syllabus rubric. To Strengthen the Academy: A Journal of Educational Development, 33 (1), 14-36.

No other broadcaster has such an extraordinary breadth of factual content: our programming is watched by millions of viewers, receives international recognition and drives real change. We are committed to championing talent on and off-screen and bringing audiences distinctive, uniquely public service programming that reflects their lives across the UK and opens up the world to them.

We are the home of major returning brands like Interior Design Masters with Alan Carr, Ambulance, Mortimer & Whitehouse: Gone Fishing and Who Do You Think You Are? and champion powerful single films across the genres including Our Falklands War: A Frontline Story, The Real Mo Farah, Then Barbara Met Alan, Dinosaurs: The Final Day with David Attenborough and 9/11: Inside The President’s War Room. We innovate in specialist premium content, bringing a popular factual approach to meaningful subjects such as Freddie Flintoff’s Field of Dreams and Paddy and Christine McGuinness: Our Family and Autism, complexity and nuance to science and history series like Universe and Aids: The Unheard Tapes and House of Maxwell, and natural history landmarks like The Green Planet and A Perfect Planet. Our arts and classical music slate brings viewers outstanding performance from across the UK in theatre, dance, literature and the Proms and premium documentaries such as Art that Made Us, Survivors: Portraits of the Holocaust and Lady Boss: The Jackie Collins Story.

UK audiences come to us as the home of factual content. In 2021/22, six out of the top 10 factual titles across all broadcasters came from our department, and so far this year 11 of our titles have attracted an audience of over 4 million viewers, with The Green Planet averaging 6.8 million across the series, rising to 8.7 million for the top performing episode.

Our programmes and talent gain international recognition. Over the past year our titles have won 24 major awards including six Grierson awards, Broadcast awards for best documentary, original programme and short-form documentary, BAFTAs for best factual series and live event, and 9/11: Inside the President's War Room won five awards including the Rose D'Or best documentary prize.

We are passionate about working with suppliers from across the UK to reflect the worlds of our audience, grow our production pipeline and create new brands that thrive. We therefore work closely with colleagues in the Nations and English regions on exciting new co-commissioning opportunities, and our structure encourages collaboration across genres and teams to build programmes of real scale and ambition, with iPlayer at the forefront of our decision-making process.

We run or contribute to a number of schemes and partnerships designed to nurture and support new and diverse companies and people including our New Documentary Directors Initiative, which gained up and coming director Marian Mohamed a BAFTA.

Our commissioning team

The Syllabus area of the myCourses course template is organized into the following sections:

1. Course Information and Expectations
2. Instructor Contact Information
3. Course Requirements and Resources
4. Activities and Assignments
5. Assessment and Grading
6. Course Policies
7. Course Schedule

Much of the information needed for the Course Information and Expectations section—particularly the all-important learning outcomes and assessment methods—should be taken directly from the official Course Outline Form for your assigned course(s). Your department chair or program head can provide you with the form(s) and guidance on what is and is not modifiable in the transition to a course syllabus. If you are designing a new course, however, you will need to successfully complete the RIT course proposal process. 

Before completing the Course Policies section, we encourage you to first consult our companion webpage, RIT Policies for Your Syllabus. The External Resources section (below) provides helpful information, advice, and examples for developing the remaining sections of your syllabus.

Regardless of where you are in the syllabus-design process, you can always request one-on-one consultations with an Instructional Design Researcher and Consultant.

BBC Arts is the home of creative inspiration and a place to broaden your horizons. We commission programmes that celebrate the things our audiences love - from books, visual art, photography, film and gaming to classical music, dance, theatre, fashion and architecture - showcasing the very best in culture:

• The UK’s creative home: we are the UK’s most ambitious creators of original arts programmes because we believe in the transformational power of creativity. As the leading force in cultural programme-making since 1922, our archive is the envy of the world.
• Supporting homegrown talent: BBC Arts champions the best filmmakers to bring audiences the next generation of premium programming with all the complexity and depth that only the BBC can bring. We invite some of the UK’s leading cultural figures onto the screen to share their knowledge and passion and are committed to supporting new and emerging talent in front of, and behind, the camera, telling diverse stories that reflect the richness of Britain today.
• Deepening our commitment: We have doubled our investment in Arts on BBC Two to bring audiences even more thought-provoking, world-class documentaries, box sets and series. On BBC Four, we present the very best performances from across the country, ranging from classical music to ballet to theatre to opera, as well as screening some of the treasures from our rich archive.
• Broadening our range: We’ve listened to what audiences want and are expanding and enriching the programmes we commission – widening our scope across multiple artforms and genres, but infusing all of our content with the high quality and depth, passion and joy that have always defined BBC Arts.

During the pandemic and beyond, we’ve seen a renewed interest in the arts across the UK: the emotional solace they can bring, the imaginative possibilities they can spark, the sense of community they can forge. At BBC Arts, we’re excited by the opportunity to make programmes that showcase the best of creativity.

Invitation to tender: classical music TV

We have published an invitation to tender for Classical Music TV, comprising BBC Young Musician of the Year, BBC Young Jazz Musician and Inside Classical. 

Our creative brief

Our first principles? Who is the audience and what is the best way of telling the story?

We’d love you to bring us fresh approaches to narrative, compelling characters and great access. Our singles, boxsets and series need definitive, ambitious content that really speaks to audiences. These need to be designed to perform brilliantly for streaming on iPlayer as well as linear channels - we want series that are so good you’re craving episode two by the middle of episode one.

What we’re looking for:

Addictive boxsets

Definitive boxsets that beg to be binge-watched in a single hit. These could be narrative, thematic or centred round a pivotal figure or moment, but whatever the subject they should feel like the ultimate deep dive - offering compelling insight, authority and strong storytelling. Andy Warhol’s America was a unique examination of three decades of American life through the prism of the great 20th Century artist. Banned! The Mary Whitehouse Story explored the background to an extraordinary public figure in postwar Britain. Who or what else might be an engaging subject?

Compelling series

Programmes that bring arts and culture to wide audiences - whether it’s culturally voracious viewers or arts first-timers. These will talk to the heart as much as the head, offering real insights and be packed with great characters who bring culture alive. Secrets of the Museum was watched by a broad audience and focussed on people’s love for objects as much as art history. Extraordinary Portraits on BBC One brings everyday heroes and their stories to new light through the lens of contemporary portraiture. We are also interested in immersive cultural travelogues with great presenters as our guide, competitions and challenges, and lower-cost, higher-volume series with a simple idea at their heart such as Between the Covers.

Landmarks

Art That Made Us was an ambitious look at 1500 years of cultural history of the British Isles in eight parts, accompanied by a real-world festival in museums and galleries featuring over 200 participant organisations, and it continues to attract audiences on iPlayer. What would our next arts landmark focus on that would delight a broad audience?

High-impact singles

Lady Boss: The Jackie Collins Story brought the life of the bestselling author to BBC Two with great access and a wealth of original archive. Survivors: Portraits of the Holocaust shed new light on stories of extraordinary courage and fortitude in adversity through portraiture, while Joe Lycett: Summer Exhibitionist brought his typically insightful and irreverent take to the Royal Academy’s Summer Exhibition. How can we find fresh ways to bring authored, stylish stories to audiences, ranging from the classics to the latest cultural trends?

Fresh ideas for Arts Digital

Whether it’s digital only commissions or building on a longform idea, we’re looking for content with lasting impact on our digital and social platforms. Life Drawing Live! used audience engagement and UGC as part of event TV, The Big Jubilee Read brought fresh debate to the authors and works chosen to be read and celebrated, while digital content from Between the Covers has established a regular pipeline of book recommendations. Digital-only commissions are a fantastic opportunity to explore new talent and fresh ways of bringing stories to iPlayer, BBC Sounds or our social platforms. What subjects and treatments are the perfect fit for these and other emerging platforms?

Emma Cahusac: first point of contact for ‘popular arts’ returnable formats on BBC One and Two, plus performance on BBC Four (capture, hybrid and new writing).

Mark Bell: first point of contact for singles across BBC One and Two and landmark series.

Alistair Pegg: first point of contact for boxsets, formats and limited series on BBC Two.

Stephen James-Yeoman: first point of contact for classical music ideas and Arts Digital.

Please note, pop music ideas should be pitched to the popular music commissioning team.

William Pullman is a freelance writer from New Jersey. He has written for a variety of online and offline media publications, including "The Daily Journal," "Ocular Surgery News," "Endocrine Today," radio, blogs and other various Internet platforms. Pullman holds a Master of Arts degree in Writing from Rowan University.