Course evaluations could be beneficial, UCLA just needs to make them effective

We have all had that class: You walk into lecture, stare through chalk-dust laden air at dimly lit boards full of mathematical jargon and struggle to piece together what was taught to you for the past hour.

Sometimes it’s because of the material you’re learning. Other times, it’s because of the person teaching it.

Instructors receive feedback on their teaching primarily through UCLA’s course evaluation system. At the end of every quarter, students can submit an online form, filling out a set of generic questions about the quality of a class. These can include numerical scoring on qualities such as clarity, and short-form responses for general comments. Departments then review the feedback and make personnel decisions.

But online student evaluations, as they currently exist, aren’t a powerful enough feedback mechanism. For students, the results of submitting evaluations are often opaque. In many cases, students don’t see a professor again after taking a class, and therefore don’t see the results of their comments. If a professor does take note of feedback, they can often be stubborn or reluctant to change. From an instructor’s perspective, bias due to easier grading and even discrimination along the lines of gender and race can compromise the reliability and helpfulness of the evaluations.

Course evaluations and the other limited forms of instructor feedback are not fit for the challenge of educating educators. The instructor feedback process needs to be more frequent than once per quarter or per faculty review, and should encourage students and professors to engage more in the process. Teaching evaluations should come from multiple sources and be an easier part of UCLA’s learning process.

One issue is the low rates of student participation. With fewer students submitting feedback, those who do tend to have more extreme opinions, which may be motivated by irrelevant factors. Richard Korf, a UCLA professor and the vice chair of undergraduate studies for the computer science department, said he believes the older system of paper evaluation forms, with time in class allocated to filling them out, resulted in better feedback.

“It’s unfortunate we don’t get more students who respond,” Korf said. “Because you get a bias in that.”

While the evaluation forms are administered by the UCLA Office of Instructional Development, individual departments handle the feedback differently. Course evaluations can get added to faculty personnel files, and do come up informally or in performance reviews every few years. However, this is often in the context of other factors, such as research, public outreach and tenure. This process doesn’t directly or quickly solve issues with teaching.

More frequent and direct course evaluations could solve some of these problems. Having evaluations at the end of the quarter limits the amount of change a given student can see in their own lecture hall. More regular, and shorter, evaluations would allow changes in the middle of a quarter and would further incentivize student participation. Additionally, more questions unique to a given class, as opposed to those just included on a standard form, would result in better feedback.

The university can also ameliorate low student participation, which skews the feedback instructors receive, by using incentives. Some studies have shown that even nonacademic incentives increase student participation overall. Such a change could include meal tickets or priority enrollment.

There are additional issues inherent to using student feedback. Students aren’t experts on the subjects they’re here to learn, or on teaching them. And while they can’t be expected to suggest new teaching methods, fellow instructors can offer a hand.

Professor sit-ins are used already, but only in some departments. For example, Korf said the computer science department does not currently rely on fellow faculties’ feedback. Even when departments make use of professor feedback, it might not be frequent. It should be more normal for professors to observe and learn from one another. They can build off one another’s teaching techniques and get tips from those who may be better acquainted with the course material.

Professors overall need to engage more in the teaching process. Explaining the pedagogical process to students can orient them as to why they’re studying a subject in a certain way. It also gives instructors a chance to review and justify their methods to themselves.

Many of these processes, admittedly, do require more time and effort from instructors who already have busy schedules to deal with. Many classes cover massive amounts of material in UCLA’s 10-week quarters, and taking time out to review their or others’ teaching methods can seem like a nuisance. But the densest and most complicated classes are often the ones that need the most refined teaching approach. There is hard material that is hard to teach – but it’s UCLA’s mission to teach it nonetheless.

Course evaluations can sometimes seem as perplexing as those convoluted equations we’ve all seen scrawled on messy chalkboards. Dealing with both, though, shouldn’t be as hard.

Restaurant review: South Korean dessert shop Sobok disappoints with monotonous flavor, aesthetic

Gummy goodness oozes from a pastel pink swirl. Rivers of saccharine soft serve melt along the edges of a paper cup. Fruity scents permeate the room, and quirky flavors dominate the menu.

The creamy confectionery tantalizes onlookers, but its desserts ultimately disappoint.

Hailing from South Korea, Sobok is relatively new to Los Angeles. Its Buena Park, California location opened in October, and its shop in Koreatown hosted its grand opening ceremony Feb. 2. The chain prides itself on its natural, handmade ingredients and unique combination of rice cake and ice cream.

Since neither of Sobok’s locations are in Westwood, the transportation costs can be straining for college students looking for Instagrammable eateries near campus. The distance would be worth it if the dessert’s presentation was prize-winning and flavor was astounding. But unfortunately, this is not the case.

The shop is tucked away in the cramped corner of a strip mall, and does not stand out. There are a few tables and chairs outside that overlook the noisy LA streets, and the view of a construction site down the block is not conducive to comfortable outdoor seating. The inside walls are coated in pristine white paint, establishing a subdued, upscale look. Long plastered countertops are meant for communal dining, although the lack of decor doesn’t suggest a warm, inviting environment.

Sobok, the shop’s signature ice cream combination of Korean oats and honey, serves as the base for all flavors that are offered. The dessert’s texture was delectably creamy, but the product itself tasted like bland, unsweetened almond milk. But strawberry, matcha and salted-corn flavored sweeteners can be added to give the dish a more powerful taste.

The consistency of the strawberry soft serve, which costs $5.95, matched that of the sobok, although this time it was bursting with enthusiastic flavor. The strawberry taste was natural, not teeming with unnecessary artificial ingredients. But after a while, the absence of variety made the ice cream taste dull. The bottom of the dish also included a random sampling of sunflower seeds, but the sweet and savory combination was not particularly appealing.

Sobok’s uniquely crafted ice balls, however, are the most revolutionary items on the menu, and can be purchased as add-ons to the soft serve. Described as reverse mochi, they are essentially doughy rice cakes coated in ice cream. The juxtaposition of the chewy rice paste and creamy soft serve is a perfectly cohesive fusion of two contrasting textures. However, the restaurant pairs each soft serve with a specific flavor of ice ball and is restrictive of patrons’ individual liberty, not allowing customers to mix and match flavors of ice balls and ice cream. In compensation, sets of eight or 14 ice balls are available, and flavors in these sets can be varied.

An amalgam of salty, sweet and sticky, the overall product was distinctive in taste. But it didn’t make up for the restaurant’s lackluster aesthetic and uninspiring minimalism of the ice cream’s appearance. Their decor isn’t meant to cultivate the quintessential social media photo-op because it lacks the vibrancy and originality of other well-known eateries. Maybe choosing to spotlight the food instead of the design was a deliberate tactic, but this was merely a missed opportunity.

In an era where visual spectacles seem to be the gold standard for dessert, it isn’t enough to present a monochromatic dish. If the food isn’t going to be mind-blowing, the presentation must at least be worth bragging about.

Movie review: Questionable science, disconnect plot hinder horror aspect of ‘Happy Death Day 2U’

Imagine Bill Murray navigating the opening scene of “Scream” every single day.

That’s what director Christopher Landon’s latest film feels like. Combining the heartfelt moments of “Groundhog Day” and brutal deaths of “Scream,” “Happy Death Day 2U” attempts to balance its predecessor’s blood-curdling homicide with poignant mother-daughter moments. The sequel makes a fine addition for those interested in the limited “Happy Death Day” universe. But die-hard horror fans will be disappointed by the glaring shortage of suspense and slasher scenes.

The film opens not with the familiar protagonist Tree (Jessica Rothe), but with Tree’s boyfriend’s roommate and comic relief character Ryan (Phi Vu), who is stuck in a time loop as he encounters a baby-faced killer over and over again. After some meddling with his school-funded time machine, the main story reverts back to Tree, but with slight variations from the plot established in the first film. Carter (Israel Broussard) is no longer Tree’s boyfriend, and someone from her past has unexpectedly returned. Tree repeatedly fends off another baby-faced killer as she debates whether she should return to her original world.

Landon spices up the recycled premise and predictable slasher scenes with questionable time-travel science. This time-traveling aspect drives the plot effectively and potentially builds the foundation for a teased third film, but is not established enough to fully encompass the film. Nearly a fifth of screen time is spent discussing algorithms and theories that fail to incorporate current scientific understanding, distracting from the otherwise compelling narrative. Rather than developing characters or creating a suspenseful narrative, Landon creates a confused mess of questionable science that bogs down the flow of the film.

Despite the suspicious time-travel science, the actors, especially Rothe, are still able to bring raw fear to the screen. Tree, though already having encountered the masked killer numerous times, continues to show panicked, fear-stricken facial and body expressions whenever the killer appears. In one scene, Tree attempts to escape from an empty hospital while remaining hunched and close to the ground, pivoting her head to keep an eye out for the killer on the loose. Even as Tree slowly gains confidence in her decisions, fear still debilitates her, creating a believable hesitance in her actions despite the repetitive scenario.

However, a quarter of the way into the film, the tone shifts – and not for the better. Suspense and tension dissipate as the plot shifts to Tree spending quality time with her family. For anyone more interested in thrills, the story feels disconnected from a franchise previously occupied with gruesome murder. Around every corner, viewers are anticipating a chase scene but are instead greeted by melodic, orchestral music and family luncheons. Such scenes become so habitual that any hope for actual horror dies away – and is replaced with anticipation for the film to end.

The out-of-place emotional story and shaky scientific foundation are the root cause of the unfocused narrative. “Happy Death Day 2U” has clearly decided to move away from the realm of horror and to establish itself as a blockbuster film centered instead on action and drama. If the teased third film in the series comes to fruition, horror fans should not expect thrills and suspense. But, for those who simply enjoy the “Happy Death Day” universe, fans can certainly anticipate more melodrama in future sequels.

Mindful Music performances promote wellness of medical center staff, patients

Mindful Music takes over the Semel Institute Auditorium every other week, bringing music to an audience, some of whom may wear lab coats and goggles.

The organization provides daytime concerts every other week to medical staff and patients to improve work productivity, mental health and physical health, said founder and alumna Dalida Arakelian. Mindful Music’s upcoming performance, “Sounds of Persia,” by pianist and composer Safa Shahidi will take place Thursday in the Semel Institute Auditorium, located on Westwood Plaza.

“There’s a lot of research out there that shows the therapeutic effects of music on stress (and) depression. It boosts your mood, it changes your mind state,” Arakelian said. “There’s research but there’s no implementation, and by establishing Mindful Music here, (we’re) really translating the research into something people could experience in the moment.”

Arakelian said staging the concerts during the day, rather than at night, and right off Westwood Plaza, helps make the program convenient for staff and patients at the medical center. Some musicians may reach out to her about performing, while others are found through talent scouting. Artists are then auditioned so that Arakelian can better understand their musical intention, since each concert is curated specifically to provide stress relief as well as enhance focus and productivity, she said. Two of the most important qualities she looks for in an artist are their personal connection to their instrument and their excitement to share music with an audience. Musicians who are comfortable enough to express themselves on stage are better able to use music to promote wellness, she said.

“Mindful Music has a deeper purpose than just to entertain; it’s to really understand the personality of the musician, … letting the audience see (the musician’s) most vulnerable self and their most authentic self,” Arakelian said.

Arakelian developed Mindful Music with the guidance and support of Peter C. Whybrow, chairman of the Jane and Terry Semel Institute for Neuroscience and Human Behavior. Whybrow said implementing music into a medical center is important because it allows employees to switch from the stressful operating room state of mind and enter one of calm. Music also creates a rhythmic structure for brain waves, which brings the brain into balance and enables humans to feel thoughtful and unperturbed, he said. Numerous studies have shown that methods of reconnecting hospital patients with the world, such as placing a window in a hospital room, can help them recover faster. Music is similar because it enables the brain to switch from stressful tasks and reconnect with the world, he said.

“There is no doubt (music) has a healing function. … It allows us to move away from the immediate demands of the world and to feel a sense of control and balance in our realization, and that’s of course why people use it,” Whybrow said.

Niloofar Nobakht, a doctor at the Ronald Reagan UCLA Medical Center, believes it is important to bring music into clinical applications and raise public and patient awareness of its psychological and physiological benefits. Music intervention has been proven to decrease anxiety and depression levels, speed up recovery processes, decrease heart rate and lower blood pressure, ultimately leading to a healthy brain, kidney and heart, she said. Nobakht added that programs such as Mindful Music are important in educating others about the role music plays in improving wellness.

“Each of (the artists), no matter what type of instrument or genre of music that they are playing, they take us to another level of resting of the mind,” Nobakht said. “And when you are done, you feel refreshment already physiologically and psychologically.”

Seeing the positive reactions of the audience members is what keeps the concert series going, said alumna and Mindful Music production assistant Kelsey Manes. Based on reviews and feedback, Arakelian said many audience members and employees report feeling refreshed after performances, which is the impact she aims for.

“I use music to heal myself, so I want to be able to bring that to a mass audience,” Arakelian said. “My ultimate goal is this venue – that’s what Mindful Music stands for. … It was born (in Semel Institute Auditorium), it should stay here and it’s just like another cultural gem that UCLA can offer to the community.”

The Quad: Self-discovery as important as a relationship on Valentine’s Day

Valentine’s Day – the holiday of handwritten notes, gigantic teddy bears, and undying companionship – has arrived.

For all the single students out there, Valentine’s Day might just feel like another day of feeling alone. But in all honesty, what’s so wrong with being on your own?

Anyone who’s opted to take food from Rendezvous back to their dorm room over sitting alone at Bruin Plate can tell you that we are wired to believe being alone equates to being lonely. As author Gianluca Russo writes, films and other media have a strong tendency to portray people who are single, or simply on their own, as lonely and pitiable figures. But this shouldn’t necessarily be the case.

“Romantic love is not the only love there is,” said Cora Fahringer, a first-year environmental science studies student. “All you need is you.”

In the age of social media and its glorification of life itself, the image of a happy and carefree life seems ubiquitous – it seems as if no one is ever alone. However, in a recent survey conducted by Cigna, 46 percent of Americans reported sometimes or always feeling alone while 43 percent felt that their relationships were not meaningful.

An article published by Healthline reveals that our interaction with social media unintentionally invites social comparison, causing us to reevaluate our lives. It’s been widely acknowledged that we post the most appealing versions of ourselves on social media – watching our peers do this too much can pull on our insecurities and dissatisfaction, isolating our feelings until we convince ourselves that we are alone. Like many teenagers, first-year environmental science student Kevin Santiago, said he’s felt these social media-created pressures.

“(Social media) sets a new standard for relationships,” said Santiago. “If it isn’t like everyone else’s, it is not perfect.”

However, our loneliness affliction extends beyond social media. In an interview with Fortune Magazine, John Cacioppo, author of “Loneliness: Human Nature and the Need for Social Connection” and director of the University of Chicago’s Center for Cognitive and Social Neuroscience explained how humans are social beings programmed to interact and form bonds with one another. When we fail to make such bonds or lack a sense of connection with those around us, it is natural to feel a void, he said.

For first-year undeclared student Joycelyn Liu, Valentine’s Day epitomizes society’s fixation on avoiding being alone.

“It can be a good reminder to cherish people you love, but there is also pressure to have a date, make it a big occasion or make your relationship known,” Liu said.

By emphasizing a holiday that capitalizes on romance and external love, we devalue the “lone wolf.” But the data suggests we should be thinking otherwise: According to the United States Census Bureau’s report on Unmarried and Single Americans Week: Sept. 17-23, 2017, 45.2 percent of residents 18 and older are single. Despite a movement toward independence, societal judgment still exists.

In an article by The Globe and Mail, Olivia Laing, author of “The Lonely City: Adventures in the Art of Being Alone,” said, “We are obsessed with the idea of romantic coupledom as the absolute achievement. That’s how we believe our lives should run.” Anyone that deters from this idea is deemed an outcast.

It is only when we fully embrace the beauty of solitude and realize that love comes in different forms that the social stigma of being single may disappear. Rather than constantly chase down our soulmates, it’s important to strengthen our friendships and find love within ourselves first.

Valentine’s Day, regardless of relationship status, shouldn’t deter you from appreciating the most important person in your life: yourself. The first step in overcoming loneliness is not a relationship, and it’s not a new batch of followers on social media – it’s self-discovery.

“Get comfortable with your lone self before you go find someone else,” Fahringer said.