Your Journal

• I take credit for …

• I wonder ….

• I’ve been thinking …

• I wish I would have …

• I was thinking about something I read …

• Today I had a moment …

• My good and bad for today are …

The Reflective Cycle

Carol Rodgers

Presence in Experience Learning to see

Description of ExperienceLearning to describe and differentiate

ExperimentationLearning to take intelligent action

Analysis of ExperienceLearning to think from multiple perspectives and form multiple explanations

Understanding by Design (“backward design”)Grant Wiggins and Jay McTigue

Worth being familiar with

Important to know and be

able to do

“Enduring” understanding

What is an authentic problem?The mere formulation of a problem is far more essential than its solution, which may be merely a matter of mathematical or experimental skills. To raise new questions, new possibilities, to regard old problems from a new angle requires creative imagination and marks real advances in science. Albert Einstein

What is an authentic problem?“Accepting simultaneously a student's right to equality in approaching a problem and his lack of experience puts a burden on the teacher. This way of teaching at first seems more difficult, for the teacher must often sit out the discoveries of the student without interpreting or forcing conclusions on him. Yet it can be more rewarding for the teacher, because when student-actors have truly learned through playing, the quality of performance will be high indeed.”

Viola Spolin Improvisation for the Theater

What is an authentic problem?

• Personal Interest

• No predetermined right answer – requires uncovering

What is an authentic problem?

• Use of methods of an expert – authentic methodology

• Intended to have an impact on an audience in addition to the teacher

Types of authentic problems

1. Research Questions– Collect data from primary sources

2. Activism – do something to solve the problem

3. Personal Expression-- Creative or Artistic Expression of a

Theme, Idea, Feeling

Types of problemsGetzels (1987)

• Type I Problem:– Known formulation, known method, known

solution (not to the solver).

• Type II Problem– Presented problem but the method of solution is

not known to the problem solver

• Type III Problem– No presented problem. The problem itself must be

discovered and neither the problem nor the solution may be know to anyone.

Descriptive Feedbackquestions for students

• What did you learn?

• How do you know you learned it?

• What got in the way of your learning?

• What helped your learning?

• How did you feel?

Structured Response Protocols

• Provide safety and support

• Honor the work and its creator

• Allow everyone to participate

• Reinforce guidelines for appropriate response

• Help manage time

Liz Lerman’s Critical Response Process

• Step One: Affirmation – at least one thing that we noticed about the

work being discussed that brought us something special.

• Step Two: Presenter As Questioner – The creator asks the questions first. The more

artists clarify what they are working on and where their own questions are, the more intense and deep the dialog becomes. These questions need to be quite specific.

• Step Three: Responders Ask the Questions – The responders form their opinions into a

neutral question. So instead of saying, "It's too long," a person might ask, "What were you trying to accomplish in the circle section?" or "Tell me what's the most important idea you want us to get and where is that happening in this piece?”

Liz Lerman’s Critical Response Process

• Step Four: Opinion Time – In step four the responder asks permission to

state an opinion: "I have an opinion about the costumes. Do you want to hear it?" Now this artist may be very interested in hearing about the costumes, but not from that person, so he or she can say no—or yes—or no, not now but later.

Liz Lerman’s Critical Response Process

• Step Five: Subject Matter Discussion – Sometimes the subject matter of a work is

such that responders want to get into a discussion about its content. The discussion may or may not relate to the specific evolution of the piece. Also personal stories, memories or feelings could be told at this step.

Liz Lerman’s Critical Response Process

• Step Six: Working on the Work Sometimes after a session like this, the artist may be ready to get to work on a particular section.

Liz Lerman’s Critical Response Process

• Affirmation: Always begin by discussing successes with the playwright.

• Examples of affirmative comments:• What did you like most about her/his writing?• What were some memorable lines? Why were these

lines memorable?• Could you relate to what was written? How?• Did the writing make you think of a personal experience?• Did the writing inspire you to be creative?• Did the writing alter your perspective?

Questions from the artist: The artist asks specific questions in order to help him/her improve the work. Artists should avoid general questions such as, “Did you like my work?”

• Examples:

• Do you believe my language sounds authentic?

• Were you surprised by the ending of my play?

• Do you think I have too many conflicts?

• Were you surprised at how my characters overcame their obstacles?

• Do you think it was too easy for my protagonist to reach her/his objective?

• Do you believe my characters are making active decisions?

 Responders ask neutral questions: Respondents develop neutral questions for the artist in an effort to consider challenges in her/his writing. The aim is to turn criticism into a question that has no judgment. The artist has the choice to respond to these questions or not.

• Examples of neutral questions:• What were you trying to communicate to the audience when your

character…?• How might you add in more obstacles for your play?• What do you want the audience to take away from this play?• What do you consider the primary conflict of your play?• How old is your character? Where is s/he from?

 

One sentence opinions: Each member of the group, including the playwright, shares their opinion about the work in one sentence. Your opinion sentence must begin one of the following ways:

• I enjoyed your play because…• I believe one challenge you might consider in

your work is…

Collaborative Assessment ConferenceSteve Seidel – Project Zero

• Look at one piece

• Describe the work– What do you see?

• Speculate about the work– What do you think the student is

experimenting with in this work?– What skills does the student demonstrate?

Collaborative Assessment Conference

• Ask questions about the work– What questions does this work raise for you?

(teacher takes notes but does not respond)

• Teacher responds– Provides perspective on student’s work by

sharing information that may be important

Collaborative Assessment Conference

• Discuss implications for teaching and learning– Participants share thoughts about own

teaching, students’ learning or ways to support this particular student in future instruction

• Reflect on the Collaborative Assessment Conference

Types of Assessment

1. Portfolios

2. Performance tasks

3. Open ended prompts

4. Single answer written

5. Conferencing

6. Peer debriefing

7. Self-assessment

How do we Assess Reflection?

• Insight

• Honesty

• Emotional connection

• Multiple perspectives

• Productive self-critique

• Questions

• Connections (reincorporation)

Albert Bandura

Barry Zimmerman

Edward Deci

Self-Regulation andSelf-Efficacy

• Paying Attention– avoids distractions– listens carefully

• Using Feedback– uses criticism to improve work– maintains corrections

• Problem Solving (Curricular)– comes up with different or unique approaches to a

challenge– doesn't stop with one answer– thinks for self -- is not swayed by the opinions or answers

of others

Self-Regulatory Behaviors

Self-Regulatory Behaviors

• Self-Initiating– takes responsibility for learning– moves self to a productive place to learn– works on task without explicit instructions from

the teacher

• Asking Questions– asks good questions– is not afraid to ask when instructions or

information is unclear

Self-Regulatory Behaviors• Taking Risks

– offers opinions, even if they are unpopular– volunteers readily

• Cooperating– works well in group activities– follows instructions

• Persevering– doesn't stop when it gets hard– continues when the teacher is not looking

• Setting Goals – sets up specific interim goals to solve a

problem– recognizes the sequence of tasks needed

Self-Regulatory Behaviors

Higher Order Thinking and Questioning

Benjamin BloomBloom’s Taxonomy

Original Terms New Terms

• Evaluation

• Synthesis

• Analysis

• Application

• Comprehension

• Knowledge

•Creating

•Evaluating

•Analysing

•Applying

•Understanding

•Remembering(Based on Pohl, 2000, Learning to Think, Thinking to Learn, p. 8)

BLOOM’S REVISED TAXONOMY

CreatingCreatingGenerating new ideas, products, or ways of viewing things

Designing, constructing, planning, producing, inventing. 

EvaluatingEvaluatingJustifying a decision or course of action

Checking, hypothesising, critiquing, experimenting, judging 

 AnalysingAnalysingBreaking information into parts to explore understandings and relationships

Comparing, organising, deconstructing, interrogating, finding 

ApplyingApplyingUsing information in another familiar situationImplementing, carrying out, using, executing

 UnderstandingUnderstanding

Explaining ideas or conceptsInterpreting, summarising, paraphrasing, classifying, explaining

 RememberingRemembering

Recalling informationRecognising, listing, describing, retrieving, naming, finding

 

Change in Terms• The names of six major categories were changed from noun to verb

forms.

• As the taxonomy reflects different forms of thinking and thinking is an active process verbs were more accurate.

• The subcategories of the six major categories were also replaced by verbs

• Some subcategories were reorganised.

• The knowledge category was renamed. Knowledge is a product of thinking and was inappropriate to describe a category of thinking and was replaced with the word remembering instead.

• Comprehension became understanding and synthesis was renamed creating in order to better reflect the nature of the thinking described by each category.

(http://rite.ed.qut.edu.au/oz-teachernet/training/bloom.html (accessed July 2003) ; Pohl, 2000, p. 8)

SIX TYPES OF SOCRATIC QUESTIONS

*1. Questions for clarification:*

* Why do you say that? * How does this relate to our discussion? * "Are you going to include diffusion in your mole balance equations?"

*2. Questions that probe assumptions:*

* What could we assume instead? * How can you verify or disapprove that assumption? * "Why are neglecting radial diffusion and including only axial diffusion?"

*3. Questions that probe reasons and evidence:*

* What would be an example? * What is....analogous to? * What do you think causes to happen...? Why:?

SIX TYPES OF SOCRATIC QUESTIONS*4. Questions about Viewpoints and Perspectives:*

* What would be an alternative? * What is another way to look at it? * Would you explain why it is necessary or beneficial, and who benefits? * Why is the best? * What are the strengths and weaknesses of...? * How are...and ...similar? * What is a counterargument for...?

*5. Questions that probe implications and consequences:*

* What generalizations can you make? * What are the consequences of that assumption? * What are you implying? * How does...affect...? * How does...tie in with what we learned before? * "How would our results be affected if neglected diffusion?"

SIX TYPES OF SOCRATIC QUESTIONS

*6. Questions about the question:*

* What was the point of this question? * Why do you think I asked this question? * What does...mean? * How does...apply to everyday life?

From R.W. Paul

JAPANESE LESSON STUDY

1. Think about the aspirations that you have for your students. What kind of students do you want to foster and help develop at your school?

2. What qualities do you want your students to have by the time they leave your school?

JAPANESE LESSON STUDY

3. What gaps do you see between these aspirations and how children are actually developing at your school?

4. Discuss these gaps with your group. As a group, select a “gap” that you would like to focus on with � �your lesson study. What “gap” have you selected? � �

5. Write a group goal that states the quality you would like to develop in your students, in order to address the gap that you have chosen.

JAPANESE LESSON STUDY

Barbrina Ertle, Sonal Chokshi, & Clea Fernandez. ©2001, Lesson Study Research Group (lsrg@columbia.edu).

JAPANESE LESSON STUDY

JAPANESE LESSON STUDY

JAPANESE LESSON STUDY

JAPANESE LESSON STUDY

Synectics: Making the strange familiar and the familiar strange.

• Direct analogies– How is laughter like peanut butter?

• Personal analogies– Become the thing

• Symbolic analogies– Compressed conflicts – fragile armor

SynecticsAnalogies

How is school like a salad?

How is a daffodil like a dancer?

How is television like a spy?

How is ping pong like marriage?

Metaphors, Analogies

Teaching is….

Teaching is like……

GoalsValues

Reasons or purposePractices

Effects or outcomesEthics

How you want others to see you

What makes a reflection meaningful….from the class discussion

Why reflect?• To know what you know• To know what you don’t know• To find out what you feel• To have your own ideas• To integrate the overload of stimulation• To calm yourself• To get in touch with your body• To gain objectivity• To plan