tag:blogger.com,1999:blog-10338898672357597802024-02-20T07:26:38.969-08:00What Should We Do With Our Classrooms?Catherine Malabou's work on neuroplasticity asks the question: What Should We Do with our Brains? And just as the brain is plastic so is the learning process, and our spaces for learning should reflect this. So how can we get there? What should we do with our classrooms?Unknownnoreply@blogger.comBlogger49125tag:blogger.com,1999:blog-1033889867235759780.post-85086265602682700852019-09-04T13:55:00.000-07:002019-09-04T16:46:14.550-07:00Check Out My Latest Post on Leadership & Implicit Bias in Schools at the ATLIS BlogThis year the <a href="https://atlis.memberclicks.net/" target="_blank">Association of Technology Leaders in Independent Schools</a> is hosting a series of seminars based on 4 essential books that all educational leaders should read. I'm hosting the first seminar on Mahzarin Banaji's and Anthony Greenwald's <i>Blindspot: Hidden Biases of Good People</i>.<br />
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The book explores how implicit bias shapes the perspectives and behaviors of all people, even those with the best intentions. It was written by the same people who developed the <a href="https://implicit.harvard.edu/implicit/takeatest.html" target="_blank">Implicit-Association Test</a> at Harvard University. If you haven't taken one of the IATs, I strongly urge you to do so (they have tests on all sorts of topics, ranging from race and gender to things as innocuous as our biases towards insects).<br />
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<a href="https://atlis.memberclicks.net/index.php?option=com_dailyplanetblog&view=entry&year=2019&month=08&day=26&id=58:atlis-reads-the-blind-spot-hidden-biases-of-good-people" target="_blank">Go here</a> to read my blog post about the book, and if you're an ATLIS member, join us September 26 for a live webinar discussion of the book.<br />
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<br />Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-1033889867235759780.post-78395434604319269062019-05-06T07:22:00.000-07:002019-05-06T07:22:04.514-07:00Reflections on Part Three of John Warner's Why They Can't Write, Pages 127-183 (Post #4) - A Guest Post by Lauren Carfa<i>At The Oakridge School, the entire English department is reading John Warner's Why They Can't Write: Killing the Five-Paragraph Essay and Other Necessities. Six of us have volunteered to post reflections on the book as we read and discuss the text. <a href="https://twitter.com/lauren_carfa" target="_blank">Lauren Carfa</a>, 3rd grade ELA Instructor, volunteered to post the fourth reflection, which I've provided below.</i><br />
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<i><span style="font-size: large;">Must It Be All or Nothing?</span></i></div>
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I have, embarrassingly, severely held up the progress of this blog! While life has truly been a big factor in this, I’ve come to realize some personal avoidance as well. I have really struggled through this book because I find myself often frustrated either with what Warner is suggesting, or with what I feel is a lack of completion. What I mean by that is I feel he keeps saying what is wrong, what not to do, and why, but that is it. I’m left wondering what he suggests as a better method.<br />
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I’ve tried to be very reflective as I read this text. I wrote at the beginning of my notes for this section that I am a product of the system that he is writing against. I was taught how to write for the purpose of taking and passing a standardized test and then moving to the next level and I wholeheartedly agree that, while I have some strong and helpful skills in writing, my education was narrow and lacking. Sadly, I didn’t find college to be any different at any of the institutions I took classes from. This personal experience lends me to feel supportive of many of Warner’s arguments about what students need. I wish my educational experience had been more about encouraging thought and creativity rather than teaching me to meet specific measures that may or may not bear fruit for me in life.<br />
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On page 129, Warner says “If you believe school is properly viewed as something like ancient Sparta...much of what I have to say...will sound like the rantings of a soft-hearted dreamer entirely divorced from the real world.” I keep coming back to this statement because I do think so much of what he says isn’t realistic. I don’t see how to merge his desires and aspirations for education with the reality of people. However, I don’t feel like I belong anywhere near the other option he offers. To me, this further illustrates what I keep feeling about so much of his opinion - there is no middle ground, just either or, us or them.<br />
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Further illustrating my struggle to sift through the reading, I know that all of the above isn’t fully reflective of my section that I am to represent, but rather my feelings on the book as whole.<br />
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In my section, Warner talks about the need for students to be fed and come to school well-rested, and also says, “...but can we agree that enhancing the intellectual, social, and emotional capacities of students is likely to lead to these [preparing children for higher education and careers] outcomes?” Perhaps this will be the conclusion of Warner as well, but the piece I often find to be missing in the field of education is relationship. I really believe relationship is what sets educators into the categories of someone who leads, produces, or brings up students who are successful, confident and capable, verses the educator that holds a place, or worse, stifles the love of learning. Warner keeps referring to the “tyranny of grades” and compliance. I think of tyranny of grades as nit-picking for mistakes, rather than looking at the whole picture of what the goal of the learning was. Regardless, he is right - grades and compliance can lead to defeated, apathetic children. I think that type of educator is one that lacks relationship. I believe that grades and compliance, inside relationship, can be healthy, beneficial, and provides a platform for success and growth. This also applies to writing. Grade, or don’t, but if you don’t have a relationship with your students they won’t grow and develop as a result of your efforts either way. In my opinion, this point is exemplified on page 141 when Warner lists five things that should be our goals. Goals 4 and 5 state:<br />
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4. We will end the tyranny of grades and replace them with self-assessment and reflection.<br />
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5. We will give teachers sufficient time, freedom, and resources to teach effectively. In return, they will be required to embrace the same ethos of self-assessment and reflection expected of students.<br />
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My question is, how do we then determine this standard is met? If there is not a relationship and there is no grade or requirement to demonstrate the expectation is being met, I envision a huge range of “success”. Don’t misunderstand, I do not think that everyone should turn out the same or have identical goals. I want to celebrate the individual. I mean in terms of teachers certain they are impacting students when students feel lost and uncertain, or students certain they are top of their class when they haven’t mastered basic skills. Self reflection is not a strength for everyone.<br />
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Finally, on page 153 Warner talks about the circumstances in which writers thrive and advocates giving students experiences and opportunities to make choice and build a practice and love for writing. This, I can get excited about. This, I can get behind. I just don’t understand why it must be completely separated from grades and structure. I see a classroom where both can hold space.<br />
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I chose to include the following pictures to demonstrate why I still hold value to giving children structure to work first within, and then out of. This first picture is of a writing piece done with little to no structure. The requirements were very broad and focused on minor things such as how to turn it in, to make sure you have your name, etc. The children had a choice of topic, including one that was free choice. There was no grade attached and no structure given to follow.<br />
<br /><span aria-label="image widget" class="cke_widget_wrapper cke_widget_inline cke_widget_image cke_image_nocaption cke_widget_selected" contenteditable="false" data-cke-display-name="image" data-cke-filter="off" data-cke-widget-id="2" data-cke-widget-wrapper="1" role="region" tabindex="-1"><img alt="" class="" data-cke-saved-src="https://lh4.googleusercontent.com/egQwO_8O52V_JTngMy_TqDDT8pG3HlwZhYBdbwY69-C-xsbyfLn4wzF2oYsL57sAgW4OFXK6jRqvjKifp0Y9id_zehAo44XSyxPFZx9H3-Qx-N2tP8rpb9HrxAPk5zonMFSq1N6s" data-cke-widget-data="%7B%22alt%22%3A%22%22%2C%22class%22%3A%22%22%2C%22hasCaption%22%3Afalse%2C%22hasFigure%22%3Afalse%2C%22height%22%3A%22319%22%2C%22id%22%3A%22%22%2C%22lock%22%3Atrue%2C%22src%22%3A%22https%3A%2F%2Flh4.googleusercontent.com%2FegQwO_8O52V_JTngMy_TqDDT8pG3HlwZhYBdbwY69-C-xsbyfLn4wzF2oYsL57sAgW4OFXK6jRqvjKifp0Y9id_zehAo44XSyxPFZx9H3-Qx-N2tP8rpb9HrxAPk5zonMFSq1N6s%22%2C%22style%22%3A%22%22%2C%22title%22%3A%22%22%2C%22width%22%3A%22546%22%2C%22align%22%3A%22none%22%2C%22classes%22%3Anull%7D" data-cke-widget-keep-attr="0" data-cke-widget-upcasted="1" data-widget="image" height="319" id="" src="https://lh4.googleusercontent.com/egQwO_8O52V_JTngMy_TqDDT8pG3HlwZhYBdbwY69-C-xsbyfLn4wzF2oYsL57sAgW4OFXK6jRqvjKifp0Y9id_zehAo44XSyxPFZx9H3-Qx-N2tP8rpb9HrxAPk5zonMFSq1N6s" title="" width="546" /><span class="cke_reset cke_widget_drag_handler_container" style="background-image: url(https://securejs.finalsite.com/ckeditor/4.9.2.1/plugins/widget/images/handle.png); background: rgba(220,220,220,0.5);"><img class="cke_reset cke_widget_drag_handler" data-cke-widget-drag-handler="1" draggable="true" height="15" role="presentation" src="data:image/gif;base64,R0lGODlhAQABAPABAP///wAAACH5BAEKAAAALAAAAAABAAEAAAICRAEAOw==" title="Click and drag to move" width="15" /></span><span class="cke_image_resizer" title="Click and drag to resize"></span></span><br />
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This next picture is of the same student's writing, during even the same week. This picture is a portion of their final copy pages for a project in which they had choice over the topic, but they had to follow a structure and use various tools practiced in class as part of their grade.</div>
<b id="docs-internal-guid-30aaf068-7fff-1414-81e6-43400c413985"><span aria-label="image widget" class="cke_widget_wrapper cke_widget_inline cke_widget_image cke_image_nocaption cke_widget_selected" contenteditable="false" data-cke-display-name="image" data-cke-filter="off" data-cke-widget-id="1" data-cke-widget-wrapper="1" role="region" tabindex="-1"><img alt="" class="" data-cke-saved-src="https://lh5.googleusercontent.com/jzEsvFUIjIhossY-j2wZ3-AnPjFJw5YW00dvy_3cplQRG0Lo5dyJzfDsGPdPgR2iE3QZmA29egFiODH1EwyQPSHqKiu9kJOIqKRqqx85-Xrav163jrGh1Qq3GQjAu9ntROfOBQ30" data-cke-widget-data="%7B%22alt%22%3A%22%22%2C%22class%22%3A%22%22%2C%22hasCaption%22%3Afalse%2C%22hasFigure%22%3Afalse%2C%22height%22%3A%22465%22%2C%22id%22%3A%22%22%2C%22lock%22%3Atrue%2C%22src%22%3A%22https%3A%2F%2Flh5.googleusercontent.com%2FjzEsvFUIjIhossY-j2wZ3-AnPjFJw5YW00dvy_3cplQRG0Lo5dyJzfDsGPdPgR2iE3QZmA29egFiODH1EwyQPSHqKiu9kJOIqKRqqx85-Xrav163jrGh1Qq3GQjAu9ntROfOBQ30%22%2C%22style%22%3A%22%22%2C%22title%22%3A%22%22%2C%22width%22%3A%22359%22%2C%22align%22%3A%22none%22%2C%22classes%22%3Anull%7D" data-cke-widget-keep-attr="0" data-cke-widget-upcasted="1" data-widget="image" height="465" id="" src="https://lh5.googleusercontent.com/jzEsvFUIjIhossY-j2wZ3-AnPjFJw5YW00dvy_3cplQRG0Lo5dyJzfDsGPdPgR2iE3QZmA29egFiODH1EwyQPSHqKiu9kJOIqKRqqx85-Xrav163jrGh1Qq3GQjAu9ntROfOBQ30" title="" width="359" /><span class="cke_reset cke_widget_drag_handler_container" style="background: url("https://securejs.finalsite.com/ckeditor/4.9.2.1/plugins/widget/images/handle.png") rgba(220, 220, 220, 0.5); display: block; left: 0px; top: -15px;"><img class="cke_reset cke_widget_drag_handler" data-cke-widget-drag-handler="1" draggable="true" height="15" role="presentation" src="data:image/gif;base64,R0lGODlhAQABAPABAP///wAAACH5BAEKAAAALAAAAAABAAEAAAICRAEAOw==" title="Click and drag to move" width="15" /></span><span class="cke_image_resizer" title="Click and drag to resize"></span></span></b><br />
<b id="docs-internal-guid-30aaf068-7fff-1414-81e6-43400c413985"><span aria-label="image widget" class="cke_widget_wrapper cke_widget_inline cke_widget_image cke_image_nocaption cke_widget_selected" contenteditable="false" data-cke-display-name="image" data-cke-filter="off" data-cke-widget-id="0" data-cke-widget-wrapper="1" role="region" tabindex="-1"><img alt="" class="" data-cke-saved-src="https://lh3.googleusercontent.com/3TTDvrWFl8TaWTJ7C59h8RnSzbUQFQ7XnKMJhkN530ifXQtBdSFTAYjrjywJR7wKsvmJoPRp7Z4U11YVtXoB1q0VPX1ZalsQNFsw7sHIkioSgmw3EYQrTog52xojzIcjajbPeHwl" data-cke-widget-data="%7B%22alt%22%3A%22%22%2C%22class%22%3A%22%22%2C%22hasCaption%22%3Afalse%2C%22hasFigure%22%3Afalse%2C%22height%22%3A%22481%22%2C%22id%22%3A%22%22%2C%22lock%22%3Atrue%2C%22src%22%3A%22https%3A%2F%2Flh3.googleusercontent.com%2F3TTDvrWFl8TaWTJ7C59h8RnSzbUQFQ7XnKMJhkN530ifXQtBdSFTAYjrjywJR7wKsvmJoPRp7Z4U11YVtXoB1q0VPX1ZalsQNFsw7sHIkioSgmw3EYQrTog52xojzIcjajbPeHwl%22%2C%22style%22%3A%22%22%2C%22title%22%3A%22%22%2C%22width%22%3A%22361%22%2C%22align%22%3A%22none%22%2C%22classes%22%3Anull%7D" data-cke-widget-keep-attr="0" data-cke-widget-upcasted="1" data-widget="image" height="481" id="" src="https://lh3.googleusercontent.com/3TTDvrWFl8TaWTJ7C59h8RnSzbUQFQ7XnKMJhkN530ifXQtBdSFTAYjrjywJR7wKsvmJoPRp7Z4U11YVtXoB1q0VPX1ZalsQNFsw7sHIkioSgmw3EYQrTog52xojzIcjajbPeHwl" title="" width="361" /><span class="cke_reset cke_widget_drag_handler_container" style="background-image: url(https://securejs.finalsite.com/ckeditor/4.9.2.1/plugins/widget/images/handle.png); background: rgba(220,220,220,0.5);"><img class="cke_reset cke_widget_drag_handler" data-cke-widget-drag-handler="1" draggable="true" height="15" role="presentation" src="data:image/gif;base64,R0lGODlhAQABAPABAP///wAAACH5BAEKAAAALAAAAAABAAEAAAICRAEAOw==" title="Click and drag to move" width="15" /></span><span class="cke_image_resizer" title="Click and drag to resize"></span></span></b><br />
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My expertise is not in English, though I am an “English Teacher”. My expertise is in children. I believe children need guidance and structure that comes from a loving person they respect. That is the place they grow from.<div>
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<a href="https://twitter.com/lauren_carfa" target="_blank">Lauren Carfa</a></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1033889867235759780.post-82432052613843246772019-04-17T18:53:00.000-07:002019-04-17T18:53:47.869-07:00Reflections on Part Two of John Warner's Why They Can't Write, Pages 87-123 (Post #3) - A Guest Post by Claire Reddig<div>
<i>At The Oakridge School, the entire English department is reading John Warner's Why They Can't Write: Killing the Five-Paragraph Essay and Other Necessities. Six of us have volunteered to post reflections on the book as we read and discuss the text. <a href="https://twitter.com/ReddigWrites" target="_blank">Claire Reddig</a>, MS English Instructor & Writing Specialist, volunteered to post the third reflection, which I've provided below.</i></div>
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My blog post is organized around quotations that I hope capture key issues discussed and provide room for debate and discussion<div>
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<b>“In fact, contact between faculty and between students may be the most meaningful part of education” (90).</b></div>
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At Oakridge, we often hear about the importance of relationships and for good reason. This quotation caught my attention not because it is radical, but because I wonder how our writing instruction and feedback would be different if building relationships was our top priority. For me, I’d definitely make more room for writing conferences (I think I’d call them writing conversations) and I’d see my students’ writing as a chance to learn more about them as people and as writers. I’d probably be less critical if building a relationship was my primary goal and I’d give my students more room for creativity and autonomy. What about you?</div>
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<b>“We should not be surprised that a school day could be alienating when it’s dominated by interacting with a screen and a computer running software specifically designed to highlight your deficiencies” (93).</b></div>
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This quotation caught my attention because we use a computer program called iXL in Middle School to teach grammar skills. The upside to iXL is it is personalized and it (in theory) teaches the students how to avoid mistakes. We began using iXL a few years ago when the grammar pendulum began swinging away from direct grammar instruction and we were searching for a middle ground. We also found that our students were at very different places when it came to grammar knowledge, so iXL allowed us personalize grammar instruction and free up more class time for reading comprehension and writing practice. As you can imagine, students are not fans of iXL and see it as a chore. I still see iXL as having a role in our MS classrooms but I would love to hear about other options...</div>
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<b>“They have rarely been required to distill or synthesize an argument to its essence, a higher order task than mere comprehension. They are comfortable repeating what they’ve heard/ read but less experienced in articulating what a text ‘means’” (99).</b></div>
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I think this quotation gets at the heart of so many issues in our classroom. I think we are giving our students less opportunities to push themselves as creative and critical thinkers in a safe and stress free environment, whether it is in writing or in conversations. If we want to see our students use complex analysis, they have to practice these skills in an arena that values trial and error. And we need to value and highlight this critical thinking when we see it in our students’ writing (even if the arguments contain grammar and spelling errors!)</div>
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<b>“But the far more important part of the work is my trying to figure out why the error has been made so I can offer something to the student that allows them to return to their writing process in order to do better next time. Often, this is only achieved in consultation with the students themselves” (101).</b></div>
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I think this quotation goes back to my thinking about how my feedback about student writing would be different if relationships were my key goal. I think I would see myself as a teammate who is offering feedback in a non-threatening way and is instead offering suggestions and things to ponder rather than requirements.</div>
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<b>“Those who hold on to the notion that students must learn the ‘basics’ of grammar before allowing writers to move on to the more difficult work of expressing ideas are denying those students access to experiences that make use want to learn to write. It is the equivalent of music students being confined to the study of sheet music, without ever being allowed to play an actual instrument” (108).</b></div>
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I have to admit, this quotation got me a little hot before I read the following quotation several pages later…</div>
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<b>“This is not a declaration that anything goes or that students do not need to be instructed on writing good sentences, but from their earliest attempts at writing we must allow students to see that ‘proper’ expression is dependent on audience and occasion, and this means they must make informed decisions” (110).</b></div>
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For me, the key to successful writing and grammar instruction is to find a happy medium. We don’t “confine” our young writers to worksheets and practice in isolation, but we also don’t deprive them of direct instruction and feedback about grammar concepts in a stress free (read grade free) environment. I also really appreciate the reminder that purpose, audience, and format always matter when it come to writing.</div>
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<b>“Unfortunately, we make many sacrifices on the altar of correctness, a practice that is surely exacerbated by testing and accountability systems that promulgate the illusion that there are right and wrong answers in the realm of reading and writing” (109).</b></div>
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This quotation brings me back to conversations Lauren and I have had on numerous occasions about what type of writing is “worthy” of public consumption. Do we need to make sure our students’ writing is free of all grammar and spelling errors before posting it in the hall or posting it to a blog or sharing it with an authentic audience?</div>
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<b>“There are reasons why we don’t keep score and everyone gets in the game when children first start playing a sport” (109).</b></div>
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I’ll choose this quotation as my final one because one of the enduring points for me from this book so far is the need to grade less and give more freedom and grace to our student writers.</div>
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P.S. - I didn’t feel the need to reinforce the message on pages 113-123. It seems like I would be “preaching to the choir.” Feel free to share your favorite quotations from that section!</div>
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<a href="https://twitter.com/ReddigWrites" target="_blank">Claire Reddig</a></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1033889867235759780.post-6486500808636930072019-04-08T16:06:00.001-07:002019-04-17T18:51:22.305-07:00Reflections on Part Two of John Warner's Why They Can't Write, Pages 35-123 (Post #2) - A Guest Post by Stephen Hebert<i>At The Oakridge School, the entire English department is reading John Warner's Why They Can't Write: Killing the Five-Paragraph Essay and Other Necessities. Six of us have volunteered to post reflections on the book as we read and discuss the text. <a href="https://twitter.com/sbhebert" target="_blank">Stephen Hebert</a>, AP Lang & American Lit. Instructor, volunteered to post the second reflection, which I've provided below.</i><br />
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<b>A Recent Lesson in Atmospheric Conditions</b></div>
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This past week, I witnessed a disappointing phenomenon in my classes.</div>
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After spending the first three quarters of the school year figuring out my new school, I decided to dedicate this final quarter to a series of pedagogical experiments. My first experiment was to find a new approach to the most difficult text we read all year: <i>The Scarlet Letter</i>. I turned the book into a role-playing game in which students had to complete a series of “quests” in order to escape 17th century Boston and make their way back to the present. For the first two weeks, students seemed quite excited. We had weekly goals for how much they needed to read, but otherwise, their progress in the game was left up to them. They could choose which quests to complete and which to ignore.</div>
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Something changed, however, this past week. In the Upper School, we have progress reports, and I had to somehow convert students’ performance in the game to a letter grade for these reports. I put students into groups and asked them to devise systems for turning game performance into a letter grade. After listening to a dozen different proposals spread out over five class periods, I took the most popular ideas, combined them, and then put them on the board. Very quickly, the energy that we’d built up in class over the previous two weeks died out.</div>
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Why?</div>
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When I asked students about it, the theme was quite clear: “Grades are the worst.” For me, this is just a variation of what John Warner suggests in the opening chapter of this section: “School sucks.”</div>
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In “The Problem of Atmosphere,” Warner begins with a social experiment that leads him to a startling claim: “Students are not coddled or entitled. They are defeated” (38).</div>
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I tend to agree.</div>
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<b>The System and the Culture</b></div>
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As a teacher and a chaplain at three different independent schools, I have spent many hours over the last ten years counseling students who have been defeated by grades and test scores, who feel so beaten down that the opportunity for growth is no longer possible for them until they can get some distance from the system that made them feel that way.</div>
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What are the characteristics of that system?</div>
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As an Upper School teacher, I’d argue that the specter of college admissions plays a large role. More specifically, the misguided belief that all students need to go to college to be “successful” and that only certain colleges count. The highly competitive nature of college admissions, coupled with the belief that a blown test or quiz will end their chances at getting into University X, creates a culture of compliance rather than creativity, a culture that values grades over learning, a culture that sees school as a transactional, quid pro quo arrangement, rather than a journey of (self-)discovery.</div>
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Our students fear failure.</div>
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They look at a 100-point scale and they see 70 ways to fail (0–69) and less than half as many ways to succeed (70–100). Even worse, many of them believe that anything less than an A- is a failure. As we prepare them for college and life, where the economy is more and more based on gigs which require creativity and soft-skills, this narrative of "success" has put our students in a bind that doesn’t allow them to experiment, to make a mistake, to skin their knees. Thus, we make our contribution to the anxiety epidemic. If I believed that my future hinged on a particular quiz or test, then I’d probably be anxious too. </div>
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<b>Writing as Antidote?</b></div>
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What does this have to do with writing?</div>
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As Warner says to his students, “writing is an ‘extended exercise in failure’” (41). As teachers of writing, we have an opportunity to provide students with an alternative to the do-or-die culture that they find themselves mired in. Why? Because we can teach them how to fail. We have to.</div>
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In her response to <a href="https://edu-scenius.blogspot.com/2019/04/reflections-on-part-one-of-john-warners.html" target="_blank">Jared’s post</a>, I deeply appreciated Lauren’s extended bicycle analogy in which she approached teaching writing in the third grade as a way of building skills by laying down fundamentals. You have to know the basic rules of bike riding in order to ride a bike: how do the pedals work? where are the brakes? what's up (or down) with gravity? </div>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-Tcltpa3MH7g/XKvJqTVMRQI/AAAAAAAAB0o/aeF0O-6HcygSyWfYl6fswOre5d1Bb6VMACLcBGAs/s1600/Screen%2BShot%2B2019-04-08%2Bat%2B5.20.36%2BPM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="554" data-original-width="906" height="241" src="https://4.bp.blogspot.com/-Tcltpa3MH7g/XKvJqTVMRQI/AAAAAAAAB0o/aeF0O-6HcygSyWfYl6fswOre5d1Bb6VMACLcBGAs/s400/Screen%2BShot%2B2019-04-08%2Bat%2B5.20.36%2BPM.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Lauren Carfa's comment from the Oakridge English department's private blog</i></td></tr>
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It reminds me of one of my son's first bike riding lessons. His grandmother bought him a balance bike for his fourth birthday. He loved that thing! He would zoom all over the driveway and sidewalks on it. One day, he decided, against my advice, to brave the very steep hill just beyond our driveway. I watched out of our kitchen window as his little blue helmet disappeared from view down the hill. I ran outside to see him speed downhill and steer intentionally into a hedge on the side of the road a few hundred feet away. I ran down after him, disentangled his little body from the bushes, cleaned him up, and wiped the tears from his cheeks. When I asked him why he steered into the bushes, he told me, “I didn’t know how to stop.” (Incidentally, this is how he stops on ice skates too...)</div>
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As it turns out, steering into the bushes is an effective way to stop your bike, but it may not be the best way. It’s reckless.</div>
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Likewise, in coaching golf and baseball, I’ve watched kids get hung up on the details. Recently, I was working with a nine-year-old pitcher. I was trying to get him to move his hips in a certain way so that he could really push off the rubber and toward home plate; hopefully, he’d generate a little more speed and accuracy. I took him through a drill to give him the right feel for what his body should be doing, but when he got up on the mound to try it out, he was so focused on what his lower body was doing that he literally forgot to release the ball. Instead of throwing it toward the catcher, he spiked it into the mound several times before I told him to just forget everything and throw a strike.</div>
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Sometimes, when we are faced with a glut of rules and regulations, we find ourselves stymied, unable to even complete the simplest tasks.</div>
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In writing, there must be some middle ground, some sweet spot where we can avoid being totally reckless while also avoiding stultification. We must be able to create an atmosphere in our classrooms that foster the kind of creativity that we long for in our students.</div>
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But how?</div>
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The key might be in taking seriously what Warner tells his students: “[E]very piece [of writing] is a custom job, created by a unique intelligence (the writer), in the service of the needs (purpose) of a specific audience” (72).</div>
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<b>Questions to Consider</b></div>
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This leads us to a series of questions to reflect on and explore in our own practice and in our own institution:</div>
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<ul>
<li>What are we doing to create an atmosphere that encourages students to take risks and learn from their failures?</li>
<li>What systems in our classrooms, in our department, in our divisions, and in our school should we re-examine?</li>
<li>How does our grading and assessment of writing reflect our values as educators?</li>
<li>How are we creating writing assignments that help students to see each piece of writing as “a custom job”?</li>
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Or, perhaps you disagree with John Warner (and me). Maybe you’ve got an alternative way of understanding the atmosphere, the systems, and the fads that Warner calls out in this section. Maybe you’ve got a passionate argument for why the system isn’t broken. Spell it out below!</div>
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<a href="https://twitter.com/sbhebert" target="_blank">Stephen Hebert</a></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1033889867235759780.post-59113828397173239992019-04-01T11:31:00.002-07:002019-04-01T11:31:20.866-07:00Reflections on Part One of John Warner's Why They Can't Write, Pages 1-31 (Post #1)<i>At The Oakridge School, the entire English department is reading John Warner's Why They Can't Write: Killing the Five-Paragraph Essay and Other Necessities. Six of us have volunteered to post reflections on the book as we read and discuss the text. I volunteered to post the first reflection, which I've provided below. </i><br />
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Last week, we read Shirley Jackson’s terrifying short story, “The Lottery,” and discussed its significance as a class. There was consensus among the group that the story was asking us to reflect critically on the idea of “tradition.” We analyzed its most important symbol – the black box from which the characters draw slips of paper for the gruesome ritual of the lottery. We learn from the story that the black box is older than anyone there and therefore possesses a kind of sacred quality for the residents. However, the narrator notes that “the black box grew shabbier each year” and “much of the ritual [that related to the box’s purpose] had been forgotten or discarded” (5). Later we discover that the box they’re using isn’t even the original one, and towards the ending of the tale, the narrator chillingly states, “Although the villagers had forgotten the ritual and lost the original black box, they still remembered to use stones” (9). My classes agreed that the black box symbolizes certain “traditions” – not tradition<i> </i>in a generic sense – but specific cultural practices whose origins are largely forgotten but the impact of the practice remains strong. The scary question posed by Shirley Jackson is one which asks us to think about traditions we still practice that not only lack purpose but may be harmful to certain individuals in our community. Every society has its black boxes, and John Warner wants us to interrogate the culture of writing instruction to expose the shabbier practices we still hold on to.<br />
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<b><i>Black Box Traditions Are a Way to Control the Variables</i></b><br />
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For instance, take the five paragraph essay. Does anyone know where it came from? Why does it settle for five units instead of four? Why emphasize the limits of form as opposed to the infinite possibilities involved in a process? The 5 paragraph construct, according to Warner, can be traced back to Harvard’s entrance exams <i>in the late 19<sup>th</sup> century!!</i> Last I checked, the skills demanded by 21<sup>st</sup> century universities and employers are drastically different than what was needed in the 1800s. Warner writes, “The five-paragraph essay is an artificial construct, <i>a way to contain and control variables and keep students from wandering too far off track</i>. All they need are the ideas to fill in the blanks. It is very rare to see a five-paragraph essay in the wild; one finds them only in the captivity of the classroom” (29). The five-paragraph essay gives us a manageable set of variables as instructors and (perhaps more importantly) as graders. Warner makes clear, though, that often “we overestimate our own past proficiency at writing” – meaning it’s important we examine the costs of this traditional construct before casting the first stone when grading students’ ability to correctly adhere to the form.<br />
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<b><i>Students Already Demonstrate the Skills to Write</i></b><br />
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In the section “Johnny Could Never Write,” Warner observes that “…[S]tudents freely and effectively communicate in other mediums, often using the skills we claim to desire and develop in academic writing. When students turn to school-related tasks, though, those skills seem to disappear” (16). Students already have the skills, meaning the real challenge for us as instructors is shifting attitudes and beliefs that students hold about their writing. However, certain “black boxes” of writing instruction are getting in the way of this. In the opening section, Warner employs the analogy of training wheels to diagnose what’s wrong with traditional approaches to writing instruction. Just as training wheels actually keep the learner from practicing the most important skill for riding a bike, in this case <i>balance</i>, the five-paragraph essay prevents students from developing the writer’s most important skill, which he identifies as <i>choice</i> (such as choice of audience, topic, tone, form, etc.). In other words, the 5 paragraph essay limits students’ opportunities to make the choices that matter as a writer. But I want to take Warner’s analogy further; it’s not just the training wheels when it comes to how we teach writing. If we taught bike riding the way we teach composition, students would read about the rules of bike riding; they would answer worksheets that test their comprehension of those rules. We might even watch videos of the greatest bike riders in history, and occasionally, we would ride bikes ourselves (but with training wheels, of course). <i>And we wonder why students don’t like to write</i>. One thing’s for sure: this approach is not helping us overcome the challenge of transforming students’ attitudes about the practice. We act like the risks of letting them crash or get off course are as physically dangerous as those related to actual bike riding when in reality our classrooms have the potential to be the safest places for students to crash, fail, and try again. As Warner states, “Prohibitions may prevent disaster, but they also may close off the possibility of great discovery”(31).<br />
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<b><i>Human-focused Design Over Function-focused Design</i></b><br />
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The Council of Writing Program Administrators compiled a list of qualities they think to be most important for every developing writer: curiosity, openness, engagement, creativity, persistence, responsibility, flexibility, and meta-cognition (25). Warner’s claim is that black boxes like the five-paragraph essay or the tendency to isolate grammar instruction have the result of taking writing out of an authentic context thereby making it less motivating for students to engage creatively and persistently in the process itself. In fact emphasis on traditional modes of assessment “has left our practices largely divorced from the kinds of experiences that help students develop their writing practices” (28). My claim is that we need to focus a little less on outcomes (which tend to take writing out of its contexts) and start worrying more about the outset: <i>Do students already believe in themselves as writers from day one? Is there an authentic context, purpose, and/or audience that beckons them to write? </i>This means moving away from a function-focused approach (function prioritizes efficiency, manageability, conformity, etc.) to design our writing instruction using a more <i>human-focused</i> framework (which prioritizes choice, purpose, ownership, and creativity). Otherwise we risk casting stones at something we should be nurturing – namely, every student’s “deep need to represent their experience through writing” (Lucy Calkin <i>The Art of Teaching Writing</i>). To do that, we have to take the risk of riding without training wheels. <br />
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<u>Questions for reflection:</u><br />
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What are the black boxes of writing instruction (or instruction in general)?<br />
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What instructional practices do you want to change in your classroom and what prevents you from doing so?<br />
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What instructional practices have you changed in recent years? How are you doing it differently?<br />
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What classroom traditions do you want to change? Which ones do you think still hold value and why?<br />
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<u>Some resources for extra reading:</u><br />
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<a data-cke-saved-href="https://edu-scenius.blogspot.com/2018/06/ranciere18-why-im-done-with-paper.html" href="https://edu-scenius.blogspot.com/2018/06/ranciere18-why-im-done-with-paper.html">Colley, Jared. “Why I’m Done with Paper Prompts: An Imagined Conversation with Jacques Ranciere and Lucy McCormick Calkins.” <i>What Should We Do with Our Classrooms? </i>2 June 2018.</a><br />
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<a data-cke-saved-href="http://wpacouncil.org/files/framework-for-success-postsecondary-writing.pdf" href="http://wpacouncil.org/files/framework-for-success-postsecondary-writing.pdf">Council of Writing Program Administrators. “Framework for Success in Postsecondary Writing.” <i>National Council for Teachers of English</i> & <i>National Writing Project</i>, January 2011.</a><br />
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<a data-cke-saved-href="https://www.npr.org/2018/05/28/614054515/the-carpenter-vs-the-gardener-two-models-of-modern-parenting" href="https://www.npr.org/2018/05/28/614054515/the-carpenter-vs-the-gardener-two-models-of-modern-parenting">Hidden Brain Podcast. “The Carpenter Versus the Gardener: Two Models of Modern Parenting.” <i>NPR</i>, 28 May 2018.</a><br />
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<a data-cke-saved-href="https://www.edsurge.com/news/2017-10-18-is-the-five-paragraph-essay-dead" href="https://www.edsurge.com/news/2017-10-18-is-the-five-paragraph-essay-dead">Nazerian, Tina. “Is the Five-Paragraph Essay Dead?” <i>EdSurge</i>, 18 October 2017.</a>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-1033889867235759780.post-20999319545164634552019-02-12T06:30:00.000-08:002019-02-12T06:30:10.218-08:00Why Collaboration Matters: A Call to Action (Reflections on the 6 Cs - Part Two)Last September, OESIS launched its XP Pathways initiative to help educators apply ideas from OESIS network resources to their classrooms. OESIS Network Leaders are continuing to work on curating content by selecting videos & resources that can aid the OESIS user in learning more about specific competencies, such as Critical Thinking, or in this case, Collaboration. With this in mind, I wanted to share a blog post I published on the OESIS website about the value of collaboration. <b>What follows is a <i>Call to Collaborate</i> (<i>if you don't have time to read, at least skip to the bottom for the call to action</i>).</b><br />
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<u>Why Collaboration in Schools is so Important</u></div>
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<b>1. Knowledge is a collaborative enterprise</b><br />
Descartes once offered the analogy of the architect to make the case that an individualist enterprise yields better results than working on a project collectively (Discourse on Method, Part Two). It was a radical notion that made perfect sense in a world where few were educated, but I wonder if today’s scientists would agree, considering that most advancements are the result of a community of engaged thinkers and learners working together (which is probably true of contemporary architecture as well). Although we could characterize the last century of education as a Cartesian one (Individualism over Collectivism; Reason over Emotion; Mind over Body), perhaps we’ve come full circle on how we value collaborative enterprises. We know we need to prepare learners for a world that is connected, where experts are abundant and have much to share with each other, and students need the skills and experiences necessary to thrive in such collaborative environments, and this is true for teachers as well.<br />
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<b>2. Collaboration inspires lifelong learning</b><br />
I entered my first classroom as an independent school instructor 14 years ago. Fresh out of graduate school, my eagerness was obvious: I couldn’t wait to spread my love for literature, and surely my passion would be contagious, right? With a sense of Cartesian heroism, I selected my reading lists, prepared lectures & frameworks for class discussions (based on years of training in my content area), and proceeded to teach in the likeness of my graduate professors who helped shape in me a sense of individual competency and expertise. What was I thinking? As if secondary education is about the transmission of knowledge from expert to amateur (hint: it’s about so much more!). You might be able to guess what happened next: to put it mildly, my spirits were crestfallen. Why weren’t my students as fascinated as I was by this undeniably valuable content? Why were they so disinterested and passive? The content was fantastic, by the way, but my pedagogy was limited, to say the least.</div>
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<tr><td class="tr-caption" style="text-align: center;"><a href="http://frankenstein200.blogspot.com/" target="_blank">Frankenstein Student Conference, 2017</a></td></tr>
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Fast forward a few years, I started to understand more about student centered learning, realizing the importance of designing curriculum where skills were at the forefront. I attended a conference and heard Pat Bassett, NAIS President at the time, speak about the importance of the 6 Cs, and by this time, I had made a resolution: I was going to focus on the idea of making learning more collaborative in my classes. That was the ‘C’ I was going to focus on. My idea, however, was still a traditional one: I was going to host a paper conference for high school students from various campuses, which was less of an ongoing collaborative practice and more of an event that would serve as a wonderful memory for all involved. The real turning point for me was an email I received while preparing for this upcoming project. Joel Garza, Upper School English Chair at Greenhill School, suggested we have our students start collaborating right then (the conference was months away). The email startled me: How would we collaborate? I’m not very savvy with all this digital technology. But I realized something. My demands for students to collaborate meant they had to get out of their comfort zones, and that’s what Joel was demanding of me, meaning I had no choice. I had to say yes. Our classes blogged together and visited each other’s campuses. Students traded podcasts and answered each other’s inquiries, and they began to do so for reasons well beyond a single grade. It was transformative, but it only worked as well as it did because we as teachers were transparent about our collaborative efforts as well. Since then I have grown exponentially as a teacher, in ways beyond the single competency of collaboration. However, it was “the first C” that started it all. The call to collaborate got me out of my comfort zone, which was frightening, but because of this, I discovered the joys of being stretched by others to accomplish something that could never have been done by a single person. </div>
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The inter-institutional paper conference was a huge success, by the way. In fact, it's become a tradition of sorts in the DFW area. This year marks our 7th iteration as The Hockaday School prepares to host students from around the area for the <a href="https://cisneroscolloquium.weebly.com/">2019 Sandra Cisneros Colloquium</a>, this Wednesday, February 13th.<br />
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<b>3. Modeling: Collaborative teaching leads to collaborative learning</b><br />
When I first encouraged students to embrace the idea of collaborative group work, I usually concluded such endeavors feeling frustrated. Students always found a way to “divide the labor” and simply complete the minimum tasks required for his or her portion of the project. It wasn’t authentic, but more importantly, I wasn’t appreciating what they had to go through. When reflecting on our collaborative experiences, Joel Garza offered an insight that sometimes we gloss over too quickly when encouraging people to put themselves out there: “Standing in the way of successful collaboration, in my experience, is a tremendous amount of ungrounded fear and anxiety that we don’t even want to name” (“<a href="https://www.youtube.com/watch?v=xJNk9RB4VyU">A Tale of Three Classrooms</a>” K12 Online Conference 2014). It’s so true, and it’s what makes things so challenging. Teachers, like everyone else, fear the idea of failing publicly as well as the idea of not being in control. Collaboration, however, requires us to embrace these possible outcomes. When I began to model for students successful collaborative practices, not only did they begin to collaborate more authentically, I too became a more empathetic teacher. I knew what was being demanded of them, but more importantly I felt it as well.</div>
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Teaching methods model for students the kinds of behaviors and habits we want to see them practice. What does Cartesian individualism, for instance, model for students as a method for teaching, lesson preparation, etc.? One might suggest that it inspires students to be confident individuals as well. I would caution, however, that it could serve the opposite end, namely communicating to them that there is an individual expert in the room, thereby encouraging the learner to be a passive recipient of the expert’s construction of the content. This is the same passivity I confronted in my early years of teaching. To me such modeling runs contrary to the kind of skills we want to cultivate in students to prepare them as leaders in the collaborative communities of their future careers. Students need to see us collaborate with peers so that they understand we don’t have all the answers, so they realize that to be successful one must network with others and participate in a community of lifelong learners. This is how we make space for them to become individuals in our classrooms. I would argue that it is only by way of collaboration that we discover our confidence as individuals. The binaries are not exclusive.<br />
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<b><i>A CALL TO COLLABORATE</i></b></div>
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For those who might be interested, I'm looking for teachers and students who want to collaborate with my classes. Currently, I teach 4 sections of 10th grade literature. From <b>Feb. 20th to Mar. 8th</b>, we'll be reading 4 dystopian short stories that confront the question of technology (either directly or more subtly):<br />
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1. E. M. Forster's "The Machine Stops" (Feb. 20th-26th)<br />
2. Ray Bradbury's "The Veldt" (Feb. 25th-28th)<br />
3. Philip K. Dick's "Minority Report" (Feb. 27th-Mar. 4th)<br />
4. Ken Liu's "The Perfect Match." (Mar. 4th-8th)<br />
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<a href="https://docs.google.com/document/d/12RXEsWe6558FqoPsu-_qASD7IIwiu0CYx51My-EB0O4/edit?usp=sharing" target="_blank">Go here</a> to read more details about the unit, but the basic idea is to get students from different campuses to read the 4 stories collaboratively using <a href="http://hypothes.is/">Hypothes.is</a> - a platform that lets readers annotate collectively any text that can be found online.<br />
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If interested, leave a comment or reach out to me via Twitter (@jcolley8) or email (jcolley@theoakridgeschool.org), and I'll send you a link to our hypothes.is reading group. I'd love to evolve this idea more, so I'm also open to suggestions. After all, for students to collaborate effectively and successfully, they need to see teachers do it as well, so email me and help me make this project even better.</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1033889867235759780.post-35565006847812038102019-02-10T19:14:00.000-08:002019-02-12T09:00:08.436-08:00The Beautiful Risk of Making Creativity Visible in Every Classroom (Reflections on the 6 Cs - Part One)<!--[if gte mso 9]><xml>
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“Education itself is a creative act… Education as an
act of creation, that is, as an act of bringing something new into the world,
something that did not exist before” (Gert J. J. Biesta <i style="mso-bidi-font-style: normal;">The Beautiful Risk of Education </i>11).<o:p></o:p></div>
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<b><i>THE CREATIVE HUMAN</i></b></div>
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<br /></div>
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In <i style="mso-bidi-font-style: normal;">Runaway Species:
How Human Creativity Remakes the World</i>, authors Anthony Brandt and David
Eagleman write, “Other animals show signs of creativity, but humans are the
standout performers. What makes us so? As we’ve seen, our brains interpose more
neurons in areas between sensory input and motor output allowing for more
abstract concepts and more pathways through circuitry. What’s more, our
exceptional sociability compels humans to constantly interact and share ideas”
(51). What a counter-intuitive starting point for us as educators – namely, the
idea that creativity is something which all students are already capable of. Sure,
we may agree with this in feeling, but examine our daily practices at schools.
Creativity, more often than not, is a skill whose practice remains at the
periphery of most students’ core curricular experience. It’s something we do
when practicing the arts, but it’s not clear how it fits into other “core
academic” classes, at least on a daily basis. <o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-okRnuGXDFqI/XGDn1Ft2VvI/AAAAAAAABgc/hkN49oztfS05Rr4a0nkd5R29gjHRv6lQQCLcBGAs/s1600/vrg_runaway_species_02.1509842040.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="266" src="https://3.bp.blogspot.com/-okRnuGXDFqI/XGDn1Ft2VvI/AAAAAAAABgc/hkN49oztfS05Rr4a0nkd5R29gjHRv6lQQCLcBGAs/s400/vrg_runaway_species_02.1509842040.jpg" width="400" /></a></div>
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<span style="font-size: 12pt;">However, the quote above reminds us that, because of our
neuronal networks, we </span><i style="font-size: 12pt;">naturally</i><span style="font-size: 12pt;"> excel
at creativity when compared to the rest of the animal kingdom. But what’s more
interesting is how our sociability gives us an edge over other forms of
intelligence, such as computers. “To achieve a creative artificial
intelligence,” writes Brandt and Eagleman, “we would need to build a society of
exploratory computers, all striving to surprise and impress each other. That
social aspect of computers is totally missing and this is part of what makes
computer intelligence so mechanical” (31). Computers are not creative, period.
And that’s because they’re not social, but do you know what computers </span><i style="font-size: 12pt;">are </i><span style="font-size: 12pt;">really good at? Accurately storing
and recalling information. Humans, however, "are terrible at retaining precise,
detailed information, but we have just the right design to create alternative
worlds” (50). Think about that. We’re facing a future where much of the work
force could be eliminated by the onslaught of more machines, yet we have something
that computers don’t have, which is why creativity matters. It’s a </span><i style="font-size: 12pt;">human</i><span style="font-size: 12pt;"> skill - a natural extension of who
we uniquely are. It’s part of our past, present, and future legacy as a species,
but school often relegates it to the periphery of a kid’s core experience. Why?</span></div>
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<o:p></o:p></div>
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<div class="MsoNormal" style="text-align: center;">
<b><i>BEYOND BLOOM'S TAXONOMY</i></b></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-cPD-SHnFeC4/XGDm3Z7StAI/AAAAAAAABgQ/fs8J51178Ng8tTraIFG7zjE_sVH0JLqlQCLcBGAs/s1600/Blooms-Taxonomy-650x366.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="366" data-original-width="650" height="221" src="https://2.bp.blogspot.com/-cPD-SHnFeC4/XGDm3Z7StAI/AAAAAAAABgQ/fs8J51178Ng8tTraIFG7zjE_sVH0JLqlQCLcBGAs/s400/Blooms-Taxonomy-650x366.jpg" width="400" /></a></div>
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<span style="font-size: 12pt;">Let’s apply all this to Bloom’s Taxonomy. Shouldn’t
creativity be at the foundation of Bloom’s pyramid since it’s something all
students are naturally able to do well? Ron Ritchhart, Mark Church, and Karin
Morrison in </span><i style="font-size: 12pt;">Making Thinking Visible</i><span style="font-size: 12pt;">
stress the following point: “Although Bloom’s categories capture types of
mental activity and thus are useful as a starting point for thinking about
thinking, the idea that thinking is sequential or hierarchical is problematic”
(6). More thoughtful applications of Bloom’s framework operate under this wisdom,
for sure, but think about our cultures of assessment on our campuses. We seem
to assume in school that recall/remembering (</span><i style="font-size: 12pt;">namely, what computers are much better at</i><span style="font-size: 12pt;">) is the basic starting
point for human learning. All core classes engage students in the mental
activity of remembering and recalling, but few academic experiences put
creativity at the center. Without a doubt, this is true of standardized testing
as well.</span></div>
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<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b><i>THE BEAUTIFUL RISK OF BENDING, BREAKING, AND BLENDING</i></b></div>
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<br /></div>
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How might we make creativity a foundational element of every
students’ learning experience? Anthony Brandt and David Eagleman offer a
conceptual framework for teaching and assessing more transparently the practice
of creativity in the classroom. They suggest the threefold framework of
bending, breaking, and blending as the “primary means by which all ideas evolve”
(47). The three concepts are “a way of capturing the brain operations that
underlie innovative thinking” (49). They go on to say, “We bend, break, and
blend everything we observe, and these tools allow us to extrapolate far from
reality around us” (50). In other words, this is how we as humans create new
things – not by some omnipotent act of creating something out of nothing but by
taking the materials around us and “calling things to life.”<span style="mso-spacerun: yes;"> </span>As Gert J. J. Biesta puts it, “creation is ‘not
a movement from non-being to being, but from being to the good’” (<i style="mso-bidi-font-style: normal;">The Beautiful Risk of Education </i>14). Humans
do it all the time, but schools assume we need to double down on recall and computational
intelligence instead. Why might this be the case? Misreading Bloom’s pyramid
has something to do with it, for sure, but it’s also because “creating is a
risky business, and one has to be prepared for a lot of noise, dissent,
resistance, and a general disturbance of the peace if one is of a mind to
engage in [it]” (Biesta 15). Since remembering is Bloom’s baseline, we tend to
assume that basic recall is the most equitable thing to test people on. What
makes dispelling this notion all the more challenging is the fact that it’s a
lot less risky for educators to test student recall (<i style="mso-bidi-font-style: normal;">it’s also easier to grade</i>). But as Biesta might say, cultivating creativity
in the classroom is a <i style="mso-bidi-font-style: normal;">beautiful risk</i>
that we simply can’t afford not to take, or else we risk something much greater:
making ourselves obsolete in a world run by robots.<br />
<span style="font-size: 12pt;"><br /></span>
One place to start is by introducing students to Brandt’s and Eagleman’s framework of bending, breaking , and blending. Instead of asking students to study, memorize, and store certain content for a given course, invite students to manipulate or play with the content by turning it into something new. <i>Warning</i>: results will be unpredictable.<br />
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<o:p></o:p></div>
</div>
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Works Cited</div>
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<br /></div>
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Biesta, Gert J. J. <i style="mso-bidi-font-style: normal;">The
Beautiful Risk of Education</i>. Paradigm Publishers, 2013.<o:p></o:p></div>
<br />
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Brandt, Anthony and David Eagleman. <i style="mso-bidi-font-style: normal;">Runaway Species: How Human Creativity Remakes the World</i>. Catapult
Publishing, 2017.<o:p></o:p></div>
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Ritchhart, Ron, Mark Church, and Karin Morrison. <i style="mso-bidi-font-style: normal;">Making Thinking Visible: How to Promote Engagement,
Understanding, and Independence for All Learners</i>. Jossey-Bass, 2011.<o:p></o:p></div>
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</style>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1033889867235759780.post-12168121971879220642018-06-25T14:50:00.000-07:002018-07-12T14:30:14.364-07:00#Ranciere18 - Keepin' Up With Socrates: Giant Steps Indeed<i>This giant step taken, the need becomes less imperious, the attention less constant, and the child gets used to learning through the eyes of others. Circumstances become diverse, and he develops the intellectual capacities as those circumstances demand.</i> -J. Rancière The Ignorant Schoolmaster 51<br />
<br />
Imagine trying to learn through the eyes of John Coltrane. If there were ever a song that could establish a hierarchy of who's the fiercest when it comes to musical performance what better challenge than Trane's maddeningly complex standard, "Giant Steps." Just ask Paul Chambers, the bassist who recorded with Coltrane on his first of four official Atlantic Records releases (<i>my favorite being Olé Coltrane, but that's off topic</i>)<span style="font-family: inherit;">. </span><br />
<span style="font-family: inherit;"><br /></span>
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<span style="font-family: inherit;"><i>Giant steps...</i> Som</span>e can wax it better than others, but for most of us, our fingers compromise the notes as they struggle to keep pace with Coltrane's orbit of melodies and key changes. Again, just ask Paul Chambers: his recording during that famous session demonstrates the struggle all of us have keeping pace on Coltrane's path. And Paul Chambers was a masterful musician with an illustrious career, playing with all the greats. On this occasion, it was Chambers' last performance for Coltrane (at least in a studio). Perhaps it was time for the bassist to forge his own path. After all, there's little space for doing so when tracing the celestial orbit of a comet like Coltrane.<br />
<br />
Playing alongside Coltrane in a session like "Giant Steps" is probably like discussing mathematics with Socrates. The pressure is cooking: <i>Can you keep up? Can you find the hidden pattern? Do you know where he's going next? Pay attention. And again, please try to keep the pace; the metronome is ticking. </i>If Socrates, for instance, put me on the spot and demanded to know the length of the side of a square whose area is twice the amount of another square whose side is the length of <i>X</i>, I think I'd have a hard time keeping up, staying calm, and forming my own coherent thoughts: I'd be a deer in the headlights, blinded by the light of Socrates. Decimated by the velocity of his oncoming orbit (see the <i>Meno</i>).<br />
<i><br /></i>
<i><b>On Orbits and Revolutions: Tracing the Master's Secret vs. Mapping the Student's Journey</b></i><br />
<br />
You don't learn <i>with </i>Socrates; you only learn <i>through</i> him, meaning through <i>his</i> eyes. But he's humble about it though. After all, he'd be the first to tell you that "he knows he knows nothing." Isn't that why the oracle proclaimed him wiser than the rest of us? He's emancipatory as well, right? I mean he did make the claim that even slaves could know higher-level truths of mathematics just as naturally as anyone else (see the <i>Meno</i>). He even asserts that such truths are in all of us. Radical, right? His pedagogy obviously scared the hell out of the Athenian elites, proclaiming in a state of panic that he was corrupting the youth. So what's not to like here? Isn't this the kind of emancipatory <i>revolution</i> Jacotot and Rancière are attempting to achieve?<br />
<br />
First, we have to examine our language games when it comes to speaking about truth procedures:<br />
<blockquote class="tr_bq">
<i>'Know yourself' no longer means, in the Platonic manner, know where your good lies. It means come back to yourself, to what you know to be unmistakably in you. Your humility is nothing but the proud fear of stumbling in front of others. <b>Stumbling is nothing; the wrong is in diverging from, leaving one's path, no longer paying attention to what one says, forgetting what one is. So follow your path</b></i> (Rancière 57).<i> </i> </blockquote>
<blockquote class="tr_bq">
<i><b>Thus, each one of us describes our parabola around the truth. No two orbits are alike. And this is why the explicators endanger our revolution</b>... The coincidence of orbits is what we have called stultification... <b>This is why the Socratic Method, apparently so close to universal learning, represents the most formidable form of stultification.</b> The Socratic method of interrogation that pretends to lead the student to his own knowledge is in fact the method of [the schoolmaster]" </i>(Rancière 59).<i> </i></blockquote>
<i>Paths... Orbits... </i>Celestial trajectories through the infinite cosmos. I love Rancière's articulation of truth procedure as an orbit or path that revolves around something we might call <i>capital-T Truth</i> (Rancière's structuralist professors might've called it <i>the Real</i>). This is not some kind of proclamation of the <i>post-Truth</i> <i>era</i> born out of the laziness of rhetoricians and spin doctors (<i>thinking of Kellyanne Conway's audacious high-jacking of postmodern discourse with the sly suggestion of "alternative facts"</i>). This isn't about facts. This isn't about science. Two things that are very real: just ask the climate scientists. We as teachers are so much more than fact checkers. This is about the <i>power</i> of intelligence, which can only be fully realized if a student is freed to find her own path, no matter how messy it may be. Rancière states, "The only mistake would be to take our opinions (<i>orbits</i>) for the truth (<i>the center</i>)" but this is only a <i>conceptual </i>error, not a <i>procedural</i> one, if the learner is engaged in her process (italics are my addition). In other words, <i>proceed on your path!</i> We are not celebrating every orbit willy-nilly at the expense of doing away with the center, but we are reminding the explicators that the master's method is not the center as well, which is the stultifier's <i>conceptual error</i>, an error that (unlike the student's) becomes procedurally problematic due to one's position as schoolmaster.<br />
<br />
Class becomes a culture of compliance (<i>be like me; trace my answers</i>), and not an environment for emancipation. The Socratic method facilitates learning, for sure, but it's not going to emancipate the learner, (<i>but to call it corruption would be absurd: We are not the Athenian reactionaries</i>).<br />
<br />
So specifically speaking, what is the objection then? In what ways is Socrates' method still in the service of stultification? Why is he so close, yet so far away?<br />
<br />
<b><i>On Slaves and Schoolmasters: Whose Work? Whose Path? </i></b><br />
<br />
Ever been to law school or known someone who has? My wife went, and I recall more tears than feelings of empowerment. Everyday she was her professors' Glaucon, subjected to questioning, trying to show <i>she</i> had the <i>right </i>answer - that she knew "the master's secret." The Socratic method can swallow a person whole, much like Coltrane's dizzying chord changes. By the end of it, one doesn't recognize oneself; one has been broken down and built anew, made into the likeness of a burgeoning lawyer (<i>or a frenzied post-bop jazzmaster</i>).<br />
<br />
Ever visited a lively, discussion-based class, full of Socratic circles and all, and winced once the class began because it centered around the teacher, shaping an overly-eager-to-please group of students in his/her likeness? Constantly correcting, redirecting, or re-articulating the students' words, such that the messiness of students' conversations is dressed up in the likeness of the teacher's "more scholarly" way of saying things. I have seen this class. I've been this teacher; he still creeps up impulsively, like almost every day. But <i>why</i> does this explicating spectre still haunt my pedagogy? The answer: it's less work emotionally, or at least it feels that way, to supply a reproducible answer as opposed to verifying the integrity of the student's search. It's easier to plan for, it's easier to mark, and it's easier to provide feedback.<br />
<br />
Rancière writes, "Only the lazy are afraid of the idea of arbitrariness and see in it reason's tomb. On the contrary, it is because there is no code given by divinity, no language of languages, that human intelligence employs all its art to making itself understood and to understanding what the neighboring intelligence is signifying" (62). It's hard work to verify the exercise of intelligence; no scantron sheet can <i>account </i>for it. The ignorant schoolmaster accepts this challenge to verify "that [the student] is always searching [because] whoever looks always finds. He doesn't necessarily find what he was looking for, and even less what he was supposed to find. But he finds something new to relate to thing that he already knows" (33). Not only is this hard work, it's full of uncertainties, and sometimes a teacher's learning gets in the way of "demanding the manifestation of an intelligence that wasn't aware of itself... of verifying that the work of the intelligence is done with attention... [T]he learned master's science make it very difficult for him not to spoil the method" (29). We as teachers have answers, and the students are keenly aware of it, which gets to the heart of where Socrates and Rancière (w/ Jacotot) part ways. Both believe that the power of learning is in everyone regardless of social standing. Both believe that anyone can be intelligent, the irony being that Socrates (Delphi's celebrated ignorant master) implies two more words to the end of his message: "Be intelligent <i>like me." </i>He does this indirectly due to a conceptual error (my method is <i>the method</i>, the center of all orbits) which becomes procedurally problematic ("Come, find <i>the answer</i>. I know you can do it! You're smart!"). The error, of course, was to fixate on <i>answers</i> instead of <i>orbits</i>. To declare the destination before mapping any kind of journey. The Hubble Telescope didn't have a destination in mind when it pointed its lens to the stars, and Rancière's metaphor demands us to look there too, not to caves beneath the earth (see <i>Republic</i> Book X). This is the difference: a pedagogical emphasis on finding the hidden answer versus a focus on searching for the sake of learning. And for Rancière, the stakes couldn't be higher because it's a difference between cultivating compliance or empowerment.<br />
<br />
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-YozqBkNims4/WzFZ3cQqiFI/AAAAAAAABbY/JMCM65iyPbIVsjhMD9wRAutowCSJQ3nvgCLcBGAs/s1600/Screen%2BShot%2B2018-05-22%2Bat%2B8.43.04%2BAM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="810" data-original-width="1440" height="225" src="https://2.bp.blogspot.com/-YozqBkNims4/WzFZ3cQqiFI/AAAAAAAABbY/JMCM65iyPbIVsjhMD9wRAutowCSJQ3nvgCLcBGAs/s400/Screen%2BShot%2B2018-05-22%2Bat%2B8.43.04%2BAM.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Socratic Method</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-O3pxtadbmp4/WzFaFytbDaI/AAAAAAAABbc/MuhbMJARaT0EB4IjQp97DXUSTdrGmpIBgCLcBGAs/s1600/Screen%2BShot%2B2018-05-22%2Bat%2B8.43.27%2BAM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="808" data-original-width="1439" height="221" src="https://4.bp.blogspot.com/-O3pxtadbmp4/WzFaFytbDaI/AAAAAAAABbc/MuhbMJARaT0EB4IjQp97DXUSTdrGmpIBgCLcBGAs/s400/Screen%2BShot%2B2018-05-22%2Bat%2B8.43.27%2BAM.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Panecastic Method</td></tr>
</tbody></table>
While Socrates is busy proving the location of where the answer to the question resides (see <i>Meno</i>), Rancière demands that we recognize the non-locality of all intelligence. It's in all of us: <i>Everything is in everything</i>. If we trace the masters, we will find answers, but if we map our own journey, we could discover the wonders that no one knew were there. Of course, learn the labyrinthine charts of Coltrane's "Giant Steps," but chart your own standard as well. We know you can; "your humility is nothing but the proud fear of stumbling in front of others. Stumbling is nothing; the wrong is... forgetting what one is. So follow <i>your </i>path" (57).<br />
<br />
If you'd like to learn more about the <i>practical</i> work I've done to transform my class discussions from a Socratic style to one that's more "emancipatory," take a look at the OESIS webinar I did back in May, which can be found here:<br />
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<img border="0" data-original-height="450" data-original-width="801" height="221" src="https://4.bp.blogspot.com/-WSVKWfcrkpc/WzFbZc3o50I/AAAAAAAABbs/iPe8uUwhyYcyVFDwR_NSe2fCeBCcpJ-qQCLcBGAs/s400/Screen%2BShot%2B2018-06-25%2Bat%2B4.14.44%2BPM.png" width="400" /><a href="https://register.gotowebinar.com/register/5313878514640577027" target="_blank">https://register.gotowebinar.com/register/5313878514640577027</a></div>
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This has been a post for the <a href="https://twitter.com/hashtag/Ranciere18?src=hash">#Ranciere18</a> Reading Project. Please feel free to comment and join the conversation.<br />
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If you want to get more involved, our google doc is <a href="https://docs.google.com/document/d/1rWqrHJjHXv9_lknkI_HZv3dUub1zsdlJ74XfAGT8yVg/edit?usp=sharing">here</a> and our hypothes.is group is <a href="https://hypothes.is/groups/iLKoGx6R/the-ignorant-schoolmaster">here</a>. Email me at jcolley@theoakridgeschool.org if you want editing access to the Google Doc.<br />
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Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-1033889867235759780.post-29823585898155574602018-06-23T10:21:00.000-07:002018-06-23T10:21:25.770-07:00#Ranciere18 - Students Need to Take Responsibility for Their Learning. Do the Circumstances of Schools Make It Possible? A Guest Post by Joel BackonA couple of comments before I begin. First, I am in awe of the blog posts and Twitter responses I’ve seen to date, and thank Jared for organizing this “book club”. Second, Chapter Three, Reason Between Equals, seems to be the core of Ranciere’s argument. Consequently, I’ll try to tackle the first three sections and leave it to a colleague to handle the rest.<div>
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This portion of the book is about intelligence in the broadest sense of the word. As I understand it, young children appear to have a similar intelligence because they are driven equally by instinct and need (paraphrase of 51). One can infer from the next portion that lesser people “...develop the intelligence that the needs and circumstances of their existence demand of them.” (51) So most children are somewhat similar to lesser people. It is now easier to understand that some people exercise will, reflection, and veracity, qualities that propel them to new intellectual heights, as long as their self-knowledge is strong (metacognition) and they don’t follow the path of Icarus. As an ignorant schoolmaster, how am I to understand such a worldview? Does it not create the kind of caste system that was prevalent in the nineteenth century and was seriously challenged during the Sixties? Why isn’t it okay for people to know what they need to know without being classified as lesser people? Are we destined for an intellectual elite or will we be able to create a society that transcends needs and circumstances for higher callings, even if those callings are not the traditional prestigious professions?</div>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-7bjxItaQ6mY/Wy5_HmakUBI/AAAAAAAABaw/HK2DANMnJKkKvG3fenb-HegBWNRsrp4lACLcBGAs/s1600/Classism-in-the-Workplace-242x300.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="300" data-original-width="242" height="400" src="https://4.bp.blogspot.com/-7bjxItaQ6mY/Wy5_HmakUBI/AAAAAAAABaw/HK2DANMnJKkKvG3fenb-HegBWNRsrp4lACLcBGAs/s400/Classism-in-the-Workplace-242x300.jpg" width="322" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Will we be able to create a society that transcends <br />needs and circumstances for higher calling?</td></tr>
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I would like to argue that Ranciere is suggesting something here. If we ask students to take responsibility for their own learning, they will push beyond needs and circumstances because they will feel emancipated (Ranciere’s term - I would say empowered). That’s how the Flemish students learned French. Jacotot emancipated or empowered those students with clear goals and an expectation that they would be successful. His strategy is at the core of good teaching. I’d also like to argue that Jacotot’s strategy would be far more difficult today because we are cursed with knowing more about how kids learn. We are faced with institutional obstacles that grew out of the factory model of education and failed to disappear or be replaced. We now value autonomy, mastery, and purpose (Daniel Pink), and in doing so, have little use for grades, seat time, standardized assessments, late penalties, and detailed rubrics. They are designed to crush the wills of our students so they revert back to needs and circumstances. We must teleport Ranciere to the twenty-first century so he can help us retool our craft to ignite the best from each one of our students.</div>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-86t8xGPzD8c/Wy6BGJOG1II/AAAAAAAABa8/cbuDp1LjQJg4jKiNZAcDAgFzEMoN81gWQCLcBGAs/s1600/School%2Bvs%2BLearning.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="398" data-original-width="530" height="296" src="https://4.bp.blogspot.com/-86t8xGPzD8c/Wy6BGJOG1II/AAAAAAAABa8/cbuDp1LjQJg4jKiNZAcDAgFzEMoN81gWQCLcBGAs/s400/School%2Bvs%2BLearning.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"We now value autonomy, mastery, and purpose... and in doing so, have little use f<br />or grades, seat time, standardized assessments, late penalties, and detailed rubrics."</td></tr>
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Argument complete. I’m not an English teacher; literary analysis is not my strength. As a historian, I pick up artifacts from texts and try to reconstruct them into something meaningful that will propel us forward today. Trying to figure out exactly what Ranciere means is not a challenge I relish. Using his thoughts to connect with my own experiences and the world around me is more my cup of tea. Please analyze my argument at face value first, and then apply the literary analysis so I can better understand Ranciere’s intentions.</div>
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<i>This has been a post by Joel Backon (<a href="https://twitter.com/jbackon" target="_blank">@jbackon</a>) for the <a href="https://twitter.com/hashtag/Ranciere18?src=hash" target="_blank">#Ranciere18</a> reading project. <a href="https://docs.google.com/document/d/1rWqrHJjHXv9_lknkI_HZv3dUub1zsdlJ74XfAGT8yVg/edit?usp=sharing" target="_blank">Go here</a> to see the google doc, and <a href="https://hypothes.is/groups/iLKoGx6R/the-ignorant-schoolmaster" target="_blank">go here</a> to join the hypothes.is group.</i></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1033889867235759780.post-65724595320693292562018-06-18T12:43:00.000-07:002018-06-19T17:08:48.778-07:00#Ranciere18 - Part of Your World - A Guest Post by Nick Dressler<!--[if gte mso 9]><xml>
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<br />
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<i style="mso-bidi-font-style: normal;">It’s kind of fun to do the impossible<o:p></o:p></i></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<i style="mso-bidi-font-style: normal;">-Walt Disney<o:p></o:p></i><br />
<i style="mso-bidi-font-style: normal;"><br /></i></div>
<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-A76XxzTydJw/Wykuf6YSH9I/AAAAAAAABaY/O2XC3Cr7T_sReebwPs59_p6QSjdOd-WJQCLcBGAs/s1600/baudrillard-3.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="215" data-original-width="331" height="256" src="https://3.bp.blogspot.com/-A76XxzTydJw/Wykuf6YSH9I/AAAAAAAABaY/O2XC3Cr7T_sReebwPs59_p6QSjdOd-WJQCLcBGAs/s400/baudrillard-3.gif" width="400" /></a></div>
<br /></div>
<div class="MsoNormal">
I’m not the kind of teacher who works for the summer, but don’t
get me wrong: I like a good vacation.<span style="mso-spacerun: yes;">
</span>Two weeks is about right.<span style="mso-spacerun: yes;"> </span>Just
enough time to take the family somewhere nice, see some sights, try some new
food, maybe—procure a little inspiration.<span style="mso-spacerun: yes;">
</span>Then it’s back home for summer school, a couple enrichment camps, and a
little gardening before the term starts back up again in August.<span style="mso-spacerun: yes;"> </span>Perfect. <o:p></o:p></div>
<div class="MsoNormal">
This year, my wife and I found ourselves a little antsier
than usual, so after school let out for the summer, we jetted off to the
UK.<span style="mso-spacerun: yes;"> </span>That’s right, reader: London,
England.<span style="mso-spacerun: yes;"> </span>The capitol of Western culture.<span style="mso-spacerun: yes;"> </span>We hit the streets as soon as we landed and
enjoyed a quick drink on top of some Yorkshire fish and chips.<span style="mso-spacerun: yes;"> </span>Delicious.<span style="mso-spacerun: yes;">
</span>When we finished, though, my imploring glance toward my wife was met
with a silent riposte and furrowed brow that said it all: “This isn’t up to
snuff; let’s get out of here.”<span style="mso-spacerun: yes;"> </span>I’m not
one to say no to my wife, so we moved on to France, straight away.<span style="mso-spacerun: yes;"> </span>Paris, more specifically.<span style="mso-spacerun: yes;"> </span>The capitol of Western culture.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Enchantee,
Paris</i>.<span style="mso-spacerun: yes;"> </span>Immediately, we did the Paris
café thing.<span style="mso-spacerun: yes;"> </span>Dark coffee, <i style="mso-bidi-font-style: normal;">magnifique</i>.<span style="mso-spacerun: yes;"> </span>The crème brulee, <i style="mso-bidi-font-style: normal;">tres bonne</i>.<span style="mso-spacerun: yes;"> </span>Absolute
paradise, it was; my little family seated under an umbrella beside some
old-looking red brick streets, my little children wiping their cute little mouths
of <i style="mso-bidi-font-style: normal;">croissant </i>crumbs with cute little
napkins, not a care in the world; me—as we speak—drawing my laptop from my
backpack for a hasty blog about education.<span style="mso-spacerun: yes;">
</span>On my left wrist: a handy, ironic eighties calculator watch that most
people think is a Walter White thing, or maybe an homage to that kid from <i style="mso-bidi-font-style: normal;">Stranger Things, </i>but the truth is it’s
the same watch Ryan Gosling wears in <i style="mso-bidi-font-style: normal;">Half
Nelson</i>; I bought it immediately after I saw that movie, when Bryan Cranston
supported Frankie Muniz and those <i style="mso-bidi-font-style: normal;">Stranger
Things </i>kids’ parents were seeing off the very decade the show would
reference some two decades later.<span style="mso-spacerun: yes;"> </span>That’s
right: I out hipster the hipster, everyone.<span style="mso-spacerun: yes;">
</span>I was there first.<span style="mso-spacerun: yes;"> </span>On the other
hand, literally, on my right wrist, I sport a blue, rubber Micky Mouse Magic
Band with which I can purchase anything at any of the parks, eyes blinded to
the bloody cataracts of capital streaming from my wallet.<span style="mso-spacerun: yes;"> </span>It drips quietly, the money.<span style="mso-spacerun: yes;"> </span>Gone without a whimper.<span style="mso-spacerun: yes;"> </span>It also opens my hotel room door.<span style="mso-spacerun: yes;"> </span>I am quite the contradiction, nowadays.<o:p></o:p></div>
<div class="MsoNormal">
Oh, did I forget to mention?<span style="mso-spacerun: yes;">
</span>By London and Paris, I meant their miniature, Mouse-sanctioned simulations,
as featured at Epcot Center—my family and I are in Disney World, of course; we
didn’t even need to cross the Atlantic and we were hand-delivered the
highlights of Europe right to our faces, right to our eyes, right down our
distended gullets.<span style="mso-spacerun: yes;"> </span>Eliminated are the inconveniences
of international travel: no extra flight, no unnecessary walking, no dirt or
grime in the streets, no pesky foreigners, and no awkward fumbling through <i style="mso-bidi-font-style: normal;">un petit peu de francais</i>.<span style="mso-spacerun: yes;"> </span>I don’t even need to crane my neck to view
the top of the Eiffel Tower as the good people at Disney have condensed it down
to just a third of its actual size. What we have is all we want, just a
distilled version of England and France right here in the culturally comfortable
humidity-hug of sun kissed Florida, USA.<span style="mso-spacerun: yes;">
</span>Disney has even shipped in some incredibly qualified English and French
citizens to work as waiters in these <i style="mso-bidi-font-style: normal;">countries</i>.<span style="mso-spacerun: yes;"> </span>Anything for authenticity at Disney World;
anything in the name of fun.<o:p></o:p></div>
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<br /></div>
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All disingenuity aside, I have to admit this Disney World is,
if anything, creative, even if it triggers night sweats in Baudrillard.<span style="mso-spacerun: yes;"> </span>I consider the different rides and shows and
architecture examples of some very innovative people bringing worlds of fiction
to life, which is, for me as an English teacher, part of the daily challenge of
my job.<span style="mso-spacerun: yes;"> </span>These guys, though, they’ve got it
down.<span style="mso-spacerun: yes;"> </span>Every single detail. Before we
left for the park this morning, for instance, we took a dip in our hotel’s <i style="mso-bidi-font-style: normal;">Finding Nemo </i>themed pool where my
six-year-old son heard audio from the movie piped into the water itself only to
be heard when a swimmer dips his head beneath the surface.<span style="mso-spacerun: yes;"> </span>Incredulous, he returned to my pool
chair.<span style="mso-spacerun: yes;"> </span>“You were right dad; Disney world
is awesome!”<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Just wait, my son, you haven’t even seen the parks yet</i>.<span style="mso-spacerun: yes;"> </span>It was like Plato’s “Allegory of the Cave”
all over again: I can try to describe it for him, but until he experiences it,
he will not—he cannot—fathom my description.<span style="mso-spacerun: yes;">
</span><o:p></o:p></div>
<div class="MsoNormal">
And here is where my two current ventures—Disney vacations
and Ranciere texts—intersect (I’m the only one reading Ranciere at mini-France,
believe it or not).<span style="mso-spacerun: yes;"> </span>Disney world, with
all its creative magnificence, <i style="mso-bidi-font-style: normal;">stupefies </i>us,
which, as Kristen Ross explains, “implies a sense of wonderment or amazement”
(7) to the point of inaction.<span style="mso-spacerun: yes;"> </span>Disney is
attractive, sure, and to the right audience, it can be inspirational.<span style="mso-spacerun: yes;"> </span>I imagine, for example, a select group of
young visitors go on to lead creative lives after sampling the Disney wares and
might even offer their trip to Disney World as a formative experience.<span style="mso-spacerun: yes;"> </span>But for the vast majority, Disney World is
the goal in-and-of itself.<span style="mso-spacerun: yes;"> </span>It’s not a
starting point; it’s the end—save up enough money to get the family to Disney,
swallow the oily spoonfuls of their fully ripened creative juices, return home,
repeat.<span style="mso-spacerun: yes;"> </span>For these, Disney world is not creative
emancipation from the shackles of possibility that it might be for some.<span style="mso-spacerun: yes;"> </span>No, Disney World is the illusion itself—that
fetishized social opium that keeps the masses content, quiet, and, more
importantly, homogenous.<span style="mso-spacerun: yes;"> </span>The people at
Disney don’t want my kids, their customers, to go on to lead creative lives,
they want my kids to come back to Disney World, to watch their programming, to
develop a sense of brand loyalty so my kids <i style="mso-bidi-font-style: normal;">buy
</i>into the product Disney offers.<span style="mso-spacerun: yes;">
</span>Going to Disney World alone becomes a sort of American Dream—a carrot just
large enough to galvanize we languid mules through the drudgery of our
quotidian lives, be it school or that inhuman rat-race known as the working
world.<o:p></o:p></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-V33IYcOUpM8/WygJqH9taZI/AAAAAAAABZg/IduRjHW0FXUNeWHSxJDS-GPi0kMB9h3IACLcBGAs/s1600/Banksy_Napalm_L.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="354" data-original-width="554" height="255" src="https://2.bp.blogspot.com/-V33IYcOUpM8/WygJqH9taZI/AAAAAAAABZg/IduRjHW0FXUNeWHSxJDS-GPi0kMB9h3IACLcBGAs/s400/Banksy_Napalm_L.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">© BANKSY - photomontage of Napalm Girl by Nick Ut </td></tr>
</tbody></table>
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<span style="font-size: 11pt;">This is the problem with capitalism.</span><span style="font-size: 11pt;"> </span><span style="font-size: 11pt;">Not only are there winners and losers, but
these positions are entirely liquid.</span><span style="font-size: 11pt;">
</span><span style="font-size: 11pt;">Winners don’t have to stay there </span><i style="font-size: 11pt;">de
jure </i><span style="font-size: 11pt;">as they did by virtue of being born into the upper classes during
feudalism.</span><span style="font-size: 11pt;"> </span><span style="font-size: 11pt;">Winners in a capitalism must
necessarily become conservative to protect their spots at the top.</span><span style="font-size: 11pt;"> </span><span style="font-size: 11pt;">Generation upon generation legally exploit
the lower classes of their product—their economic capital, their social
capital, their </span><i style="font-size: 11pt;">creative capital</i><span style="font-size: 11pt;">—sometimes
stupefying but always stultifying the ambitious proletarian to inaction,
failure, and conviction of personal futility.</span></div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
As part of the capitalistic superstructure, then, our
schools must do the exact same thing, only we the teachers take on the role of
Disney World and our stakeholders the park-goers.<span style="mso-spacerun: yes;"> </span>Our job is to make the content stand on its
head.<span style="mso-spacerun: yes;"> </span>We’re supposed to interpret it,
jazz it up, decorate our rooms with it, relate it to the lives or our students,
to contemporary events—we spoon-feed material to our students the same way
Disney stuffs our faces with their productions, and, trust me, they learn to
eat it, and ask for more if need be.<span style="mso-spacerun: yes;"> </span>And
although some of our students go on to <i style="mso-bidi-font-style: normal;">use
</i>what we have <i style="mso-bidi-font-style: normal;">taught </i>them to
enhance their lives morally and materially, the vast majority learn to play our
game simply to graduate to the next grade until they are eventually finished
with the ordeal altogether, school being nothing more than a necessary
obstruction to the commencement of their <i style="mso-bidi-font-style: normal;">actual
</i>lives when they graduate from the university.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
<div class="MsoNormal">
I don’t think we teachers do this consciously, so don’t take
this as an accusation, as such; however—and Ranciere is clear here—teachers who
explicate, despite positive intentions, do nothing to raise their students and,
in fact, create a stultifying gap between their intelligence and their
students’ the same way Disney World does between their “cast-members” and their
fans.<span style="mso-spacerun: yes;"> </span>Disney claims only to show, to
entertain, to present, not to encourage or improve.<span style="mso-spacerun: yes;"> </span>They don’t want you to match their levels of
creativity, they want you to hemorrhage bucketfuls of capital into their
mouse-eared buckets because you cannot and never will be able to do what they
do.<span style="mso-spacerun: yes;"> </span>And you know it.<span style="mso-spacerun: yes;"> </span>And after you spend your year regenerating
your capital, they want you to do it again.<span style="mso-spacerun: yes;">
</span>Same goes for schools.<span style="mso-spacerun: yes;"> </span>Pay us to
enrich you.<span style="mso-spacerun: yes;"> </span>Take a break.<span style="mso-spacerun: yes;"> </span>Go to Disney World, for crying out loud.<span style="mso-spacerun: yes;"> </span>See France and England while you’re there.<span style="mso-spacerun: yes;"> </span>See Morocco.<span style="mso-spacerun: yes;">
</span>But after that, you come back and do it again and again.<span style="mso-spacerun: yes;"> </span>Always come back to school, the unending
circle of power from which there is no messiah and no redemptive nirvana. <o:p></o:p></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-CKdre1X0-PU/WygK3k09GsI/AAAAAAAABZ4/AKR0qqcwbTYbI5m0EeEQ02r_nNO7hM1_gCLcBGAs/s1600/2018-05-25-kaj-pa-ustavna-presoja-87445.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="661" data-original-width="800" height="330" src="https://2.bp.blogspot.com/-CKdre1X0-PU/WygK3k09GsI/AAAAAAAABZ4/AKR0qqcwbTYbI5m0EeEQ02r_nNO7hM1_gCLcBGAs/s400/2018-05-25-kaj-pa-ustavna-presoja-87445.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From Sir Ken Robinson's Changing Education Paradigms</td></tr>
</tbody></table>
<div class="MsoNormal">
So what do we do?<span style="mso-spacerun: yes;">
</span>Even if Ranciere provides what proves to be the perfect recipe for
success, it’s not like our school system is in any shape even to absorb such a
teaching philosophy—not when grade point averages, standardized test scores,
and college scholarships rule the roost.<span style="mso-spacerun: yes;">
</span>After all, Ranciere admits that, while Jacotot’s method proves students
can and will learn anything they <i style="mso-bidi-font-style: normal;">want </i>to,
what they want to learn might be nothing at all.<span style="mso-spacerun: yes;"> </span>I don’t know about you, but if my students
learn “nothing at all,” I am out of a job, and my progressive philosophy of
teaching statement will do nothing to hinder the executioner’s ax.<span style="mso-spacerun: yes;"> </span>So, again, what do we do?<o:p></o:p></div>
<div class="MsoNormal">
I recommend starting small.<span style="mso-spacerun: yes;">
</span>Winston Smith small.<span style="mso-spacerun: yes;"> </span>We can’t
expect a total overhaul of the school system at once; it’s the little
rebellions that lead to reform.<span style="mso-spacerun: yes;"> </span>Change
what we can in our classrooms.<span style="mso-spacerun: yes;"> </span>Pick one assignment if we have to—one
activity, one policy, one discussion.<span style="mso-spacerun: yes;"> </span>If
we really believe what Ranciere says, we need to get the momentum moving in the
right direction, and change will come.<span style="mso-spacerun: yes;">
</span>Organic food hasn’t always been available at local chain grocery stores,
has it?<span style="mso-spacerun: yes;"> </span>But it is now.<span style="mso-spacerun: yes;"> </span>Something changed for the better, and the
results are there for all to benefit.<o:p></o:p></div>
<!--EndFragment--><br />
<i>This has been a post by Nick Dressler (<a href="https://twitter.com/nick_dressler" target="_blank">@nick_dressler</a>) for the <a href="https://twitter.com/hashtag/Ranciere18?src=hash" target="_blank">#Ranciere18</a> reading project. <a href="https://docs.google.com/document/d/1rWqrHJjHXv9_lknkI_HZv3dUub1zsdlJ74XfAGT8yVg/edit?usp=sharing" target="_blank">Go here</a> to see the google doc, and <a href="https://hypothes.is/groups/iLKoGx6R/the-ignorant-schoolmaster" target="_blank">go here</a> to join the hypothes.is group.</i>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1033889867235759780.post-11035820010222321982018-06-13T14:53:00.001-07:002018-06-19T21:44:16.374-07:00#Ranciere18 - Check out Nate Green's post "Why I don't Teach Content Anymore (joking, but not really)"<a href="https://twitter.com/MrShakedown" target="_blank">Nate Green</a> from Flint Hill School posted a reflection on <a href="https://socmeded.blogspot.com/" target="_blank">his blog</a> today for the <a href="https://twitter.com/hashtag/Ranciere18?src=hash" target="_blank">#Ranciere18</a> reading project. The title of his post is "Why I Don't Teach Content Anymore (joking, not really)", which can be found <a href="https://socmeded.blogspot.com/2018/06/ranciere18-why-i-dont-teach-content.html" target="_blank">here</a>. Check it out and leave a comment.<br />
<br />
Want to join the #Ranciere18 project? There's still time; <a href="http://bit.ly/ranciere18" target="_blank">go here</a> to view our google doc. Message me on Twitter (<a href="https://twitter.com/jcolley8" target="_blank">@jcolley8</a>) or email me (jcolley@theoakridgeschool.org) if you'd like to be an editor to the doc.<br />
<br />
You can sign up for the hypothes.is group by <a href="https://hypothes.is/groups/iLKoGx6R/the-ignorant-schoolmaster" target="_blank">going here</a>, and don't forget you can always follow parts of the conversation on Twitter at the hashtag, <a href="https://twitter.com/hashtag/Ranciere18?src=hash" target="_blank">#Ranciere18</a>.<br />
<br />
<i>Upcoming blog posts:</i><br />
<i><br /></i>
Nick Dressler will be posting something here sometime tomorrow.<br />
<br />
I plan to post something as well sometime this weekend on the differences between Jacotot's and Socrates' methods when it comes to instructing pupils.<br />
<br />
Next week, we'll be reading Chapter 3 "Reason Between Equals" with more blog posts to come.<br />
<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1033889867235759780.post-29787805167175419492018-06-06T13:30:00.002-07:002018-06-07T08:17:59.884-07:00#Ranciere18 - One Student, One Intelligence: A Case for Making Learning Personal, A Guest Post by Nick DresslerMy dog died yesterday. She was a thirteen-year-old epileptic basset hound on whom we spent an ungodly amount of money, first on an MRI to rule out a brain tumor as the cause of her convulsions, then on a surgery to remove a grapefruit-sized tumor from the base of her tail, and then on two medications that worked well to assuage her initial tremors but failed to control the fifteen or so consecutive seizures that saw her euthanized just eighteen hours ago. She brought us a lot of happiness over the years, Margo, and she led a full life surrounded by an adoring extended family and some creative, energetic children—neither of which makes the loss any easier, but both of which have generated memories more indelible than even her ashes in my mother-in-law’s backyard—Margo’s favorite place in the world.<br />
<br />
I tell you this for no other reason than because I can hardly write anything anymore without some kind of personal anecdote as a lead-in. On one hand, such reflection plunges me into that concentrated mode of introspection necessary to disinter the amorphous abstract muck lurking somewhere between my subconscious internal dialogue and my primitive animal instincts. It puts me in the writing zone, so to speak: it’s like the squint and gaze needed before you view one of those Magic Eyes from the nineties (Remember Magic Eyes? Remember the nineties?). Just look past the picture—the thing—pull it away from your face, and there it is: the radically three-dimensional hidden image. Yes, the personal anecdote unlocks my ability to communicate from the depths whether or not there is even an audience to read what I write, and it ensures the authenticity, I find, of whatever comes next in the manuscript as the eventual subject of the piece rises from the same place as the memory of the actual experience that has formed me—whatever I am, whatever “I” is. Secondly, the personal story transports the reader from their real-life into the abstract thesis of the manuscript by creating a space in which writer and reader—the two parties in the transaction—find the common ground before splitting hairs later in the essay. <i>You are human; I am, too</i> such an introduction implies, and, as far as I’m concerned, that is the commonality required for the intercommunication of our deepest, most nuanced ideas. It’s a little bit like mapping out the exact longitude and latitude to set sail for a potentially lucrative undersea treasure hunt as opposed to selecting some random spot, jumping in, and having a look around. The sailing? Not the point, and it requires a different set of skills than does diving, but without it, good luck excavating that wreck—you won’t even make it to the diving, even though that’s what you set out to do in the first place. <br />
<br />
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<br />
I’ve taken a substantial amount of criticism for this habit over the course of my formal schooling. Less so in grade school, of course, but the disapproval increased in direct proportion to my progression through high school, undergraduate, and grad school. <i>Don’t use a personal pronoun</i>, obviously we’ve all seen that one, but also <i>it’s a solipsism to assume anyone cares about your personal experiences</i>. Wow. That’s quite a charge. I do see where the comment comes from: overreliance on the personal anecdote can imply a certain self-importance, I suppose, as if to suggest all of the writer’s individual experiences <i>matter</i> toward the discussion of some, perhaps, more important, more socially relevant discussion of literature, or philosophy, et al. However, this is true only for the idealist, who insists his ideas reign supreme over the natural world. The materialist, though, claims no power over the world around him and, as such, his experience is only an effect or symptom—one possible result—of the sum total of his external stimuli instead of some Romantic, magical idea he implemented of his own, God-given volition. I view each person as a puzzle piece in a larger, ever changing truth: we each have a bit of a picture on our front (our perspective), and the solipsism would be in believing as the guards in Plato’s cave do that said image is the total truth. In reality (again: whatever that is), these perspectives matter only when fastened together with their neighbors’ to unearth the larger, more complete picture—human nature, our <i>species-nature</i>, as Marx would have it. I see a lot of good, in the personal anecdote, maybe even a great necessity in sharing individual stories as toward the goal of communal understanding and so insist when a teacher chastises a student for sins against the old covenant of writing or history or what-have-you, that teacher fetishizes intelligence and divides society into those who have (the teacher himself, in this scenarios) and those who lack (the student)—convenient enough for the teacher: the only one who can give what he has. The student, in this case, pursues the approval and then the endorsement of the teacher in order to have <i>learned</i> the material, thus rendering powerful the teacher, the one who gives what he has, and leaving powerless the student, the one who takes what she has not. Good teachers subvert this relationship. <br />
<br />
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<br />
But how to do so? I’ve long theorized that our traditional school system creates two mutually exclusive versions of the same student—one who learns skills and content in school for school’s sake, and another who feels free, acts naturally, and learns life skills outside of the classroom. The first version switches on at the beginning of the school day and enters hibernation at the final bell; the second one, the real one, takes over during all the other times, the fun times, the authentic times, the times that involve emotion and common sense and personal growth and heartache and success. The second version actively switches to the first only to as a means to an end: a college admission, graduation, and reception into the workforce—exactly when the second version takes over full stop and real life can begin. When first version disappears so do the knowledge and skills it acquired as part of traditional schooling. Up in smoke. Floating around the atmosphere like the rocket that propels the shuttle through the Earth’s atmosphere before detaching itself never to return. And yet, for as many Marxist and/or Structuralist philosophers and cultural critics I’ve studied in my day, I never have come across someone who pinpoints a similar argument as the one I have limned here until I met Ranciere in <i>The Ignorant Schoolmaster</i> who suggests, “There is not a popular intelligence concerned with practical things and a scholarly intelligence devoted to abstract thought. It is always the same intelligence at work.” Right on the money. In other words: the classroom must be a place in which the school teacher encourages natural behavior from the students—the same behavior the student exhibits outside of the classroom. The student should bring herself as she is into the room every day and should practice skills each period that directly affect that authentic person.<br />
<br />
To use a sporting analogy, since I used to play and coach basketball: one of the coach’s biggest challenges when designing a practice session is to engender the same intensity from the players that they naturally exhibit in the game so the plays and skills and techniques they learn in practice may be applied when the chips are down and each play actually counts toward the result of a contest—the reason the players play in the first place. It serves neither the coach nor the players if the coach creates two versions of each player—one who practices and one who plays the game—for the second version will not perform the skills of the first when the chaos of the game obfuscates the lessons learned in practice. One player who performs at the same intensity all the time, that’s the type who succeeds. The same is true for the student: one kid, one set of skills, one sense of humor, one subjective experience. Not two. Two only muddies the water. Encourage their authenticity in the classroom—<i>practice</i> equality as Ranciere encourages us to do—and the knowledge and skills they encounter and perfect will serve to ameliorate exactly that authentic person, and that person alone.<style>
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<i>This has been a post by Nick Dressler (<a href="https://twitter.com/nick_dressler" target="_blank">@nick_dressler</a>) for the <a href="https://twitter.com/hashtag/Ranciere18?src=hash" target="_blank">#Ranciere18</a> reading project. <a href="https://docs.google.com/document/d/1rWqrHJjHXv9_lknkI_HZv3dUub1zsdlJ74XfAGT8yVg/edit?usp=sharing" target="_blank">Go here</a> to see the google doc, and <a href="https://hypothes.is/groups/iLKoGx6R/the-ignorant-schoolmaster" target="_blank">go here</a> to join the hypothes.is group.</i>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-1033889867235759780.post-65750544260036682572018-06-02T14:54:00.000-07:002018-06-02T15:01:49.236-07:00#Ranciere18 - Why I'm Done with Paper Prompts (kind of joking, but not really...): An Imagined Conversation with Jacques Ranciere and Lucy McCormick CalkinsA group of us are investigating and discussing Jacques Rancière's <i>The Ignorant Schoolmaster</i> (<a href="https://docs.google.com/document/d/1rWqrHJjHXv9_lknkI_HZv3dUub1zsdlJ74XfAGT8yVg/edit?usp=sharing" target="_blank">go here</a> so see the Google Doc and <a href="https://hypothes.is/groups/iLKoGx6R/the-ignorant-schoolmaster" target="_blank">go here</a> to join the hypothes.is group), and this is the end of our first week. Starting Monday, we'll be reading Chapter One "An Intellectual Adventure." You can also find more activity at the hashtag, <a href="https://twitter.com/hashtag/Ranciere18?src=hash" target="_blank">#Ranciere18</a>. However, I'm also reading other materials for various projects, which brings me to <a href="https://www.heinemann.com/authors/430.aspx" target="_blank">Lucy McCormick Calkins</a>'s seminal study, <i><a href="https://www.heinemann.com/products/08809.aspx" target="_blank">The Art of Teaching Writing</a>, </i>a work I decided to return to this summer for two reasons: I'm beginning to revisit our writing curriculum at <a href="http://www.theoakridgeschool.org/" target="_blank">The Oakridge School</a>, and I'm starting to prep ideas for a deep dive session on the topic that I'll be facilitating with <a href="https://twitter.com/jbackon" target="_blank">Joel Backon</a> at <a href="http://www.oesisgroup.com/boston2018.html" target="_blank">OESIS Boston</a> this October. This is just one more reason my stack of summer reading has already become a sizable collection of titles, and here's what's on deck (<i>Please! Any recommendations on the topic of teaching writing would be much appreciated, just leave a comment below!</i>):<br />
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Last night, I reread the opening chapter of Calkins's <i>The Art of Teaching Writing </i>and immediately I had to close the book. The connections to Rancière were overwhelming. Perhaps I'm a hammer who can only see nails right now, but the parallels were undeniable. Each thinker was making a radical claim about how we should see students as equally capable from the outset, no matter their level of performance, and each writer was raising concerns about how schools can sometimes get in the way of seeing students for who they actually are. Consequently, we confront the problem of passive students who resist learning.<br />
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A quick overview of core principles for Rancière's project:<br />
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So why bring this up in a post whose title calls for the abolition of paper prompts? And how does it relate to Calkins's opening chapter in <i>The Art of Teaching Writing</i>?<br />
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Consider the following two quotes:<br />
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<i>The ignorant schoolmaster exercises no relation of intelligence to intelligence. He or she is only an authority, only a will that sets the ignorant person down a path, that is to say to instigate a capacity already possessed, a capacity that every person has demonstrated by succeeding, without a teacher, at the most difficult of apprenticeships: The apprenticeship of that foreign language that is, for every child arriving in the world, called his or her mother tongue</i> (J. Rancière's "<a href="https://s3.amazonaws.com/arena-attachments/171865/2f88b9c0da25c7f06055a69db0e4ac6c.pdf" target="_blank">On Ignorant Schoolmasters</a>" from <i>Jacques Rancière: Education, Truth, Emancipation</i>).<br />
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<i>Human beings have a deep need to represent their experience through writing... But in our schools, our students tell us they don't want to write</i> (Lucy Calkins's <i>The Art of Teaching Writing</i>).<br />
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Step back for a second and observe these two fundamental truths about <i>all</i> humans: (1) we learned to do one of the most difficult, complex tasks without the aid of explicit, direct instruction: we learned to speak "the mother tongue" and (2) we have a deeply ingrained <i>need</i> to tell our stories, but schools have a way of making students forget that.<br />
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Why is there a disconnect?<br />
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Calkins makes the case that, while we're good at stimulating/motivating students to write on certain occasions, we have a much harder time "helping young people become <i>deeply and personally involved in their writing</i>," such that we cultivate the skills necessary for empowering lifelong writers who no longer resist the invitation to write for themselves as well as for others.<br />
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Unfortunately, much of what we do with students when it comes to writing in an academic context amounts to inauthentic writing occasions where "we set up roadblocks to stifle the natural and enduring reasons for writing, and then we complain that our students don't want to write" (Calkins 4). It becomes all the more dismal when teachers accept the students' resistance to such occasions as a <i>natural reaction. </i>Rancière would counter such a scenario proclaiming, "we [cannot] accept this passivity as the inevitable context of our teaching" (Calkins 4). All students, says Rancière, are equally intelligent; all students have something to say. Therefore, all students can (<i>and want to</i>) write.<br />
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So how do we <i>prompt</i> students to reawaken what we already know to be unmistakably in them, namely the desire to write?<br />
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One of the roadblocks that stifles student writing is our tendency to want "to make them into writers" - to assume they're not there yet, but a worse hindrance to our cause is a certain assumption we must unpack that often comes with the good, teacherly intention of providing students with "writing prompts." Consider what Lucy Calkins writes when reflecting on the idea of "motivating writing":<br />
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<i>I was being patronizing</i>. In Rancière's terms she had assumed the role of "explicator" which "stultified" any natural inclination on the part of the student to take responsibility for his/her equal capacity to say something and thereby be heard by an audience of equal intellects.<br />
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We as teachers know a lot, and can craft a plethora of paper prompts to verify it. However, "our children are no different. They, too, have rich lives. In our classrooms we can tap the human urge to write if we help students realize that their lives are worth writing about" (Calkins 6), which gets me to the title of my blog post. <i>I need to write less paper prompts and start listening more closely to my students' uniquely rich experiences.</i> I need to empower them to learn how to construct their own prompts, albeit ones that satisfy two demands of our vocation. First of all, students need to relate their learning to their personal experiences in ways that make it relevant for them, and secondly, they need to learn to write for informal and professional audiences that demand them to bring their experiences outside themselves and in contact with a world that's beyond their wildest imaginations. This is one way we can make a step in the right direction when it comes to getting students more <i>deeply and personally involved in their writing</i>, but we have to treat them as writers <i style="font-weight: bold;">from the outset</i>. It's not a goal: it's a human reality, a natural capacity akin to early language acquisition.<br />
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Someone once asked Lucy Calkins <i>What is essential in teaching writing?, </i>to which she responded, "For me, it is essential that children are deeply involved in writing, that they share their texts with others, and that they perceive themselves as authors" (9). I. couldn't. agree. more. We have to write <i>a lot </i>about things that matter to us, and we have to have <i>authentic </i>audiences (<i>beyond the teacher</i> <i>and classroom peers</i>), but for Rancière the third point may be the most essential: <i>Students have to perceive themselves as authors</i>.<br />
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When reading this, I was reminded of a passage from <i>The Ignorant Schoolmaster</i> where Rancière discusses the notion that <i>all </i>humans have the capacity to be painters (an obvious analogy to his claim about the equality of all intelligences). Provocatively, he asserts, "It's not a matter of making great painters; it's a matter of making the emancipated: people capable of saying, 'me too, I'm a painter,' a statement that contains nothing in the way of pride, only the reasonable feeling of power that belongs to any reasonable being. There is no pride in saying out loud: 'Me too, I'm a painter!' Pride consists in saying softly to others: 'You neither, you aren't a painter'" (66-67).<br />
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<tr><td class="tr-caption" style="text-align: center;">There is no pride in saying out loud: 'Me too, I'm a painter!' Pride consists in saying softly to others: 'You neither, you aren't a painter'</td></tr>
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<i>Me too, I'm a writer!</i> That's what I want to hear from every student who enters my classroom. And never will I pridefully say to a student: "You know. Maybe writing is not your thing." What I will be saying more to students is <i>write about something that matters to you. What story do you want to tell and why?</i> But this means I need to write less paper prompts and think of ways to inspire students to frame their own questions.<br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1033889867235759780.post-5686298071616711252018-05-28T12:54:00.000-07:002018-06-02T18:19:08.787-07:00#Ranciere18 - Week One: "Translator's Introduction" from The Ignorant SchoolmasterStarting this week several of us are reading together (<i>at a leisurely pace</i>) a very important book for me as an educator. In many ways Jacques Rancière's 1987 polemic, <i>The Ignorant Schoolmaster, </i>has become a kind of motivational manifesto for me - a mantra of sorts that keeps me focused on what matters most in my role as teacher. My loyalty to its message, at times, has inspired mockery and disbelief in others: <i>You can't possibly believe that all students are equally capable of being intelligent?</i> After all, this is the book's central thesis: "<i>ALL</i> people are equally intelligent" (<i>xix</i>).<br />
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So what's your gut response to such a statement? Does one wince with disbelief? What do we mean when we say "intelligence"? What does it look like when it's being demonstrated? How can we measure it or should we even ask that question? </div>
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Which of the following images, for instance, showcases a greater display of intelligence?</div>
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<tr><td class="tr-caption" style="text-align: center;">"The hierarchical division of head and hand" (x<i>viii</i>).</td></tr>
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One of Rancière's targets is the myth that there are different types of intelligences that can be arranged spatially/directionally in terms of hierarchies (<i>low to high</i>). Such space reifies (or makes natural) the gap between the knowing and the ignorant; the explicators and the listeners; the capable and the incapable; the ones who <i>must</i> be heard (subject groups) and the ones who need not be heard (subjugated groups). But common sense says this is the case, right? I mean, some of us simply know things that others don't, and it's on us to tell them what they need to know. Right? If teaching were defined as the act of transmitting knowledge, then yes, perhaps this is just "how things are" and teachers are tasked with leading the ignorant out of the cave by showing them/explaining to them the Truth of things. But perhaps the task of the teacher needs to be re-conceptualized, not as "a kind of muscular theoretical heroism" to enlighten the masses, but as an authority who demands the equally intelligent to chart their own truth:<br />
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<i>The problem is not to create scholars. It is to raise up those who believe themselves inferior in intelligence, to make them leave the swamp where they are stagnating – not the swamp of ignorance, but the swamp of self-contempt</i> (101-102).<br />
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<i>It is the explicator who needs the incapable and not the other way around; it is he who constitutes the incapable as such</i> (6).</div>
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<i>There aren’t 2 sorts of minds. There is inequality in the manifestations of intelligence, according to the greater or lesser energy communicated to the intelligence or by the will for discovering and combining new relations; but there is no hierarchy of intellectual capacity</i> (27).<br />
<i><br />Whoever teaches w/o emancipation stultifies. Whoever emancipates doesn’t have to worry about what the emancipated person learns</i> (18).</div>
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Emancipation is the idea <i>that every common person might conceive his human dignity, take the measure of his intellectual capacity, and decide how to use it</i> (17).</div>
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<i>Our problem isn’t proving that all intelligence is equal. It’s seeing what can be done under that supposition</i> (46).</div>
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The last quote here brings up some questions for me: Does R posit the equality of intelligences for strategic purposes alone? In other words, is he trolling/provoking us in some way? OR Is he simply stating upfront that one cannot prove nor disprove his thesis, therefore why not make Pascal's wager? </div>
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A few more thoughts...</div>
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<b>The Lesson of Althusser</b></div>
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Both Rancière's teacher and mentor, Louis Althusser may be France's most influential Marxist thinker from the 20th century. Rancière, however, turned his back on Althusser's anti-humanist, structuralist program, which can be seen in R's student-centered, agency-focused approach to pedagogy. Althusser was a big believer in the master-student relationship: "'The function of teaching,' Althusser wrote in 1964, 'is to transmit a determinate knowledge to subjects who do not possess this knowledge. The teaching situation thus rests on the absolute condition of <i>an inequality between a knowledge and a nonknowledge</i>'" (<i>xvi</i>). </div>
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For Althusser, emancipatory education was only possible if we recognize the present impossibility for students to be equal (with each other or with the master) and instead focus our reformist energies toward distributing more equally the same quality of instruction (by well-trained, enlightened masters) among all students of all classes. I want to suggest that Rancière reverses this claim: It is impossible to make the distribution of instruction equal, but we can assert axiomatically that all students (and teachers) are naturally, equally intelligent. The hard work of pedagogy is <i>ac/counting</i> for this. If schools are unequal spaces for equal intelligences, the task of pedagogy becomes political, namely demanding those who are not "counted" in the unequal space of schools to assert their equal right to be counted. </div>
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The image above does not make a case for unequal intelligences: each animal has the equal, verifiable capacity, but the learning space or environment created by the administration of the "same exam" does not equally verify or account for each animal's natural capacity. The space (and method of verification) is unequal, not the students.</div>
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<b>The Practice of Equality: </b><i>Our problem isn’t proving that all intelligence is equal. It’s seeing what can be done under that supposition.</i></div>
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Rancière speaks of his thesis as being an axiomatic starting point, a <i>pure concept</i> in Kantian terms that orders the way we experience the landscape of learning. Even if one thinks his claim is strategic or performative, and less a statement about <i>capital "T" truth</i>, there's still something of value to be investigated - namely, how the pure concept of equality reshapes the space-time continuum of our learning landscapes.</div>
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We as educators have a lot to say about the hard work of "closing achievement gaps," but the space-time continuum of a world occupied by unequal intelligences is one where the gaps can never be fully overcome. According to Rancière, t<i>he grim-visaged war of unequal intelligences will never completely smooth its wrinkled fronts</i>. By starting with the pure concept of equal intelligences we begin to close the spatial and temporal distances between the learned and the learner, between the master and the student. </div>
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Ultimately, we need to rethink starting points, instead of outcomes, which can make us sound reckless in the ears of certain administrators. I think of the example of the Hubble Telescope. No one knew what was out there or what would be the outcome of pointing the world's most expensive observation device into a void of complete darkness. I'm sure some people thought the original scientists were reckless for proposing it, but here we are years later still discovering the infinite wonders of a universe that proved to be much larger than anyone could initially have imagined. What can we do if we start with equality of all intellects? What have we mistaken for darkness that on second look could reveal an infinite amount of wonders beyond our imaginations?</div>
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This has been a post for the <a href="https://twitter.com/hashtag/Ranciere18?src=hash" target="_blank">#Ranciere18</a> Reading Project. Please feel free to comment and join the conversation.</div>
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If you want to get more involved, our google doc is <a href="https://docs.google.com/document/d/1rWqrHJjHXv9_lknkI_HZv3dUub1zsdlJ74XfAGT8yVg/edit?usp=sharing" target="_blank">here</a> and our hypothes.is group is <a href="https://hypothes.is/groups/iLKoGx6R/the-ignorant-schoolmaster" target="_blank">here</a>. Email me at jcolley@theoakridgeschool.org if you want editing access to the Google Doc.</div>
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</style>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1033889867235759780.post-50249741365456102452018-03-27T21:04:00.002-07:002018-03-28T13:04:41.321-07:00Student Choice in Reading: Let Students Decide Whether They Want to Read a Shakespeare Tragedy, Comedy, or History Play<i>One thing is certain: when students are given choice—whether limited or wide open—they read and write more. </i>-Kelly Gallagher, "Moving Beyond the 4x4 Classroom"<br />
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<span style="font-size: large;">Why Is Reading Such a Chore?</span></div>
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What makes something a chore? Is it the essence of the activity itself, such that mopping the floor, for instance, is inherently more chore-like and more obligatory in nature than doing something else, such as watching a movie? Is it really that ontologically simple? Surely not. The idea that something is a chore due to the nature of the act itself is an obvious oversimplification: it fails to account for the importance of context. That's why cleaning the house can also be therapeutic, perhaps even fun. The word <i>chores</i> functions, not as a label for a certain set of activities, but as a description for how one feels about the activity he or she is engaged in. The question has more to do with <i>why</i> one is engaging in a given activity as well as <i>how </i>one came to be motivated to do it in the first place.<br />
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As teachers of reading, this is exactly the kind of oversimplification we are battling when students enter our classrooms and say, "I don't know. Reading is just not my thing. It's such a <i>chore</i>." They have become convinced that reading is one of those activities that falls under the category of <i>chores</i>. How can we convince them otherwise? How can we get them to experience the joy of reading again?</div>
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What happens when, over time, an activity that one used to enjoy begins to feel more like a chore? Whether it's something that's leisurely or something that demands a large amount of work, an activity risks becoming a chore, in my opinion, when one (or all) of the following factors starts to seem amiss:</div>
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1. <b><i>Agency</i></b> in the form of having a <i>choice</i> in the matter.</div>
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2. <b><i>Purpose</i></b> in the form of knowing <i>why</i> you are doing the thing in question.</div>
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3. <i style="font-weight: bold;">Relevance</i> in the form of appealing to one's <i>interests</i> and/or <i>passions</i> as an individual</div>
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Even things we enjoy doing can become a chore when we no longer feel a sense of agency, purpose, or relevance<i>, </i>which brings up the important question for all teachers:<br />
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<i style="font-family: times, "times new roman", serif;">How can we make students see reading as something other than a chore? How can we prevent what <a href="http://www.kellygallagher.org/" target="_blank">Kelly Gallagher</a> calls <a href="http://www.ascd.org/publications/educational-leadership/mar10/vol67/num06/Reversing-Readicide.aspx" target="_blank">Readicide</a>, namely the "systematic killing of the love of reading, often exacerbated by the inane, mind-numbing practices found in our schools"?</i><br />
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<span style="font-family: "times" , "times new roman" , serif;">Kelly Gallagher suggests several things for combatting the phenomenon of <i>Readicide.</i> One suggestion that's challenged me to grow as a teacher and designer of curriculum is the idea of providing more opportunities for student choice, thereby getting students to exercise agency in determining what texts or books seem most relevant and purposeful to them. </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Core Texts: Community at the Cost of Agency?</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">I am a big fan of building a learning community around the collaborative study of a core text, whether it be classic or contemporary, but I slowly have come to realize that, if that's all I'm doing, students will inevitably lose sight of one (<i>if not all</i>) of the above three factors (<i>namely, a sense of agency, purpose, and/or relevance</i>). Community is important, but so is agency. In agreement with Kelly Gallagher, I think there needs to be a balance, but in no way can I claim to have made room for choice to the extent of <a href="http://www.kellygallagher.org/kellys-blog/2015/7/14/moving-beyond-the-4-x-4-classroom" target="_blank">a "20/80 model" like that in Gallagher's class</a>. </span></div>
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<span style="font-family: "times" , "times new roman" , serif;">On a quick side note, I personally think there are strategies one can employ for purposes of empowering student agency even when one is reading a singular text as a class. I suggest the following ideas:</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">1. Let students choose to be a certain kind of "expert." Sometimes I'll create four reading groups: Group 1 reads for setting, historical/authorial context, etc.; Group 2 reads for character development and analysis; Group 3 reads for theme analysis and development; and Group 4 reads for rhetoric and literary style. Each group is responsible for being the experts in the room when it comes to discussions that relate to their topic of choice (<a href="https://edu-scenius.blogspot.com/2015/04/more-on-reading-thinking-for-each-other.html" target="_blank">Go here</a> to read more).</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">2. Allow students to have more direct influence over what you discuss and how. There are so many technological platforms that make this possible. I often use google docs as a back channel for students to make clear to me what they want to talk about and address in the novel we're reading (<a href="http://edu-scenius.blogspot.com/2015/02/more-on-learning-as-community-how.html" target="_blank">go here</a> to read more). My friend, <a href="https://twitter.com/JoelRGarza" target="_blank">Joel Garza</a>, often uses <a href="http://hypothes.is/">hypothes.is</a> to amplify student voice and particularly to empower the quieter students in his classroom (<a href="https://edu-scenius.blogspot.com/2017/11/rethinking-class-participation-using.html" target="_blank">go here</a> to read more).</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">3. Gamify the experience for the students. I've written extensively about the pedagogical benefits of gamification, which can be found <a href="https://edu-scenius.blogspot.com/2017/05/overcoming-classroom-distraction.html" target="_blank">here</a>, <a href="https://edu-scenius.blogspot.com/2017/06/overcoming-classroom-distraction.html" target="_blank">here</a>, <a href="https://edu-scenius.blogspot.com/2017/06/overcoming-classroom-distraction_7.html" target="_blank">here</a>, <a href="https://edu-scenius.blogspot.com/2015/02/how-innovate-english-class-flip-gamify.html" target="_blank">here</a>, and <a href="https://edu-scenius.blogspot.com/2015/03/a-teachers-reflection-on-student.html" target="_blank">here</a>.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">4. Allow students to persuade each other and to choose democratically a core text for the class to read.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">I don't think that assigning core texts necessarily implies a lack of agency, purpose, and/or relevance for students, but it does demand us to be intentional and creative as teachers. On the flip side, promoting student choice for reading also doesn't need to be seen as a threat to cultivating a sense of community in a collaborative classroom. There are ways to foster community while allowing students to direct their inquiry more independently, whether limited in nature or in a completely open framework.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Student Choice in Reading</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">A couple years back, NCTE published the article "<a href="http://www.ncte.org/library/NCTEFiles/Resources/Journals/ELQ/0383-feb2016/ELQ0383Top.pdf" target="_blank">Top Five Reasons We Love Giving Students Choice in Reading</a>" and the first reason </span>the authors identified was the idea that "Choice empowers students":</span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><i> School is sometimes a frustrating place for students. <b>Their technology-rich world is robust with opportunities for decision-making and choice, but when they enter the classroom, the opportunities for choice are much more limited. When students are routinely assigned books to read without any opportunity to act on their own judgment, many end up dreading the reading</b> and often fail or refuse to complete it. But when we provide students with choices (even within parameters), they make their own decisions and they feel empowered and important.</i> (Campbell, Dubitsky, Faron, George, Gieselmann, Goldschmidt, Skeeters, and Wagner)</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">I emphasized the 2nd and 3rd sentences because I think this gets to the heart of how choice connects to relevance and purpose, especially for the 21st century student. Our students' technologically-laden world is one that constantly invites them to make choices, to interact, and even to manipulate the things that capture their interest. This is why school can seem so frustrating at times: They don't have that same sense of agency.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">*****</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">This year, when designing my latest unit on William Shakespeare, I was debating whether to do a Tragedy, Comedy, or History play, and it occurred to me: Why not let the students choose? I knew I would limit it to a 3-option choice, meaning there were still strict parameters when it came to exercising student agency. Despite how minimal it was, a significant change in student engagement was immediately evident due to a simple gesture on my part: I trusted them to make a choice based on what sparked their individual interests the most, and simply put, that excited them.</span></div>
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Ss are exploring the first scenes of the <a href="https://twitter.com/hashtag/Shakespeare?src=hash&ref_src=twsrc%5Etfw">#Shakespeare</a> plays they’ve chosen to read. Already, I see more interest & engagement b/c Ss have a choice in the matter <a href="https://twitter.com/hashtag/engchat?src=hash&ref_src=twsrc%5Etfw">#engchat</a> <a href="https://twitter.com/hashtag/aplitchat?src=hash&ref_src=twsrc%5Etfw">#aplitchat</a> <a href="https://twitter.com/hashtag/edchat?src=hash&ref_src=twsrc%5Etfw">#edchat</a> <a href="https://t.co/TfZEb1EJTU">pic.twitter.com/TfZEb1EJTU</a></div>
— Jared Colley (@jcolley8) <a href="https://twitter.com/jcolley8/status/951834218367193089?ref_src=twsrc%5Etfw">January 12, 2018</a></blockquote>
<span style="font-family: "times" , "times new roman" , serif;">Working off the thematic question of </span><i style="font-family: times, "times new roman", serif;">What does it mean to be the Other?</i><span style="font-family: "times" , "times new roman" , serif;">, I selected three very different plays: </span><i style="font-family: times, "times new roman", serif;">Othello, Merchant of Venice, </i><span style="font-family: "times" , "times new roman" , serif;">and </span><i style="font-family: times, "times new roman", serif;">Richard III</i><span style="font-family: "times" , "times new roman" , serif;">. On the first day, I framed each text for the students (<i>we watched movie trailers for each one as well...</i>). We also identified common themes across the plays, and I encouraged them to explore each option a little more by getting on YouTube, Google, and other platforms to find out more information.</span><br />
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<a href="https://1.bp.blogspot.com/-izHlz1WOjGU/WrrclGonKzI/AAAAAAAABUI/Eywpycy6aCoy3mLsCxlLDeAAFXTessP9wCLcBGAs/s1600/Screen%2BShot%2B2018-03-26%2Bat%2B12.28.21%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="287" data-original-width="634" height="180" src="https://1.bp.blogspot.com/-izHlz1WOjGU/WrrclGonKzI/AAAAAAAABUI/Eywpycy6aCoy3mLsCxlLDeAAFXTessP9wCLcBGAs/s400/Screen%2BShot%2B2018-03-26%2Bat%2B12.28.21%2BPM.png" width="400" /></a></div>
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<span style="font-family: "times" , "times new roman" , serif;">Once students selected the play that perked their interest, they received the following instructions:</span><br />
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<i>(1) Based on who chooses what play, you will form “reading groups” with other students who are reading the same text as you. <br />(2) <a href="https://docs.google.com/document/d/1F7SrfQSmfs7BFfW-RDIRlLBojyaxbzcIgqT9VwibyKc/edit#bookmark=kix.s8ksp73uarkh">On the class calendar</a>, each reading group is scheduled to lead a class discussion on various days on a weekly basis. <br />(3) Groups will lead class discussion only <a href="https://docs.google.com/document/d/1F7SrfQSmfs7BFfW-RDIRlLBojyaxbzcIgqT9VwibyKc/edit#bookmark=kix.s8ksp73uarkh">on the due dates</a> for completing each Act of the play (meaning there will be five scheduled presentations for each group).<br />(4) On those scheduled due dates, each group is expected to present their ideas in a 10-15 minute period of time. Each presentation will be followed by a 10 minute harkness-style question and answer session, and all reading groups are expected to participate.<br />(5) Presentations will be based on the questions related to the themes <a href="https://docs.google.com/document/d/1F7SrfQSmfs7BFfW-RDIRlLBojyaxbzcIgqT9VwibyKc/edit#bookmark=kix.6lx4jaq8ml3s">that are listed below</a>. Groups may use the same question (or questions) for multiple presentations as long as each presentation develops the revisited question further.<br />(6) Expectations for each presentation:<br /> (a) They must be at least 10 to 15 minutes in length<br /> (b) They must address at least 3-4 of the questions that are related to the themes<br /> (c) Students must turn in presentation notes, outlines, or scripts<br /> (d) There must be multiple citations of the text to provide evidence<br /> (e) Presentations must be cogent, prepared, and collaborative: everyone has to talk<br /> (f) Optional: Students may use media, visual aids, etc., to enhance the presentation</i></div>
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<span style="font-family: "times" , "times new roman" , serif;">My school's schedule operates on an ABABC block schedule, meaning I get to meet with students for 80 minutes on either A or B days, and I see every class for 45 minutes at the end of the week on the C day's modified schedule. The reading plan looked something like this (<i>with a few improvised adjustments along the way...</i>):</span><br />
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<a href="https://1.bp.blogspot.com/-UiQTcII6B5g/WrrjFMohsRI/AAAAAAAABU0/YCMCfvJi8hIccwMAVfmGDjdeP6ZJOk-ewCLcBGAs/s1600/Screen%2BShot%2B2018-03-26%2Bat%2B12.29.45%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="644" data-original-width="558" height="640" src="https://1.bp.blogspot.com/-UiQTcII6B5g/WrrjFMohsRI/AAAAAAAABU0/YCMCfvJi8hIccwMAVfmGDjdeP6ZJOk-ewCLcBGAs/s640/Screen%2BShot%2B2018-03-26%2Bat%2B12.29.45%2BPM.png" width="553" /></a></div>
<span style="font-family: "times" , "times new roman" , serif;">For each play, we identified 7 common themes we wanted to talk about: (1) Prejudice towards Otherness (2) The idea of Bonds, especially with Family (3) Marriage & Love (4) Hatred (5) Honesty & Trust in a World of False Appearances (6) Gender Politics and (7) Justice vs. Vengeance. There were 3-5 questions for each theme that potentially could be applied to any of the three plays, and students could use any of those questions to frame their weekly discussions on the days they were assigned to lead the class meeting. (<i><a href="https://docs.google.com/document/d/1F7SrfQSmfs7BFfW-RDIRlLBojyaxbzcIgqT9VwibyKc/edit?usp=sharing" target="_blank">Go here</a> to see the complete google doc that contains the questions as well as the rest of the resources related to the project</i>)</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">It was very much an experimental risk on my part. <i>How would it go with students talking to each other in class discussions while reading different texts? Would it fall flat? Would students make interesting connections?</i> Overall, I was blown away, watching students teach, challenge, and make connections for each other in organic conversations that were purely student led. By giving them choice, the students gave back as well both to me and to each other. There were days, no doubt, when it was dry, and by the end, I think we were all ready to move on. However, with a few adjustments to the calendar and to the volume of discussions, I will definitely be doing this again next year. As the authors make clear in "<a href="http://www.ncte.org/library/NCTEFiles/Resources/Journals/ELQ/0383-feb2016/ELQ0383Top.pdf" target="_blank">Top Five Reasons We Love Giving Students Choice in Reading</a>," providing students with more choice (whether it be limited or open) empowered them to have more meaningful conversations, to deepen relationships with both peers and the teacher, and to think more independently as developing learners </span><span style="font-family: "times" , "times new roman" , serif;">(Campbell, Dubitsky, Faron, George, Gieselmann, Goldschmidt, Skeeters, and Wagner). I saw all of this at work on a daily basis when students took ownership of their <i>choice</i> to read a Tragedy, Comedy, or History play, and although there were a lot of student-led discussions and presentations, there was also time for independent reading, group preparation, and small group discussions with the teacher. </span><br />
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<span style="font-family: "times" , "times new roman" , serif;">For a final project, students had the following choices as well:</span><br />
<span style="font-family: "times" , "times new roman" , serif;">1. Team up with 1 or 2 other students from your class section (or from another section).</span><br />
<span style="font-family: "times" , "times new roman" , serif;">2. Decide whether you want to partner with peers who read the same play or with people who read something different.</span><br />
<span style="font-family: "times" , "times new roman" , serif;">3. Select one of the seven themes from the student-led class discussions.</span><br />
<span style="font-family: "times" , "times new roman" , serif;">4. Choose to either create a digital essay (using sound, image, & text) or a podcast episode (using sound and voice) that explores the theme you selected.</span><br />
<span style="font-family: "times" , "times new roman" , serif;">(<i>Again, </i></span><i style="font-family: times, "times new roman", serif;"><a href="https://docs.google.com/document/d/1F7SrfQSmfs7BFfW-RDIRlLBojyaxbzcIgqT9VwibyKc/edit?usp=sharing" target="_blank">Go here</a> to see the complete google doc that contains the final project instructions as well as the rest of the resources related to the project</i><span style="font-family: "times" , "times new roman" , serif;">)</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">We examined examples of both mediums and discussed their merits and flaws, and students were let loose to make their compositions, and overall, the final products were creative, funny, and diverse. You could tell they had a good time: With all the options, I think it felt less like a chore and more like an opportunity to take a risk and be creative. (<i>One of my favorites was a podcast created by 2 sophomore boys where the episode would periodically be interrupted by Shakespeare-era adds like the one from the company "2 Murderers for Hire"). </i>I will say, I had no idea what to expect with the digital essays; it was new territory. Overall the products were beautiful, and to demonstrate, I leave you one on <i>Richard III</i> created by Rosalind K. & Reagan L:</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Works Cited</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Campbell, Bridget, Andrea Dubitsky, Elizabeth Faron, Deborah George, Kelly Gieselmann, Brooke Goldschmidt, Keri Skeeters, and Erica Wagner. "<a href="http://www.ncte.org/library/NCTEFiles/Resources/Journals/ELQ/0383-feb2016/ELQ0383Top.pdf" target="_blank">The Top Five Reasons We Love Giving Students Choice in the Reading</a>." <i>English Leadership Quarterly</i>, National Council of Teachers of English, 2016. Accessed 27 March 2018.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gallagher, Kelly. "<a href="http://www.kellygallagher.org/kellys-blog/2015/7/14/moving-beyond-the-4-x-4-classroom" target="_blank">Moving Beyond the 4x4 Classroom</a>." <i>Kelly Gallagher: Building Deeper Readers & Writers</i>, Gallagher & Associates, Inc., 15 July 2015. Accessed 27 March 2018.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Gallagher, Kelly. "<a href="http://www.ascd.org/publications/educational-leadership/mar10/vol67/num06/Reversing-Readicide.aspx" target="_blank">Reversing Readicide</a>."<i>Educational Leadership, </i>ASCD, March 2010, Vol. 67, No. 6. Accessed 27 March 2018.</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1033889867235759780.post-29467951609090048702017-11-29T14:44:00.000-08:002017-11-29T17:36:17.499-08:00Rethinking Class Participation using Hypothes.is Annotations - A Guest Post by Joel GarzaI called roll for the first time twenty-four years ago. For the past eleven years, I've taught high school English at Greenhill school in Addison. We're an independent school. Our learning management system is Canvas. We've got students who take Global Online Academy courses. Our students are tech-savvy. I'm not emailing you about tech. I'm emailing you about relationships, relationships that <a href="https://web.hypothes.is/">Hypothes.is</a>, an online free annotation platform, helps me develop.<br />
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I entered teaching because of relationships. I wanted to honor several teachers that I knew—if I’m honest, my becoming a teacher was an act of discipleship. I wanted to continue the conversations that they had started with me that excited me. I wanted to spread that good news. </div>
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The setting of these relationships was always very simple--most of the time we were in some shabby room.<br />
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<a href="https://1.bp.blogspot.com/-0T4M362WRD8/Wh80D-58lBI/AAAAAAAABSk/2TcPliv3HxUfdz-KPhjnn0PGlWV4M8s2wCLcBGAs/s1600/Screen%2BShot%2B2017-11-29%2Bat%2B3.27.50%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="421" data-original-width="560" height="300" src="https://1.bp.blogspot.com/-0T4M362WRD8/Wh80D-58lBI/AAAAAAAABSk/2TcPliv3HxUfdz-KPhjnn0PGlWV4M8s2wCLcBGAs/s400/Screen%2BShot%2B2017-11-29%2Bat%2B3.27.50%2BPM.png" width="400" /></a></div>
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But we were all looking at each other, we were all trying to figure out the same text, we were all trying to answer questions that had been asked for centuries. You know, Socratic seminar stuff. I love it. Those conversations, that format of learning taught me the value of daily engagement. I was taught that participation was necessary, not only to shape my understanding but also to shape my classmates’ understanding.</div>
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In every department where I studied and taught, daily engagement was worth a grade, usually a huge part of the grade.<br />
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Years later, I recognized that calling that part of the course “participation” might, in effect, create a bias against certain kids.</div>
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It's not that these kids don't have anything to say. It's just that they aren't at their most comfortable speaking up like that every day. Last trimester, I tried to find out how many students were like this. So I conducted an unofficial survey. I told students, “Introverts are energized by private solitary moments; extroverts are energized by public social moments. Which one are you?”</div>
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<a href="https://1.bp.blogspot.com/-LdPqF9TIvow/Wh80g1V8z-I/AAAAAAAABSs/uwnxOV2zpw8plW4PNXAntKzmXe2XC_WHACLcBGAs/s1600/Screen%2BShot%2B2017-11-29%2Bat%2B3.28.05%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="418" data-original-width="558" height="298" src="https://1.bp.blogspot.com/-LdPqF9TIvow/Wh80g1V8z-I/AAAAAAAABSs/uwnxOV2zpw8plW4PNXAntKzmXe2XC_WHACLcBGAs/s400/Screen%2BShot%2B2017-11-29%2Bat%2B3.28.05%2BPM.png" width="400" /></a></div>
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I discovered that there are a lot of students who are not energized by the Socratic seminar. There's a lot who would benefit sometimes from some other entrance to the conversation. Enter <a href="https://web.hypothes.is/">Hypothes.is</a>.</div>
<div>
<br /></div>
<div>
By means of <a href="https://web.hypothes.is/">Hypothes.is</a>, I've got another entrance for these students, and I've got another word besides “participation”, another way of evaluating them. I keep my antenna up for their “tenacity”—How are they grabbing hold of the material? Twitter hashtags, e-mails to the entire class, or in the case that I'm about to walk through for you here, Hypothes.is annotations.</div>
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<br /></div>
<div>
So that's the first thing that I want you to know about <a href="https://web.hypothes.is/">Hypothes.is</a>. It gives students an entrance to the material in a public, trackable, shareable way that benefits the entire room.</div>
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<br /></div>
<div>
So in many cases, I would “prime the pump” of the discussion. I would post questions in advance about particular passages.</div>
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<a href="https://1.bp.blogspot.com/-oToxZ2f-ABc/Wh80pcbNpJI/AAAAAAAABS0/N2qu2DtUIpgrOHgVJYcAeKM70IqOOO9mwCLcBGAs/s1600/Screen%2BShot%2B2017-11-29%2Bat%2B3.28.32%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="679" data-original-width="517" height="400" src="https://1.bp.blogspot.com/-oToxZ2f-ABc/Wh80pcbNpJI/AAAAAAAABS0/N2qu2DtUIpgrOHgVJYcAeKM70IqOOO9mwCLcBGAs/s400/Screen%2BShot%2B2017-11-29%2Bat%2B3.28.32%2BPM.png" width="302" /></a></div>
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Within the first hour of posting these “discussion” questions, though, students responded—before class. They responded in great detail. They added their own questions. </div>
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<br /></div>
<div>
The next thing I want to share with you is the easy way that <a href="https://web.hypothes.is/">Hypothes.is</a> user interface allows me to offer targeted feedback to individual students. Here's a student that in my old way of grading was below average with respect to participation. He was reluctant to speak up even when asked a direct question. By means of <a href="https://web.hypothes.is/">Hypothes.is</a>, though, you can see he has probed each reading each day in a single unique way. Before <a href="https://web.hypothes.is/">Hypothes.is</a>, I did not hear from him every day—with <a href="https://web.hypothes.is/">Hypothes.is</a>, everybody did.<br />
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What this allowed me to do also was check to see the kind of annotations that he made. Very often this student would swoop into the reading, drop an annotation, and swoop back out. So I asked him, “For the next reading, please read not only the work, but jump in later so that you can see and read other annotations. I want you to make a comment on a classmate's annotation. I want you to get a conversation started.” </div>
<div>
<br /></div>
<div>
So by means of <a href="https://web.hypothes.is/">Hypothes.is</a>, I was able, first of all, to give this student an entrance, but I was also able to give him a way of engaging his classmates, not just the material.</div>
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<br /></div>
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Another student was very good at understanding the thematic importance of a particular passage.<br />
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What I had to ask her was, “Pretty please, ground your observation in a specific literary device next time. I want to make sure that you've got a hold of the stuff in terms specific to poetry, not just in terms specific to you personally.” </div>
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<div>
This student had the opposite problem.<br />
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<br />
You know, she could slice and dice literary devices. She had clearly been quizzed on them at her previous school. What I needed her to do was to move beyond merely pointing out the literary device to demonstrating how that literary device shaped meaning. So those are the two big takeaways that I had first of all.</div>
<div>
<br /></div>
<div>
<a href="https://web.hypothes.is/">Hyptohesi.is</a> grants entrance to the material that a traditional classroom format sometimes does not. Also, <a href="https://web.hypothes.is/">Hypothes.is</a> allows instructors to encourage students to take risks.</div>
<div>
<br /></div>
<div>
And they do. </div>
<div>
<br /></div>
<div>
Please reach out to me if you have any questions, comments, or ideas for a collaboration! </div>
<div>
<br /></div>
<div>
<a href="mailto:garzaj@greenhill.org">garzaj@greenhill.org</a><br />
@joelrgarza<br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1033889867235759780.post-66754335518515914572017-11-10T11:21:00.000-08:002017-11-10T11:33:19.103-08:00Maintaining Student Equity in Classroom Discussions<div class="MsoNormal">
As an English teacher, I often have discussion days in class
either in the form of Socratic inner/outer circles or in a Harkness-style
context. One thing that Harkness has taught me is that there is often a disconnect
between how I perceive the discussion to go and what the data actually reveals upon
reflection afterwards. What I mean to say is that many times in class I thought
a discussion went really well: the energy was high, and the insights were diverse
and illuminating, and I didn’t have to say very much at all. However, the data
may have painted a very different picture; for instance, whether I immediately realized
it or not, perhaps the conversation lacked the proper balance of gender equity.
Or perhaps only 80% of the class truly participated, and the excluded 20% were
the same students who always seem to be overlooked and therefore not heard.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
How do we maintain <i style="mso-bidi-font-style: normal;">real</i>
equity in classroom conversations, and more importantly, how do we track that
over a sustained period of time?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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One program that has been a game-changer for me as a teacher
is the iPad-based app, <a href="http://www.equitymaps.com/" target="_blank">Equity Maps</a>. The program allows you to map the room
digitally in terms of who sits where, thereby allowing the teacher to enter
each student’s name as well as his or her gender. Once the discussion begins,
the teacher can tap a student’s avatar to signal that the student is speaking;
when the next student responds, the instructor taps that person’s figure on the
screen, and the program draws a line to the next participant (just like one
would do on paper in a traditional Harkness discussion). There are also options
to mark when there’s chaos, silence, or smaller group exchanges during the live
discussion. </div>
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<br /></div>
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<a href="https://1.bp.blogspot.com/-2w6BDbGZSCw/WgX6fAeSLbI/AAAAAAAABR4/dsf4leX239kL7ursdmgu956tA9zOLcFIwCLcBGAs/s1600/EquityMaps7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1170" data-original-width="1600" height="292" src="https://1.bp.blogspot.com/-2w6BDbGZSCw/WgX6fAeSLbI/AAAAAAAABR4/dsf4leX239kL7ursdmgu956tA9zOLcFIwCLcBGAs/s400/EquityMaps7.jpg" width="400" /></a></div>
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What’s amazing about the program, however, is what it provides once
the class activity is done. Immediately, the instructor has the following data
for reflection and assessment:<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
1. Instant playback of the group discussion<o:p></o:p></div>
<div class="MsoNormal">
2. Data about how many times a student spoke</div>
<div class="MsoNormal">
3. Data about how long that student actually spoke<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-5K6Np9Z4-Wo/WgX7Hx0cSYI/AAAAAAAABSA/dTiY5VOcfPMB8TDWfa2MWb8MEQyxEGWewCLcBGAs/s1600/EquityMaps5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1201" data-original-width="1600" height="300" src="https://1.bp.blogspot.com/-5K6Np9Z4-Wo/WgX7Hx0cSYI/AAAAAAAABSA/dTiY5VOcfPMB8TDWfa2MWb8MEQyxEGWewCLcBGAs/s400/EquityMaps5.jpg" width="400" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
4. Analysis of gender equity and whether one gender
dominated the conversation<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-rs_E2YcU46I/WgX7VNG-iHI/AAAAAAAABSE/Rd3_ZDlcoIkZJH8NKTV9D5dUuiUaeNV4gCLcBGAs/s1600/EquityMaps4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1191" data-original-width="1600" height="297" src="https://2.bp.blogspot.com/-rs_E2YcU46I/WgX7VNG-iHI/AAAAAAAABSE/Rd3_ZDlcoIkZJH8NKTV9D5dUuiUaeNV4gCLcBGAs/s400/EquityMaps4.jpg" width="400" /></a></div>
<div class="MsoNormal">
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<div class="MsoNormal">
5. Overall assessment of levels of inclusiveness for the
entire conversation<o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-tRfjHYVFaLg/WgX7eOGZP3I/AAAAAAAABSI/4CnAT81geW4uRb9T3uwczGCZjb0jrf6DgCLcBGAs/s1600/EquityMaps6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1163" data-original-width="1600" height="290" src="https://4.bp.blogspot.com/-tRfjHYVFaLg/WgX7eOGZP3I/AAAAAAAABSI/4CnAT81geW4uRb9T3uwczGCZjb0jrf6DgCLcBGAs/s400/EquityMaps6.jpg" width="400" /></a></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<a href="http://www.equitymaps.com/" target="_blank">Equity Maps</a> dispels any misguided perceptions on the teacher’s
or student’s part about how well the conversation went and therefore forces one
to be more honest about the greater value of that day’s discussion. It has made
me a better facilitator, encourager, and evaluator of what needs to happen
every day in a conversation whose main priority is promoting equity among all
participants. What I’ve also come to discover is that the information can be
insightful feedback for students: they need to see and reflect upon the data as
well because deeper learning can only happen if we build in time for reflection
upon that learning.<br />
<br /></div>
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
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How do you maintain <i style="mso-bidi-font-style: normal;">real</i>
equity in classroom conversations, and more importantly, how do you track that
over a sustained period of time?<o:p></o:p></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1033889867235759780.post-51556470004228301312017-10-27T07:24:00.002-07:002017-10-27T07:36:12.090-07:00Reflections on OESIS Boston: Humanities without Textbooks & Bringing Poetry to the MakerSpace<div class="MsoNormal" style="font-family: Calibri; font-size: 12pt; margin: 0in 0in 0.0001pt;">
Two weeks ago, I attended the <a href="http://www.oesisgroup.com/?page_id=428" target="_blank">OESIS conference in Boston, MA</a>, and I’m still processing all the things I learned over such a short period of time. I had the privilege of sitting on two panels, one on <a href="https://docs.google.com/presentation/d/1Ds0Cd9kZ_s3JwKmDCZz8ZRZnEuwZYCCqIr1a1adF1lM/edit?usp=sharing" target="_blank">online collaboration</a> and another on <a href="http://edu-scenius.blogspot.com/2017/10/what-is-student-agency-some-provisional.html" target="_blank">student agency</a>, as well as presenting with my colleague, Joel Garza, on some of <a href="https://youtu.be/xJNk9RB4VyU" target="_blank">our previous collaborative projects</a>.<br />
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<iframe allowfullscreen="true" frameborder="0" height="299" mozallowfullscreen="true" src="https://docs.google.com/presentation/d/e/2PACX-1vTRlIh-i2hKa7uMweWvkzLqQUhzUsHT1Hw2oiOjrbwG_N9Pf4cfBo1Q7oz4VG1DTCW0nXBsmS9zNKT5/embed?start=false&loop=false&delayms=10000" webkitallowfullscreen="true" width="480"></iframe>
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<span style="font-size: 12pt;">I wanted take a moment to share some notes and observations about a couple sessions I attended that relate to English instruction (Also, for more reflections on OESIS Boston, check out the article just published by Global Online Academy, <a href="http://www.globalonlineacademy.org/professional-development/the-power-of-networks-ten-ways-schools-are-tackling-innovation/" target="_blank">The Power of Networks: 10 Ways Schools Are Tackling Innovation</a>):</span></div>
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<b>1. Humanities without the Narrative by Deborah Shaul from <a href="https://www.ljcds.org/page" target="_blank">La Jolla Country Day School</a></b></div>
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Deborah’s session was about blending a US History curriculum with an American Literature class without using an anchor textbook for the course. When Deborah ditched the textbook, it freed her to approach the content in a less linear fashion, and instead, scope and sequencing were often shaped or influenced by the interests and choices of the students as they immersed themselves in a deeper, more interconnected investigation of American literature and history. As she stressed, by allowing to make more choices as to what primary documents they wanted to research, the teacher and the author of the textbook were no longer the “keeper of the keys” to the narrative. One thing I appreciated about Deborah’s session was her candidness about student and parent responses, which were not always positive. Doing away with the textbook created fear and anxiety for some. They weren’t always sure what to study or how to do so, but I think such push back always happens when we truly turn over agency to students in relation to their learning. Why do some students prefer having a textbook?</div>
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(a) It serves as a security blanket because the answers are explicitly provided</div>
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(b) Students don’t always trust their own answers nor those of their peers</div>
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(c) It’s easier to perform well on a test when one can memorize pre-packaged content</div>
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She surveyed her students, asking them how they prefer to learn, and Deborah was a little disappointed to see that many students still prefer lecture/power point formats. However, I think it’s important to step back and ask ourselves: are students conflating “getting good grades” with learning? Perhaps the survey results reflect that kind of confusion that one would expect from the average independent school learner whose main priority is his or her transcript.</div>
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If you have more questions, you can reach out to Deborah at <a href="https://twitter.com/Dshaul3" target="_blank">@Dshaul3</a>.</div>
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<b>2. Discovering Poetry Through Maker-Space Projects by Amy Alsip from <a href="http://www.theoakridgeschool.org/" target="_blank">The Oakridge School</a></b></div>
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Amy shared with us a project she did where students made poetry as well as artifacts inspired by their literary creations in the context of a MakerSpace. One through-line I noticed that connects Amy’s project to Deborah’s curricular innovations was the role of student agency in each scenario. Students would enter the MakerSpace, and there were several stations/choices for poetry creation:</div>
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(a) Dice Roll haikus</div>
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(b) Using book spines to create poetry</div>
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(c) Using the name of paint samples to create poetry</div>
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(d) “Blackout poetry” using markers and a found text (like a newspaper)</div>
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(e) Using scrabble games to construct poetry</div>
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<i>And there were a few more stations that escape me now…</i><br />
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<tr><td class="tr-caption" style="text-align: center;">Amy Alsip presenting her poetry/maker project at OESIS Boston</td></tr>
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Students would then share their 20+ poetry creations with peers to get feedback. Once they had selected their favorite 3-5 poems, each poet would return to the MakerSpace to create an artifact inspired by the poem in question, and once again, they had many options:</div>
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(a) Coding</div>
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(b) Sowing</div>
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(c) 3D Printing</div>
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(d) Repurposing found materials</div>
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(e) Circuitry Boxes</div>
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(f) Legos</div>
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<i>Again, I believe there were 1 or 2 more options that I cannot recall now</i></div>
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The whole project culminated in a poetry read-aloud night at the school for the community to attend. Of course, the students got to showcase their fabrications as well. As an English teacher, I like how a project like this reminds us that English classes have always been spaces for <i>making</i>.</div>
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If you have more questions, you can reach out to Amy at <a href="https://twitter.com/amyalsip" target="_blank">@amyalsip</a>.</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1033889867235759780.post-8461495368346089312017-10-11T14:52:00.002-07:002017-10-12T07:05:17.067-07:00What is Student Agency? Some Provisional Notes<span style="font-family: "times" , "times new roman" , serif;">Next week I will be speaking at the <a href="http://www.oesisgroup.com/?page_id=428#tab-2" target="_blank">Online Education Symposium for Independent Schools Conference in Boston</a> on October 15-16. One of several things I'll be doing is participating on a panel titled, "Student Agency - Strategies and Opportunities." I'm excited to be a part of such an exciting conversation with so many impressive fellow educators. </span><br />
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<a href="https://2.bp.blogspot.com/-BXKRT8dSyHk/Wd6REYarziI/AAAAAAAABQc/Vwf1ML0OsykthFYZ68PqFYCCFwIj7uw4wCLcBGAs/s1600/SA4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="397" data-original-width="990" height="160" src="https://2.bp.blogspot.com/-BXKRT8dSyHk/Wd6REYarziI/AAAAAAAABQc/Vwf1ML0OsykthFYZ68PqFYCCFwIj7uw4wCLcBGAs/s400/SA4.jpg" width="400" /></a></div>
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<span style="font-family: "times" , "times new roman" , serif;">I'd like to share some of my preliminary thoughts as they relate to 5 crucial questions for our upcoming panel, and any critical feedback from those of you who are reading this post would be <i>much appreciated</i> as I prepare for next week:</span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><b>Question 1: What is Student Agency? </b><br /><br />First off, I think it’s important to note that there are two terms here: “student” and “agency.” The word "student" makes me think of the following modalities: learner, investigator, inquirer, maker, practitioner, deconstructor, apprentice, evaluator. In other words, to be a student, we must be willing to move outside or beyond the self for purposes of encountering teachers, experts, peers, as well as a body of knowledge in a given field of constructed inquiry.<br /><br />As I think about the word "agency" some words that come to mind are will, choice, autonomy, ownership, personalization, and individuality. If being a student demands us to "get outside our selves" to experience the world and others, agency is the practice of taking responsibility for the self by being one's own advocate and by managing one's priorities, capacities, and interests autonomously. Agency relates to choices about pacing, sequencing, and scope when it comes to curricular engagement as well as deciding how to demonstrate one's knowledge and learning.<br /><br />With all this in mind, here's my working definition: Student Agency is empowering students to develop, not only the hard skills necessary for a particular curricular scope and sequence of content, but the soft skills as well to map that scope and sequence for themselves in a personalized fashion that fits their sense of purpose while doing so responsibly and productively in partnership with a community of learners (teachers, experts, peers, etc.).</span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><b>Question 2: Why does it matter? </b><br /><br />Students are capable of learning anything, and they need to take responsibility for that innate capacity, but that can only happen if we expect and demand that of them in their formative years of socialization and education. Otherwise, we risk messaging something much less inspiring: that there are those who are good at school and those who are not, when in reality everyone is good at learning, especially if we’ve been given the time and space to develop the soft skills needed to manage that innate capacity productively. However, this can only happen if students have a safe place to practice agency during the formative years of their educational development.</span></div>
<b><br />Question 3: What structural and cultural barriers in our schools inhibit the development of student agency?</b><br />
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For structural barriers, here are some insights that came to mind for me:<br />
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1. It can take more TIME: pacing can be unpredictable and varied, and not every student moves according to the same timeline. As a result, teachers may not be able to cover as much ground.<br />
2. School schedules can be a hindrance, but the reality is we need to "have the minutes match the mission" - meaning if cultivating agency is important for your school then there needs to be a schedule that allows for such environments to flourish. I think it's harder to achieve this when students meet for shorter time periods (such as the 45 minute, 5-days-a-week schedule).<br />
3. Technology is often a supporting tool for scaffolding agency, so inequity can be an obstacle when it comes to having access to such resources.<br />
4. Sometimes there can be "mixed messaging" for a given student when traveling from one classroom environment to another. Some classes demand the exercise of agency, while other classes may inadvertently suppress it, making it difficult to develop the kinds of habits of mind that are necessary for students to take ownership of their learning.<br />
5. High stakes testing.<br />
6. I believe agency is motivated by authenticity, so it's important a student's educational experience is (inter)connected across departments as well as to the real world (beyond our campuses). </div>
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For cultural barriers, here are some thoughts that occurred to me:<br />
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1. The tug-of-war between the scope of content vs. the depth of the learning experience can make it difficult for teachers to prioritize student agency. This gets back to the structural barrier mentioned in #1: it takes time to cultivate agency.<br />
2. For some of us, there is a real fear of losing control of the classroom, and the fear is well-founded. One does lose control, but we have to ask ourselves: What does active learning look like? I think the answer to that question makes clear that there is a need to cede some control in our classrooms.<br />
3. Our cultural perceptions of the role of the teacher can get in the way: there's little room for the distribution of agency when the teacher is content king/queen. We have to rethink our role if we are to empower students to drive their learning.<br />
4. The “messiness” and diversity of student demonstrations of learning can be daunting: How do we assess them? What are we assessing in a classroom that prioritizes agency?<br />
5. It can be difficult to trust students to take responsibility for their learning, but we all know that they need to practice having such responsibility before the stakes are raised in college.<br />
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<b>Question 4: Are all students capable of driving their own learning? What gets in the way?</b><br />
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In my experience there are 3 identifiable cases of students who have a hard time driving their own learning: <br />
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(1) <i>The student who has always “schooled school”</i>: usually this type of student is a “high achiever,” but his or her strategy for success is to give the teacher “exactly what they want to hear or read.” I like to think in terms of “mapping” versus “tracing,” and the kind of student I’m describing here is very comfortable with “tracing” what the teacher “maps” - instead of taking the risk of leaving his or her comfort zone to map the learning for his or herself. Oftentimes this kind of student needs to be challenged to exercise agency - especially before they leave for college where more independence and agency will be expected of them. Usually consistent conversations (of a metacognitive nature) that reflect upon why such experiences matter can be enough to get this kind of student to understand what’s demanded of them and why. The real challenge here is when the “high achieving” parent of that student expresses skepticism about what you’re trying to get your students to achieve. Again, I think frank conversations about the soft skills that will be demanded of them once they leave for college can be a good starting pointing for winning this type of parent over.</div>
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(2) <i>The student who struggles with executive functioning or related skills that are the foundation for exercising agency successfully and productively</i>: some learners, for a variety of reasons, have a hard time self-initiating and staying organized, as well as understanding strategies for prioritizing tasks to get a job done efficiently. A student who has these challenges sometimes necessitates intervention and assistance from the instructor, but I believe this can only work if there is a communicative partnership with parents or guardians behind the scenes. It’s important to let these students make mistakes, but it’s also important to vigilantly serve as a source of support. I often schedule weekly meetings with students to help them identify what priorities matter for them this week and strategize ways to get it done.</div>
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(3) <i>The student who is (nearly) completely disengaged from school and perhaps from the greater community</i>: this to me has been the most challenging case in terms of winning a student over to the idea that he or she can drive the learning. No single classroom environment can completely solve this conundrum; that’s why I mentioned community because it has to be a communal effort to reengage the student. Most importantly, there has to be a mutual partnership with parents/guardians as well. The best place to start I think is to get to know the student as well as his/her interests and/or hobbies, but if the parent/guardian is disengaged as well, it becomes a difficult, uphill battle. One thing that can work here (I think) is peer mentorship, namely finding student(s) who have bought in and could collaborate with (aka mentor) the student in question.</div>
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<b>Question 5: How do you determine if a student is motivated, engaged and taking charge of their own learning?</b><br />
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First off, I strongly recommend looking at <a href="http://4you2learn.com/bartle/">the Bartle Test for Gamer Types</a>. There are 4 categories: (1) Achiever (2) Explorer (3) Socializer & (4) Killer/Griever; and the test results reveal where you fall (in terms of percentile) with each given category. It measures what’s motivating different types of gamers by identifying what keeps them engaged with the game over a sustained period of time. (Go <a href="https://en.wikipedia.org/wiki/Bartle_taxonomy_of_player_types">here</a> to learn more about the taxonomy of types). I suggest using this resource to better understand what type of learner you are working with as well as what motivates them to stay engaged with a project or task. If you have a “socializer,” the student is most likely motivated by social factors; therefore, make them a group leader who reports back to the teacher about the success of the group’s work. An “achiever” wants to feel a sense of accomplishment, and they want it sooner than later, whereas “explorers” want to investigate all options and pathways in a given unit of study. The “killers” are interesting; they like sabotaging other people’s progress. I like to gamify my units, and I always recruit the killers to be beta-testers who look for glitches or loopholes in a given unit (and they are very motivated by this role).</div>
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Here are a few more observations about indicators that students are truly motivated to take charge:<br />
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1. They stop asking about grades and the bare minimum requirements; instead they start focusing on completing the task they have envisioned<br />
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2. I know there's a shift towards agency when students stop asking what I want (for a given assignment) and instead start telling me what they’d like to do.<br />
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3. I know they're engaged when students demand that I adjust, alter, or modify an assignment, not because they don’t want to do the work, but because they see a connection or direction that motivates their inquiry elsewhere.<br />
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4. Students are taking control when what I’ve planned (in terms of a lesson) gets derailed by the demands of what students need that day for purposes of getting done whatever it is they are working on (in terms of an ongoing project, etc.).<br />
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5. I know something is going well when students start talking about what they’re doing/learning outside my class and start making connections with other learning experiences both in other classes and in the real world.<br />
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6. (In the context of gamification) I know they're engaged when students go beyond the required amount of XP points because they want to finish the task, “beat the game,” or have the most points.</div>
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Wow, I didn't expect this post to be this long, but I've been thinking about this a lot over the past several weeks. Again, please share feedback; these notes are provisional so I'd love to hear other people's thoughts on the matter.</div>
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Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-1033889867235759780.post-64954237848123596732017-09-13T18:53:00.002-07:002017-09-13T19:02:53.753-07:00What Does a Flipped English Class Look Like? An Example Using ChaucerBack when flipping classes became the newest trend in conversations about pedagogy, it always bugged me when people would say that "English teachers already flip their classes." Behind such statements the assumption, I think, was that because English students would get content at home (by reading a novel, for instance) it makes possible opportunities for active learning at school (an example being a lively classroom discussion perhaps). As an English instructor, I've always thought that such an assessment misses the point when it comes to "flipping".<br />
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The questions we should be asking when designing a flipped course are as follows:<br />
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1. What <i>doesn't have to take place</i> during class time (due to tech tools and connectivity)?<br />
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2. What <i>should be taking place</i> during class time (but usually doesn't due to time constraints)?<br />
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If reading and writing are the skills that dominate the focus of a given English class, it wouldn't be a stretch to say that those are the 2 things that <i>should be taking place</i> in class (even if they demand a lot of time). If discussions and what I call "setting up the book lectures" don't have to take place in the four walls of the classroom (due to technological resources), perhaps activities such as these can take place a-synchronistically outside of class.<br />
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Here's something I did this week, for instance, for a unit covering Geoffrey Chaucer's <i>Canterbury Tales</i>:<br />
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<b>Step One:</b> Instead of "setting up" Chaucer in class by lecturing about or discussing together the historical and literary contexts of Chaucer's work, I recorded a podcast (using GarageBand, <i>but</i> if you don't have a mac, check out <a href="http://www.audacityteam.org/" target="_blank">Audacity</a>, which is free online) that covered in 20 mins. what would have taken at least one entire class period. (You can listen to the podcast by going <a href="https://drive.google.com/file/d/0B2IkraEAu1OfS2JwY21aVjllZ2s/view?usp=sharing" target="_blank">here</a>).<br />
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<b>Step Two:</b> I also created an online discussion thread that prompted students to share insights and thoughts about the podcast they were required to listen to. Every student had to contribute at least once to the discussion, which also was a way for me to monitor that students were listening to the required material. In my case, I utilized the class's portal page to set up the discussion (we use Finalsite at Oakridge), but one could make use of several free, online programs such as <a href="https://slack.com/" target="_blank">Slack</a>.<br />
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<i>For almost every unit now, I follow steps 1 & 2. Students can complete the requirements easily over a weekend, and they're ready to get down to the business of practicing the skills of reading (and writing) together come Monday morning.</i><br />
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Step Three:</b> Students come to class, and first thing, there's highlights from the weekend's online discussion projected on the digital screen for everyone to see. Naturally, it creates conversation at the beginning of class, but quickly, we turn to the text, reading closely together the first lines of Chaucer's Prologue to the <i>Canterbury Tales</i>. Each person gets a specific task (like determining tone, cataloging imagery, detecting allusions, etc.), and with everyone, I model how to read closely the opening passages on the Knight and the Squire. (This gives me the chance to show the difference between idealizing or satirizing a given character...)<br />
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<b>Step Four:</b> Students break into groups, and each group gets a character that's portrayed in the opening Prologue. I project on the screen a URL to a Google Doc that everyone can access and edit, and on that doc are questions to guide each group as they read critically the passages that were assigned to them. (The doc looks something like <a href="https://docs.google.com/document/d/1KtoSndOGdCDG9Fz_JY1HwDgE0xVsW1msmsWcIez5R6k/edit?usp=sharing" target="_blank">this</a>).<br />
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<i>As groups, students must catalog and cite the concrete details that "stick out" after reading the passage in question. Second, they have to discuss and write down any commentary they infer collectively based on the details they've cited. At this point, they're also determining whether the passage is satire or something else. Their third task is to pretend that they're going to write a paragraph about the character in question. With this in mind, they write collaboratively a topic sentence that makes clear the main idea of the passage. (While all this is going on, I get to hover from group to group, helping where I can but mostly listening to the learning that's taking place among peers)</i><br />
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<b>Step Five:</b> After each group is finished, they have to present their work to the class. Someone reads the passage aloud, followed by a brief presentation of the concrete details and commentary they noted. Lastly, we workshop as a class the topic sentence they've constructed, discussing together its merits as well as where we see room for more development. <i>Everyone participates in this process.</i><br />
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<b>Step Six:</b> Once everyone has shared their work, we return to the Google Doc to complete the final task: namely, to create a Meme that makes clear the most important characteristic or flaw related to the character in question. Of course, this activity gets a lot of laughs, and sometimes we post them online for others to see as well.<br />
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The lesson I describe above works well with block scheduling. One would have to modify or break apart the stages if dealing with shorter class periods. To me, this is what a "flipped" English class would look like: We front-load the need-to-know info and facilitate much of the more open discussion outside of class so that class time can be spent practicing the art of reading and writing <i>for each other</i> in real time. It went well this week, and students appreciated the collaborative approach. Now we're repeating a similar process (minus the podcast) as we read some of the stories (specifically, "Pardoner's Tale" and "Wife of Bath's Tale"). After that, it's <i>Macbeth, </i>which means another podcast (which you can check out <a href="https://www.youtube.com/watch?v=8R8ezwqv3VQ" target="_blank">here</a>).<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1033889867235759780.post-35918833802010726342017-08-23T13:09:00.000-07:002017-08-23T13:14:54.491-07:00OESIS is Rolling Out Its XP Webinar Program and Listservs - A Call to Join the NetworkLooking for some good PD opportunities for the upcoming school year? Are you interested in attending a conference or online learning experience that focuses not on the device but on innovative teaching and learning?<br />
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If you teach in an independent school and want to network and grow as a professional, you need to attend the <a href="http://www.oesisgroup.com/" target="_blank">Online Education Symposium for Independent Schools</a> (OESIS) for one of their regional gatherings, such as the upcoming <a href="http://www.oesisgroup.com/?page_id=428" target="_blank">OESIS Boston conference</a> on October 15-16. I'll be there this year presenting on topics such as online collaboration and student agency in the classroom.<br />
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However, if you can't attend the conference, that's ok because OESIS is introducing in September their new XP webinar program with more than 200 live sessions planned for the 2017-2018 school year. Teachers and schools can now personalize their PD needs by selecting what webinars would suit their interests and desires for growth and innovation. This September, I'll be hosting two OESIS webinars: one on gamification in a humanities class and the other on collaborating online across campuses. Schools and educators can sign up for access to the new OESIS XP webinar program by <a href="https://www.regonline.com/registration/Checkin.aspx?EventID=2010148" target="_blank">going here</a>, <i>and</i> educators can submit proposals for future webinars (<i>which includes a $200 honorarium</i>) <a href="http://www.surveygizmo.com/s3/3305755/OESIS-2017-2018-Submissions-All-Conferences-Webinars" target="_blank">by going here</a>.<br />
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In addition to the webinars, OESIS is also debuting their <a href="http://xpinnovation.rutgersprep.org/signup-oesis.html" target="_blank">innovative listservs</a> for the 2017-2018 academic year. Each listserv will be managed by at least one <a href="http://www.oesisgroup.com/?page_id=54" target="_blank">OESIS network leader</a>: for instance, I will be facilitating discussion for the English teacher listserv. The purpose will be to provide a continued channel of communication after OESIS conferences and webinars, but the listserv will also serve as a platform for sharing useful content, resources, and ideas among a network language arts teachers from across the nation. Anyone can try out the listserv this month to see if it's something they'd like to subscribe to for the rest of the year, so I encourage readers to give it a try:<br />
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To learn more about (and sign up for) the listservs <a href="http://xpinnovation.rutgersprep.org/signup-oesis.html" target="_blank">go here</a>.<br />
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To sign up for OESIS XP webinars <a href="https://www.regonline.com/registration/Checkin.aspx?EventID=2010148" target="_blank">go here</a> to learn about the various offerings.<br />
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To view the webinar schedule for September 2017 <a href="http://www.oesisgroup.com/?page_id=28&tab=3" target="_blank">go here.</a><br />
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To submit a proposal for a future XP webinar <a href="http://www.surveygizmo.com/s3/3305755/OESIS-2017-2018-Submissions-All-Conferences-Webinars" target="_blank">go here</a>.<br />
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To learn more about the OESIS Boston conference taking place Oct. 15-16 <a href="http://www.oesisgroup.com/?page_id=428" target="_blank">go here</a>.<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1033889867235759780.post-82560181822006763632017-08-11T12:41:00.000-07:002017-08-11T15:57:12.492-07:00Be a Presenter at the LLI Southwest Conference, Hosted by The Oakridge School, February 23-24, 2018<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
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<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
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<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
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<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
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<span style="color: #444444; font-family: "times"; font-size: 13.5pt;">This February, <a href="http://www.theoakridgeschool.org/" target="_blank"><span style="color: blue;">The Oakridge School</span></a> plans to host its 2nd
annual teaching and learning conference in partnership with the <a href="https://www.lausannelearning.com/" target="_blank"><span style="color: blue;">Lausanne Learning Institute</span></a>. The 2018 LLI
Southwest Conference offers an opportunity for educators to experience
relevant, authentic PD that focuses on topics like design thinking and student
centered learning. This year's theme, <i>Making Learning Visible</i>,
highlights one of the most unique aspects of the LLI Southwest experience: the
opportunity to observe Fishbowl Sessions where teachers administer lessons with
real students from The Oakridge School.</span></div>
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<!--StartFragment--><span style="color: #444444; font-family: "times"; font-size: 13.5pt;">This
year, I'll be leading the committee that selects and organizes the conference
program, a task that's caused me to reflect more deeply about the overall
purpose of professional development (especially for teachers). When it comes to
PD, instead of asking how I can become a better teacher, I keep returning to
the reason we have schools in the first place. Schools provide spaces for
learning to be celebrated and made visible for others to see both on our
campuses and beyond. Therefore, the real question, for me, is <i>how do I
become a better promoter of learning both with my students and with my fellow
colleagues</i>.</span><!--EndFragment-->
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<!--StartFragment--><span style="color: #444444; font-family: "times"; font-size: 13.5pt;">This
is why the fishbowls at LLI Southwest stand out against all other conference
experiences: Educators can see learning in action by working together with
students in classrooms. <i>Making Learning Visible</i> means, not
only talking about best strategies, but actually witnessing the practice
together. The feedback from last year's conference echoed these sentiments, and
it's why I encourage anyone to make the trek to Texas this winter (<i>...well
that, and the warmer weather</i>).</span><!--EndFragment-->
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<span style="font-family: "times"; font-size: 13.5pt;"><span style="color: #444444;">I also
want to encourage readers to consider being a presenter for the upcoming event.
Last year we had more than 100 presenters, representing 37 schools, from across
the nation. Prospective presenters can submit a proposal for leading a 1 hr
general session (without students in the room), or they can submit a lesson
idea for leading a fishbowl (which is a 45 min lesson followed by a 25 min
debrief without the students present). <a href="https://www.lausannelearning.com/be-a-presenter-at-makerspaces" target="_blank"><span style="color: blue;">Go to the link</span></a> to
submit your ideas; we'll be accepting proposals until November 17, 2017.</span><o:p></o:p></span></div>
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<span style="color: #444444;"><span style="font-family: "times"; font-size: 13.5pt;">We're
excited to announce that </span><a href="https://twitter.com/mattscully" style="font-family: Times; font-size: 13.5pt;" target="_blank"><span style="color: blue;">Matt Scully</span></a><span style="font-family: "times"; font-size: 13.5pt;"> and </span><a href="https://twitter.com/rwelsh8" style="font-family: Times; font-size: 13.5pt;" target="_blank"><span style="color: blue;">Ryan
Welsh</span></a><span style="font-family: "times"; font-size: 13.5pt;">, from </span><a href="http://www.providenceday.org/" style="font-family: Times; font-size: 13.5pt;" target="_blank"><span style="color: blue;">Providence Day School</span></a><span style="font-family: "times"; font-size: 13.5pt;">, will
be giving the keynote on Friday, February 24th. </span><a href="https://www.lausannelearning.com/llisouthwest" style="font-family: Times; font-size: 13.5pt;" target="_blank"><span style="color: blue;">Go here</span></a><span style="font-family: "times"; font-size: 13.5pt;"> to visit the conference website and
learn more about this exciting opportunity. Hopefully we'll see you in
Arlington this February.</span></span></div>
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Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-1033889867235759780.post-24736432682098354532017-06-07T18:01:00.002-07:002017-07-18T07:01:37.617-07:00Overcoming Classroom Distraction & Passivity using Gamification, Part Three - 10 Essential Questions for Building Gamified CurriculaThis is the last installment in a 3 part post on gamification and, more specifically, on a project I implemented in the last 6 weeks of this spring semester (go <a href="http://edu-scenius.blogspot.com/2017/05/overcoming-classroom-distraction.html" target="_blank">here</a> and <a href="http://edu-scenius.blogspot.com/2017/06/overcoming-classroom-distraction.html" target="_blank">here</a> to read the previous installments). The project was over Charles Dickens's <i>Hard Times</i>, and as the title of these entries suggests, I was challenged to make the book more engaging for an audience of teenagers that otherwise seemed anesthetized by the notion of exploring one of Victorian England's most popular writers. To put it simply, the word was out among the students: "Mr. Colley makes you read a boring book in 10th grade that's appropriately titled <i>Hard Times</i>." My response was to say <i>challenge accepted!</i> and before I knew it I was building the most elaborate gamified curriculum I had ever ventured to construct. This spring I had the chance to present my latest work at the annual ATLIS conference in LA where, upon reflection, I developed the following 10 essential questions to serve as practical steps for anyone who might attempt to build or design a gamified curriculum in any discipline or content area (not just English).<br />
<br />
<span style="font-size: large;"><b>10 Essential Questions for Building Gamified Curricula</b></span><br />
<span style="font-size: large;"><br /></span>
<b><span style="font-family: "times" , "times new roman" , serif;">1. What is the <i>Content</i> and how will it be <i>scaled</i> for your gamified module? </span></b><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">This question is a fairly straightforward one, but it's a good place to start: <i>What</i> is it that you want them to learn about in this unit? And how will that content build upon itself as students level up to more difficult challenges? In a literature course, the content could be a novel, a play, a school of literary thought (like <i>Romanticism</i>), a genre, a short story unit, or perhaps a grammar unit. Recent examples for me were a unit on Shakespeare's <i>Macbeth</i> and one on Charles Dickens's <i>Hard Times</i>. How to scale the content in these kinds of cases is somewhat obvious; take the Dickens unit, for instance:</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Level Zero - Historical, Intellectual, & Authorial Contexts (Dickens's life, the Industrial Revolution, Utilitarianism, the Labor Movement, Positivism, Social Darwinism, etc.)</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Level One - Chapters 1-9, Book the First</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Level Two - Chapters 10-16, Book the First</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Level Three - Chapters 1-6, Book the Second</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Level Four - Chapters 7-12, Book the Second</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Level Five - All of Book the Third</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">The linear development of content according to a scaled system of levels (when reading a play or novel) can simply be mapped upon the development of the narrative of the text in question. Of course, a geometry or art history course might have to think more creatively about how to scale the content properly.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<b><span style="font-family: "times" , "times new roman" , serif;">2. What are the <i>Skills</i> you want students to master in the gamified unit?</span></b><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">To me, this is the more important question when designing one's curriculum. No one questions the value of good content (such as a canonical work like <i>Macbeth</i>), for it serves as the rich and deeply-rooted terrain upon which students are inspired to cultivate the <i>skills</i> they need to be successful in life. But skills are what students need to be successful in life, so it's important to have a clear vision of what skills you want to target when doing something like gamification - especially when skeptical parents begin to ask questions about the purpose of your project.</span><br />
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<a href="https://3.bp.blogspot.com/-LF2HzA5eQA4/WThsvDTT7AI/AAAAAAAABMY/RVBgD1oqGyQPm_DQDvvq02SJz9xBejHNgCLcB/s1600/Blooms-Taxonomy-650x366.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="366" data-original-width="650" height="225" src="https://3.bp.blogspot.com/-LF2HzA5eQA4/WThsvDTT7AI/AAAAAAAABMY/RVBgD1oqGyQPm_DQDvvq02SJz9xBejHNgCLcB/s400/Blooms-Taxonomy-650x366.jpg" width="400" /></span></a></div>
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<span style="font-family: "times" , "times new roman" , serif;">When designing the Macbeth unit, Seth Burgess and I relied upon Bloom's Taxonomy as a guide for scaling the skills we wanted students to practice as they leveled up. With the Dickens unit, I thought less in terms of Bloom's hierarchy, and instead focused on more "English specific" skill sets. It looked something like this:</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Level Zero - Students practiced research & documentation skills, contextualized authorial perspective, and practiced paragraph composition</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Level One - Students practiced thesis & body paragraph composition, character & theme analysis, expanding vocabulary, and oral discussion (harkness style)</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Level Two - Students practiced thesis & body paragraph composition, character & theme analysis, expanding vocabulary, and oral discussion (harkness style)</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Level Three - Students practiced thesis & body paragraph composition, character & theme analysis, expanding vocabulary, and oral discussion (harkness style)</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Level Four - Students practiced style analysis, developing character and theme analysis skills, developing thesis statement composition, and oral discussion (harkness style)</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Level Five - Students constructed and composed argument (logos, pathos, ethos), Evaluating theme & character</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">As one can see, the nature of learning at Level Zero does not go much beyond rote memorization and basic comprehension. Levels 1-3, however, demand more critical thought and evaluation from the student, which Level Four builds upon. By the time they reach Level Five, the student is creating/constructing his or her perspective and meaning in response to Dickens's text.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<b><span style="font-family: "times" , "times new roman" , serif;">3. How many levels will there be and what are the requirements for leveling up?</span></b><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">The second part of this question matters most, I think. How will you determine when students can "level up"? There's two basic ways to think about this: (1) students can level up based on how many XP points they've earned (<i>for instance, one has to have 30 XP to move from Level 1 to Level 2</i>) OR (2) students can level up based on completion of certain required assignments at each given level. Personally, I find it useful to make it more about mastering certain required assignments (while also leaving room for choice and autonomy) - that way one can make sure students are adequately practicing the skills targeted in question #2.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<b><span style="font-family: "times" , "times new roman" , serif;">4. How long will the unit be (in terms of weeks) and will there be any due dates (besides the project end-date)?</span></b><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Again, the more important thing to consider is the latter part of the question. Of course, it's crucial to make clear from the outset the exact amount of time students have to earn as many XP points as they can, but the more debatable question is whether there will be other due dates in the process for certain benchmark assignments. I'm of split camps on this one (see <a href="http://edu-scenius.blogspot.com/2017/06/overcoming-classroom-distraction.html" target="_blank">my previous discussion about the Procrastinating Achiever</a>), but I will say this: One of the most important experiences for students in a gamified course is <i>autonomy</i>. For a lot of students, it's the first time that they have had to practice the softer skills of setting their deadlines, making their own priorities, and initiating the plan to see it through. The more you structure due dates, the less freedom students have to practice and develop these important skills.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<b><span style="font-family: "times" , "times new roman" , serif;">5. What will be your XP point policy?</span></b><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">There's a few issues here to consider:</span><br />
<span style="font-family: "times" , "times new roman" , serif;">--The amount of XP points awarded needs to match (as best as possible) the level of challenge (as well as its time demands) for a given assignment. There's no better resource for determining the glitches (regarding this matter) than the students. If an assignment is not worth enough XP, students will let you know (because no one will opt to do that assignment); if it the challenge is worth too much, students will let you know (because everyone will want to do that assignment).</span><br />
<span style="font-family: "times" , "times new roman" , serif;">--How will you scale XP points in relation to final grading outcomes? How many points does a student need to earn to make the A+ and so forth? Is this realistic in relation to the answer to #4?</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
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<a href="https://2.bp.blogspot.com/-mHJ0RCJoup8/WThtWb5IX3I/AAAAAAAABMg/fuswWxcTm-MkF2TOIYGAy7LIThOuSTyBACLcB/s1600/Screen%2BShot%2B2017-06-02%2Bat%2B12.02.01%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="496" data-original-width="924" height="213" src="https://2.bp.blogspot.com/-mHJ0RCJoup8/WThtWb5IX3I/AAAAAAAABMg/fuswWxcTm-MkF2TOIYGAy7LIThOuSTyBACLcB/s400/Screen%2BShot%2B2017-06-02%2Bat%2B12.02.01%2BPM.png" width="400" /></span></a></div>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">--For each individual assignment, will you allow partial XP earnings? (In other words, say an assignment is worth 20XP, and a student does a less-than-adequate job: Do you allow the student to earn half the points?) Personally, I think this diminishes the emphasis on iteration and mastery - which is one of the "game changing" elements of grading according to an XP system.</span><br />
<span style="font-family: "times" , "times new roman" , serif;">--Will you allow for points to be deducted from a student's score? I personally think that this too could have a negative impact by diminishing the emphasis on affirmation-based grading. One of the best things about gamification is the revaluation of the function of failure. Beckett said it best: "Ever tried. Ever failed. No matter. Try Again. Fail better."</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><b>6. Do students have to finish the game or are there alternative paths for success? </b> </span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Do students need to "beat the game" or is it simply a matter of earning enough XP points? I think focusing on the latter is more effective. Not every student succeeds according to the same path, and allowing for students to achieve a superior score according to different means also opens opportunities for meaningful differentiation. I always offer smaller chances for earning XP in the form of "grind assignments" - which are more minor tasks that can be performed anytime, at any level, to earn extra amounts of XP.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">The year I gamified our unit on Shakespeare's <i>Macbeth</i>, there was a "grind assignment" where students could translate 10 lines of Shakespeare's play into modern English to earn 1 additional XP point. I remember one student started thinking very intently: I could tell by the strained facial expression he wore after I introduced the notion of "grind work." Eventually, he posed the question: "So you're telling me that if I translate this entire play into modern American English, I could automatically make an A?" He thought he'd found a loophole; I'd say he found his learning preference.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">With the Dickens unit, I required students to at least make it to Level Four; otherwise, I didn't care how they earned the required amount of points. In fact, I have a feeling that some students didn't have to finish the novel to earn the superior score. <i>Is that a bad thing?</i></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><i><br /></i>
<b>7. What elements of structural and content gamification are you planning to implement?</b></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">This is a huge question - involving lots of considerations. (Please see <a href="http://edu-scenius.blogspot.com/2017/05/overcoming-classroom-distraction.html" target="_blank">the first post of this series</a> for more explanation).:</span><br />
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-0LYG8ynOgak/WTiI57aJRdI/AAAAAAAABM4/l8Hv6RBDi_cbZBqqUjG1p5XqhFSa4PGSgCLcB/s1600/418Z698NB5L._SX315_BO1%252C204%252C203%252C200_.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="499" data-original-width="317" height="320" src="https://3.bp.blogspot.com/-0LYG8ynOgak/WTiI57aJRdI/AAAAAAAABM4/l8Hv6RBDi_cbZBqqUjG1p5XqhFSa4PGSgCLcB/s320/418Z698NB5L._SX315_BO1%252C204%252C203%252C200_.jpg" width="203" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Gaming: Essays on Algorithmic</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Culture by Alexander Galloway</span></td></tr>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Structural Elements of Gamification (<i>Non-Diegetic Elements</i>):</span><br />
<span style="font-family: "times" , "times new roman" , serif;">-XP Grading</span><br />
<span style="font-family: "times" , "times new roman" , serif;">-Self Pacing</span><br />
<span style="font-family: "times" , "times new roman" , serif;">-Choice & Nonlinearity</span><br />
<span style="font-family: "times" , "times new roman" , serif;">-Leveling Up & Mastery</span><br />
<span style="font-family: "times" , "times new roman" , serif;">-Failure is never punitive</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"> Content Elements of Gamification (<i>Diegetic Elements</i>):</span><br />
<span style="font-family: "times" , "times new roman" , serif;">-Avatars/Role Playing</span><br />
<span style="font-family: "times" , "times new roman" , serif;">-Game Narrative</span><br />
<span style="font-family: "times" , "times new roman" , serif;">-Mapping the Journey (as a character)</span><br />
<span style="font-family: "times" , "times new roman" , serif;">-Badges/Diversification of Skills (e.g. Powers & Abilities)</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-style: italic; vertical-align: baseline; white-space: pre-wrap;"><br /></span>
<span style="font-style: italic; vertical-align: baseline; white-space: pre-wrap;">And indeed, in some instances it will be difficult to demarcate the difference between diegetic and nondiegetic acts in a video game, for the process of good game continuity is to fuse these acts together as seamlessly as possible.</span><span style="vertical-align: baseline; white-space: pre-wrap;"> </span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"> <span style="vertical-align: baseline; white-space: pre-wrap;">-Alexander R. Galloway, </span><span style="font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Gaming: Essays on Algorithmic Culture</span><span style="vertical-align: baseline; white-space: pre-wrap;">, University of Minnesota Press, 2006.</span></span></div>
<span style="font-family: "times" , "times new roman" , serif;"><span style="vertical-align: baseline; white-space: pre-wrap;"><br /></span>
<span style="vertical-align: baseline; white-space: pre-wrap;">If you've never gamified a class before, I would focus on <i>structural elements of gamification</i> because that's where you really see the psychological shift with students in terms of their motivation, sense of autonomy, and willingness to take risks. <i>Content gamification</i>, however, really adds another element altogether in terms of engagement for the self-directed learner: <i>They want to be a part of the world from which they're learning!</i> (Please read <a href="http://edu-scenius.blogspot.com/2017/06/overcoming-classroom-distraction.html" target="_blank">the last post for reflections on why this is the case.</a>) </span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="vertical-align: baseline; white-space: pre-wrap;"><br /></span>
<span style="vertical-align: baseline; white-space: pre-wrap;"><b>8. How will you build both individual and collaborative challenges into the game?</b></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="vertical-align: baseline; white-space: pre-wrap;"><br /></span>
<span style="vertical-align: baseline; white-space: pre-wrap;">One risk we all face when completely handing over the learning agenda to the student is that our classrooms lose a sense of community. When personalizing the learning to such an extreme degree do we lose a sense of <i>learning-together-ness</i>? How does one embed opportunities for communal discovery in a journey that is, for the most part, radically individualized? It's important, I think, to require students to master certain assignments in a way that requires them to enlist the help of their peers. Otherwise, the experience can be a bit isolating.</span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="vertical-align: baseline; white-space: pre-wrap;"><br /></span>
<span style="vertical-align: baseline; white-space: pre-wrap;"><b>9. How will one's daily classroom culture & agenda be structured?</b></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Some of what I outline here answers the question posed in #8. One of the great things about gamification (when it's done well) is how it transforms one's class such that student demand for learning becomes the agenda-setter for the day's mode of action. What I mean is that each student is "grinding" away at their unique path for learning and discovery, and they come to you with the demands of the moment, thereby exposing a kind of teachableness that makes them more receptive than they ever would have been in the traditional, lecture-based scenario. But how do we maintain a community as a classroom? Here's a basic outline of a given week in my class:</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><b>Monday:</b> 15 min. debrief with the class to see if there were questions, concerns, or frustrations (whether it be about the curricular content or the structure of the unit's project) followed by 30 mins. of student-directed work (which could be individual or collaborative, depending on the selected assignment) while I rotated the room.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><b>Tuesday: </b>45 mins. of student-directed work (which could be individual or collaborative, depending on the selected assignment) while I rotated the room.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><b>Wednesday: </b>Harkness Discussion Day - certain discussion days were optional, whereas others were mandatory (depending on the week). Students could earn extra XP points for participating. If students opted out, they could work on other tasks related to the project.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><b>Thursday:</b> 45 mins. of student-directed work (which could be individual or collaborative, depending on the selected assignment) while I rotated the room.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><b>Friday:</b> 30 mins. of student-directed work (which could be individual or collaborative, depending on the selected assignment) while I rotated the room, followed by a 15 min. debrief with the class to see if there were questions, concerns, or frustrations (whether it be about the curricular content or the structure of the unit's project).</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><b>*Note:</b> During, self-directed work times, students could also opt to go read in the library (because the room could get pretty busy and active with so much going on).</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><b><br /></b>
<b>10. How will you maintain a quick and fluid feedback loop?</b></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">This is a question I pose more to the liberal arts teachers: the history, English, and other humanities teachers who spend most of their time grading compositions and other demonstrations of student learning that require more than marking letters from a multiple choice assessment. How do you make the feedback more constant and fluid? For a unit like the ones I describe, it has to be short-form writing assessments that make clear what skills the grader will be assessing when evaluating the assignment. Otherwise, one will get too bogged down, which ruins the momentum of the game experience.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">*******</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">If you can answer the above 10 questions, then you are ready to implement a curriculum that will motivate, engage, and inspire your students with subject matter that otherwise could be construed as too dull or too challenging to entice the 21st century teenager. The question comes back to the following: What do you want your students to be able to do? Most likely the answer aligns well with the skills targeted by gamified, learning experience. Try it. Experiment. And report back. I'd love to hear about people's experiences.</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1033889867235759780.post-54728106054844179552017-06-02T13:17:00.000-07:002017-06-02T17:28:23.438-07:00Overcoming Classroom Distraction & Passivity using Gamification, Part Two - Practice<b style="font-size: x-large;">Overcoming Classroom Distraction & Passivity using Gamification: Part Two, Practice</b><br />
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<span style="font-family: "times" , "times new roman" , serif;"><a href="http://edu-scenius.blogspot.com/2017/05/overcoming-classroom-distraction.html" target="_blank">In the last post</a>, I shared some "theory" about why I believe gamification to be an effective method for designing and delivering curriculum, and here I hope to outline its practice. Did it work in my learning lab? For the most part, I think so. Do we know why? Well, that's the point of blogs like these, namely to map out some pathway for reflection and understanding. But it's always important to remember that both theory and practice are "decalcomaniac" processes, or what Deleuze and Guattari would describe as a process that “forms through continuous negotiation with its context, constantly adapting by experimentation, thus performing a non-symmetrical active resistance against rigid organization and restriction” (<i>A Thousand Plateaus</i> 20). It's only when we think of theory and practice as rigid that we risk restricting our efforts to the trappings of the above conundrum. </span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b><i>Adventures in Coketown</i>: A Nonlinear Learning Journey based on Charles Dickens's <i>Hard Times</i> - The Details of the Game</b></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">For a 6 week module on Charles Dickens's <i>Hard Times</i>, I introduced my students to a <i>gamified</i> version of the unit, involving 6 levels (Levels Zero to Five), involving heavy elements of both structural and content gamification (see <a href="http://edu-scenius.blogspot.com/2017/05/overcoming-classroom-distraction.html" target="_blank">last post</a> for a discussion of structural/content gamification). The rules were as follows:</span><br />
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;">Grading will be different: You do not start with 100% average; instead, everyone begins with ZERO XP points.</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">There are no due dates for particular assignments; instead, you have 6 weeks to earn as many XP points as you can.</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">There are 5 levels, and you have access to level one. Earn XP points to level up and beat the game.</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Each assignment is worth a certain amount of XP points. To earn the points, you must master the assignment (no mistakes); there is no partial credit. You may try to master an assignment as many times as it takes. Failure simply means try again.</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">There is no 1 way to earn an A; one simply needs to earn enough XP points at the end of the 6 week unit.</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">There are smaller, "grind" assignments that you may complete anytime to earn more points</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Each level also has certain required assignments that must be completed to make it to the next level.</span></li>
</ul>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">My students had never been exposed to a curriculum designed in this way, and for some, it was frustrating at first. </span><i style="font-family: Times, "Times New Roman", serif;">No due dates!? But what do you want me to work on first?!? </i><span style="font-family: "times" , "times new roman" , serif;">Other students, however, were invigorated. </span><i style="font-family: Times, "Times New Roman", serif;">You mean I can choose what I want to study and when?!? Can I do all the options?? </i><span style="font-family: "times" , "times new roman" , serif;">Yes, I had some learners who were inspired to do more work than what was required, while other students had a really hard time mustering the initial motivation to even get started. So one thing was certain: gamification amplified and made evident each student's distinct learning personality and preference, as well as their strengths and weaknesses when it came to "softer skills."</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">So what did the structure of a given week look like? After all, students had to make their own priorities, deadlines, and decisions about what direction to take the project and at what pace. Consequently, most of the week's agenda was in their hands, and it looked something like this:</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><b>Monday:</b> 15 min. debrief with the class to see if there were questions, concerns, or frustrations (whether it be about the curricular content or the structure of the unit's project) followed by 30 mins. of student-directed work (which could be individual or collaborative, depending on the selected assignment) while I rotated the room.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><b>Tuesday:</b> 45 mins. </span><span style="font-family: "times" , "times new roman" , serif;">of student-directed work (which could be individual or collaborative, depending on the selected assignment) while I rotated the room.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><b>Wednesday:</b> Harkness Discussion Day - certain discussion days were optional, whereas others were mandatory (depending on the week). Students could earn extra XP points for participating. If students opted out, they could work on other tasks related to the project. </span><br />
<span style="font-family: "times" , "times new roman" , serif;"><b>Thursday:</b> 45 mins. </span><span style="font-family: "times" , "times new roman" , serif;">of student-directed work (which could be individual or collaborative, depending on the selected assignment) while I rotated the room.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><b>Friday:</b> 30 mins. </span><span style="font-family: "times" , "times new roman" , serif;">of student-directed work (which could be individual or collaborative, depending on the selected assignment) while I rotated the room, followed by a </span><span style="font-family: "times" , "times new roman" , serif;">15 min. debrief with the class to see if there were questions, concerns, or frustrations (whether it be about the curricular content or the structure of the unit's project).</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><b>*Note:</b> During, self-directed work times, students could also opt to go read in the library (because the room could get pretty busy and active with so much going on).</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><b><u><span style="font-size: large;">A brief description of the levels of the game:</span></u> </b></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Students started on Level Zero, which you can explore with the following link: </span><br />
<span style="color: black; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span>
<span style="color: black; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "times" , "times new roman" , serif;">Game Homepage: </span></span><a href="https://sites.google.com/oakridgeowls.net/hardtimes/home" style="font-family: Times, "Times New Roman", serif; text-decoration-line: none;"><span style="color: #1155cc; vertical-align: baseline; white-space: pre-wrap;">https://sites.google.com/oakridgeowls.net/hardtimes/home</span></a><br />
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On the game homepage, students were introduced to the premise of the game narrative:<br />
<i style="font-family: times, "times new roman", serif; font-size: small;"><br /></i>
<i style="font-family: times, "times new roman", serif; font-size: small;">Y</i><i style="font-family: times, "times new roman", serif; font-size: small;">ou are a French sociologist who recently graduated from the École Polytechnique where you studied under the famous Positivist, August Comte. Your career's research thus far focused on one important question: What is the secret to human happiness? And you've been researching societies in the northern region of France where there has been a tremendous amount of social change due to the developments of the Industrial Revolution. However, you soon find out that your former professor has mysteriously disappeared, and you suspect that it has something to do with the secret war that's been spreading across Europe, battling for the hearts and minds of all citizens, namely the war between the Friends of Fancy and the Philosophes of Fact. Finally, the conflict arrives at your front doorstep in Nancy, France when you receive a cryptic telegram asking you to travel to Coketown in northern England to help "a friend in need." Of course, you agree to go as it will afford you the chance to study England's industrial transformation as well as opportunities to meet the likes of Friedrich Engels and John Stuart Mill. Thus begins your journey called "Adventures in Coketown."</i><br />
<b style="font-weight: normal;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></b>
<b style="font-weight: normal;"><span style="font-family: "times" , "times new roman" , serif;">The idea was to make the student a part of the world that Dickens's characters lived in - to have students interact with both fictional personalities and important historical figures from that period such that they had to confront (<i>in a more personal way</i>) the issues being explored and wrestled with by both the common folk and prominent authors of the era. Therefore, their first task was to research one of the following topics before departing from their imaginary home in Nancy, France:</span></b><br />
<b style="font-weight: normal;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></b>
<b style="font-weight: normal;"><span style="font-family: "times" , "times new roman" , serif;">1. Utilitarianism, John Stuart Mill, and Jeremy Bentham</span></b><br />
<b style="font-weight: normal;"><span style="font-family: "times" , "times new roman" , serif;">2. Sociology, Positivism, and August Comte</span></b><br />
<b style="font-weight: normal;"><span style="font-family: "times" , "times new roman" , serif;">3. Industrial Revolution, Manchester, and Friedrich Engels</span></b><br />
<b style="font-weight: normal;"><span style="font-family: "times" , "times new roman" , serif;">4. Social Darwinism, Thomas Malthus, and Herbert Spencer </span></b><br />
<b style="font-weight: normal;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></b>
<b style="font-weight: normal;"><span style="font-family: "times" , "times new roman" , serif;">Students then began their journey by arriving in Roubaix France...</span></b><br />
<span style="font-family: "times" , "times new roman" , serif; vertical-align: baseline; white-space: pre-wrap;"><b><br /></b></span>
<span style="font-family: "times" , "times new roman" , serif; vertical-align: baseline; white-space: pre-wrap;"><b>Roubaix, France (Level Zero):</b> </span><a href="https://sites.google.com/oakridgeowls.net/roubaix/home" style="font-family: Times, "Times New Roman", serif; text-decoration-line: none;"><span style="color: #1155cc; vertical-align: baseline; white-space: pre-wrap;">https://sites.google.com/oakridgeowls.net/roubaix/home</span></a><br />
<b style="font-weight: normal;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></b>
<b style="font-weight: normal;"><span style="font-family: "times" , "times new roman" , serif;">In Roubaix, students started to define more distinctly the unique route of their journey because students had a choice to stop in Roubaix and study the Industrial Revolution, before departing for England from the next stop in Calais, France; OR students could move on more quickly to Dunkerque, France where they would be required to study Charles Dickens's life (instead of the Industrial Revolution) while eventually traveling to Dover, England. The idea with all these options for research was to have students earn different "badges" (because, later, they would be asked to collaborate with each other based on their different areas of expertise).</span></b><br />
<b style="font-weight: normal;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></b>
<b style="font-weight: normal;"><span style="font-family: "times" , "times new roman" , serif;">You can explore the two routes in more detail if interested: </span></b><br />
<span style="color: black; font-family: "times" , "times new roman" , serif; font-size: x-small; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;"><br /></span>
<span style="color: black; font-family: "times" , "times new roman" , serif; font-size: x-small; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Route A (Calais):</span><span style="color: black; font-family: "times" , "times new roman" , serif; font-size: x-small; vertical-align: baseline; white-space: pre-wrap;"> </span><br />
<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif; vertical-align: baseline; white-space: pre-wrap;">Enroute to England via Calais, France (Level Zero): </span><a href="https://sites.google.com/oakridgeowls.net/enroute-calais/home" style="font-family: Times, "Times New Roman", serif; text-decoration-line: none;"><span style="color: #1155cc; vertical-align: baseline; white-space: pre-wrap;">https://sites.google.com/oakridgeowls.net/enroute-calais/home</span></a></span><br />
<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif; vertical-align: baseline; white-space: pre-wrap;">Welcome to Dover, England (Level Zero): </span><a href="https://sites.google.com/oakridgeowls.net/dover/home" style="font-family: Times, "Times New Roman", serif; text-decoration-line: none;"><span style="color: #1155cc; vertical-align: baseline; white-space: pre-wrap;">https://sites.google.com/oakridgeowls.net/dover/home</span></a></span><br />
<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif; vertical-align: baseline; white-space: pre-wrap;">The Dickens Dossier (Dover, England - Level Zero): </span><span style="color: #1155cc; font-family: "times" , "times new roman" , serif; vertical-align: baseline; white-space: pre-wrap;"><a href="https://sites.google.com/oakridgeowls.net/dover/the-dickens-dossier" style="font-family: Times, "Times New Roman", serif; text-decoration-line: none;">https://sites.google.com/oakridgeowls.net/dover/the-dickens-dossier</a></span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small; font-weight: 700; white-space: pre-wrap;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small; font-weight: 700; white-space: pre-wrap;">Route B (Dunkerque):</span><br />
<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif; vertical-align: baseline; white-space: pre-wrap;">Enroute to England via Dunkurque (Level Zero): </span><a href="https://sites.google.com/oakridgeowls.net/enroute-dunkerque/home" style="font-family: Times, "Times New Roman", serif; text-decoration-line: none;"><span style="color: #1155cc; vertical-align: baseline; white-space: pre-wrap;">https://sites.google.com/oakridgeowls.net/enroute-dunkerque/home</span></a></span><br />
<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif; vertical-align: baseline; white-space: pre-wrap;">Boz’s Documents (“En Route” - Level Zero): </span><span style="color: #1155cc; font-family: "times" , "times new roman" , serif; vertical-align: baseline; white-space: pre-wrap;"><a href="https://sites.google.com/oakridgeowls.net/enroute-dunkerque/bozs-documents" style="font-family: Times, "Times New Roman", serif; text-decoration-line: none;">https://sites.google.com/oakridgeowls.net/enroute-dunkerque/bozs-documents</a></span></span><br />
<span style="color: black; font-family: "times" , "times new roman" , serif; font-size: x-small; vertical-align: baseline; white-space: pre-wrap;"><b><u><br /></u></b></span>
<span style="color: black; font-family: "times" , "times new roman" , serif; font-size: x-small; vertical-align: baseline; white-space: pre-wrap;"><b>Destination for Both Routes:</b></span><span style="color: black; font-family: "times" , "times new roman" , serif; font-size: x-small; vertical-align: baseline; white-space: pre-wrap;"> </span><br />
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="background-color: transparent; color: black; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Welcome to Dover, England (Level Zero): </span><a href="https://sites.google.com/oakridgeowls.net/dover/home" style="text-decoration: none;"><span style="background-color: transparent; color: #1155cc; font-style: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">https://sites.google.com/oakridgeowls.net/dover/home</span></a></span></div>
<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif; vertical-align: baseline; white-space: pre-wrap;">Enroute to Coketown via South Eastern Railway (Level Zero): </span><a href="https://sites.google.com/oakridgeowls.net/enroutecoketown/home" style="font-family: Times, "Times New Roman", serif; text-decoration-line: none;"><span style="color: #1155cc; vertical-align: baseline; white-space: pre-wrap;">https://sites.google.com/oakridgeowls.net/enroutecoketown/home</span></a></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">After students earned at least 30XP, they could arrive in Coketown, and in their emails, they were sent <a href="https://sites.google.com/oakridgeowls.net/levelup1/home" target="_blank">a link</a> congratulating them and granting them access to Level One of the game. This is where they began their intensive reading of the novel, with the chunks of chapters corresponding </span><span style="font-family: "times" , "times new roman" , serif;">to the scaled levels in the following way:</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Level One: Chapters 1-9 of Book the First</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Level Two: Chapters 10-16 of Book the First</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Level Three: Chapters 1-6 of the Book the Second</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Level Four: Chapters 7-12 of the Book the Second</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Level Five: All of the Book the Third</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">In addition to Level One, students were granted access to what was called <a href="https://sites.google.com/oakridgeowls.net/grind/home" target="_blank">the <i>Grind</i> Assignment page</a>. "Grind assignments" were smaller tasks that could be done anytime at any level to earn smaller amounts of extra XP points (<i>think of it as analogous to spending your time defeating the easy villains in a video game to earn more points before fighting the more challenging opponents like "the final boss" of a given level)</i>. Grind assignments also provided opportunities for students with various learning styles to find the tasks that motivated them the most, and it opened opportunities for alternative paths to success (as one didn't necessarily have to "beat the game" to get the superior score; they just had to earn enough XP points by the end of the 6 weeks).</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Levels One through Three, for the most part, looked very similar in terms of types of assignments; of course, the game narrative (along with the novel's plot) continued to change and develop as one leveled up through the first 3 stages.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Here's a look at Level One:</span><br />
<span style="font-family: "times" , "times new roman" , serif; vertical-align: baseline; white-space: pre-wrap;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; vertical-align: baseline; white-space: pre-wrap;"><b><u>Welcome to Coketown (Level One):</u></b> </span><a href="https://sites.google.com/oakridgeowls.net/levelone/home" style="font-family: Times, "Times New Roman", serif; text-decoration-line: none;"><span style="color: #1155cc; vertical-align: baseline; white-space: pre-wrap;">https://sites.google.com/oakridgeowls.net/levelone/home</span></a><br />
<span style="font-family: "times" , "times new roman" , serif; vertical-align: baseline; white-space: pre-wrap;"><b><u>“Congress of Conspirators” (Level One):</u></b> </span><a href="https://sites.google.com/oakridgeowls.net/levelone/level-one-congress-of-conspirators" style="font-family: Times, "Times New Roman", serif; text-decoration-line: none;"><span style="color: #1155cc; vertical-align: baseline; white-space: pre-wrap;">https://sites.google.com/oakridgeowls.net/levelone/level-one-congress-of-conspirators</span></a><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">On Levels One through Three, there was a recurring pattern in terms of required assignments:</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">1. Vocabulary Assignment (based on words from the relevant chunk of chapters)</span><br />
<span style="font-family: "times" , "times new roman" , serif;">2. A choice to complete and master one of the following: (a) a researched history report on something related to the setting (b) 2 character analyses on main characters from the novel (c) multiple short form theme analysis compositions. (<i>If a student decides to do </i>(a)<i> at Level One, then she must do either </i>(b)<i> or </i>(c)<i> at the next level and so forth...</i>)</span><br />
<span style="font-family: "times" , "times new roman" , serif;">3. An online quote identification quiz based on that Level's chunks of chapters. I used <a href="https://www.classmarker.com/" target="_blank">classmarker</a> (<i>which was way too expensive</i>) to embed automated quizzes with a randomized question base. Students had to get a perfect score before getting the link to the next level, but they could try as many time as they'd like (<i>However, you had to take the quiz in my presence, and if you failed 3 times, then you had to wait 24 hours</i>). </span><br />
<span style="font-family: "times" , "times new roman" , serif; white-space: pre-wrap;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; white-space: pre-wrap;">If interested, you can explore the details of Levels Two & Three as well:</span><br />
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<span style="background-color: transparent; color: black; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="background-color: transparent; color: black; font-style: normal; vertical-align: baseline; white-space: pre-wrap;"><u><b>Level Two of Adventures in Coketown:</b></u></span><span style="background-color: transparent; color: black; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span><a href="https://sites.google.com/oakridgeowls.net/leveltwo/home" style="text-decoration: none;"><span style="background-color: transparent; color: #1155cc; font-style: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">https://sites.google.com/oakridgeowls.net/leveltwo/home</span></a></span></div>
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<b id="docs-internal-guid-0b5bb103-69f6-9075-5abb-5ee826a09f31" style="font-weight: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><br /></span></b></div>
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<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif; vertical-align: baseline; white-space: pre-wrap;"><b><u>Level Three of Adventures in Coketown:</u> </b></span><span style="color: #1155cc; font-family: "times" , "times new roman" , serif; vertical-align: baseline; white-space: pre-wrap;"><a href="https://sites.google.com/oakridgeowls.net/levelthree/home" style="font-family: Times, "Times New Roman", serif; text-decoration-line: none;">https://sites.google.com/oakridgeowls.net/levelthree/home</a></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="background-color: transparent; color: black; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; color: black; font-style: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Route A</span><span style="background-color: transparent; color: black; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> - Friends of Fancy:</span><span style="background-color: transparent; color: black; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="background-color: transparent; color: black; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; color: #1155cc; font-style: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;"><a href="https://sites.google.com/oakridgeowls.net/levelthree/friends-of-fancy" style="text-decoration: none;">https://sites.google.com/oakridgeowls.net/levelthree/friends-of-fancy</a></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="background-color: transparent; color: black; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; color: black; font-style: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Route B</span><span style="background-color: transparent; color: black; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> - Philosophes of Fact: </span><span style="background-color: transparent; color: black; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br class="kix-line-break" /></span><span style="background-color: transparent; color: black; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><a href="https://sites.google.com/oakridgeowls.net/levelthree/philosophes-of-fact" style="text-decoration: none;"><span style="background-color: transparent; color: #1155cc; font-style: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">https://sites.google.com/oakridgeowls.net/levelthree/philosophes-of-fact</span></a></span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">At Levels Four & Five, as the game narrative continues to develop along with the novel, the nature of assignments begins to change. At Level Four, for instance, students are asked to research the definitions of literary terms and devices for purposes of composing a style analysis paper. Students (in the role of their avatar, the French <i>sociologue</i>) also begin to interact directly with characters from Dickens's novel as well as with historical figures like Dickens himself, Mary Shelley, Auguste Comte, and others.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">By Level Five, the narrative conspiracy involving your missing professor (Auguste Comte) concludes along with the novel, and students are asked to make an argument to radicals on either side of the war between Fact and Fancy for purposes of trying to convince them to temper their extremism in the name of some defined "middle path." At this stage, students are composing arguments while practicing empathy (for certain characters) in the process of deconstructing the major themes of Dickens's novel.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">You can explore the final Levels by using the following links:</span><br />
<b style="font-family: times, "times new roman", serif; font-size: small; white-space: pre-wrap;"><u><br /></u></b>
<b style="font-family: times, "times new roman", serif; white-space: pre-wrap;"><u><span style="font-size: x-small;">Level Four of Adventures in Coketown:</span></u></b><br />
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<a href="https://sites.google.com/oakridgeowls.net/levelfour/home" style="text-decoration: none;"><span style="background-color: transparent; color: #1155cc; font-style: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">https://sites.google.com/oakridgeowls.net/levelfour/home</span></span></a></div>
<b style="font-family: Times, "Times New Roman", serif; white-space: pre-wrap;"><u><span style="font-size: x-small;">Level Four - “2nd Congress of Conspirators”:</span></u></b><br />
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<span style="background-color: transparent; color: #1155cc; font-style: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><a href="https://sites.google.com/oakridgeowls.net/levelfour/2nd-congress-of-conspirators" style="text-decoration: none;">https://sites.google.com/oakridgeowls.net/levelfour/2nd-congress-of-conspirators</a></span></span><br />
<b style="font-family: times, "times new roman", serif; white-space: pre-wrap;"><u><span style="font-size: x-small;"><br /></span></u></b>
<b style="font-family: times, "times new roman", serif; white-space: pre-wrap;"><u><span style="font-size: x-small;">Level Five of Adventures in Coketown:</span></u></b></div>
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<span style="background-color: transparent; color: #1155cc; font-style: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><a href="https://sites.google.com/oakridgeowls.net/levelfive/home" style="text-decoration: none;">https://sites.google.com/oakridgeowls.net/levelfive/home</a></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="background-color: transparent; color: black; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; color: black; font-style: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Route A, part one</span><span style="background-color: transparent; color: black; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> - Friends of Fancy:</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="background-color: transparent; color: black; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; color: #1155cc; font-style: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;"><a href="https://sites.google.com/oakridgeowls.net/levelfive/friends-of-fancy-page" style="text-decoration: none;">https://sites.google.com/oakridgeowls.net/levelfive/friends-of-fancy-page</a></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="background-color: transparent; color: black; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; color: black; font-style: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Route A, part two</span><span style="background-color: transparent; color: black; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> - Sisterhood of Shelley:</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="background-color: transparent; color: black; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; color: #1155cc; font-style: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;"><a href="https://sites.google.com/oakridgeowls.net/levelfive/sisterhood-of-shelley" style="text-decoration: none;">https://sites.google.com/oakridgeowls.net/levelfive/sisterhood-of-shelley</a></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="background-color: transparent; color: black; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; color: black; font-style: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Route B, part one</span><span style="background-color: transparent; color: black; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> - Philosophes of Fact:</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="background-color: transparent; color: black; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; color: #1155cc; font-style: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;"><a href="https://sites.google.com/oakridgeowls.net/levelfive/philosophes-of-fact-page" style="text-decoration: none;">https://sites.google.com/oakridgeowls.net/levelfive/philosophes-of-fact-page</a></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="background-color: transparent; color: black; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; color: black; font-style: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Route B, part two</span><span style="background-color: transparent; color: black; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> - Brotherhood of Boole:</span></span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="color: #1155cc; vertical-align: baseline; white-space: pre-wrap;"><a href="https://sites.google.com/oakridgeowls.net/levelfive/brotherhood-of-boole" style="text-decoration-line: none;">https://sites.google.com/oakridgeowls.net/levelfive/brotherhood-of-boole</a></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b>Reflections (<i>in no particular order</i>):</b></span><br />
<br />
1. <b>Gamer Types</b> (a.k.a. Learning Personalities and Preferences): Knowing "what type of gamer" a student is can be very helpful for understanding what motivates or engages the learner in question. I strongly recommend having students take <a href="http://4you2learn.com/bartle/" target="_blank">the Bartle Test</a> - a series of questions designed to determine how much a person matches 4 personality types within the ecosystem of the world of gaming:<br />
<br />
-<b>Explorer</b>: this type wants to explore every corner of a game's worldhood; they are in no hurry to "beat the game" because they want to explore everything<br />
-<b>Achiever</b>: this type wants to beat the game faster and more effectively; the quickest way is best way for this gamer<br />
-<b>Socializer</b>: this type wants to use the game platform as a way to connect and share experiences with others<br />
-<b>Killer</b>: this type thrives off of competing against and defeating other players more so than "playing against the computer"<br />
<br />
It's good to know the student's proclivities when it comes to the above categories. Explorers and Killers, for instance, can be very helpful with finding the game's "glitches," whereas Socializers make good leaders for collaborative assignments. Achievers just want to know exactly what they have to do to get the necessary points to finish the game; sometimes it's best just to get out of their way.<br />
<br />
2. <b>Sandbox or no sandbox privileges?</b> One question that came up quickly was whether students could have sandbox privileges to go backwards in the game for purposes of completing more assignments at earlier levels for extra XP points (as opposed to moving forward to the game's highest, and most challenging, levels).<br />
<br />
Pros: Explorers would have the opportunity to discover <i>every</i> element of the game experience, thereby broadening their learning all the more.<br />
Cons: Achievers would remain at the lowest levels, earning points with "low hanging fruit," while not having to read very much of the actual novel.<br />
<br />
Solution? Students had "to choose a path" and make it to at least Level Four before sandbox privileges would be granted by the Gamemaster (which was me). Honestly, I didn't care if they finished the novel, as long they read enough to have had a sustained, in-depth experience with a difficult, canonical text while practicing skills like those outlined above.<br />
<br />
3. <b>The Procrastinating Achiever:</b> I work at a school where students are pretty driven by their GPA; it's a high achieving environment, and students often have many responsibilities in athletics and extracurricular activities as well as in other classes. As a result, some students (<i>who are concerned about their grades</i>) procrastinated (<i>because they have a lot on their plate, and this unit had no due dates</i>). Consequently, some of them became "last minute Achievers" who were trying to move through the game at a rapid pace in the last 3 weeks. As a result, I found it challenging to fight the tendency some students to sacrifice quality for quantity (<i>especially at the end</i>).<br />
<br />
Possible solution for next year? Although there will be no due dates for specific assignments, perhaps there will be mandatory "checkpoints" such that students must be at Level Three by week X. I'm still thinking this one through...<br />
<br />
4. <b>Grade Distribution & the Soft Skills Gap:</b><br />
<br />
75% of the students made As<br />
10% of the students made Bs<br />
10% of the students made Cs<br />
5% of the students made Ds<br />
0% of the students made Fs<br />
<br />
What's going on with the bottom 15%, namely the ones who made Cs and Ds? Is gamification just not for them? Perhaps one could make that case (and I'm open-minded to it), but I think there's room for a contrary interpretation. What the above distribution exposes, in my opinion, is what I call "the Soft Skills gap": some students have never practiced the skills of setting their own deadlines and prioritizing what should be done first. And some of those are typically "A students" when it comes to traditional schooling. I would make the case that the bottom 15% needed this experience to happen now and not in college, for instance. That's why it's important to build in an opportunity for reflection at the end of the unit (in my case students had to write essays that assessed their performance by outlining what they did well as well as what they needed to improve upon for next time).<br />
<br />
*****<br />
<br />
I have one more post planned for this series which I intend to upload next week. The title of Part Three will be "12 Essential Questions for Building a Gamified Curricula in any Discipline." Hopefully it will serve as a helpful guide for anyone who'd like to explore the benefits of gamifying class for the upcoming school year.<br />
<br />
In the meantime, reach out to me at jcolley@theoakridgeschool.org or leave a comment here.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-MSTauUnp4lM/WTHHLEd4C3I/AAAAAAAABL8/B8Vj8GY3f7YrYDHt1l6fr_KDQincAkl-wCLcB/s1600/Screen%2BShot%2B2017-06-02%2Bat%2B3.13.41%2BPM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="643" data-original-width="797" height="322" src="https://3.bp.blogspot.com/-MSTauUnp4lM/WTHHLEd4C3I/AAAAAAAABL8/B8Vj8GY3f7YrYDHt1l6fr_KDQincAkl-wCLcB/s400/Screen%2BShot%2B2017-06-02%2Bat%2B3.13.41%2BPM.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Coketown's Interminable Serpents of Smoke" by Brad Greer, Class of 2019</td></tr>
</tbody></table>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1033889867235759780.post-49640833074134865112017-05-25T08:41:00.002-07:002017-05-25T12:04:56.665-07:00Overcoming Classroom Distraction & Passivity using Gamification, Part One - Theory<div class="MsoNormal">
<span style="font-family: inherit; font-size: large;"><b>Overcoming Classroom Distraction & Passivity using Gamification: Part One, Theory</b></span></div>
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<span style="font-family: inherit; font-size: small;"><b><br /></b></span></div>
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<span style="font-family: inherit; font-size: small;"><b>What do we mean by “the distracted student”?</b><o:p></o:p></span></div>
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<a href="https://4.bp.blogspot.com/-kLM-O6KeGMM/WSX3QdZ7zoI/AAAAAAAABKE/Gk8qd4_PW709ad4reeN3FEf_vodLjfdLQCLcB/s1600/41r7yByxnJL._SX336_BO1%252C204%252C203%252C200_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="338" height="320" src="https://4.bp.blogspot.com/-kLM-O6KeGMM/WSX3QdZ7zoI/AAAAAAAABKE/Gk8qd4_PW709ad4reeN3FEf_vodLjfdLQCLcB/s320/41r7yByxnJL._SX336_BO1%252C204%252C203%252C200_.jpg" width="216" /></a></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">A couple months ago, I read an article/review by <a href="https://twitter.com/LangOnCourse" target="_blank">James M. Lang</a> in <i>The Chronicle of Higher Education</i>, titled <a href="http://www.chronicle.com/article/The-Distracted-Classroom/239446" target="_blank">“The Distracted Classroom.”</a>
Lang’s piece was responding to the publication of a new study called <i style="mso-bidi-font-style: normal;">The Distracted Mind: Ancient Brains in a
High-Tech World</i> (MIT 2016) written by neuroscientist Adam Gazzaley and
psychologist Larry D. Rosen. I have since purchased the book and will be
reading it thoroughly in June (<i style="mso-bidi-font-style: normal;">Yay,
summer reading!</i>). Lang sums up one of the important points of the work
stating, “Distraction occurs… when we are pursuing a goal that really matters
and something blocks our efforts to achieve it” (Lang). In other words,
distraction is not due to a refusal or inability of the student to stay focused
on a goal, but instead, it is the result of a situation where one is being
prevented from staying committed to a goal that otherwise the student would
find important and worthwhile to pursue. It’s not like “the distracted student”
lacks the capability to stay focused; instead, something is preventing them
from focusing on that which they desire to learn about. The point made the
author stop to think about a certain student whose surreptitious cell phone
usage was preventing her from fully engaging in the class. He writes, "[W]hen
I reconsidered the experience through the lens provided by Gazzaley and Rosen,
a new set of questions began to emerge: What goal had I established for [the distracted
student’s] learning that day? How had I created an environment that supported
her ability to achieve that goal? And perhaps most important – assuming that
the class had a learning goal that mattered for her – did she know about it?”
(Lang). The crux of the matter for Lang goes something like this: “The more
powerful the goals we establish for ourselves, and the more we feel ownership
over these goals, the more we are able to pursue them in the face of both
internal and external distractions” (Lang).<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: inherit; font-size: small;">I've been reflecting upon this idea </span>(here as well as in the next post)<span style="font-family: inherit; font-size: small;"> in the context of a project I
organized for the last 6 weeks of the 2016/2017 school year. It was a unit on a book that,
quite frankly, can be flat-out boring for the average teenage reader: namely, Charles Dickens’s </span><i style="font-family: inherit; font-size: medium;">Hard Times</i><span style="font-family: inherit; font-size: small;">. Some
English instructors would probably encourage me to drop the text from the
curriculum due to its difficulty, lack of excitement, and overall drudgery. However,
I do disagree with such an assessment; I think the novel is a beautiful
character study full of profoundly poetic passages, but I don’t deny the fact that
most teenagers might disagree (<i>and I have to be honest about that</i>). So the
challenge was clear: How does one make </span><i style="font-family: inherit; font-size: medium;">Hard
Times</i><span style="font-family: inherit; font-size: small;"> a goal that is “powerful” enough to matter to teenagers? How do I
provide an experience where students have ownership over the learning? How do I
avoid making </span><i style="font-family: inherit; font-size: medium;">Hard Times</i><span style="font-family: inherit; font-size: small;"> that thing
that’s getting in the way of other goals that felt more important to them?</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><b>Gaming</b><o:p></o:p></span></div>
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<a href="https://2.bp.blogspot.com/-nh_LBMkNy2g/WSX3hew07ZI/AAAAAAAABKI/oaeBbuvPktwaqnbKRl-maNzCrQqXFilngCLcB/s1600/418Z698NB5L._SX315_BO1%252C204%252C203%252C200_.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="499" data-original-width="317" height="320" src="https://2.bp.blogspot.com/-nh_LBMkNy2g/WSX3hew07ZI/AAAAAAAABKI/oaeBbuvPktwaqnbKRl-maNzCrQqXFilngCLcB/s320/418Z698NB5L._SX315_BO1%252C204%252C203%252C200_.jpg" width="203" /></span></a><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In his book, <i style="mso-bidi-font-style: normal;">Gaming:
Essays on Algorithmic Culture</i> (University of Minnesota 2008), Alexander Galloway
writes, “If photographs are images, and films are moving images, then games are
<i style="mso-bidi-font-style: normal;">actions</i>… [O]ne <i style="mso-bidi-font-style: normal;">takes</i> a photograph, one <i style="mso-bidi-font-style: normal;">acts</i>
in a film. But these actions transpire before or during the fabrication of the
work… With games, the work itself is material action… What used to be the act
of reading [or looking] is now the act of doing” (2-3). In recent years, much
has been written about the connection between <i>gamification</i> in the classroom and
higher levels of motivation among students. Perhaps one reason for the
connection is best explained by Galloway’s point. Students today live
in a world ripe with opportunities to change, manipulate, and hack its contents:
from Google Docs to gene manipulation to climate change, the world interacts
with us, thereby beckoning us to <i style="mso-bidi-font-style: normal;">act</i>,
but if our classrooms don’t make room for these kinds of improvisatory interactions and interventions,
how <i style="mso-bidi-font-style: normal;">authentic</i> will the learning feel
to those who are involved? Will the goals of the class be ones that capture their attention? Or
will the students establish contrary aims and therefore be “distracted”?
Jeffrey T. Nealon describes our culture in a similar way when he references current science: “In
recent biological research, life itself is no longer primarily understood on
the genomic analogy of the book (where life contains a hidden code, requiring
the scientist’s interpretation), but on a model of the microscopic or
molecular, the smallest particles that might be manipulated by researchers… One
might say that contemporary biology is not merely interested in <i style="mso-bidi-font-style: normal;">interpreting </i>genes, but in <i style="mso-bidi-font-style: normal;">changing</i> them” (147-148). What used to be the age of interpretation is now replaced by one of manipulation, but what might
this mean for pedagogy?<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">One answer might go like this:</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">-<b style="mso-bidi-font-weight: normal;">From Understanding
to Manipulating: </b>Curriculum needs to demand more than <i style="mso-bidi-font-style: normal;">understanding</i> of content: it needs to invite the learner to <i style="mso-bidi-font-style: normal;">manipulate </i>the curriculum in question. <o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">-<b style="mso-bidi-font-weight: normal;">From Meaning to
Usage: </b>Students not only need to construct <i style="mso-bidi-font-style: normal;">meaning</i> when learning; they need to make <i style="mso-bidi-font-style: normal;">use</i> of what they study, molding its contents to their
individualized path of action.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">-<b style="mso-bidi-font-weight: normal;">From (Reader) Response
to Play: </b>Students need to do more than <i style="mso-bidi-font-style: normal;">respond</i>
to curricular content; they need to subject it to <i style="mso-bidi-font-style: normal;">play</i>, improvisation, and experimentation.<o:p></o:p></span></div>
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<a href="https://1.bp.blogspot.com/-1Enp4I4IyqM/WSX3uW0LuTI/AAAAAAAABKU/Wx08prRMbNwp_VRywHcwHPWhjuAnPAuggCLcB/s1600/Screen%2BShot%2B2017-05-24%2Bat%2B4.07.08%2BPM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="251" data-original-width="304" src="https://1.bp.blogspot.com/-1Enp4I4IyqM/WSX3uW0LuTI/AAAAAAAABKU/Wx08prRMbNwp_VRywHcwHPWhjuAnPAuggCLcB/s1600/Screen%2BShot%2B2017-05-24%2Bat%2B4.07.08%2BPM.png" /></span></a><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: inherit; font-size: small;">Galloway, in the work cited above, makes a pretty convincing case that video games are the medium <i style="mso-bidi-font-style: normal;">par
excellence</i> for the shifts in culture being described by Nealon, in his book,
<i style="mso-bidi-font-style: normal;">Post-postmodernism, Or, the Cultural
Logic of Just-In-Time Capitalism</i> (Stanford University Press 2012). With
this in mind, I recognized what a drag Dickens’s novel had become for my
recent students, which inspired me to try something new: a gamified,
choose-your-own-adventure learning journey that focused on Dickens's novel. This time around, I wanted students to have more choice, ownership, and a greater sense of
mastery, while increasing their levels of engagement with a challenging,
canonical text. I wanted it to be a worthwhile goal for a 21st century
teenager. To do that, I had to invite the students into the world of the novel
(<i style="mso-bidi-font-style: normal;">as a character!</i>), as well as involve
them in the process of mapping their personalized learning. Students needed to be less passive and more active when it came to the domain of setting their learning goals.
As Alexander Galloway puts it, “What used to be primarily the domain of eyes
and looking is now more likely that of muscles and doing, thumbs, to be sure…”
(3). Simply put, the students needed a meaningful (<i>and digital</i>) <i>call to action.</i></span> </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><b>From Postmodernism to Digimodernism</b><o:p></o:p></span></div>
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<a href="https://4.bp.blogspot.com/-xMTGpIG11SA/WSX3qSEvOPI/AAAAAAAABKM/P9B2qGrpBcc2hHcMslMCY4TRuHOD4uAOgCEw/s1600/Screen%2BShot%2B2017-05-24%2Bat%2B4.06.32%2BPM.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="509" data-original-width="456" height="320" src="https://4.bp.blogspot.com/-xMTGpIG11SA/WSX3qSEvOPI/AAAAAAAABKM/P9B2qGrpBcc2hHcMslMCY4TRuHOD4uAOgCEw/s320/Screen%2BShot%2B2017-05-24%2Bat%2B4.06.32%2BPM.png" width="286" /></span></a><span style="font-family: "times" , "times new roman" , serif;">Plenty has been written over the past decade about the decline of Postmodernism as a useful framework for understanding our contemporary times (see Jeffrey Nealon, Alan Kirby, Gilles Lipovetsky, & Raoul Eshelman). Alan Kirby employs the nomenclature, <i>Digimodernism</i>, to distinguish our time period's differences from the classic notion of Postmodernism, which he does by emphasizing both the manual and technological nature of human culture in the 21st century. He writes, “Postmodernism ‘is essentially a visual culture,’ but… Digimodernism favors the optical only in conjunction with the manual/digital… [T]he figure of the computer game player, fingers and thumbs frenetically pushing on the keypad so as to shift a persona through a developing, mutating narrative landscape, engaging with a textuality that s/he physically brings – to a degree – into existence,…” (166, 168). If Postmodernism was a culture of “overcoding” (as Fredric Jameson would put it) where we as recipients have the task of interpreting the layers of meaning, then Digimodernism expands a person’s horizons of possibility to include paths of action for manipulating the code in play. And this is the challenge when having students encounter an older text like Dickens’s <i>Hard Times</i>: How do we bring the experiences of their Digimodernist worldhood to scenarios that involve mostly traditional curricular content? In my case, the answer was to reorganize the curricular experience by gamifying it, both in terms of structure and content.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><b>Gamification</b></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">I believe that, whatever the experience we create or design as teachers, students have to be a participatory <i>player</i> whose actions have impact upon the process when it comes to planning and mapping the learning. Gamification, in this case, provided opportunities for students to manipulate, differentiate, and hack the process in 2 distinct ways - namely, in terms of the project's structure and in terms of its content:</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">1. Structural Elements of Gamification (what Alexander Galloway calls "Non-Diegetic elements"): XP grading, Self-pacing, Choice & Nonlinearity, Leveling up & Mastery, Failure meaning "try again"</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">2. Content Elements of Gamification (what Galloway calls "Diegetic elements"): Avatars/Player-characters, Game narrative, etc.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Karl Kapp, in his article "<a href="http://karlkapp.com/two-types-of-gamification/" target="_blank">Two Types of #Gamification</a>," defines the two above categories as follows:</span><br />
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<i><b>Structural Gamification</b> is the application of game-elements to propel a learner through content with no alteration or changes to the content itself. The content does not become game-like, only the structure around the content. The primary focus behind this type of gamification is to motivate the learner to go through the content and to engage them in the process of learning through rewards. <br /><br /><b> Content Gamification</b> is the application of game elements and game thinking to alter content to make it more game-like. For example, adding story elements to a compliance course or starting a course with a challenge instead of a list of objectives are both methods of content gamification. </i><br />
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<span style="font-family: "times" , "times new roman" , serif;">In previous posts, I've sung the praises of <i>structurally</i> gamifying one's course (go <a href="http://edu-scenius.blogspot.com/2015/02/how-innovate-english-class-flip-gamify.html" target="_blank">here</a> and <a href="http://edu-scenius.blogspot.com/2015/03/a-teachers-reflection-on-student.html" target="_blank">here</a>), but what really gets me excited lately is what <i>Content Gamification</i> can add to a student's learning experience. Students live in an action-based world that is full of opportunities to manipulate its contents, and I believe <i>Content Gamification</i> can be a way to invite students into the worldhood of what they're being asked to study, such that they interact with, alter, and manipulate the curricular material in question. (A big shout out to <a href="https://twitter.com/GaryNied" target="_blank">Gary Nied</a> at Cistercian for getting me to think about this; he does similar work with his students at Cistercian.)</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">So this is where I started when designing the <i>Hard Times </i>game I called "Adventures in Coketown" (<i>yes, the students snickered when they heard the game title...</i>). Just like I've done in the past, I structurally gamified the unit, which could be summed up by game's following rules:</span><br />
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;">Grading will be different: You do not start with 100% average; instead, everyone begins with ZERO XP points.</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">There are no due dates for particular assignments; instead, you have 6 weeks to earn as many XP points as you can.</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">There are 5 levels, and you have access to level one. Earn XP points to level up and beat the game.</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Each assignment is worth a certain amount of XP points. To earn the points, you must master the assignment (no mistakes); there is no partial credit. You may try to master an assignment as many times as it takes. Failure simply means try again.</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">There is no 1 way to earn an A; one simply needs to earn enough XP points at the end of the 6 week unit.</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">There are smaller, "grind" assignments that you may complete anytime to earn more points</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Each level also has certain required assignments that must be completed to make it to the next level.</span></li>
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<span style="font-family: "times" , "times new roman" , serif;">In terms of embedding skills and content into the scaled levels, it looked something like this:</span><br />
<ul>
<li><span style="font-family: "times" , "times new roman" , serif;">Level Zero: Introducing Dickens, Industrial Revolution, and other key concepts; Practicing research & documentation</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Level One: Chapters 1-9 of Book 1st; Practicing character and theme analysis; Body paragraph composition; Expanding vocabulary</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Level Two: Chapters 10-16 of Book 1st; Practicing character and theme analysis; Body paragraph composition; Expanding vocabulary</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Level Three: Chapters 1-6 of Book 2nd; Practicing character and theme analysis; Thesis statement composition; Expanding vocabulary</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Level Four: Chapters 7-12 of Book 2nd; Practicing style analysis; Defining and learning literary terms & devices</span></li>
<li><span style="font-family: "times" , "times new roman" , serif;">Level Five: All chapters of Book 3rd; Practicing style analysis; Constructing argument (logos, pathos, ethos); Practicing empathy; Evaluating theme and character </span></li>
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<span style="font-family: "times" , "times new roman" , serif;">The major development for me, however, was writing a "game narrative" and inviting the students to become a character in the world of the novel. The basic premise went something like this: </span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><i>Y</i><i>ou are a French sociologist who recently graduated from the École Polytechnique where you studied under the famous Positivist, August Comte. Your career's research thus far focused on one important question: What is the secret to human happiness? And you've been researching societies in the northern region of France where there has been a tremendous amount of social change due to the developments of the Industrial Revolution. However, you soon find out that your former professor has mysteriously disappeared, and you suspect that it has something to do with the secret war that's been spreading across Europe, battling for the hearts and minds of all citizens, namely the war between the Friends of Fancy and the Philosophes of Fact. Finally, the conflict arrives at your front doorstep in Nancy, France when you receive a cryptic telegram asking you to travel to Coketown in northern England to help "a friend in need." Of course, you agree to go as it will afford you the chance to study England's industrial transformation as well as opportunities to meet the likes of Friedrich Engels and John Stuart Mill. Thus begins your journey called "Adventures in Coketown."</i></span><br />
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<a href="https://3.bp.blogspot.com/-MloWSBz7erk/WSbrcaIBovI/AAAAAAAABKs/yXnaYjCwpIYdFp8dQ8vhKNKxM_I18_j7wCLcB/s1600/Screen%2BShot%2B2017-05-25%2Bat%2B9.33.28%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="444" data-original-width="1083" height="162" src="https://3.bp.blogspot.com/-MloWSBz7erk/WSbrcaIBovI/AAAAAAAABKs/yXnaYjCwpIYdFp8dQ8vhKNKxM_I18_j7wCLcB/s400/Screen%2BShot%2B2017-05-25%2Bat%2B9.33.28%2BAM.png" width="400" /></span></a></div>
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<span style="font-family: "times" , "times new roman" , serif;">I was afraid that high schoolers would find the idea to be a bit hokey, but instead, they totally bought in. Students only had to reach 300XP to make an A+, but many of them went way beyond that threshold, just so they could see how the story ends. Making them a character and having them interact with personalities and events in the novel directly improved students' creative and critical thinking skills when performing literary analysis. Of course, the structural elements contributed to this as well because grading was affirmation-based, making failure something that no longer needed to be feared. Students had a significant amount of choice as well both in terms of the game narrative and in terms of setting deadlines and selecting assignments. <i>It was a huge success!</i></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">In a few days, I'll be publishing the 2nd part of this post as I'd like to share more details about the actual unit and provide some essential questions for anyone who might want to design a similar gamified module. In the meantime, I've provided some links below for those who'd like to explore "Adventures in Coketown" in more detail:</span><br />
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<a href="https://docs.google.com/document/d/11CBqfIt5bgSsK-00ryCySkAPuf6TM-Fapu_M6-kG9ds/edit?usp=sharing" target="_blank"><span style="font-family: "times" , "times new roman" , serif;">Adventures in Coketown - Spring 2017</span></a><br />
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<a href="https://docs.google.com/a/oakridgeowls.net/document/d/1KjNCARuFrD4QSjxRDV4R4AfM92AXGCsgl9JXqZnXxyY/edit?usp=sharing" target="_blank"><span style="font-family: "times" , "times new roman" , serif;">Gamification: The Basics (a resource)</span></a><br />
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<a href="https://docs.google.com/presentation/d/1za_WVAkmH4AEBItP_ux-G0VisFC4tb76sfSgfwgK0XI/edit?usp=sharing" target="_blank"><span style="font-family: "times" , "times new roman" , serif;">Gamification Google Slide Show from ATLIS 2017</span></a><br />
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<a href="https://sites.google.com/a/oakridgeowls.net/session-resources-for-lli2016---the-oakridge-school/pwning-the-humanities-gamification-in-the-classroom" target="_blank"><span style="font-family: "times" , "times new roman" , serif;">Here's a link to resources for a Gamified Macbeth Unit</span></a><br />
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<a href="http://edu-scenius.blogspot.com/2015/02/how-innovate-english-class-flip-gamify.html" target="_blank"><span style="font-family: "times" , "times new roman" , serif;">Previous Post on Gamification</span></a><br />
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<a href="http://edu-scenius.blogspot.com/2015/03/a-teachers-reflection-on-student.html" target="_blank"><span style="font-family: "times" , "times new roman" , serif;">Another Previous Post on Gamification</span></a><br />
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<span style="font-family: "times" , "times new roman" , serif;"><u>Works Cited:</u></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Galloway, Alexander. <i>Gaming: Essays on Algorithmic Culture</i>. University of Minnesota, 2006.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Kapp, Karl. "Two Types of #Gamification." <span style="color: #01afd1; vertical-align: baseline; white-space: pre-wrap;"><a href="http://karlkapp.com/two-types-of-gamification/" style="text-decoration-line: none;">http://karlkapp.com/two-types-of-gamification/</a></span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Kirby, Alan. <i>Digimodernism: How New Technologies Dismantle the Postmodern and Reconfigure Our Culture</i>. Continuum, 2009.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Lang, James M. "The Distracted Classroom." <i>The Chronicle of Higher Education</i>. 13 March 2017. <a href="http://www.chronicle.com/article/The-Distracted-Classroom/239446">http://www.chronicle.com/article/The-Distracted-Classroom/239446</a></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Nealon, Jeffrey T. <i>Post-postmodernism, Or, the Cultural Logic of Just-In-Time Capitalism</i>. Stanford University, 2012.</span><br />
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