The Yin of AI in Education

 

Last Friday I had the chance to be part of a panel on AI at the Carson Center for Emerging Media Arts as part of a larger symposium (more here). It was a great event and I leaned a lot from the main speakers. After the morning speakers set a somewhat somber tone for the potential outcomes we were asked to try and present some of the positive outcomes that might emerge from AI (not just generative) in our respective fields.

I brought up three possible contributions to education:

1. Making teachers' lives easier. Easing the pressure on teachers by providing strategies that help reduce workload in non-instructional tasks such as assessment scoring, planning, letter and parent newsletter writing, etc. This does not replace the need to actually reduce the workload by shifting demands but augments it in ways that will free teachers to focus on what they do best—teaching students.

2. Creating differentiated plans. While curriculum authors and teacher education provide many ideas about how to differentiate instruction, the workload to differentiate instruction for every relevant lesson can be quite significant depending on class size and variability. An AI that can learn from assessment and teacher planning can become an excellent companion, allowing for robustly differentiated instruction with a record that can potentially move with students to subsequent grades or new educational environments (for example, mobility between schools). 

3. Tutoring students and supporting less qualified teachers. The Global South has been experiencing teacher shortages in rural areas, and these shortages are expanding worldwide. Tailored AI can support less qualified teachers and tutor students. While this situation is less than ideal, AI can fill in the gaps until we can create better systems to support teaching.

For these to be successful, school systems must be able to create sequestered, safe instances of AI that can be tailored and protective of student, family, and teacher data. Without such instances, schools should not use AI systems in any way that has access to student data. The goal for researchers should, therefore, be creating these instances through specialized API and examining its impact on teachers and students.

Exhibitions and Celebrations of Learning

One of the elements of the Art TEAMS approach is for each learning cycle to end in an exhibition (or celebration) of learning. The exhibition of learning is an opportunity for the learning community to celebrate achievement get positive feedback, and encourage students to start thinking about their development in thinking and making. I recently visited one of our schools, exploring how exhibitions of learning worked in an elementary classroom. 

The teacher organized the tables in a circle (in a tight space, I might add). Each student organized the products they wanted to display across their desk. Some chose EVERYTHING and had very little space, others chose their favorite exemplars, and finally, one innovative student had many learning artifacts but chose to include an arrow pointing to her favorite artifact saying: "You have to read THIS!" 

All students had a stack of feedback notes and went around the room examining other students learning artifacts and leaving positive feedback based on sentence frames projected on the board. 

A debrief after such an event can help students process a portfolio approach and consider what is the most effective approach, not just as the creator but also as the consumer. 

The exhibition of learning gives the students sense of accomplishment and motivation. It can be a great source of metacognition as well. The same can be said for the teacher, a look at the variety and creativity gives the teacher a sense of accomplishment but also a tool to reflect on what could be better next time and what missed opportunities can be seized on in the next inquiry cycle or in subsequent years. 

As an observer in the classroom, the excitement and pride of the students were palpable. Students were smiling, engaged, and proud. I highly recommend creating these moments for students and bringing in administrators and, when possible, parents and guardians to celebrate reaching complex learning goals.

Art TEAMs is made possible a grant from the US Department of Education and by the emergent, collaborative interactions between many individuals. A deep gratitude is extended to all who participated in the experience of teaching (and learning) with emerging media and arts, including teachers (Sarah Holz, Kate Gracie, Maggie Elsner, Matt Auch Moedy, Sarah Gabelhouse, Amy Spilker, Megan Pitrat, Andrew (Mark) James, Jessi Wiltshire, Jessica Davis, Ryan Margheim, Sarah Kroenke, Katie Samson, Melissa Sellers, Casey Sorenson) for embracing ambiguity and vulnerability and expanding into new ways of seeing; administrators (Dr. Lynn Fuller) for holding space and having conversations about new ideas; museum educators (Laura Huntimer) for offering valuable educational resources; teaching artists (Cayleen Green, Fernando Montejano, Angel Geller, and Isabella Meier) for sharing their creative processes; the advisory board (Megan Elliott, Dr. Jorge Lucero, and Dr. Diana Cornejo-Sanchez) for shepherding the design and development of the program; and the research team (HyeonJin Yoon, Carrie Bohmer, Maggie Bertsche, Lorinda Rice, Mackayla Kelsey, Dr. Guy Trainin, Gretchen Larsen, Joelle Tangen, and Kimberley D’Adamo) for weaving together the many pedagogic and curricular threads of a complex tapestry. 

High Quality Materials and Teacher Learning

 The Nebraska Department of Education invited me to the IMPD network conference. I am always happy to participate and see if I can learn and contribute. At the same time, I have to admit that I am somewhat skeptical. I do not doubt that high-quality materials are helpful and more useful than low-quality materials. However, I think about it in an 80/20 split. High-quality materials will contribute to better instruction, but that represents a contribution of about 20% of total improvement. The 80% is in teacher professional learning and development that will raise efficacy and skill. 

The upside of High-Quality materials includes teacher confidence in the curriculum and reducing the need to scrounge for resources late at night. This confidence reduces the pressure on teachers' out-of-school time and gives breathing room for thinking about differentiation and accommodation of different learners. From an information processing perspective, we are reducing teacher cognitive load to enable more effective instructional procedures. 

From this perspective, High-quality materials are a no-brainer; bring it on, and engage with the process. Let's do it! The challenge, however, can be articulated at the individual teacher and system levels.

The cognitive load question can play an opposite role at the individual teacher level. A teacher is using a familiar curriculum is able to be creative around it and differentiate for her students. The familiarity reduces the load, an effect I have seen in reverse every time a district adapts a new curriculum. As a teacher educator, I have placed students in classrooms every semester for the past 20 years. Every time our district decides on a new reading curriculum, teachers reduce the number of preservice teachers they will host, disallow any creative deviation from the curriculum, and be fairly stressed. After about two years, the familiarity once again allows for more adaptation. So the question becomes, does the new curriculum adapted is such an improvement on the old one that it justifies the change. If you accept the 80/20 idea, the bar for improvement is quite high. This effect can be mitigated if you use curriculum change for significant professional learning. Then it becomes a leverage point for growth.

This is when the systemic effect presents with a second challenge; since schools invest significant attention into the process and money into materials, little is left for meaningful professional learning. The danger is that by the time materials are selected, bought, and introduced, everyone is exhausted and does not pay attention to the professional learning required to make it work. The calls for fidelity and making sure spending is justified clash with the individual needs of teachers and students. Moreover, school administration often projects implicitly or explicitly a conformity message that constrains teachers from acting in their best professional judgment.

In the context of our professional learning in Art TEAMS,
we are working very much on the 80% side of teacher professional learning. We acknowledge curriculum and work with teachers to develop ways to differentiate and deepen using metacognitive strategies (such as the creative inquiry process (Marshall and D'Adamo, 2011)) pedagogic moves, and collaborative learning opportunities. It would be interesting to see how teachers change their use of the strategies as the curriculum shifts.

Eco-Learning Literacy and Art

 At the Literacy Research Association meeting in Arizona, I attended a session on Climate Justice (ecology and literacy). A few weeks later, I am spending time with colleagues Kimberley D'Adamo and Laurie Rich, imagining how we can support educators in fostering processing climate learning through art making. the most visible part of the work is the website Art/Act: Educate. This website includes a collection of artists creating environmental art that is attentive to both local conditions and the overall ecological challenge.

One such artist is the indefatigable Leah Wilson, whose amazing work spans many visual approaches and ecosystems.  We are dreaming of supporting educators (in the broadest sense possible) interested in developing art projects addressing environmental concerns and celebrations. Our goal is to increase environmental awareness and give rise to two generations. The first is a generation of educators who help students process the challenge productively and innovatively. The second is creating a generation of youth better equipped to face environmental concerns through art and a deeper understanding of science and the human impact of the challenge we face as a species.

Art TEAMS Successes and Lessons in Year 1

 Many teachers have shared that the program is helping them reconnect to teaching, combat burnout, and feel rejuvenated.  In their feedback and reflections, they attribute this to:

● The careful creation of a strong sense of community and trust

● Responsive curriculum design and feeling heard

● Slowness and airiness-a focus on depth rather than breadth, iteration, spiraling curriculum, and being given time for deep thinking and making

● The mantra “Completion is not the goal” (Lucero)

● Movement segments & reconnecting to their bodies as instruments for learning

Movement and reflection: Teacher participants, Team members, and Advisory Board members expressed the necessity of movement and reflection as the key to processing in their learning experiences and communicated a desire to continue movement and reflective practices. One teacher noted, “the movement piece was absolutely essential to connecting all of this together,” while several others shared the impact of having “more time for reflection” and “reflection times” provided opportunities to slow down and process.   

Challenges in project implementation and lessons for moving forward

Keeping teaching artists engaged 

Teaching Artists were engaged during the concentrated summer workshops. During the academic year, their participation dropped off and was considerably more limited. We are working with our artists, board members and the art community to think about ways to productively engage artists throughout the life of the grant.

Recruiting administrators 

In the post-COVID educational environment, it was hard for administrators to commit large chunks of time. As a result, we inverted the relationship and reached out individually to spend time with each administrator in a time they could find. We used our flexibility to compensate for Administrators' rigid schedules.

Grace

After the last two years of teaching during the Pandemic and Racial Reckoning, educators expressed exhaustion, and some were thinking of a career change. The Curriculum we constructed and adjusted took that reality into account, providing choice and “airiness”. As a result, teachers became more motivated and thought less about a career change. The grant had a significant positive impact on well-being and willingness to continue teaching. We will continue to reduce the number of transitions and give more time for the application of content, to expand the amount of time on the task.

What contributions the project has made to research, knowledge, practice, and/or policy. 

The project is in its first year, and we have limited contributions so far:

Conducting a thematic analysis of post-workshop comments, we uncovered four key themes that were identified, including 1) Movement and Reflection, 2) Collaborative Community, 3) Studio Access and Tool Time, and 4) Curricular Revision and Classroom Implementation.  

Movement and Reflection  

Several teacher participants expressed the necessity of both movement and reflection as modes of pausing and processing in their learning experiences and communicated a desire to continue movement and reflective practices. 

Collaborative Community   

Teachers also indicated the benefit of building and maintaining a supportive network through collaboration, specifically through conversation, observing each other’s work, and developing relationships. 

Studio Access and Tool Time  

Teachers shared continued excitement about the development of EMA projects and learning about tools to continue materializing projects. 

Curricular Revision and Classroom Implementation  

Teacher participants revealed a need for increased time with TFU (Teaching for Understanding), classroom implementation, curricular revision, and focusing on subject content. 

Acknowledgments:

Art TEAMs is made possible by the emergent, collaborative interactions between many individuals. A deep gratitude is extended to all who participated in the experience of teaching (and learning) with emerging media and arts, including teachers (Matt Auch-Moedy, Jessica Davis, Maggie Elsner, Sarah Gabelhouse, Kate Gracie, , Sarah Holz, Mark James, Sarah Kroenke, Ryan Margheim, Megan Pitrat, Katie Samson, Melissa Sellers, Amy Spilker, and Jessi Wiltshire,) for embracing ambiguity and vulnerability and expanding into new ways of seeing; administrators (Dr. Lynn Fuller) for holding space and having conversations about new ideas; museum educators (Laura Huntimer) for offering valuable educational resources; teaching artists (Cayleen Greene, Fernando Montejano, Angel Geller, and Isabella Meier) for sharing their creative processes; the advisory board (Megan Elliot, Dr. Jorge Lucero, and Dr. Diana Cornejo-Sanchez) for shepherding the design and development of the program; and the research team (Kimberley D’Adamo, Lorinda Rice, Guy Trainin, HyeonJin Yoon, and Maggie Bertsche, Carrie Bohmer, Mackayla Kelsey, and Gretchen Larsen) for weaving together the many pedagogic and curricular threads of a complex tapestry.  

Schools as a Malleable Material

 The Art TEAMS project has an exceptional advisory council. This group of professionals includes Diana Cornejo-Sanchez, Megan Elliott, and Jorge Lucero. This group of thinkers and doers stretches our thinking and brings joy and engagement into our work. A key moment for me was when Jorge Lucero challenged us to think about school as a malleable material. 

Jorge Lucero (Photo from Engage Art)

What I say from this point forward is my interpretation of the topic inspired by Jorge but the responsibility for any mistake is mine alone. If you think like an artist, the world around us is filled with materials that we can shape to make art. Thinking like an artist helps think about the world as a material that can be shaped, rejecting the notion that the material should be accepted as is. We tend to regard schools and schooling as rigid structures that need to be abided to (especially for teachers and students) or completely reformed or even replaced (policymakers). But what if the best approach is to think about schools as malleable and set on a journey to discover how and where we can shape that malleability to create something new and beautiful.

This is exactly the role we see for Art TEAMS. While we explore using art and creativity to transform learning in classrooms, we are also seeking to start teasing out how to find malleability and push its boundaries to create better classrooms that will be culturally responsive, opening new futures and experiences for all students and their teachers.

In our work with teachers this summer, we came up with some ideas about how schools can be malleable. So I am sharing this list with you as a way to start a discussion.

1. Designing the building. While not a daily occurrence, schools do renovate and sometimes build new schools. This is a golden opportunity to rethink the design of the school and create new affordances for learning. The Pegasus Bay story is such an example.

2. Schedules: Time is a great material that allows new things to happen. Changing schedules by creating longer learning periods or conversely dedicating a few weeks to exploration are great ways to create opportunities for change and deep and self-guided learning. Even adding a few minutes of movement every day could be transformative.

3. Changing mindset- a focus on a growth perspective for teachers and learners can transform the way we think about the way we teach, assess, and provide feedback.

4. People: the way we team, support each other, and leverage student strengths can help create a more vibrant and healthy.

I am including our original whiteboard ideation board and promise to keep exploring and writing about these ideas.

Teaching Fast and Slow Lessons from Art TEAMS Weekend

 This week the Art TEAMS teams got together again to start our Fall activities. We had a joyous day reconnecting and discussing the work we have started doing with our students based on the summer courses. The meeting has taught me a few lessons that will sit with us as we plan the interactions throughout the semester.

Lesson 1:

The impact of deep learning in the summer has already created impact on classrooms. Many of the teachers have reported implementing the Creative Research Journals and even starting the Inquiry Cycle. While it is hard to attribute the implementation to a specific cause. I believe that it was the mix of highly motivated teachers and the powerful learning we had in the summer.

Lesson 2:

Movement is still magic. We started the day with movement, and the teachers are hungry for more movement that is applicable for the classroom. We can make a real difference if we help teachers figure out this part of their work.

Lesson 3:

We always try to teach too much. We have provided our teachers with many tools. Now is the time to create more "air" in the curriculum and make sure teachers have enough time to share their work, plan next steps, and think deeply.

Finally a personal lesson from my reflection about the EMA project led by the Fabulous Gretchen Larsen.

When ideating, go slow and make sure that you spend enough time thinking about the centrality of your idea and my real commitment to it. I have moved too fast to really evaluate my commitment to the purpose of the design. Now I am slowing down and evaluating my project in early iteration. More soon!

On Listening

 

I am about to start my Fall semester. As I plan my interactions with my students, I am challenging myself to examine the practices we used in Art TEAMS this summer and see which of those would fit into my class. The first that sprang into my mind as I was planning the details of the work tomorrow was the use of active listening. In the picture to the right are two of our teaching artists from the summer, Caileen, and Fernando. While they both brought expertise, they also spent a significant amount of time listening. At the end of the second week, Fernando shared a powerful spoken word poem that showed how much he listened. His poem described his understanding of the teacher experience. His poem showed how powerful listening can be in understanding your fellow humans. Hence, in my class this semester I aim to enhance democratic practices with the practice of careful listening. Starting tomorrow, we will take time to make sure that we all learn to provide some space for each other to express ourselves without interruption. 

Individual listening is an addition to the practice of opening circle in which everyone listens ad everyone speaks (in turn). 

If many quote "Be the change you want to see in the worlds" - yes I know there are multiple versions of this sentence and an argument about who originated it. For teacher educators, however, it is also "Model the change you want to see in the world".

It is a new semester, another opportunity to practice and model what we preach.

I am still learning

 Our two weeks of intensive summer work have ended. It is early to talk about results but I can reflect on what I have learned. In the past two weeks, I have been fully immersed with our participants, occasionally I led discussions and activities the rest of the time I split between being a catalyst for discussions sparking directions and ideas, and participating. I was a learner, artist, and curriculum designer. I reflected on my teaching and made plans to do better.

I rediscovered the joy of learning with experienced yet eager professionals. I have learned earnestness, patience, technique, vulnerability, and the joy of movement to name a few. I have been in higher education for close to 25 years and have not had (or allowed myself to have) a professional development that I embraced as thoroughly as I did in Art TEAMS. 

I will try to name a few specific lessons:

1. Movement in magic- Sir Ken Robinson said in his famous Ted Talk Do Schools kill creativity? that education thinks only from the shoulders up. I agreed with his argument but as a university head-first person assumed that it was only marginally true for me. I agreed with his example that some people are dancers and should have the opportunity to move and express themselves. What I missed was that we are all dancers moving through the world (some like me more goofily), and that we can all benefit from movement (thank you Maggie).

2. Trust is everything- This is something I often discuss in my teaching but this time I felt the impact of trust (and the breaking of trust) on me and the teachers around me. With trust, our fight or flight instincts do not emerge immediately when confronting something difficult and uncomfortable. I can say more but I would like to wait for our research to shed some light.

3. Playfulness is learning- During the two weeks, I created art in what can only be described as playful ways. I used different materials approaches and media to mixed results. I failed spectacularly and shared my failures with as many people as possible. Yes, I aimed to model learning behavior but mostly through "forgetting" and letting myself just be in the creative moment. As a result, I learned a lot (still processing) and got a lot braver about sharing my work and sharing myself.

 4. Emerging Media arts emerged- I have been worried that we did not infuse enough emerging media arts into the work. We decided to wait on digital tools and just occasionally included tools to bring forward the work into the realm of emerging media arts. Despite this "low infusion" approach the final projects and reflections included many products that included emerging media arts. Moreover, now the teachers are ready for a bigger taste of emerging media and eager to integrate.

In the coming months, I will add some more but this is where I am now, exhausted, satisfied, and eager to continue!

Art TEAMS is off to a Great Start

 

This week we finally started our Art TEAMS grant with teachers. The project is developing self-driven creative learners who connect disciplines using arts and emerging media as a language to engage and organize knowledge and life experiences.

We will accomplish this by developing, implementing, and evaluating a professional development program for K-12 art educators, generalist teachers, principals, teaching artists, and museum educators.

This week was our first with this great crew of educators. In this professional learning opportunity, we have been careful to design a program that respects the strengths of all the participants and positions everyone as a participant and co-leader. I have to admit that I have not created this much physical representation of learning since my Graduate school days at UCR, nor have I created this much art since my elementary school days. I have found the interactions and the learning powerful, and I believe we are on our way to creating a powerful model that will provide an avenue for innovation. 

Reflecting on this week, my lessons are:

1. We all require protected time to make leaps in our practice and transform our approach. I do know that summer workshops transformation is hard to bring back into the classroom, and thus we will continue to support and work with our team of educators for the next two years.

2. Art is fun even for those with a limited artistic ability (me). You just have to let go and be playful. 

3. Exploring the affordances of materials and discovering their malleability is a truly engaging endeavor.

4. Movement. Movement is magical; in many ways, it is a discovery for me, a discovery that makes me dance with joy. 

Finally, I want to reflect on a moment of pride. In this grant, we insisted on supporting local Nebraska artists. We have found four unique and outstanding artists. I will talk about each of them in a different post but for now suffice to say that I have had a glorious week, and I cannot wait for next week to continue the work.

Finding my way around Fargo North Dakota and other Metacognitive tasks

 This weekend I went to Fargo, North Dakota for an athletic event. Navigating a new city is always a challenge, and I started by activating Google Maps to get everywhere in town. I quickly found out that relying on google maps without any idea about the general direction was a disorienting and challenging experience. 

I ended up looking at the routes for destinations in town before I started every drive. In this way, planning made me more certain of where I was going and less dependent on the device as the sole (and not always most efficient) guide. In the work we are planning to do in the next five years, our Art TEAMS project, we have been discussing sketchbooks as a metacognitive scaffold. It is a way to represent inquiry in a layered visual form opening up eyes to connections and insights. This weekend's experience opened up a different avenue of metacognition that I have not considered in the context of our current study. That is the use of planning and directionality to illuminate the initial experience and ensure that we have enough of a scaffold to begin, so we (and our teachers) do not feel disoriented. 

I find that planning is often missing in students' work. They write an essay, code a program, or create n art product with very little planning. The lack of planning often adds to resistance to editing and revision, which are the keys to moving from a fail to a win. It is hard to get our students to plan, but it is perhaps the most important metacognitive skill that we can teach. Make a plan, execute, iterate, and then reflect. But it all starts with a plan.

The workweek then had a significant planning session led by Kimberley D'Adamo. it was a gratifying experience to start charting the path we want to walk, making sure we feel like we know where we are going and having a reasonable plan to get there. 

Skill, Digital Creation and memory

 

I have always thought digital creation as a potential shortcut to help creators leapfrog traditional barriers created by skill. The core idea is that software, such as iMovie, Adobe apps, can help individuals be creative with a low skill threshold. I am attempting to do exactly that on my iPad. However, I am still struggling with results finding myself repeatedly reaching out to physical materials and their subsequent digital manipulation with existing media. 

This idea of new boundaries of creativity allows me to rethink about affordances of the latest technologies and my skills within them. The images I collect and create are reorganized and even layered in ways that rephrase the bluntness of my message. For example, in the image to the right, I started reflecting in writing about my relationship with scraps of paper as ephemeral representations of my life. Messages to self, lists of steps, ideas, doodles, and even notes about what I will say next in my meeting. All of these I throw away with glee once I dem them unuseful or past expiration date. For the first time, I tried to reflect on why I may feel this way? I have so much joy in presenting a clean slate and reinventing myself. One of the reviewers for my promotion file asked (and I am paraphrasing), "Who is this Guy?" 

For someone who has stayed put for 20 years in the same place and job, I seem to be constantly reinventing myself, perhaps pathologically so. Maybe that is why I find the internet's inability to forget us and the things we have done so frightening. My current interpretation is that it links up with the multigenerational experiences of repeated migration. And as usual still processing. 

Clean Your Windows so you can see the fireflies

 I am continuing my journaling journey. This week I started thinking about my learning for the week while cleaning the windows in my living room. One of my sons came in and asked: Don't you have people that do that? Yes, I answered: but I love cleaning the windows occasionally. I get so used to the dirty-ish window that I stop noticing it. I sit in the chair and look outside, accepting the dirty window as part of the view. I literally forget that it is just a distortion that I have some power over and that I can remove. 

As I was cleaning, I realized that it was an interesting metaphor that calls on me as a researcher to stop, slow down, and examine what in my process of looking at the world needs cleaning. Is the distortion I see a result of dirt/noise in my control? This can go to weak beliefs and theories that stop me from seeing clearly. It can be unrelated (yet powerful) emotion or just constant activity that prevents me from realizing what I need to be paying attention to.

This may also be true of the devices and apps we use to see the world, algorithms, scanning, and attentional processes obscure what there is to see. Once in a while, we need to stop and clean our windows making sure that we are doing our best to see what is out there. Making what we are seeing is not just the distortion on our window.

This is my Journal page, I noticed that my processing has many more questions than answers or solutions. It could very well be that many of the questions are the ways I am scaffolding my process, or it could be that this early in the research into Art TEAMS, there are questions with answers pending. Leading to one of the only declarations: I have more questions than answers.

I am still leaning on the firefly metaphor. Systemic change is tough, and most of the time, efforts to innovate and make change are limited to our immediate environment. The light fireflies make is the light of individual change agents. While making the world better for others (very few for a short time), we are also looking for others like us to collaborate with us. 

In many ways, the grant is trying to help new fireflies increase their signal, find their light, and join the other fireflies. Yes, there is a slight chance of systemic change, but even if that does not happen, we change ourselves and the lives of our students. The role of projects and universities is to create communities of fireflies. Places where they are safe, cherished and supported, so they can continue.

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So I went to NAEA for the first time

The National Art Education Association meeting was in New York City this spring. Despite many years of being involved in arts integration, I have never had the opportunity to go. This year after our grant application for Art TEAMS was funded Was a great opportunity to go.

Notes from the Field- Technology Literacy and Art- Monique's Story

Monique and I go back a long time. She is one of my favorite teachers and one of the most thoughtful educators I have had the pleasure to work with. We have not worked together for quite a while but recently she sent me a short note on her work integrating technology so here it is in her own words (I took the liberty to make small changes for clarity).

Monique writes:

Earlier in the year I tried "tech buddies" -- a sixth-grade class & teacher graciously came to my room and worked with my students (I observed) in doing a little research, and each made a field-to-table Po
wer Point-type thing.   That was great, but a one-and-done experience because I only had access to the iPads for 40 minutes every other week. And I still had those mandatory tests/quizzes to work into my scheduled time!

My latest push of myself to use technology and use it a little more creatively started with a mask-making art project and the desire to get EL (and all kids) talking more in a purposeful way. I remembered that D. (1st grade ArtsLINC teacher) had her students successfully use a program/app called Chatterpix.  I had been introduced to Chatterpix by colleagues in the Nebraska Writing Project years ago,  but it had been shelved in my subconscious until this spring.   I had been talking with D. about iPad management (cart versus a few) and wondered how she did it. She told me how she has a small set of them in her classroom all the time (I  think 6) and teaches the kids how to manage and help one another.  She encouraged me that 'for sure' my second graders could make the masks talk with Chatterpix!  Then she told me how she had them post their work in an online journal called Seesaw.  She was making a believer out of me, but... I still felt like I needed a hand, a push or a kick --so --

I invited her over to our school site to provide an afterschool PD to our volunteer "Art PLC" to instruct us just in Chatterpix and Seesaw. (it was not a course in everything iPad, just two things!) Everyone was invited.  We had half-dozen teachers and our principal even came!    She not only walked us through using the apps but talked realistically about classroom management with young primary students.  She also made me realize I could probably do it with a few iPads and not a cart-full.  

So I checked out one (1) iPad from our principal and started in!   They photographed their mask.  They wrote a script for the speech that their mask would give.  (I had given them directions /ideas based on all the pre-learning before the Mask Making.). Then they recorded it using Chatterpix and uploaded it to their individual spot in our Classroom Journal I had set up on Seesaw.  They accessed Seesaw by using a QR code created by Seesaw when I signed up.  I taught two kids and then they managed the rest of the class!   When it was recording time they gave me a signal, then I just said "quiet on the set" and my class was immediately silent!  (they knew their turn was coming!)

The way Seesaw is set up, the teacher has to approve everything before it's posted, so that came after school.  Then -- my entry into integrating Art, Writing, Speaking, and Technology was successful!!

Seesaw also lets you invite parents to view just their child's portion of our class journal, so I did that and have several parents following their student's work now!  

Beyond this original project, I had kids use just Seesaw to take photos of their art and read what they wrote using the audio recording portion several times.  I video captured them reciting a poem of their choice.  They've given oral bi-weekly book recommendations (written first like a book report) all year, so I had them take a photo of their writing and accompanying art and audio-recorded their "speech."  In all cases, they could re-do if they reviewed-listened and weren't pleased.  

Student Masks (photo by Monique)

In the middle of our second "project", I invited the principal to come and see it in action-- with the kids doing it ALL!   I wanted to thank him for finding an iPad for me (my kids) to use and have available all day, every day.  He was as jazzed as I was.  He also saw that I was able to continue with MY passion of art and literacy integration (speaking, listening, reading, writing) and add technology and parent communication.     Within a few weeks, he asked if he could bring a group of principals into my room to see it in action.   THEN a week later he brought by a School Board member!   It was very affirming.   And even an old teacher like me can do it!

So next year, I'll be starting with Seesaw in the Fall to document & share most (if not all) of our ART & literacy (and social studies & science)  projects!    I'll still hang some on the classroom wall and in the office, but this will reach the parents much more quickly and is accessible to me in places other than my classroom!

Take care!

Monique

Four Reasons to Create a Low Stakes Classroom

© Copyright wfmillar

Toward the end of class on Tuesday, one of my students asked: "we have only one grade on the grade book, is that right?". I stopped for a second, my co-teacher and I have provided individual feedback on assignments to every student and had many other meaningful opportunities to interact and respond informally. At the same time, I had to respond "yes, only one grade." She continued: "I know that you do not care about grades, but we do!"

She is right of course. After so many years of conditioning and signaling through grades, it is unfair of me to expect they will be able to accept this approach. Even more so when they have high stakes in the form of a GPA (for grad school, job search), scholarships and more.

That same evening Justin Olmanson brought up the same feature in a Q & A we both participated in. I have also seen it in many of the classrooms using Minecraft as part of instruction. It seems like we have a much easier time letting go of stakes in informal making tasks (art, shop, Minecraft) than in traditional school ones. So, I wanted to take the opportunity and clarify why I try to create a low-stakes classroom:

1. Honest dialogue. When I ask my students to teach and report about their experiences, I want them to be honest, open, and reflective. Honest dialogue is hard to do in a high-stakes environment. If a successful lesson is a high-stakes yardstick, I am pretty sure that each student would try and spin their lesson in the best possible light (maybe even bend the truth). All their efforts would be to protect themselves instead of reflect on what they learned. In a sense, they would be learning about self-preservation instead of personal growth.

2. Creating cycles of self-improvement. Feedback in a low-stakes environment allows my student to revise and improve their learning products no matter how good they are. High stakes grading shift foci from growth to outside criteria.  A great example is high achieving students who often get very high grades. Once the grades are in they see no reason to go on and improve their performance.

3. Improving performance. There is quite a bit of experimental work showing that high-stakes reduce performance in high cognitive load tasks. At the early stages of their career, my students need to focus on process and procedure as a way to get better.

4. Creativity. Creativity and expertise are closely related. I believe that when expertise level is relatively low, as is the case with students, creativity can happen when the stakes are low as well. In a low-stakes environment failed experiments are acceptable as steps towards expertise and the thrill of creating something new.

Lowering stakes does not mean lowering standards. It means that we allow learners to participate and find their way to reaching and surpassing the standards.

Minecraft, Art, and ADHD

I was recently asked about my experience with students with ADHD. I am always careful talking about disorders. Most of the time such discussions are framed generally but the person asking has a real person in mind, an individual I have not personally met. I find myself asking more questions than providing answers keenly aware of the great variations that are typical in attention-disorders.

As a teacher, researcher, and later as an academic I have worked with students with disabilities and attention disorders for about twenty years. In fact in many ways I myself function often in ways that are similar to those with ADHD- patterns that I seem to have picked up from my students.

When I answer questions about attention disorders we invariably end up discussing the intersection of my two worlds of expertise: education and  technology. Sometimes instead of technology it is art. It almost always goes like this. I am not sure s/he has an attention disorder because when s/he are creating art or interacting with a device, they are entirely focused for extended periods of time. With that focus, they are able to handle frustrations a bit better and persist in their chosen task.

It is not, of course, a sign that the attention deficit (with or without hyperactivity) is gone. Instead, it is the nature of the task itself. Playing Minecraft or drawing supply a rich set of feedback cues that keep attention. Trying to create while regulating the result and making the small adjustments needed to improve seems to draw those with attention problems in and flood them with enough overlapping input that satisfies the need for stimulation. It may very well be that the rich activity helps block irrelevant information that student with attention problems find hard to block when their senses are just marginally engaged (for example during lecture).

If that is true, what is our next step? Gamification may offer part of the answer, art the other. Can we engage all learners and especially those with attention problems with rich, focused overlapping inputs? I believe that rich applications like Minecraft can do it, so can pottery or playing an instrument. These environments have to be carefully thought out, though. For example teaching geometry through painting is the wrong approach because we are trying to achieve a secondary goal through a primary activity. The power of the activity is the overlapping foci. As we disperse the focus, the impact will be significantly reduced.

For such experiences to be effective we need to design immersive experiences carefully, so the focus remains, and we achieve the goals we set for ourselves.

Creativity, Coding, and the Adolescent Mind

Matt asked me this week what I thought about the Hour of Code. I answered honestly that I simply do not think it is enough. He continued to make the point that it was a good introduction, I think I made a face.

The bottom line is that introduction is not enough. My analogy is the arts. In the arts we take students to the museum, we believe that it is important, but it does not constitute a curriculum in the arts. If we look at the analogy of the arts even further it can get even more interesting. As I read some of Austin Kleon this week some of his points resonated with me. Young children will create art without reservation when you ask them or even on their own. Wait a few years, by middle school, they will refuse to create saying something like- "I am not an artist" or "I am not creative". This reaction is not a mistake, it is a natural consequence of creating self-concept in different areas. As students mature and acquire experiences they learn what they are good at and what they are less so. Social comparisons play a big role in this development. So by the time they are in middle school most children develop a sense of what they are good at.

The point here is that if we want students to become coders or artists they need rich experiences of mastery and growth in that domain. If they will have them at the elementary years they will have a much higher chance of having a positive self-concept for art and coding leading to a higher probability they will stay engaged.

Hour of code will not create self-concepts of students as artists nor coders, only making it part of school will!

The third most important reason to integrate art and exlporation in schools- amateurism

Amateur is a word used often as a derogatory term. The professional mutters "amateur!" I would like to suggest that schools need to encourage and value amateurism in art, computers, geography what have you. While I think there are many good reasons for that I want to focus on the third most important.

Many have pointed out that there is a growing divide in employment with a growing number of workers working in service jobs. Would I like it if everyone could work for a high tech company with a six figure salary? Yes! Is that likely to happen? Probably not. So while we try and educate everyone to achieve we must remember that it may not be possible for everyone to have a job they are passionate about and fulfilled by.


This is where amateurism can come into place. Schools can teach individuals to engage in meaningful activities that make them whole even and especially when they are not linked to their job and profession. It can offer meaningful lives for all individuals regardless of employment.

The lesson for me is that life is about more than a job, income, and even vocation. If we want informed capable fulfilled citizenry we need an army of amateurs.


Schools can help by letting students dabble, try, and express themselves through visual art, video, and music. And this is the important part: we should do it with permission to stay happy amateurs.

Almost There- Reading Rainbow and Beyond

A few weeks back I had a chance to hear Dr. Twila Liggett discuss her work in the development of Reading Rainbow. In a wonderful walk down memory lane she described some of the more significant moments in the shows history. She recalled shows about incarcerated parents and a post 9/11 show with students from PS 234 (video below). These are great examples of public television and what it can do to help kids and parents understand the world around them and open up to new ideas, concepts, and events.

Reading Rainbow has since shifted to the iPad in a great App but I would argue that Reading Rainbow and other shows like it (few I admit) are not the format going forward. In this age of interactive cheap media we no longer have to wait for someone else to make shows for us. Any child, teacher, classroom, and school can create their own video, show, or review without needing big budget or complicated equipment. In fact most of us have everything we need in our pocket (smart phone) or at hand (iPad, laptop with webcam).

Liggett remembered these emotional moments and how wonderful it was to be within the doing. All of us can be producing not just consuming. All students can feel the emotional well being of creating together, having an audience, and performing to a potential global audience.

Sir Ken Robinson talked about the incredible feeling of being in the orchestra. The modern tools allow every child to be the star of their local Reading Rainbow like show. In fact maybe the future of such shows is like the present for TED talks with local TEDx. Yes we have the main event, but each school or locality can create their own show in the image of the original.

Dr. Liggett  did not draw that conclusion. To be fair it wasn't that kind of an event, she was asked to talk about the past and that she did. It is up to us to seize these lessons from those who have led ed media in the past and make sense of them for our times.

Reading RainbowX challenge anyone?