Structured Response Protocols

• Provide safety and support

• Honor the work and its creator

• Allow everyone to participate

• Reinforce guidelines for appropriate response

• Help manage time

Jules David Prown approachMaterial culture

Material culture is “the study through artifacts of the beliefs values, ideas, attitudes, and assumptions of a particular community or society at a given time” (Prown. 1982.) Prown states that “objects made or modified by man reflect, consciously or unconsciously, directly or indirectly, the beliefs of individuals who made, commissioned, purchased, or used them, and by extension the beliefs of the larger society to which they belonged.” He has developed a functional classification of the objects of material culture, recognizing objects of art, diversions, adornment, modifications of the landscape, applied (decorative) arts, and devices.

Jules David Prown approachMaterial culture

Functional classification of the objects of material culture:

Objects of art (paintings, drawings, photos sculpture, etc)

Diversions books, toys, games, meals, performances, etc)

Adornment (jewelry, clothing, hairstyles, tatoos, etc)

Modifications of the landscape (architecture, town planning, agriculture, mining etc.)

Applied arts (furniture, receptacles, decorations, etc)

Devices (machines, vehicles, scientific instruments, musical instruments, implements, etc.)

Jules David Prown approachMaterial culture

3 Steps

1. Description

2. Deduction

3. Speculation

Jules David Prown approachMaterial culture

1.Description

Read the physical objectThe internal evidence of the object itselfNo subject assumptions or conclusions

Jules David Prown approachMaterial culture

2. Deduction

Inject self into the investigationThe relationship of the object to the perceiver

What would it be like to interact with the object?Lift, handle, use, experiment, walk through, act out

Jules David Prown approachMaterial culture

3. Speculation

Creative imagining, free associationReview information from steps 1-2 to fuel ideas

Developing theories and questionsDevelop a plan for investigation and validation

Harvard Project Zero

I SEE

I THINK

I WONDER

Jules David Prown approachMaterial culture

3 Steps

1. Description

2. Deduction

3. Speculation

"Photographs furnish instant history, instant sociology, instant participation."

(Susan Sontag On Photography, page 75)

The Reading of Photographs

“As an initial lesson in the use of photographs to teach topics in environmental science, I project digital versions of the historical and contemporary photographic images on a large screen constructed in the classroom for this purpose. I encourage my students to "read" the photographs in a systematic way. We are concerned with the subject matter of the images, the multiple meanings that are carried by the photographs, our perceptions of the photographer's intent in making each image, the scientific content that can be extracted from close examination of the images, and the artistic merits of the photographs.”

The Reading of Photographs

“I identify each photograph with a brief statement about its subject matter. My students then begin an analysis of the photograph as they study its various details. The range and directions taken by student comments are not expected to be predictable in any way, although future use of the same images will enable me in time to construct a body of information that emerges from the perceptions of many students. Each image may require ten or more minutes of projection, particularly the first ones shown. “

The Reading of Photographs

In this classroom activity, my students are asked to compose an essay of at least four pages that addresses the environmental and artistic significance of one of the photographs studied in class. Our school district has placed increased emphasis on reading for information in all subject areas, with district-wide reading assignments being provided to all ninth and tenth grade students. I complement these reading for information assignments with "reading photographs for information" assignments. I feel that these assignments will generate similarly valuable skills in my students, such as enhancing their powers of observation, their assimilation and interpretation of content, and their ability to deduce and speculate about the intentions of the makers of the photographs. In fact, they will make deductions and speculate in ways that could not have been anticipated by the photographers. The written assignments will follow a pattern similar to that of classroom discussions, with students expected to address the environmental (scientific) content of the photograph, its "style" and artistic merits, the point of view of the photographer, the multiple meanings that can be found.

Writing From Photographs

My students are assigned medium-length readings from each of the key figures of the American environmental movement. They include Thoreau's Walden Pond and Cape Cod, Marsh's Man and Nature, Leopold's A Sand County Almanac and Sketches Here and There, Carson's The Sea Around Us, and Silent Spring, and Wilson's Naturalist and The Future of Life. The task of each student, working individually or in a small group, is to match each of a series of photographs of environmental content with an appropriate quotation from the writings assigned. As Susan Sontag states, a number of well-known books have been reissued with accompanying photographs that support or reinforce the narrative views and beliefs of the authors. For example, I have copies of illustrated versions of Thoreau's Walden and Carson's The Sea Around Us. The task of my students is to provide some written explanation of their pairings of photographs and the author's quotations. I suspect that this assignment will encourage extensive research and original thinking on the part of my students. It also will lead to the identification of a collection of photographs that will be new to me and that will enhance the teaching of environmental science.

Matching Photographs with Quotes From the American Environmental Literature

Jules David Prown approachMaterial culture

3 Steps

1. Description

2. Deduction

3. Speculation

Mary Joyce

Mary Joyce

Mary Joyce

Mary Joyce

Brain Research on Emotions and Cognition

Antonio Damasio The Feeling of What Happens: Body and emotion in the making of consciousness

Descartes' Error: Emotion, Reason, and the Human Brain

Looking for Spinoza: Joy, Sorrow, and the Feeling Brain

Self Comes to Mind: Constructing the Conscious Brain

Brain Research on Emotions and Cognition

Antonio Damasio

•Somatic marker theory

•As-if body states – mirror neurons

•Difference between emotions and feelings

•Feelings = perception of a change in body state brought about by emotion

Brain Research on Emotions and Cognition

Antonio Damasio

•Descarte said, “I think therefore I am.”

•Spinoza rejected Descarte’s mind/body dualism -- mind and body are one.

•Damasio’s ideas can be expressed as something like “I feel therefore I think.”

Brain Research on Emotions and Cognition

Antonio Damasio

Feedback

• Ongoing – Unstructured– Presence in the moment, attending to all

elements and interactions of teacher, student, subject matter, context“Reflection-in-action”

• Structured– Questions for students, self-reflection

processes (journaling, discussion, observation)

Descriptive Feedbackquestions for students

• What did you learn?

• How do you know you learned it?

• What got in the way of your learning?

• What helped your learning?

• How did you feel?

Designing GroupworkElizabeth G. Cohen

Stanford University

KEY FEATURES

1. Best for creative problem solving and increasing oral proficiency2. Teacher needs to delegate authority3.Members need each other to solve the task4.Provide clear guidelines for successful participation5.Increases engagement and time on task

Designing Groupwork

Sample Guidelines

1. Say your own ideas.2. Listen to others: give everyone a chance to talk.3. Ask others for their ideas.4. Give reasons for your ideas and discuss many different ideas.

Morris (1977)

Designing Groupwork

Sample Questions

1. Is everyone talking?2. Are you listening to each other?3. Are you asking questions? What could you ask to find out someone’s ideas?4. Are you giving reasons for your ideas and getting out different ideas? What could you ask if you wanted to find out someone’s reason for a suggestion?

Morris (1977)

Designing Groupwork

LEARNING TASKS FOR PRODUCTIVE GROUPWORKchoose a task that

1. Has more than one answer or more than one way to solve the problem.

1. Is intrinsically interesting and rewarding.

2. Allows different students to make different contributions.

3. Uses multi-media

Designing GroupworkElizabeth G. Cohen

LEARNING TASKS FOR PRODUCTIVE GROUPWORKchoose a task that

5. Involves sight sound and touch.

6. Requires a variety of skills and behaviors.

7. Also requires reading and writing.

8. Is challenging.

Designing GroupworkLIMITED LEADERSHIP TECHNIQUES

A facilitator can be assigned whose can help the group:

1.Give everyone a chance to talk2.Give reasons for ideas3.Give different ideas4.Listen to each other’s ideas

Designing GroupworkOther roles can include:

1.Facilitator:2.Summarizer/Synthesizer3.Resource person4.Spokesperson5.Time keeper6.Reader7.Observer8.Checker9.Recorder

Self Reflection on Group Process

• What was something you contributed to the group process?

• How well do you feel your group functioned?

• What could have improved the process?

Designing GroupworkEvaluating Groupwork

• How interesting did you find you work in the group?

• How difficult did you find your work in the group?

• Did you understand exactly what the group was supposed to do?

Designing GroupworkEvaluating Groupwork

– For multiple ability tasks:

• What abilities did you think were important for doing a good job on this task?

• Was there one ability on which you thought you did very well?

• How many times did you have a chance to talk during the group sessions today?

• If you talked less than you wanted to, what were the main reasons?

• Did you get along with everyone in your group?• How many students listened to each others’ ideas?

Designing GroupworkEvaluating Groupwork

– Part B

• Who did the most talking in your group today?• Who did the least talking in your group today?• Who had the best ideas in your group today?• Who did the most to direct the discussion?• Would you like to work with this group again?

• If not , why not

• How well do you think the facilitator did today in his or her job?

Describe a “moment”

• Choose a moment from your classroom (or life if you are not in a classroom) that you found puzzling, troubling or exciting. Describe it in detail including any or all of the classroom elements – teacher, students, subject matter, and context and their intersecting dynamics.