QTC's and Field Trip Overview!!!

It almost summer time!!! Here are some answers to some questions to consider...

Chapter 2

One of the most cited theories of human development is that of Swiss biologist Jean Piaget.  After reading about Piaget’s basic assumptions (p. 27-32) look with particular attention at the stage of child development you would like to teach.  How might you accommodate those students who have not yet developed to this stage?

Speaking from the perspective of an art teacher, focusing in elementary art, I have witnessed on multiple occasions students who are behind the curve in Piaget's stages of childhood development. I have also seen many students who are well above the curve. If a child is 7 and still in the scribbling stage, they are behind. If a child is 5 and drawing recognizable shapes and forms, they are ahead of the curve. More often than not, students fall somewhere in between this. I feel as though in order to accommodate students who are behind the curve, I would embrace the scribbling and allow for self expression. Piagets theories do not relate to all cultures and ethnic backgrounds. For art, I do not see students falling behind his curve as a problem. A child born in South Africa might represent their family members with scribbles similar to tribal drawings whereas a child from North America might use a triangle for a girl and a square for a boy. This doesnt mean one is right or wrong. It just shows the differences in cultures and backgrounds. I dont think I would do any accommodations in my art classroom. 

The other most cited theory of human development belongs to Russian developmentalist Lev Vygotsky.  Vygotsky’s theory of cognitive development leads us to expect greater diversity among our same-aged students than Piaget.  Create a compare and contrast chart or a mind map that examines these two influential theorists’ ideas on cognitive development.

Theories in educational psychology promote the idea that language plays a critical role in cognitive development.  Examine Table 2.2 (p. 51), paying particular attention to the age range that you are interested in teaching.  Consider how you might incorporate or adapt the strategies presented for use with your own students.

As I mentioned above, I follow Vygotsky's theory more closely because I think it better embraces different cultures and ethnic backgrounds. 

Chapter 8

Consider your CSEL lesson sequence.  Which metacognitive skills/abilities are involved as students gain facility/knowledge in this domain?

Create an activity or lesson component that explicitly teaches one or more metacognitive and one or more problem solving skills.

Here is an example lesson plan I created:

Subject Area

Lesson Plan: “Weaving”

Course: Art

Grade Level:  4th

Class Time: 2-45 minute periods

Unit Title and Unit Goals

Title:  3-D Construction, Weaving

Goals or Concepts: Students should gain an appreciation for cultural diversity and the art of weaving and fiber arts. The students should learn the proper techniques for created a weaving on a loom and the historical background of weaving. Students should experiment with different materials used in their weaving to gain an understand of what materials work best.

Standards:

1.1            Manipulate a variety of tools and media in a safe and responsible manner.

2.6            Apply purpose in art.

3.1            Select and demonstrate subject matter, symbols, and ideas in one’s art.

Instructional Objective: After viewing a selection of weavings and weaving techniques by contemporary artist Susan Martin Maffei, the 4th grade student will discuss the use of weavings, then they will warp a cardboard loom and weave a small example, using different yarns and threads, and other materials that they are interested in experimenting with.

Materials/Media

Supplies/Tools/Equipment:

sturdy cardboard

warping thread

various kinds and colors of yarn

scissors

other materials students are interested in incorporating into their weaving

Other Resources:

Examples of weavings done in the past and examples of different techniques.

Instructional Procedures and Design:

Set

Motivation Strategies: The teacher will share a brief history of Weaving and Fiber arts and show examples of a few weavings that previous students have created. The teacher will explain the techniques used to design and construct the weavings. Students will hang weavings in hallway for parents to see at open house.

Vocabulary:

Weaving: Weaving is the textile art in which two distinct sets of yarns or threads, called the warp and the filling or weft (older woof), are interlaced with each other to form a fabric or cloth. The warp threads run lengthways of the piece of cloth, and the weft runs across from side to side.

Yarn: Yarn is a long continuous length of interlocked fibres, suitable for use in the production of textiles, sewing, crocheting, knitting, weaving, embroidery and ropemaking. Thread is a type of yarn intended for sewing by hand or machine. ...

Loom: A loom is a device used to weave cloth. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.

Key Questions:

What are some techniques to experiment with?

What color schemes do the students want to work with?

What are their weavings going to represent?

Classroom Strategies- Instructional Preparations/Suggestions/Safety:

1.  The teacher should set up displays that contain examples of weavings and different techniques.

2.  Review information on weavings and their historical content.

3.  Prepare discussion questions about designing and constructing looms and weavings.

4.  The teacher should list the instructions on designing and constructing the warping and weaving techniques.

5.  The teacher should prepare a table to display art work.

6.  The teacher should prepare a area in the classroom for the warping and gathering of yarn.

7.  Prepare cardboard before students enter the room.

8.  Have extra supplies for students to experiment with in their weavings.

9.  Present motivational information and discussion of topic, using prepared questions as a guide.

10.          Teacher will demonstrate designing and construction the weavings.

11.          Teacher will make sure everyone has constructed their weaves correctly.

12.          Teacher will encourage students to use a variety of materials to communicate their ideas through their weavings.

13.           Teacher will assist students in the construction of the weavings.

Learner Involvement-Student Activities/Procedures

1.  Students will view the weavings on display.

2.  Students will listen to the teacher’s presentation and participate in class discussion (guided by the teacher prepared discussion questions) on the history of weavings and fiber arts.

3.  Students will attentively listen to the teacher as he/she demonstrates how to create their own weaving.

4.  Students will look over the list of progressive steps on how to create their own weaving and ask questions when they arise.

5.  Students will warp their cardboard looms to prepare for weaving.

6.  Students will choose yarn and materials that they want to use in their weaving.

7.  Students will place cardboard strips into weavings to create a base for weavings.

8.  Students will begin weaving, including the yarns and materials that they chose to use.

9.  Students will continue to work, changing colors and creating designs in their weavings.

10.          Students will clean up all yarn scrapes.

11.          Students will tie off ends and hang in hallway for display.

Practice and Review: Teacher will rotate to tables or desks, reviewing concepts of weavings and giving assistance when necessary.

Learning Environment: (classroom set up/class layout of supplies, etc): Students will work at own seats for motivation discussion and work on weavings. For demonstration students will come up to a table that the teacher has prepared for instructions.

Closure:

Clean Up:

1.  Students will clean up all yarn scrapes around their tables.

2.  Teacher will make tables and floors are clean before leaving the classroom.

Ending Comments- Address conceptual issues of weavings and their history. Note final concepts behind color choices and techniques used.

Alternative Activities:

Special Needs Considerations- May have already prepared and warped looms for specialty needs students.

Addressing Diversity- Have students research other fiber arts and bring in examples done at home.

Evaluation Strategies:

Formal- Use rubric to identify use of concept, materials, and craftsmanship in final weavings.

Informal-  With the class, orally review key concepts from goals and objectives. Display work for parent-teacher conferences.

Re-teaching: Most would occur in-process, troubleshooting as problems arise. 

Chapter 11

Consider your CSEL lesson topic.  How might you enhance motivation and affect in your students using the theories of motivation?

Which theories of motivation are most helpful and instructive for you?

I think in order to motivate students it is important that the teacher make the project relatable. I have created and tested many lesson plans with students, some successful, others not so much, and I have noticed that the most successful projects always allow for the most individuality. Students are more likely to try harder and dedicate more time when it is something that they find interesting. I would enhance motivation by allowing self directed projects where students can choose what they want as their subject or media, as long as it falls within the project guidelines.

Chapter 13

How will you create a learning environment that is conducive to learning?

Learning environments that are most conducive to learning are comfortable, encouraging, and calm. As an art teacher, I want my classroom to be a place where students feel comfortable and are encouraged to relax and share their art in a positive environment. 

I went on a field trip to the Barbs talk and it was the most interesting lecture of my life. Barbs words (which she typed) were few and far between but quite poignant. Her first words were "Autism is not my prison, its my prism". She sees autism as an opening- she works to change peoples perception of people with disabilities and she does an incredible job. I have been reading her blog and she is inspirational. Here is her blog: http://muleandmuseproductions.com/author/barb/

Read it! It is fascinating and eye opening and will erase any stereotypes you could ever imagine.

Chapter 10 QTC's...

Chapter 10

Which of the learning activities/skills can you think of that lend themselves to learning through modeling?

I think most behaviors can be learned through modeling. I don't think that simply modeling a specific behavior or skill once or twice will lead students to learn new behaviors, however I do think modeling some level of a desired skill or activity constantly will reinforce the learning on other levels. Modeling mixed with other forms of learning with both create an authentic form of instruction that students can watch and relate too as well as better understand through watching. 

How might self-efficacy and self-regulation contribute to the intervention plans you use in your case study?

Self efficacy and self regulation are important aspects of learning and learning competency. For the early childhood case study involving Willard, I think it would be important to embrace his attention span and help him focus in other ways. I might allow Willard to stand while working on  various assignments rather than sit so that he can fidget and move and hopefully maintain some level of concentration. Once Willard sees that he is able to focus standing, hopefully his self efficacy will improve and he will want to try and focus while sitting down. This will require some level of concentration and self regulation. It will be hard for Willard, as such a young child, to learn to self regulate but I do think that once he finds a certain level of pride in doing what is expected of him, the natural next step will be for him to change his behavior to keep feeling that sense of pride.

Chapter 9 Questions to Consider...

How would you define successful mastery of your lesson objectives from a behavioral view of learning?

I would conduct a task analysis. This would both identify goals and objectives for instruction, as well as show topics and skills. There are three different methods for doing this. The first is a behavioral analysis. This identifies the specific behaviors required to perform a task. The second is a subject matter analysis. This breaks down the subject matter into specific topics, concepts and principles, The third is an information processing analysis. This specifies the cognitive processes involved in a task. All of these processes could identify specific behaviors and show mastery of various lesson objectives.

Consider your CSEL intervention case study.  Are there tools from a behaviorist view for either encouraging productive behaviors or discouraging undesirable behaviors that you could apply to the case?  What are they?

I think the most important aspect of encouraging desirable behaviors is to set the ground rules in the very beginning. The end results- the terminal behaviors- will ultimately derive from the ground rules and behaviors set in the beginning. It is harder to change a behavioral habit then to simply encourage a continued good behavior. Another important aspect to consider is to encourage positive behaviors by consistently reinforcing them. To discourage unwanted behaviors, I would notify the students of desired and undesired behaviors ahead of time so that I could address the misbehaviors appropriately. I also think administering punishment privately is always the best bet.

Thoughts on teacher our project...

Our teacher project was immensely fun! I expected it to be much more nerve wrecking than it actually was and Danny and I actually quite enjoyed ourselves. The feedback we received from the class was both beneficial and positive and helped us evaluate our performance. I am looking forward to the next teacher project!

Chapter 8 QtC's

Chapter 8

Consider a lesson plan you might use.  Which metacognitive skills/abilities are involved as students gain facility/knowledge in this domain?

Here is a lesson plan I might use to teach the fundamental element of art and design: color. 

Class Level: Art 1 Overview and Purpose:  To expose students to the element of art, color.  To teach students the principles of color theory and practice..  NC Art Standards Addressed: Goals 1.07, 2.01, 2.02, 3.01 Materials:tempera paint, gray drawing paper, graphite pencils, objects of students choosing Objectives:  The student will learn the concept of color.  The student will learn the concept of color theory.  The student will learn the concept of color schemes.  The student will learn how to effectively use the color wheel. Delivery of info:  The teacher will present the concepts of color theory including the color wheel, color values, and color schemes.  Students will paint a color wheel, and complete color theory worksheets. The teacher will then introduce the assignment. Guided Practice:  Students will bring in objects that they would like to use in their artwork.  If the student fails to bring in objects, the teacher may choose to assign objects to students. The student will draw the object from observation.  The teacher should encourage the student to draw the object from many different angles and try to create the illusion of space on the surface.  The student will then divide the paper into three sections.  The student will then paint the different sections with a different color scheme of their choosing.  The teacher should encourage the students to use a full range of value in their artwork. When finished, the student should write the specific name of the color scheme (monochromatic, analogous, etc.) used on the back of the paper.  Review: Line, shape, value Estimated Duration: 10 Days

One metacognitive skill used in this lesson plan is self-explanation. By having the students paint their desired color scheme and then label and write about it, they are testing themselves and internalizing what they have learned. Most of the skills used in this lesson plan will be overt strategies because the students will be physically practicing, testing, and utilizing their knowledge. After the lesson is complete, the students could write a summary of the material they studied which would in turn enhance their memorization of the various components of color theory. In the beginning of the lesson, while the teacher is presenting the material, the students could take detailed notes about the presentation. What is most important for the students to comprehend would be highlighted accordingly so that the students could identify the important information. 

Think of an activity or lesson component that explicitly teaches one or more metacognitive and one or more problem solving skills.

Writing the specific name of the color scheme on the back of the painting and providing a description would teach the students the metacognitive skill of creating a summary. This would enhance the students learning and memory and help them distinguish between important and unimportant information. A problem solving skill used could be a heuristic. As the students paint their pieces, they would soon come to realize which colors created a specific color scheme and which are successful and which are unsuccessful. Asking students to create a list of potential changes they would make to create a more successful color scheme would enhance this problem solving process. 

I found this website: http://cft.vanderbilt.edu/teaching-guides/teaching-activities/problem-solving/ that offered some interesting insight into how to teach problem solving skills.

Below is a bit from the website that I found useful. 

Teaching Problem Solving

• Tips and Techniques
• Expert vs. Novice Problem Solvers

Tips and Techniques

Communicate

• Have students identify specific problems, difficulties, or confusions. Don’t waste time working through problems that students already understand.
• If students are unable to articulate their concerns, determine where they are having trouble by asking them to identify the specific concepts or principles associated with the problem.
• Make students articulate their problem solving process.
  • In a one-on-one tutoring session, ask the student to work his/her problem out loud. This slows down the thinking process, making it more accurate and allowing you to access understanding.
  • When working with larger groups you can ask students to provide a written“two-column solution.” Have students write up their solution to a problem by putting all their calculations in one column and all of their reasoning (in complete sentences) in the other column. This helps them to think critically about their own problem solving and helps you to more easily identify where they may be having problems.
    Two-Column Solution (Math)
    Two-Column Solution (Physics)

Encourage Independence

• Model the problem solving process rather than just giving students the answer. As you work through the problem, consider how a novice might struggle with the concepts and make your thinking clear
• Have students work through problems on their own. Ask directing questions or give helpful suggestions, but provide only minimal assistance and only when needed to overcome obstacles.
• Don’t fear group work! Students can frequently help each other, and talking about a problem helps them think more critically about the steps needed to solve the problem. Additionally, group work helps students realize that problems often have multiple solution strategies, some that might be more effective than others

Be sensitive

• Frequently, when working problems, students are unsure of themselves. This lack of confidence may hamper their learning. It is important to recognize this when students come to us for help, and to give each student some feeling of mastery. Do this by providing positive reinforcement to let students know when they have mastered a new concept or skill.

Encourage Thoroughness and Patience

• Try to communicate that the process is more important than the answer so that the student learns that it is OK to not have an instant solution. This is learned through your acceptance of his/her pace of doing things, through your refusal to let anxiety pressure you into giving the right answer, and through your example of problem solving through a step-by step process.

Expert vs. Novice Problem Solvers

Experts (teachers) in a particular field are often so fluent in solving problems from that field that they can find it difficult to articulate the problem solving principles and strategies they use to novices (students) in their field because these principles and strategies are second nature to the expert. To teach students problem solving skills, a teacher should be aware of principles and strategies of good problem solving in his or her discipline.

The mathematician George Polya captured the problem solving principles and strategies he used in his discipline in the book How to Solve It: A New Aspect of Mathematical Method(Princeton University Press, 1957). The book includes a summary of Polya’s problem solving heuristic as well as advice on the teaching of problem solving.

“The teacher should put himself in the student’s place, he should see the student’s case, he should try to understand what is going on in the student’s mind, and ask a question or indicate a step that could have occurred to the student himself.” – George Polya, How to Solve It

Chapter 7 QtC's

Chapter 7

Make a list of the sequence of skills necessary for ultimate mastery of the content of your lesson through a constructivist approach. 

Which of these learning activities/skills lend themselves to student’s individual or group construction?  How might you structure learning activities that lead students to discover these skills/these principles?

Here is the lesson plan I created:

Lesson Plan: Site Based

Course: Art

Grade Level: 12th

Class Time: 3-1.5 hour periods and outside of class time expected

Unit Title and Unit Goals

Title: 3-D Construction, Assemblage with found natural materials

Goals or Concepts: Students should gain an appreciation for working on site with no man made materials. The students should learn how to use only what they have access to and create a conceptual sculpture on site. Students should learn about the area that they choose to work on and become more familiar with working in nature.

Standards:

1.1            Demonstrate the use of knowledge and technical skills in at least one specific medium.

2.2            Critique the use of structures and functions in a work of art, written and/or verbal (i.e.,

formal or informal).

3.2            Evaluate subject matter that reflects personal experiences and environments.

Instructional Objective: After viewing a selection of pieces by Michel Davo, the 12th grade student will be put in pairs, plan a site to work, travel to the site on school grounds and construct a 3-dimensional sculpture using only found materials from the site they chose, photograph the piece in its environment, and prepare a presentation to allow the class to view their piece.

Materials/Media:

Supplies/Tools/Equipment:

images of Michel Davo’s work

cameras

scissors

sketch paper

pencils

Other Resources: previous students examples, photos around the room of different Michel Davo’s work and other land artists, books on land art and natural material works.

Instructional Procedures and Design:

Set

Motivation Strategies: The teacher will share a brief history of land art and show a presentation on Michel Davo as well as show examples of previous students pieces. The teacher will explain the concept behind site-based works of art and natural materials. Students will be informed that their photos of their work will be displayed in the student gallery with reception for the community.

Vocabulary:

Site-based: picking a specific site and working with the site and basing every decision off that particular area

Earth Works: an artistic work that consists of a large-scale alteration or modification of an area of land in a configuration designed by an artist or of an artist's sculptural installation, as in a museum or gallery, of soil, rock, or similar elemental materials.

Key Questions:

Why is it important to only use natural materials?

When did this movement really take off and people starting doing more site-based work?

How do I create an artwork without using any man made materials?

Classroom Strategies- Instructional Preparations/Suggestions/Safety:

1.  The teacher should set up displays that contain examples of site-based art works.

2.  Review information on Land Art and its historical content.

3.  Prepare discussion questions about how to work with all natural materials.

4.  The teacher should have a variety of possibilities to show the students about site-based work.

5.  The teacher should explain to students how to capture the work photographically, and explain the reason that is so important.

6.  The teacher should allow students time in class to discuss their ideas and their thoughts on site-based work.

7.  Teacher will walk the school grounds as students have works days on their sites.

8.   The teacher should prepare a way to print photos of the students work to hand in the gallery.

Learner Involvement-Student Activities/Procedures

1.  Students will view the photos and books on Michel Davo and Land art.

2.  Students will listen to the teacher’s presentation and participate in class discussion (guided by the teacher prepared discussion questions) on site-based art works, land art, and earth works.

3.  Students will ask any questions they have concerning site-based works using only natural materials.

4.  Students will work in pairs with peers and discuss possible sites and ideas for the sites.

5.  Students will go out onto the school grounds and work on their site with materials from the site.

6.  Students will create a sculpture using only natural materials.

7.  Students will document process of building the sculpture by taking photos.

8.  Students will photograph the finished piece.

9.  Students will put together a photo presentation to present to the class on their process of working.

10.          Students will allow the elements to act on the sculpture by leaving it there for its life span.

Practice and Review: Teacher will rotate to around sites on the school grounds to monitor students and assist when need be, review concepts as students work on site, and giving assistance when necessary.

Learning Environment: (classroom set up/class layout of supplies, etc): Students will work with partner on planning for their piece, students will go out onto the school grounds to work during the class period.

Closure:

Clean Up:

1.  Students will clean up site if need be. .

Ending Comments- Address conceptual issues of site based work. Note final idea in sculpture.

Alternative Activities:

Special Needs Considerations- May have special needs students work closer to the building with teacher constructing sculptures.

Addressing Diversity- Have students research certain types of materials on their site and inform the class about them.

Evaluation Strategies:

Formal- Use rubric to identify use of natural materials and how the piece works with the specific site.

Informal-  With the class, orally review key concepts from goals and objectives. Display work in school gallery.

Re-teaching: Most would occur in-process, troubleshooting as problems arise. 

Necessary skills for the mastery of this lesson plan: 

1.  Students will view the photos and books on Michel Davo and Land art.

2.  Students will listen to the teacher’s presentation and participate in class discussion (guided by the teacher prepared discussion questions) on site-based art works, land art, and earth works.

3.  Students will ask any questions they have concerning site-based works using only natural materials.

4.  Students will work in pairs with peers and discuss possible sites and ideas for the sites.

5.  Students will go out onto the school grounds and work on their site with materials from the site.

6.  Students will create a sculpture using only natural materials.

7.  Students will document process of building the sculpture by taking photos.

8.  Students will photograph the finished piece.

9.  Students will put together a photo presentation to present to the class on their process of working.

10.          Students will allow the elements to act on the sculpture by leaving it there for its life span.

Through this sequence of steps, students are exploring the concept and medium in a self driven manner. The students do their own research to understand the concept and meaning behind the project and from there spend time peer sharing and personally exploring ideas. This allows students to construct their own knowledge and explore the medium from a personal viewpoint rather than the point of the teacher.

Having the students research various artists that create natural, site based works allows them to explore all possible aspects of the medium. While students are personally exploring the project concept, they are constructing personal frames of reference and personal opinions about the medium. Students are creating their own knowledge base and are building on it through personal exploration and experimentation.

Laissez-faire lesson plans are entirely open ended forms of instruction that call for self exploration and experimentation. Asking students to create their own projects allows them to learn exactly what they want to learn. This increases motivation and a students interest in the subject. Having guidelines with no particular rules or regulations guides students into learning the desired outcomes but allows them to do so in their own ways.