Agenda

= = Guiding Questions


 * Who are you?
 * What implications do trends in the use of emerging technologies have for the what, why, and how of student learning?
 * How can you design aesthetically satisfying, cognitively challenging, and emotionally engaging learning environments and experiences for students?
 * What changes might you need to make in content, process, and practice in order to adapt today’s activities to suit the needs of your classroom?

= **Teaching Contexts & Problems Are Complex** =

media type="youtube" key="bsrBQ6AGo_g&rel=1" height="355" width="425"
 * Why is teaching so complex?
 * How does our society attempt to manage this complexity?
 * What are the consequences of this for students? Does complexity have to be a problem?

//**References**//

Funnyteacher. (2007, May 22). Teacher breaking down. //YouTube.// Retrieved December 1, 2007, from http://youtube.com/watch?v=bsrBQ6AGo_g

= **Students Get Lost in the Layers** =



"A way of seeing is also a way of not seeing" (Eisner, 2002, p. 85).


 * What causes learning to break down?
 * Why does alignment make addressing the complexities of learning easier?
 * How does [|alignment focus learning] ?

= **Literacy Lives in the Layers** =


 * When you think of //text,// what words or images pop into your mind?
 * When you think of //illiterate//, what words or images pop into your mind?
 * When you think of //literacy//, what words or images pop into your mind?
 * How might expanded definitions of text and literacy enable us to plan for proficiency in more powerful ways?

The Power of Design






 * What counts as a learning space?
 * How might we immerse students in meaningful contexts that stimulate cognitive and emotional engagement with learning? How might emerging technologies help us to do that?
 * Why might learning spaces need to be redefined if the goal of the curriculum is to support students in using their language for personal self-expression, classroom community-building, systemic reform, community change, and social transformation?

// Examples //


 * // [|Colombia Intercambio Cultural] - Standards-based project between a school in Michigan and a school in Colombia that used emerging technologies to bring the world into their classrooms and their classrooms to the world //

//In other words,“. . . the selection of a material or activity is also the selection of an array of forces that will influence how students will be challenged to think. . . . "The curriculum is a mind-altering device” (Eisner, pp. 13, 72).//

//**References**//

Montgomery, Cherice. (2004, November). //Life is in the Layers.// Photo taken behind Erickson Hall at Michigan State University, East Lansing, MI.

= **Crafting Compelling Learning Experiences (from an Artist's Perspective)** =

**Why live in one dimension? [|Lexus IS Campaign] **

**Layering Text**

 * Examples: **

// [|Two Women] - A dramatic reading for 2 voices (also available in Spanish from the magazine [|Americas] ) //

// [|Joyful Noise: Poems for Two Voices] // by Paul Fleischman

// [|Big Talk: Poems for Four Voices] // by Paul Fleischman

**Texts About Migrant Workers That Can Be Layered**

// [|Amigos del otro lado/Friends from the Other Side] // by Gloria Anzaldúa

// [|El camino de Amelia] // by Linda Jacobs Altman

// [|Don Radio] // by Arthur Dorros

// [|The Upside Down Boy] // by Juan Felipe Herrera

// [|Voices from the Fields: Children of Migrant Farmworkers Tell Their Stories] // by S. Beth Atkin

**Texts About Art That Can Be Layered**

// [|Color Your Own Modern Art Masterpieces] // by Muncie Hendler

// [|Diego] // by Jeanette & Jonah Winter

// [|La princesa y el pintor] // by Jane Johnson




 * What effect do images have on you?
 * Why is it so important to integrate visual elements into our instruction?
 * Cognitive load theory
 * Psychological power of images
 * Research on visual cognition


 * How does juxtaposing and layering images change what it is possible for us to understand?

**Examples:**
 * [|Brand Name Alphabet]
 * [|They Still Draw Pictures] - Drawings made by French and Spanish school children during the Spanish Civil War
 * [|The Visual Front] - Propaganda posters from the Spanish Civil War
 * [|A Spanish Civil War Photo Essay] - Actual photos taken of the people and politics of the Spanish Civil War
 * [|Baobab trees damaged by elephants] - Photo used with //The Little Prince//
 * [|Elephant stripping bark from a baobab tree] - Photo used with //The Little Prince//
 * [|Colors Magazine] - A great source of images for bulletin boards, available in just about any language. Be sure to preview and cut out what you want to use as each issue often contains content inappropriate for the classroom

**Books that combine images with text effectively**
 * [|El secreto en la caja de fósforos]
 * [|Ma première encyclopédie en autocollants: Le moyen age]
 * [|The Pet Dragon: A Story About Adventure, Friendship, and Chinese Characters]
 * [|Vegetal como eres]


 * How can principles of advertising and graphic design inform the way we design worksheets and other materials for our students?
 * Guide the attention, the eye, and the intellect
 * Think in threes!
 * [[file:Graphic Design Principles.pdf]]




 * [|Music of the Spanish Civil War]
 * [|Silent Night/7 O'clock News] - Simon and Garfunkel. (2001). [|7 o'clock news/silent night] . //Parsley, Sage, Rosemary and Thyme.// A great example of how two pieces of media can be simultaneously juxtaposed and fused to synergistically create a powerful meaning that was not inherent in either of the two original texts.
 * [|Like OMG, Baby: Capital FM Ball Summertime Mashup] (By DJ Earworm) - Mashup made from multiple popular songs from 2010 (sequential and layered)

- A repurposing of [|Sony's Super Dooper Music Looper] to visualize planning in layers


 * What elements do you consider when you plan a lesson?
 * How does music affect the aesthetic, emotional, and psychological sensitivities of learners? How might planning in "measures" and in "layers" (like a musical score) for a combination of different "musical instruments" (a.k.a. diverse learners) help you to "compose" lessons with more engaging "harmonic combinations," "melodies," "rhythms," "points and counterpoints," and "musical themes?"
 * Why is infusing music (and other kinds of rhyme, rhythm, and sound) into as many aspects of your classroom an educationally responsible thing to do?
 * Affective, psychological, and memory-related effects of music
 * Comprehensible input and pronunciation
 * Cultural authenticity
 * Connections to conceptual content from other disciplines
 * Cultural and linguistic comparisons
 * Communities of interest to students


 * // More Songs & Music-related Activities (Scroll down through the page)//

=Multimedia=

Jenkins, Keith. (2005, December 4). My summer vacation bag. Flickr. Used under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.0 Generic License. (Modifications made with written permission from the photographer.)

** Examples: **

media type="youtube" key="zA2Qp5DizpE&rel=1" height="355" width="425"
 * // [|Hans] //
 * // [|Phonetics] - A great example of how combining text, images, sound, and movement can facilitate learning.//
 * [|One Minutes Jr.] - (Although created by students ages 12-20, some of the content on this site is not appropriate for students, so be sure to preview before using in class)
 * [|Lexus IS Campaign] - The unique editing techniques, metaphorical illusions, and powerful slogan, //Why live in one dimension?// combine to produce a powerful message about teaching, learning, and life.



// [|Graduates] // (a poem by E.B. Devito) > Movement through time and space (contexts) (and media) = growth > How do we give students opportunities to move through one another's minds? > Transformation happens one moment at a time (time - x axis), one step at a time (space - z axis), one layer at a time (y axis - individual soul) >
 * What effects does movement have on the brain?
 * How is movement related to meaning? How does movement add dimension to text? Images? Music? Architectural design? How might we add more movement (physical, emotional, mental, and social) to our assessment, our curriculum, our classrooms, and our instruction?
 * Why should movement become an important component of our planning?
 * Physical movement but also conceptual movement

// [|Creativity Cuepons] // Simulations - []

//**References**//

Block, Peter. (2003). //The answer to how is yes: Acting on what matters.// San Francisco, CA: Berrett-Koehler Publishers, Inc. ISBN 1-57675-271-2. Available: http://www.amazon.com/gp/reader/1576752712/ref=sib_dp_pt/103-7221346-0169441#reader-link

Montgomery, Cherice. (2004, November). //Creativity.// Photo of the pen taken outside Erickson Hall at Michigan State University, East Lansing, MI.

Montgomery, Cherice. (2004, November). //Divine Paint.// Photo taken outside the Administration Building at Michigan State University, East Lansing, MI.

Montgomery, Cherice. (2007, December 2). //Expectation.// Photo of the fountain taken in the Detroit Airport, Detroit, MI.

Montgomery, Cherice. (2006). //Improvisation.// Photo of the piano keys taken in Okemos, MI.

Montgomery, Cherice. (2007, July 4). //Spiritual Progress.// Photo taken at the 4th of July Fireworks Display in Meridian Township, Okemos, MI.

= **Shifting Perspectives By Stepping Outside Our Comfort Zones** =







//(The text of the PowerPoint presentation appears below - I'll eventually post it as a slideshow)//
 * I began with the question: How might teachers design physical, emotional, and virtual spaces that would support meaningful learning experiences for students?
 * But, I forgot that . ..
 * ". . . a way of seeing . . . is also a way of not seeing" (Eisner, 2002, p. 85).
 * If teachers were architects . . . [images]
 * . . . but if architects were teachers . . . [images]
 * If teachers were architects, they might ask: How do we design an experience that will fit in the space?
 * But if architects were teachers . . .: How do we design a space that will make room for the experience?
 * If teachers were architects . . . concern for the task would design the curriculum.
 * But if architects were teachers . . . concern for perspective would be paramount.
 * If teachers were architects, they would ask students to read in order to understand reality.
 * But if architects were teachers, "Everything we'd read would be translated as best we could into some reality" (Feynman, p. 3)
 * If teachers were architects . . . : How can we make it meaningful?
 * But if architects were teachers . . .: Why should it matter to students?
 * I ended with the question, How can I be more like an architect?

//**References**//

Anabelen. (2006, August 22). Guggenheim Bilbao (Photo #598643). //Stock.xchg// Retrieved December 7, 2007, from http://www.sxc.hu/browse.phtml?f=view&id=598643&rnd=

Chris245. (2004, December 29). Stata Center 01 (Photo #233245). //Stock.xchng.// Retrieved December 7, 2007, from http://www.sxc.hu/browse.phtml?f=view&id=233245

Eisner, Elliot W. (2002). //The arts and the creation of mind.// New Haven: Yale University Press. ISBN 0-300-09523-6.

Feynman, Richard Phillips. (1999). // [|The pleasure of finding things out: The short works of Richard P. Feynman] .// Da Capo Press.

Guggenheim Museum Bilbao. //Wikipedia.// Retrieved April 25, 2006, from http://en.wikipedia.org/wiki/Guggenheim_Museum_Bilbao

Jenkins, Keith. (2005, December 4). My summer vacation bag. Flickr. Used under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.0 Generic License. (Modifications made with written permission from the photographer.)

Marxbro. (2006, July 15). Guggenheim under clouds b. (Photo #567216). //Stock.xchng.// Retrieved December 7, 2007, from http://www.sxc.hu/browse.phtml?f=view&id=567216&rnd=

[|Mayer, John]. (2006). [|Waiting on the world to change]. //Continuum.// Columbia Records. Lyrics available [|here].

Montgomery, Cherice & Rodriguez, Julio. (2005, November 4). [|Supporting student learning]. //Alumni Connection: Supporting Our Students.// Retrieved December 1, 2007, from http://nflrc.iastate.edu/news/200411/homepage.html

Montgomery, Cherice. (2006). //Making it meaningful: The power of thematic teaching.// Selected slide from PowerPoint presented in Ames, Iowa.

Montgomery, Cherice. (2006, April). Technology Classrooms. Photos taken in Erickson Hall at Michigan State University, East Lansing, MI.

Ninci. (2007, October 8). La pedrera (Photo #885348). //Stock.xchg// Retrieved December 8, 2007, from http://www.sxc.hu/browse.phtml?f=download&id=885348

=Strategies for Creativity=

Immersion Gathering the raw material Exploring the applications Imitation Adaptation - Recontextualization, remixing, repurposing Innovation - Combining across disciplines


 * Mashups**

Awilum: Educational Mashups - Short post on how students are cutting and pasting educational experiences together for themselves []

Mishmash of Mashups - Very nice post re: conceptual nature of mashups and implications for future education []

Teacher as DJ []

**Social Change**

[|Net Squared Mashup Project Gallery] - Site designed to help people interested in creating social change find information, like-minded individuals, etc. Some of the projects make INTERESTING uses of tech and could be co-opted for FL (such as the disaster preparedness)

[|StoryMapping: Projects] - A variety of projects that seek to involve students in social activism via map mashups that tell digital stories

**Transfer**

Connecting with actor as common anchor point across videos - [|Titanic Sequel] mashup created from over 10 different videos.