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Educational practice notes pdf

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  • 1. Washington, DC (Smithsonian) ConferenceMike Kaspar on STEM.DC abolished their Science Dept. a year ago. But 6 new STEM Catalyst Schools wereestablished.Participants views of STEM:Most speak of accelerated integration of science technology engineering and math. Kasparreports on a definition of STEM he heard at @NSTA meeting. However, he declares itsdefinition not as important as how its implemented. What are the STEM policy and practicedefinitions? The 6 STEM catalyst schools implement it in different ways.Pearl Schaeffer on Polygon Blooms project - Philadelphia Arts & Ed Partnership integrating artsin community + schools. Features skills alignment. Working with math and art teachers onspatial awareness and using arts to enliven geometry teaching. Polygon Blooms uses studentsexperience to plot lines of their own movement as basis for geometric forms, then transformedinto polygons. Polygon Blooms results in benchmark tests showed students in program excelledbeyond expectationsAnu Mitra from Cincinnati Union Institute on Learning on How to Look project at CincinnatiArt. They connected her to University of Cincinnati medical students and she is working withthem ... 70% students never visited art museum. Anu invented "Intentional Looking" techniquePart of a "Design Thinking" approach. See her article on powerful "intentional observation".Her approach demonstrates how the arts actually add necessary skills to scientists toolkit."Intentional Looking" guides through chaos. Working with med students to enable moreeffective "differential diagnosis". Arts can help in making more thoughtful analysis.LemelsonCenter on history of invention presentation on how implement STEAM. Necessarilyinterdisciplinary. Lemelson Center: 2 key beliefs: invention is a process; everyone is inventive.Invention covers all STEAM disciplines + History. Drawing + Art are integral to whole process.Try to make inventors more accessible. Inventors often very playful so created Invention at Playexhibit http://goo.gl/wNuuaJulies summary of Practice session:  Clear natural connection between arts and sciences. An umbrella or Big Idea really helps.  Advocacy: so how do we make it happen more effectively? How to develop policy around STEAM? How to help Mike Kaspar in bringing back to NEA a definition of STEM?  What are priority points to move forward as an Educational Practice Group? Is there any mapping of what is going on?
  • 2.  How to scale? Give impetus to smaller projects.  Change to iSTEM; i = integration  Inventory of STEM Schools? Practices Clearinghouse (Kaspar knows more about STEM activity than STEAM activity.)  Equate Mapping to Clearinghouse. Need identify artists/orgs on visual map  National Creative Network that connects commerce, schools, etc. They are mapping communities. May 17 webinar (Sclafani)  Need to include Early Childhood Learning. The natural scientists. Thats where this begins. Birth to Lifelong. Not just schools  Facilitate the field trip process. Museums key to this.  Even more spaces. Science Cafes.  Women Inventors/Scientists.  Need new measures of achievement; new tests  Parents are key and need help tooChicago (IIT) Conference  Norm Lederman opens Educational Practice Working Group. Opens with some definitions.  Stress that assessment doesnt necessarily kill innovation - depends on how it’s conducted.  Perspectives IIT Math-Science School. Problem how to infuse arts in the school.  One project for a student field studies project to make a "technology tree" -showing relationships between technologies.  Capstone synergy courses that integrate across all curricula - themes such as pollution, local parking. Has key communication element.  All projects result in museum exhibition that emphasized the communication element.  Marcelo Caplan on Informal Science Exploration afterschool program in 9 community centers around Chicago.  Develop 10-week modules on popular topics - such as alternative energy. Important for them to be able to communicate with their families.  Big Idea: students can choose what to do and can be proud of the product (e.g. building a solar car, or developing a musical instrument.
  • 3.  All products designed by students. Big Idea: Students who want to learn + parents give their support + contribution to community Shows video on pollution - all student made. Design Table where all projects designed by students Judith Lederman who worked in museums focusing on primary level students. One teaching science with immigrant children. Throughout integrating science and art and their native cultures. Using a "Who Am I?" science + culture + language + art approach. Using childrens storybooks and mining them for scientific understanding and processes. Not investigation of natural workd but an attempt to create curiosity - to push them to ask and then answer the questions. Julie Simpson on specific models outside schools together with some definitions Teaching v professional artist. Is art just self-expression; or is it also about social change? To connect to the social from personal. The "Arts-Wired" school/community concept. To give basic skills/concepts as a utility. Judith Lederman: the importance of bringing together as many art teachers together to talk about processes of inquiry. Integration example of art teacher teaching about light with prisms - could track and use color and then discuss the physics of light. Applauded the CPS action of sending teams of 1 art + 1science teacher to the conference. Applauded the CPS action of sending teams of 1 art+1science teacher to the conference. Question: Physics teacher thinking back to when she was an artist. Unconsciously using arts skills - how to make that more determined? One response is to co-teach with an art teacher. (Be aware of difference between functional vs. decorative). Question of definition of "science." Importance about defining and then connecting the different science disciplines. Art could help. Norm on art and science but within the sciences there are all different ways of seeing. Agreed that we need more conversations about this. Judy on the importance of linking the units of science education. Comment that both art and science are different kinds of responses, diff forms of investigations of the natural world. Problem of art being decorative rather than being a parallel process of inquiry.
  • 4.  Comment on the importance of the 2-way communication. Art teachers do have immense reservoirs of technical/scientific knowledge. Misconception that "everyone can do art" but "only a few can do science". Art can help make science less intimidating. Judy starting a list of key points about the difficulty about arts-science integration. Math- science an illustration of this. Success of integration has much to do with teacher education. Cost of team-teaching; mastermind who can bring it together. Norm maintains integration not usually working. Response that teachers are able to educate themselves in the other fields. Comment that teacher-collaboration is key. Need to be able to discover and share . SF partnerships great examples. How can we learn from the apparent failure in other integrative efforts? Which have succeeded and why? Julie Lemon stresses that university NSF grants always have lines for "education" programs - so theres money available for outreach Public school art teacher addresses her context: needs structure for wkg with science teacher. *How* to do it? Judys experience as hi-school teacher: have to start by yourself. Time is one problem. Find key intersections when to introduce Teacher curious about integrated curriculums. CAPE has curriculums on website. But not the curriculum, its the process of the collaboration that is key. UG, CAPE CCAP as 3 Chicago orgs that help with this. Have to find the leaders within the schools who are trying to make integration work. Julie on getting funders involved in this. Marcelo on need for stronger leadership; need for using every opportunity to include in planning Take step back from curriculum to look at standards - see arts as another vehicle for achieving goals. Making the mapping smarter. Summation: looking at needs - in the nation but also in the individual classroom. Funding for time and instruction + leader buy-in "Intersections" as a key concept. Finding ways to focus on and bringing out the intersections you can find. Maximize the possible.
  • 5.  Importance of taking excitement from museums and other sources - bring the experience into the classroom  Technology *can* help - many teachers collaborate online for a few minutes a day: social networking; asking questions  Expressed need for databases of resources to assist educators. Arts Education Exchange being built by Arts Alliance of Illinois  Teachers need to see examples of what works to be inspired.  Judy emphasizing the importance of research and of going to meetings with the data. Communicate the data!Working Group Report-Outs (Ledermans)  Still need to work on definitions and to focus on the purpose of the integration  Education: compiled some key words operating between the arts and science ways of knowing  Education: 2 levels of needs - on the national level of policy and funding, and in the classroom/museum/after-school spaceSan Diego (CalIT2) ConferenceChair: Gabriele Wienshausen Associate Dean for Education, Division of Biological Sciences, UCSDPresenters: Martin Wollesen Artistic Director, UCSD ArtPower! Joyce Cutler-Shaw Artist in Residence, UCSD School of Medicine (also a world renown artist) Paige Simpson Director, Balboa Park Learning InstituteMartin:ArtPower is UCSD to aims to enliven the everyday out of class experience for students, extendthe academic investigations students are having in their coursework and extend the reach ofcampus arts outside of campus. Martin wants to change the delivery of performing arts; disruptthe paradigm. Upon joining UCSD, he wanted to create a robust engagement project to bringdown the barriers between art and science. We are all created by nature so perhaps providingopportunities to explore, discover and create would be a way to proceed. Innovator in Residencegrew out of this desire as a way to rethink practice. The initial investigation was how iscognition distributed in dance? They were curious to see how the creative process was used to
  • 6. build understanding and how cues influenced the understandings. Artists didn’t want toquantify. They felt it was a process that would somehow diminished their creativity. Whileuncomfortable, it helped both scientists and artists look at translation and cognition throughdifferent lenses and disrupted ideas about the ways in which science and art do not work togetherin an effort to create a more symbiotic view.Q&A: Were the concerns of the artists disrupted? Did they have a change of mind regardingtheir biases? Martin’s answer wasn’t completely clear. It was acknowledged that there wasdiscomfort and each realized there were two sides. However, are there two sides or simplymultiple perspectives to the same body of work and understandings?What was the process of getting them in the room together; the scientists and artists? Identifiedcreative projects on campus, had an informal meeting/lunch to initiate conversation, extracted thepearls from those conversations, built upon those ideas that came from those conversations. Thework flowed from there.Joyce:What a captivating speaker. She began to tell us of her work at UCSD but transitioned intobackground that described several deaths she had been involved with that she wanted tounderstand further in a clinical setting. She described each of her in-laws, her mother. Thesestories were actually quite beautifully told. Without saying the words art or science it was clearthat her experience was both very scientific and artistic. She ended up meeting the Dean of theSchool of Medicine and discussed the possibility of studying death at his school. For a year, shedrew from cadavers and skeletons, sharing them with the dean. She then asked if she could bepart of the anatomy course. He agreed to allow her to be an artist-in-residence. Drawing is anact of empathy, of inquiry, of discovery. Her approach in drawing is because the history ofanatomy is a history of human representation. Historically, there was a social and culturalconsciousness that you were one of many and that you were part of life and death. Now,technology and medical advancements has disrupted this. Further, in medical terms, humans arealways in pursuit of survival, evolution and transformation yet often we are connecting less andless, which is disruptive. Technologies give us increased opportunities to see what we couldn’tbefore, to be informed in tremendously powerful ways, yet we need to remember to look at theworld with strong visual perception skills. We talk more about image over the person. We seeso much electronically and less face-to-face. In her classes here she aims to help medicalstudents to hone those visual perception skills and look at the patient, to look at other ways to seewhat is in front of you; to think alternatively. For example, as she has them draw an orange shehas them do it from the perspective of the ant. Along with this, she asks them to open the orangeand draw what they see in order to build connection to the subject. She is showing them there isnot a strategy for completing the assignment; rather it is an exercise in empathy.Lovely.Q&A:
  • 7. Thank you for the comment on the immediacy of meeting whatever you are dealing with throughyour direct contact with it. In the age of so many virtual relationships this is becoming moreimportant. How has your class shaped or transformed their personalities. Joyce says that isdifficult to say. Instead, she explained how she engages the students right away and has thembegin talking about that work right away. She is more focused on the work and encouraging thebehaviors that build those skills.Paige:Twenty-six institutions in Balboa Park that make up the Learning Institute and formed nearlythree years ago. It serves as a communications hub, professional development programs and thecultivation of their unique learning laboratory. Wanting to capitalize on the melting pot theyhave and the learning that can take place in partnership. Started two years ago aiming to find outwhat the upside was for visitors; visitor studies. There were 20 staff members from 12organizations that participated in this audience research project. It was a ten-month project thatstarted last March. They based their work on Nina Simon, John Falk and others for inspirationthrough their work in participatory science, visitor motivation, customer relations, etc. Theywere not only developing an instrument they could use to measure but also learning a great dealabout evaluation through a hired consultant. The partners were also able to tailor their survey’sto meet their organization’s needs while honoring the collective effort. Through volunteers theywere able to gather over 10k responses over the summer of 2010. They held a symposium toshare the work. About 700 people participated in this event. This past March they held asPARK event to further engage colleagues in arts, science and other cultural professionals toexplore ambitious ideas for their institutions while collaborating and creating with peers. Thesocial aspects of this event and this partnership were of tremendous value.Discussion:Gabriele: What are the different learning environments we need to see to support integrated artsand science learning?Participant: Within the context of each of our individual specialties it would be interesting tohave a lab to explore this relationship; the practice of integrated art and science learning.Martin: The question is what delivery vehicle is meaningful rather than if art itself is meaningfulor not. The location-based experience is being influenced by technology. Also, are we makingincorrect assumptions about where people are having meaningful interactions with art and howthat meaning takes place?Participant: Cannot lose sight of the idea of a lab because it makes a picture in my mind wheresomeone is learning in this space and then sharing out. A lab is a place where you can betterunderstand things then share with those in the trenches that cannot experiment in the same way.Martin: We are just looking for ways to make connections regardless of the location.
  • 8. Participant: How do we capitalize on the excitement of this conference? I need a date, time andplace to continue this conversation and some level of structure to work within. It could be assimple as a topic starter or book club format in that it is informal but has some guiding aspect.Participant: I would look for a lab to take the abstract idea of combining art and science into atangible example or actionable activities.Participant: Maybe it shouldn’t be called Lab and instead call it a community resource center.Think about corridors of knowledge and the language that can be used across those corridors tokeep the work accessible.Participant: A high school science teacher and realist, I am busy Monday-Sunday so cannotmake time to meet regularly. Instead, try virtual dialogue opportunities or keep it as a drop instructure.Participant: Before there is a lab, we need matchmakers. How do we find the matchmakers?We are artists and artist driven. (Editorial note: why the silo, like a badge of honor? Why are wesimply not capable, critical thinking, empathetic beings?)Participant: We can have topic based, regular meetings, however, how do we get to theresources to support the activities we are hoping to engage or implement in our communities.These meetings can shape thinking but can they support the work?Participant: We have lots of organizations that can provide a lot of individual things. I likedwhat Paige described and the importance of surveying your audience. Perhaps this kind ofsurvey could drive our work and the topics we discuss.Participant: We could do a better job of networking to better understand what resources areavailable. Who wants to be involved? Who wants that involvement? What are the resourcesbeing brought to the table? Perhaps it is a website indexing the work and resources in othercommunities that would be helpful to all of us as we are driving change in our own communities.Maybe a website?Gabriele: We have a huge cultural issue in creating these connections. Who manages it? Whatare the existing models and what are the barriers for implementation in more communities. Let’sfind out what is working elsewhere and figure out how to translate it.Participants: Digressing a bit to discuss differences of opinions about a San Diego group that istrying to tackle this in the SD community.Participant: We can argue all day but we are missing an opportunity to create a future vision.Gabriele: I believe it means something that we are here at Calit2 and that I dare that we shouldcome up with a proposal.Personal Reflection of the Education Practice Workgroup (Madlyn):
  • 9. I found it interesting to hear about three different bodies of work from the presenters of thisworkshop. I imagine there are hundreds of great programs and work being done through thepeople in this small group alone. I would love the opportunity to hear and learn more about thiswork. In fact, it could easily be an outcome of this conference to have someone take a chair rolein putting together a panel session and/or poster session at a national conference like AAM thatprovides a broader foundation from which to highlight this theme; art and science integration forthe benefit of enhanced and deeply meaningful learning.One could then conduct an AAM roundtable discussion that can extend these conversations andexploration of interesting work happening at this intersection. It would further drive dialogueand engagement with a broader audience from the arts and science fields. It would also givegreat visibility for national funders to become more aware of the work of Learning WorldsInstitute.Regarding the post-presentation discussion, while interesting and very participatory, thereexisted the familiar and ongoing tightrope being walked between looking at all the limitationsand barriers to change and the passion and enthusiasm to see change happen right away. Whilenot personally stimulating, I understand this kind of discourse is what does inspire and engagesome people. I believe it creates a wonderful opportunity for this organization/project to follow-up with attendees with a “We heard you say…” and “Here are our next steps” report that couldalso serve to recruit advisory groups of people together that were especially engaged and whowould like to be catalysts for change both locally and nationally.These same groups could help advance our work through the use of an inquiry group model thatworks to answer some key questions; an informal research group of sorts.Finally, I just wanted to point out that in both this conference and the one in Chicago there weresuch a broad diversity of people in attendance, at a conference that was more about creating afuture vision/direction than solving the nuts and bolts specific niche issues, that were looking fordifferent kinds of outcomes. Some were problem solving and some were contributing to nextsteps in the vision planning; problem specific discussions versus big idea / next step discussions.The discourse that occurred in these discussions will hopefully inform the core organizing groupand advisory committee in distilling what was learned and what the next steps are.Communication will be one important way to keep folks engaged and expand the audience TheArt of Science Learning/Learning Worlds Institute reaches.

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