Learning Presentations: 10 Framing Principles
Sure, you could killtwo birds with onestone. But do you really want dead       birds?                       All photo righ...
SCAFFOLD
Learning
Design
Story
CONNECT     All photo rights reserved.
Play
Feeling
Meaning
Symphony
EXTEND
Acknowledge
Ownership
Openness
Resourcesslideshare.net/UMinnTeachLearn                                                                 All photos by Ilen...
Learning presentations: 10 Framing Principles
Learning presentations: 10 Framing Principles
Learning presentations: 10 Framing Principles
Learning presentations: 10 Framing Principles
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Learning presentations: 10 Framing Principles

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Some swapping out / scrunching of typefaces in this download, alas. This PDF version includes the notes along with slides in order to link ideas with images. The Pecha Kucha PowerPoint version lives at scribd.com/ilenedawn as "Learning Presentation Ida."

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  • The handout including a single page summary of the 10 Principles and resources lives here: http://www.slideshare.net/alexa032/learning-presentations-list-of-principles-with- resources . An sound file providing an overview of the Learning Presentation three pillars lives here: http://audioboo.fm/boos/1036164-the-three-pillars-for-learning- presentations Garr Reynolds in Presentation Zen: The facts used to be difficult to access. Not anymore. Good stories have interesting, clear beginnings, provocative, engaging content in the middle, and a clear conclusion. What Garr Reynolds doesn’t say – in fact few writing about presentations say this – is anything about learning presentations – where learning processes involving social and personal, reflective and critical processing of information and learning as creation of new knowledge in the actions of examining ideas gained from listening, observing, reading, experiencing and testing. Where a presentation presents information, a learning presentation provides a structure that draws together ideas and images to provoke learning as the learning presentation, learners and presenters interact. A learning presentation considers what audience members already know, why they need/want to think about whatever it is that ’s at the heart of the presentation, what ideas and information will provoke next stages of learning necessary for growth of insight, development of skills, problem solving of a proximate concern. Learning Presentations draw on what audience members have already read/done to prepare for the session; provide a framework for thinking through ideas and images and pauses for talking/thinking so audience members connect with a core ideas; expect that learners will need/want to take next or new steps as part of the follow up to a learning presentation. Photo: Blackboard with the question “What is your dream job?” at St. Paul ’ s Oxford and Grand Caribou on the day I assembled the slide shell of images for this presentation.
  • A learning presentation doesn’t try to be everything – the textbook, the discussion linking the textbook to life and / or scholarly literature, and the road map through a thinking process. That ’s a presentation – a format that often aims to merge together the text/documentation to convey facts with slides that blend in new questions and bits of information. Garr Reynolds calls this Slideumentation – others have called it death (of creative collaboration and independent thinking) by powerpoint. As my Grandfather might say “Sure, you can kill two birds with one stone. But do you really want dead birds?” Photo: Claude Pratt Alexander and granddaughter sitting on the bench outside the back door of 131 Morgan Street in Tracy, Minnesota. 1961.
  • Nope on the dead birds – but yes to learning presentation, where the two things we get with a single presentation might well be words and images creating a memorable intersection: We might get to “ listen to an intelligent and evocative—perhaps at times even provocative—human being who teaches us, or inspires us, or who stimulates us with knowledge plus meaning, context, and emotion in a way that is memorable ” (Garr Reynolds). “ Likewise, the first step to creating and designing great presentations is to be mindful of the current state of what passes for “ normal ” PowerPoint presentations and that what is “ normal ” today is out of sync and off-kilter with how people actually learn and communicate ” (Garr Reynolds). I want presentations that are built for learning – scaffolded by considerations about learning, design and story that shape deliberate decision-making in light of audience, message and learning goals. I want presentations where words and ideas, images and insights, cognitive and affective, slides and handouts intersect meaningfully – not where these die as words pose as images and collide for our attention. As Peter Elbow says in On Writing about engaging processes of drafting – the act of beginning to write before you ’ re fully ready – and revision: “ Another reason for starting writing and keeping writing: If you stop too much and worry and correct and edit, you ’ ll invest yourself too much in these words on the page. You ’ ll care too much about them; you ’ ll make some phrases you really love; you won ’ t be able to throw them away. But you should throw lots away because by the end you ’ ll have a different focus or angle on what you are writing, if not a whole new subject. To keep these earlier words would ruin your final product . It ’ s like scaffolding. There is no shortcut by which you can avoid building it, even though it can ’ t be part of your final building ” (30). Photo: Lowry Theatre staircase with its scaffolding not showing, and its bold, evocative colors shining in front Salford, UK.
  • Principle 1 - Learning - Consider the ways in which your audience members might best learn. I never teach my pupils; I only attempt to provide the conditions in which they can learn. ” Albert Einstein. “ A classroom characterized as persons connected in a net of relationships with people who care about each other's learning as well as their own is very different from a classroom that is seen as comprised of teacher and students. ” Carolyn Shrewsbury. “ Learning refers only to significant changes in capability, understanding, knowledge, practices, attitudes or values by individuals, groups, organisations or society. ” Frank Coffield. Photo: Bath Botanical Gardens. December 2010.
  • Principle 2 - Design - Begin with design, then continue to incorporate design as content. Innovation doesn ’ t just happen at your desk. It happens in the weirdest places and times. You get ideas through watching the world, and through relationships. You get ideas from looking down the road. You have to be available to adapt on the fly. In real innovation, being comfortable isn ’ t good. I don ’ t want to be comfortable. I always want to be on edge, because that edge gives you energy and excitement. What ’ s new? What ’ s next? That ’ s how you stay ahead. Terry Tietzen, founder/C.E.O. of Edatanetworks, a developer of customer loyalty software. NYTimes 25 March 2012, Business pg 2 Garr Reynolds on Why Design Matters Design begins with people and initially happens away from the computer and presentation software http://www.garrreynolds.com/Design/basics.html   To me, design is about humans creating great works that help or improve the lives of other humans, often in profound ways, and often in ways that are quite small and go unnoticed. When we design, we need to be concerned with how other people will interpret our design message…. Designers need to be aware, then, of the end user. If no one can (or wants to) benefit from our design - no matter how compelling or beautiful or cool - then what good is it? …[G]ood design must necessarily, in my opinion, have an impact on people's lives, no matter how seemingly small. Good design changes things. Seven basic graphic design principles – Garr Reynolds citing Alexander White http://www.garrreynolds.com/Design/basics.html   Unity – of concept Gestalt – overall design Space – the space you DON ’ T use can clarify concepts Color – conscious use for emphasis, hierarchy, dominance, and balance Dominance - strong and clear focal point with clear contrast among elements Hierarchy - clear starting point with elements to guide viewer through the design Balance – elements work in symmetrical, asymmetrical, or mosaic modes   Garr Reynolds on working away from the computer: Before you design your presentation, you need to see the big picture and identify your core messages—or the single core message. a cognitive style to PowerPoint that leads to an oversimplification of our content and obfuscation of our message. professional designers—even young new media designers who ’ ve grown up on computers—usually do much of their planning and brainstorming on paper use paper and pen(cil) to explore and sketch out ideas, and to visualize those ideas away from the computer storyboard via PostIts, blank template, index cards – rearrange, (re)annotate If your presentation is successful, the audience will have no idea how many slides you used, nor will they care. Photo: Welsh hedgerow near Llangurig. September 2009.
  • Principle 3 - Story - Use story to provide context and organize your facts. Stories are effective teaching tools. They show how context can mislead people to make wrong decisions. Stories illustrate causal relationships that people hadn ’ t recognized before and highlight the unexpected, resourceful ways in which people have solved problems. Dan & Chip Heath, Made to Stick When we teach we tell stories about the world. Some are scientific, some historical, some philosophical, and so on. Jo Ann Pagano, “ Moral Fictions ” in The Stories Lives Tell: Using Narrative in Education Photo – Taken in September 2009 the very day I decided I could make presentation software like PowerPoint work for me if I took my own photos for classroom and professional use and made use of the typesetting and newspaper production & design skills that had paid my way through undergraduate school. I found this photo on that first walk with camera in hand, moving from the conference dorm to the Cornerhouse on what was my first of now five longish to long stays in Manchester/Salford.
  • A scallywag, historically, breaks with prevailing, coercive norms and faces sanctions Noun informal 1. a person, typically a child, who behaves badly but in an amusingly mischievous rather than harmful way; a rascal: that scallywag of a son of yours 2. US a white Southerner who collaborated with northern Republicans during the post-Civil War reconstruction period. http://oxforddictionaries.com/definition/scallywag A scallywag, in our use, who makes use of Learning Presentations, may– in his or her work within academic settings –find s/he gains approbations for using Learning Presentation Principles and Frameworks to break with presentation norms that that stifle creativity and/or prevailing power point practices that disrupt, dominate or trivialize content through slideumentary means and modes creativity - that “ process of having original ideas that have value ” (Ken Robinson) that is, an imaginative activity that seeks out original and assesses value. All Our Futures: Creativity, Culture and Education National Advisory Committee on Creative and Cultural Education 1999 things you ’ ll get called for changing the rules (dissonance too part of learning; Brookfield on feeling a traitor and real costs) Photo: Ornamental Fountain in Williamson Square, home also to the Playhouse Theatre in Liverpool.
  • We want learners to move with heads up, to identify what ’ s new, what ’ s newly in sight, what ’ s taking shape, what ’ s challenging their brains to workout new configurations for information becoming part of / dropping away from ideas and concepts; we want them to notice variations - colors and shapes, move toward something new with tentative - and at times bold - graces. Connecting requires depths of learning - visual and verbal, oral and aural, written and spoken - across processing modes that James Zull notes as Four Pillars of the brain: collecting data, reflecting (on what ’ s been gathered anew alongside what ’ s been gathered before), creating, and testing. Connecting requires entertaining new ideas / novel combinations - play making sense of sensations, sensual data, positive/negative connotations, flight and fight responses, human dimensions of ideas / issues and human connections to the act of studying itself - feeling proposing and/or discerning a theme, as in literature, that ’ s built from the interplay of select base elements - developing meaning Elements of literature www.chsbs.cmich.edu/Melinda_Kreth/Elements%2520of%2520Literature.pdf Plot (i.e., What happens in the story?) Scene or Setting (i.e., Where, when, and in what environment(s) does the action take place?) Characters (i.e., What people or beings are in the story?) Style [or Mood or Tone] (i.e., What is the size of the vocabulary, the complexity of the story and sentence structure, and the treatment of the story ’ s telling: comic, serious, tragic, morbid, etc.? This is often a most difficult characteristic to pin down.) Theme(s) [or Messages] (Idea(s), cosmologies, theologies, philosophies, religions, statements, theories of nature, moral(s), etc.) The five elements of literature discussed above are never mutually exclusive. One element is not really intelligible without most or all of the others well understood, so don ’ t get discouraged when, just as you think you have something nicely explained for a piece you ’ re reading, you think of something additional or even contrary that makes your explanation inadequate. The best we can probably expect is that these explanations make temporarily intelligible the fictional universe we ’ ve visited and are trying to tell someone about. Photo: Grandbaby learning to hold up her head.
  • Principle 4 - Play - Laughing people are more creative people. Daniel Pink – in a conceptual age, work is not just about seriousness but about play as well. Such an age requires “ high-touch ” and “ high-concept ” aptitudes equally. Synthesis and ability to use “ seemingly unrelated pieces to form and articulate the big picture before us is crucial, even a differentiator ” (Reynolds on Pink ’ s ideas) Madan Kataria - Laughing people are more creative people. They are more productive people. ”  location 291 in Presentation Zen, Kindle edition. Photo: Piccadilly Gardens fountain one very hot July 2011 day. Manchester.
  • Principle 5 - Feeling - Invoke emotion and invite audience members to connect thinking and feeling responses, cognitive and affective learning. “ Bridging Emotion and Intellect ” / Jane Fried. College Teaching: Fall 1993. The work of a teacher involves (1) development of critical thinking skills, so that students understand how to organize data, analyze, synthesize, evaluate, and draw conclusions; (2) recognition of meaning attribution and the power that emotions, values, and personal experience have in shaping one's interpretation of information. The professor, therefore, becomes responsible for teaching students three sets of skills: first is separating facts from cultural assumptions & beliefs about those facts second is teaching students how to shift perspective. third is perhaps the most difficult to learn, that of differentiating between personal discomfort and intellectual disagreement. Observe/Describe Reflect/Interpret Expand/Extend Seth Godin says presentation is about the transfer of emotion  location 342 Communication is about getting others to adopt your point of view, to help them understand why you ’ re excited (or sad, or optimistic or whatever  location 349 Often, people gain a feeling for or about your presentation, or come to a conclusion about your presentation by the time you ’ re on the second slide.  location 353 Photo: 'Girl' by Robert Thomas, in Gorsedd Gardens in front of Cardiff City Hall. 2008.
  • Principle 6 - Meaning - Convey core idea / central concern, even passion in your presentation: use this opportunity to make a small difference in the world. in considering audience, message and learning goals, those who shape and share presentations have an opportunity to make a small difference in the world  location 298   in making presentations, draw on other forms of visual <--> verbal communication location 324 : documentary photography and fiction artistic and advertising imagery documentary films, ranging from Ken Burns ’ work to the 2012 documentary short subject, Saving Face: http://oscar.go.com/nominees/documentary-short-subject/saving-face comics and graphic novels partnering text and images that together form a powerful narrative which is engaging and memorable - Cabinets of Curiosities Garr Reynolds ’ exhortation: stop letting our history and conditioning about what we “ know ” (or thought we knew) inhibit our being open to other ways of presentation. location 335 In short, Learning Presentations is about “ remov[ing] walls and connect[ing] with an audience to inform or persuade in a very meaningful, unique moment in time “ Photo: Window poster at the recently closed Blackwell Bookstore at the University of Salford. July 2011.
  • Principle 7 - Symphony - Integrate all elements of your presentation to shape the big picture. Seek ways to illuminate logic, analysis, and intuition as part of setting out idea or topic. Design to acknowledge audience members ’ thinking and feeling responses / cognitive and affective learning modes. “ Anyone can deliver chunks of information and repeat findings represented visually in bullet points on a screen, but what ’ s needed are those who can recognize the patterns, and who are skilled at seeing nuances and the simplicity that may exist in a complex problem. ” “ Symphony is about utilizing our whole mind – logic, analysis, intuition – to make sense of our world (ie our topic), find the big picture, and determine what is important and what is not before the day of our talk. It ’ s also about deciding what matters and letting go of the rest. ” truly seeing in a new way Whole mind / Whole person High concept / High touch Cathy Davidson would say of this conceptual age that learning requires the depth and breadth of symphony: mindfully multi-tasking, purposeful uses of multiple technologies, approaches to learning and to problem solving by attending to the layers Note: We've called this integration elsewhere, thinking about interdisciplinary studies meeting reflection learning and perspective taking as integral to discussion. Reynolds draws on Daniel Pink to call this “ see the relationships between relationships. ”  location 274 Photo: View from top of Dina Bran outside Llangollen, Wales. Fall 2010.  
  • At the root of connecting - prioritizing, finding the tap root that will sustain the entire structure. Connecting roots. Connecting from the roots. We need to not leave [people in] the world “ split at the root. ” Photo: Bath Botanical Gardens. December 2010.
  • extend - what it means to learn, the means to learning, the practices of sharing ideas in format and substance extending credit - Acknowledge extending use for a new welcome - Ownership extending thinking and thinking resources - Openness verb 1. cause to cover a wider area; make larger cause to last longer: they asked the government to extend its period of deliberation straighten or spread out at full length spread from a central point to cover a wider area occupy a specified area ( extend to ) be applicable to 2. hold (something) out towards someone offer or make available 3. cause (someone or something) to exert the utmost effort: extend oneself to utmost Photo: Student depiction of learning for Fall2011 GRAD 8101: Teaching in Higher Education course.
  • Principle 8 - Acknowledge - Acknowledge the origins of your presentation elements, contributors of ideas and images, and the role of audience members as co-creators of meaning as you interact with them. Acknowledge the presentation itself is not the main learning tool. In this conceptual age, we need to acknowledge that learning is constructivist, collaborative, and mediated as well as distributed via technology. On a more local, personal, collegial level we need to share, give away, make it easy to find the resources we create - using various social media platforms to post learning, knowledge, developed and developing ideas as part of open access of peer review and open resource approach of publicly-based scholarship - the more people who know your idea, the more powerful it becomes Constructivism : is the theory that humans generate knowledge and meaning from an interaction between their experiences and their ideas. The Constructivist (e.g. Dewey [1] [2] ; M ontessori [3] ; K olb [4] [5] ) lea rnin g p rocess is experiential learning through real life experience to construct and conditionalize knowledge. The type of learning is problem based adaptive learning that challenges faulty schema, integrates new knowledge with existing knowledge, and allows for creation of original work or innovative procedures. The type of learner is self-directed, creative, and innovative. The purpose in education is to become creative and innovative through analysis, conceptualizations, and synthesis of prior experience to create new knowledge. The educator ’ s role is to mentor the learner during heuristic problem solving of ill-defined problems by enabling quested learning that may modify existing knowledge and allow for creation of new knowledge. The learning goal is the highest order of learning: heuristic problem solving, metacognitive knowledge, creativity, and originality. http://en.wikip edia.org /wiki/Constructivism_%28learning_theory%29 Collaboration : Collaboration is working together to achieve a goal. It is a recursive process where two or more people or organizations work together to rea lize shar ed goals, (this is more than the intersection of common goa ls seen in co-operative ventures, but a deep, collective, determination to reach an identical objective [ by whom? ][ original research? ] ) — for example, an intriguing [ improper synthesis? ] endeavor that is crea tive in nature—by sharing knowledge, learning and building consensus. Most collaboration requires leadership , although the form of leadership can be social within a decentralized and egalitarian group. In particular, teams that work collaboratively can obtain greater resources, recognition and reward when facing competition for finite resources. Collaboration is also present in opposing goals exhibiting the notion of adversarial collaboration , though this is not a common case for using the word. http://en.wikipedia.org/wiki/Collaboration Photo: Paul Haywood ’ s right hand. Education in a Changing Environment Conference Dinner. July 2011.
  • Principle 9 - Ownership - Own your presentation approach: don ’ t be owned by the presentation software or what prevails as a “ normal ” presentation. Own what will evoke and support learning. What’s “normal” in UK and US doesn’t always align in terms of life, teaching, learning, idea of “home.” I own the learning and teaching I create based on my understanding and interpretation of norms from across my three “homes” – Minnesota, Northwest England, and mid-Wales. Photo: Walking into Salford from Manchester along the Victoria Bridge. August 2010.
  • Principle 10 - Openness - Remain open to change, and remain committed to sharing what you create as an open educational resource. Photo: Liverpool ’ s Crosby beach installation of Antony Gormley sculpture Another Place, and installation of 100 cast iron figures along 2 miles.
  • At the heart of it: This is the route we ’ re asking you to take. Learning Presentations take a new route, and new Learning Presentations take us on new routes. Photo: Construction near Piccadilly Train Station. Manchester. January 2012.
  • Normal, it changes. And the best intentions that launched the “ old normal ” remain at play when we look at learning with new eyes - determining what stays the course with us and what changes in making a new that is of use for the audiences, messages, and learning needs of the here and now into the future. Photo: Victoria Gallery and Museum, University of Liverpool. A preserved lecture hall in the original red brick university building, noted as “ From 1892 onwards...the heart of University life; besides administration offices it housed lecture rooms, staff offices, common rooms and the Tate Library, which was designed to hold 80,000 volumes. ” January 2011.
  • Photo: Tin of sharpened colored pencils atop a black chair at the Craft Centre. Manchester. January 2012.
  • Learning presentations: 10 Framing Principles

    1. 1. Learning Presentations: 10 Framing Principles
    2. 2. Sure, you could killtwo birds with onestone. But do you really want dead birds? All photo rights reserved.
    3. 3. SCAFFOLD
    4. 4. Learning
    5. 5. Design
    6. 6. Story
    7. 7. CONNECT All photo rights reserved.
    8. 8. Play
    9. 9. Feeling
    10. 10. Meaning
    11. 11. Symphony
    12. 12. EXTEND
    13. 13. Acknowledge
    14. 14. Ownership
    15. 15. Openness
    16. 16. Resourcesslideshare.net/UMinnTeachLearn All photos by Ilene D. Alexander Creative Commons Attribution-NonCommercial ShareAlike License unless noted
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