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Development and research

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Transforming Research into Practice created by Chris Grodoski & Liz Rex

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Development and research

  1. 1. OverviewIll-structured Domains Creativity Flexible knowledge  Problem solving Context driven  Convergent and divergent thinking  Elaboration  Flexibility
  2. 2. Overview Collaboration Instruction Group thinking  Development  Goldilocks principle Group structure  Social-emotional engagement Creativity assessment  Anchored learning  Perceptual-motor grounding  Coherence effect  Testing and spacing effect  Cognitive disequilibrium
  3. 3. New Search
  4. 4.  A need for participatory learning, tutorial Ill-Structured guidance, and support for aiding the Domains management of complexity The use of multiple  The learner must mental and engage in constructive processes involving the pedagogical diverse contexts in representations which fine arts conventions are The promotion of embedded…artists multiple alternative must attain an accurate systems of linkage and deeper understanding of among knowledge content material, reason elements with it, and be able to apply it in diverse, ill- structured, and
  5. 5. Creativity • Problem solving• Convergent and divergent thinking • Elaboration • Flexibility
  6. 6. Problem Solving
  7. 7. Problem Solving Research Practice Unstructured, ill- structured, semi- structured, highly- structured
  8. 8. Design Problems
  9. 9. Design Problems
  10. 10. Design Problems
  11. 11. Convergent and Divergent Thinking Research Practice Creativity results from a  Domain knowledge combination of both transformed
  12. 12. Assessment Example
  13. 13. ElaborationThe amount of technical orconceptual depth extension in a creative work
  14. 14. Flexibility The amount of variancein a solution to a creative visual problem
  15. 15. Collaboration •Group thinking •Group structure •Creativity assessment
  16. 16. The Story ofGothica and Friends
  17. 17. Collaborative Narratives
  18. 18. Instructional Practices Development Goldilocks principleSocial-emotional engagement Anchored learningPerceptual-motor grounding Coherence effect Testing and spacing effect Cognitive disequilibrium
  19. 19. Parson’s Theory Solso’s Artistic Housen’s Stage of Aesthetic Interpretation Theory Stages Model Gardner’s Kintsch’s Bloom’s Emerging Forms Construction- Taxonomy of Knowledge Integration Model Model Lowenfeld’s Kindler and Drawing Darras’s Semiotic Development Development Model Map
  20. 20. Meta-cognitive, inquiry based production in whichpersonally relevant and novel insights and theories are produced on previous field knowledge previous field knowledge Recognition of style as manipulated and communicative, arguments are reasoned and verified in a community Expressiveness and personal meaning are overriding factors in judgment Judgment based solely in beauty, realism, & recognition Judgments are neither good nor bad, based on frameworks generated from basic perceptions Perceptual & Fact Based Interpretation
  21. 21. Metacognitive, inquiry based production Metacognitive, inquiry based production inin which personally relevant and novel which personally relevant and novel insights insights and theories are produced on and theories are produced on previous field previous field knowledge knowledge previous field knowledge UPPERFormal elements, style, and composition SECONDARY Recognition of style as manipulated are manipulated in service to expressiveness, meaning, or a valued LEVEL and communicative, arguments are critical stances reasoned and verified in a community Expressiveness and personal Expressiveness and personal meaning is an overriding factor in meaning are overriding factors in production judgment LOWER Production ideals based solely in MIDDLE Judgment based solely in beauty, realism, recognition LEVEL beauty, realism, recognitionIdealized Schematic Representations, Judgments are neither good norproduced largely value free and based bad, based on frameworks generated on basic perceptions from basic perceptionsPerceptual & Fact Based Production Perceptual & Fact Based Interpretation
  22. 22. Upper Middle-Level Production Does this work meet thisWhat is the indicator? criteria? Formal elements, style, andcomposition are manipulatedin service to expressiveness, meaning, or a valued critical stances
  23. 23. “My goal for this piece was to combine and rearrange elements from different images of heroes in popular culture. I combinedChristian elements (a cross, a halo,angel wings, and the flaming sward said to guard the Garden of Eden)with the not-so-Christian element ofan assassin from the popular video game Assassin’s Creed. I decided to repeat the arrows heading towards the man on the cross to amplify the heroic qualities of the image. The multitude of arrowsshows that the man is facing a large force all by himself. I did omit the army from the scene, though, todraw focus to the man on the cross. I decided to draw the cross on a large scale to emphasize theChristian elements of the image. By combing these elements, I transformed the images into a morally contradictory work, completely changing the drawings meaning.”
  24. 24. Goldilocks Principle (ZPD) Research Practice Assignments should not be too hard or two easy, but at the right level of difficulty for the student’s level of skill or prior knowledge. Flow
  25. 25. Social-Emotional Engagement Research Practice Emotion and Cognition  What are your burning questions about art, its Deep Questions value, and your art practice? Discovery and self- regulated earning
  26. 26. Questioning“The artist could have made it huge but he put in upside down or to the side and that would have gotten attention too, but why did he put it upside down?” “I think if a statue is upside-down it is dishonoring someone because, most statues I see are up right and are remembering/honoring someone. So this could be a new way of dishonoring someone without really slandering their name and such.”
  27. 27. SharedNarrativesPersonalNarrativesCritiquingNarratives
  28. 28. Anchored Learning Research Practice Learning and teaching  Develop a list of well activities should be documented, real world designed around an problems that "anchor" which is based on professionals in the visual a contextualized case arts face. These problems study or problem situation. Curriculum materials should not have clear should allow exploration by solutions. the learner to allow active manipulation, questioning, and involvement in the situation
  29. 29. Perceptual-motor grounding Research Practice Dual coding and multi-  In what situations do you use writing with art or connect media effects visuals with words? “the presentation  What additional perceptual- motor grounding experiences contains words and can you weave into your pictures, and the practice? presentation is designed to foster meaningful learning”
  30. 30. Coherence Effect Research Practice Less is more  What are the 2 most important craftsmanship Negative suggestion skills you want your effects students to gain?  What are the 2 most important ideas about art that you want your students to gain?  What are the 2 most important mental habits you want your students to gain?
  31. 31. Testing and Spacing Effects Research Practice How will you weave in your teaching priorities withcoherence and in an anchored way to your students’ experience?
  32. 32. Assessment Highlight specific learning priorities by name Challenge students to apply and adapt them in different contexts Provide students multiple modes of responding Repeat
  33. 33. Cognitive Disequilibrium Research Practice An imbalance that happens when our consistent vision of the world’s workings is disrupted Provides an opportunity  What are aspects of your for meaningful learning curriculum that are disruptive to the consistencies held by your students?
  34. 34. Thank you! Chris Grodoski cgrodoski@gmail.com

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