Practice Makes Perfect

Yesterday I was discussing literacy with a couple of primary teachers and asked about their impressions of secondary school English classrooms. We got around to talking about the ubiquitous practice of reading a class novel aloud for a whole period. First of all the students are bored; secondly there is often very little explicit teaching including giving the reason for reading the novel; third, the learning intentions for that period aren't stated; fourth, students are expected to be passive receivers of information with the occasional response to a question about the text. Engaged the students aren't.

Today I came across a blog post by Maish R Nichani of http://www.elearningpost.com/ which referred to a survey about adult learning. The first preference was learning by doing and I wonder how much of this is the situation in our classrooms. If students are to write how much writing do they actually do as compared with listening to their teacher talk about writing.

According to a survey from the National Institute of Adult Continuing Education (NIACE), UK workers have an overwhelming preference for less formal ways of learning to improve job performance.

For the survey (Practice Makes Perfect), a sample of 2,076 workers in the UK were asked which of ten ways of learning were helpful in learning to do the job better.

Learning by doing the job on a regular basis was the favourite method - overall, 82% found this quite or very helpful. This was followed by being shown how to do things by others (62%), and watching and listening to others (56%). Just 54% felt that taking a course paid for by the employer or the worker was helpful, followed closely by reflecting on your own performance (53%). Reading books and manuals (39%), using trial and error (38%) and using the internet (29%) were the least favourite methods.

I wonder what our students would rate as their preferred way to learn?

Cowshed line

I drove to Zack and Tracy's (our son and daughter in law) house last Sunday and on the way took a few photographs focusing on line. I'm fascinated by line in natural and made objects and above is an interesting mix of horizontal, vertical and diagonal lines with a derelict cow shed.

The faces of painted women

The wonders of YouTube. This one I came across in Bruce Schauble's blog Throughlines which I read regularly.


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Is school reform impossible?

My head starts to spin with all of the information you can come across in the blogosphere. I keep telling myself that slow learning is savouring learning not rushing from blog to blog. Recently I came across mention of the pedagogy of slowness in a blog titled Artichoke.

I am loving listening to The Knowledge Tree E Journal issue featuring Geetha Narayanan’s take on just this idea and its real time and space result - Project Vision

So what is the dangerous idea I have been exploring and why do many people across the world consider it powerful? The dangerous idea is that school reform, in India in particular, but across the world too, is impossible.

Changing education, at the systemic level or at the institutional or school level, or educating teachers and school leaders in change can be classified as largely first order change - that of school improvement, which involves doing more of the same but doing it better (where the focus is on efficiency) and that of school re-structuring, which involves re-organising components and responsibilities (where the focus is on effectiveness).

The power behind the dangerous idea is the realisation that if one cannot reform education by improving the system or by re-structuring the schools, then the way forward must be through design. The need seemed to be to re-envision and to design a new system - one that supports both personal and social transformation creating 21st century learning.

Geetha’s thought experiment in challenging hidden assumptions about how we do school resulted in something very practical and grounded - Project Vision – a slow pedagogy created from shop front type learning experiences for marginalised children in the “rapidly growing slums” of Bangladore, India.

Project vision is not about creating small sized schools – it is about fragmenting theone place one space school into “four distinct, distributed, interactive and inter-related components that work in coordination with one another.”

I'm still grappling with the ideas Geetha Narayanan articulated in her blog, including this paragraph on slowness:

The concept of Slow emerged from the Slow Food and Slow Design movement in Europe and the United States and builds and develops on ideas of sustainable living as a desirable future. Slowness as a pedagogy allows students to learn not at the metronome of the school day or the school bell, but at the metronome of nature, giving them time to absorb, to introspect and contemplate, to argue and rebut and to enjoy.

Increase creativity - raise the roof

Are you an abstract, creative thinker or a more detail concrete, detail-oriented thinker? Currently there is a lot of thought given to school planning, especially open plan classrooms but one thing I haven't heard discussed is ceiling heights. Artist Robert Genn in his blog The Painters Keys writes about research into ceiling heights.

Raise the roof! May 8, 2007 Dear Artist, Now it seems that researchers at the Universities of British Columbia and Minnesota have found a relationship between creativity and the height of ceilings. Rui Zhu and Joan Meyers-Levy tested various volunteer groups in rooms of eight- and ten-foot ceilings. "When a person is in a high-ceiling environment, they are going to process information in a more abstract, creative fashion," said Zhu. "Those in a room with relatively lower ceilings will process in a much more concrete, detail-oriented fashion." These researchers feel people under high ceilings are "primed" to think broadly because of the sense of freedom associated withManchester Cathedral, UKThe soaring architecture of Gothic Cathedrals may have contributed to the lofty thoughts of the Renaissance" src="http://clicks.robertgenn.com/images/artists/robert_genn/051107_cathedral_sm.jpg"> Manchester
Cathedral, UKThe soaring architecture of Gothic Cathedrals may have contributed to the lofty thoughts of the Renaissance the space, while the containment of a lower ceiling encourages people to think small and focused. There may be something in this. Artists have traditionally demanded high ceilings, not only so they can run up their easels and facilitate high light but also to give themselves creative headroom. My studio, for example, is divided into two areas, one with a 9-foot ceiling, the other with a pitch that goes up to 14 feet. I've noticed I feel different in the two areas, and bringing work-in-progress from one area to the other demands different moves. On the other hand, working outside under an infinite ceiling can evoke a kind of conservative stagnation. In my case, this perverse reaction may be due to the intimidation that the great outdoors has always given me and may not be typical of all plein air enthusiasts. On the other hand, the studio in general is a sanctuary where I may safely vacillate between exploratory creativity and my personal bag of tricks. Apart from the feng-shui of high ceilings and their invitation to power and expansive thinking, other benefitsBig Mark Rothko in the Metropolitan Museum, NY include the dissipation of toxins and more oxygen. And when you think about it, the availability of empty warehouses and lofts on Manhattan has contributed greatly to the New York "paint big" school. Paris has always had some big places too. "Give me the venue and I will fill it up," said Picasso. While larger, higher studios may invite larger, higher work, they might also invite larger, higher ideals. Incidentally, these researchers ought to try to find out if shorter persons are more creative than taller ones because they have more space above their heads. Best regards, Robert PS: "Higher ceilings prime the feeling of freedom that in turn facilitates the relational processing of multiple data." (Rui Zhu) Esoterica: Contrarily, I'd like to draw your attention to the possible value of confinement. Tight little areas such as bird blinds, cars and motorhomes work well for many. It has something to do with the absence
of clutter and the opportunity to focus. Curiously, I've pulled off more than a few reasonable paintings in the economy seat of a crowded aircraft. I feel there's something smugly brilliant about keeping my elbows to myself. In any case, when building the studio of your dreams, you need to think about bumping your head.

That is the sort of nonsense up with I will not put

A blog I came across recently is delancyplace.com. the blog contains excerpts or quotes that the editors think interesting.

I've signed on to receive daily emails and the first one I received is pasted below - an extract about prepositions. As teachers in the local schools begin report writing and grappling with making sure their reports are grammatical correct, the excerpt seems apposite. Worth a look.

"[O]ne of the all-time great grammatical shibboleths [is] that when writing a sentence or a clause, you must not ... make a preposition the last word you put in. This notion apparently originated with the poet John Dryden, who in a 1672 work quoted Ben Jonson's line 'The bodies that these souls were frighted from' and commented 'The Preposition at the end of a sentence; a common fault with him, and which I have but lately observ'd in my own writings.' Probably, Dryden based his stand on two foundations. First, prepositions in Latin never appear at the end of a sentence, not surprising since praepositio is Latin for something that 'comes before.' Second, a principle of composition that's as valid in the twenty-first century as it was in the seventeenth holds that, whenever possible, sentences should end strongly--and prepositions, as necessary as they undeniably are, are usually more of a whimper than a bang."

Whatever its origin, the ban found favor with prescriptivists through the centuries, including Edward Gibbon; John Ruskin, who in an entire book (Seven Lamps) concluded a sentence with a preposition precisely one time; Lily Tomlin's officious Ernestine the telephone operator, who asked, 'Is this the party to whom I am speaking?'; and my mother-in-law, Marge Simeone, who is prone to saying things like 'In which car are we going?'... [B]ut [this rule] was always a bit suspect. It was blown out of the water by [Henry] Fowler, who wrote in A Dictionary of Modern English Usage, 'Those who lay down the universal principle that final prepositions are 'inelegant' are unconsciously trying to deprive the English language of a valuable idiomatic resource, which has been used freely by all our greatest writers except those whose instinct for English idiom has been overpowered by notions of correctness derived from Latin standards.' Fowler then gave twenty-four examples of the 'rule' being broken by such writers as Chaucer, Spenser, Milton, Pepys, Swift, Defoe, Burke, Kipling, and the authors of the King James Bible. ... When the preposition occurs in a phrasal verb, the transposition task can be close to impossible. To 'fix' a phrasal-verb-concluding sentence like 'I'm turning in,' you'd have to come up with something like 'Turning in I am,' which not even Yoda from Star Wars could say with a straight face. "To anyone still unconvinced, I offer two small anecdotes, in reverse order of familiarity."

1. Winston Churchill, when corrected for violating this rule, supposedly replied, 'That is the sort of nonsense up with I will not put.'"

2. A guy from South Philadelphia, on vacation in London, asks a bowler-hatted gent, 'Where's the subway at?' The Londoner replies, 'Don't you Yanks realize that it's poor English to end a sentence with a preposition?' To which the South Philly guy says, 'Okay, where's the subway at, asshole?' "

Ben Yagoda, When You Catch an Adjective, Kill It, Broadway Books, 2007, pp. 163-165.

Helvetica is fifty and everywhere

Typography and graphic design grabs my attention. My wife, Pat, tells me that she notices that when I'm feeling a bit stressed I often spend hours redisigning some unit of work I am to present. I lose myself in the small details and problem solving. I came across a piece with a slide show by Mia Fineman "The Helvetica Hegemony: How an unassuming font took over the world" in Slate magazine. To take a grab from the first slide:

This year is the 50th anniversary of Helvetica, the ubiquitous sans-serif font that some have called the official typeface of the 20th century. Even if you don't know its name, you'll probably recognize its face. Helvetica is everywhere. It's been used in countless corporate logos, including those of American Airlines, Sears, Target, Toyota, BMW, Tupperware, Nestlé, ConEd, Verizon, North Face, Staples, Panasonic, Evian, Crate and Barrel, and the Gap. You can spot it on billboards, album covers, and directional signs, including all the signage in the New York City subway system. Even the IRS uses Helvetica for its income tax forms. ...

Now, the typeface is the subject of a small exhibition at New York's Museum of Modern Art centering around an original set of Helvetica lead type donated to the museum by Lars Müller, designer and publisher of the 2005 book Helvetica: Homage to a Typeface.

Worthwhile reading the text with the slides. Have a look.

The mathematics of executive salaries

Last Saturday's Business Age contained an interesting article by Leon Gettler on executive salaries. The gist of the piece was about the disparity between the obscene amounts of money some chief executives earn and what ordinary wage earners earn.

Gettler used statistics to draw comparisons and this got me to thinking that teachers could get kids to investigate the figures and work out their own comparisons. For example, this paragraph about Macquarie Bank's chief executive Allan Moss:

On $33.5 million, Allan Moss is on a nice little earner, up 58 per cent on the previous year. As The Sydney Morning Herald pointed out, he's worth 446 construction workers, 669 graduate teachers, 335 GPs, or 747 times the average Australian worker.

So there you go, I wonder how many teachers you could get for Allan Moss's salary?

Chess-squared is a brilliant project

Steve Tobias is a Senior Lecturer at James Cook University in Queensland. He has taught at all levels of schooling. For the past two decades he worked in pre-service teacher education in the field of mathematics education. His recent research is in self regulation and building resilience and persistence in open ended and problem solving situations. He recently flew down to Castlemaine to meet the Chess-squared group.

I conducted an email interview with Steve about the chess initiative, CHESS-SQUARED, that began in a cluster of schools in Mount Alexander Shire, Central Victoria in 2006. The project is coordinated by Steve Carroll, Harry Poulton and Sam Grumont.

The chess -squared group have been invited to be keynote speakers at the Chess in the Schools and Communities International Conference At Aberdeen University. The main aims of the conference will be to explore the particular contribution of chess play within the school and home environment to the development of thinking skills, health and well being and the creative imagination of children and young people.

Sam What is your involvement in the project?

Steve I guess my main role is to support Steve, Harry and Sam with collecting research information about the students', teachers' and community's responses to the Chess program. It is a unique program and we would like to collect broad evidence that it has some positive effect on teaching and learning, particularly in mathematics. I am interested in students’ ability to self-regulate their learning, their ability to persist when the going is tough and their resilience when they lose a game. In a similar way I would like students to see that in learning mathematics - failure is actually okay and a starting place for developing a richer understanding of the task.

Sam What are your thoughts about how it's gone so far?

Steve This is a brilliant project. There are some facets that should be acknowledged. The main organisers are very passionate and committed to the project. It seems to more about bringing the community together through the schools. Playing games is important for developing logic, reasoning and strategizing skills. However, it also encourages 'play' with others including friends, mates, people you didn't know, parents, siblings, grand parents. I think the importance of the project is in the how the students build confidence through play and how this effects the relationship (learning opportunity) between students and teachers.

Sam Tell me about the Scotland Chess & Community Conference

Steve It is being held in Aberdeen. The organisers of this conference invited the Castlemaine project as guest keynote speakers for their international conference. This is an honour and a tribute to the schools and organisers and huge indication that what is happening in the Castlemaine area is unique and very important for not only building skills but also community.

Sam Do you think the teaching and learning that is happening with Chess-squared is worthwhile?

Steve Absolutely. Without question their is a direct link between playing chess and teaching and learning. In this case students and teachers whether they be a chess tutor or fellow student - the teaching and learning will be intertwined. We would like to collect evidence about the richness of this interaction and the effects on student motivation. Hopefully the process will 'enable' students to learn for enjoyment and teach them something about persistence, resilience and the power of thinking through different strategies.

The Importance of Learning Slowly

Currently I'm working as a Teaching and Learning Coach and I know it takes me time to think things through if I am to get a deeper understanding, which is why I titled my blog 'Slow learning'. I'm always on the lookout for material about thinking and recently I came across a blog post by Gary Woodill titled The Importance of Learning Slowly , which is a review of Manfred Spitzer's book The Mind within the Net: models of learning, thinking, and acting. From Gary Woodill's review:

Manfred Spitzer’s The Mind within the Net is one of the best non-technical narratives on how minds work using the neural network model. Some of these explanations are startling, while others reinforce positions of strong advocates of individual freedom and the power of informal learning, such as Stephen Downes, George Siemens, and Jay Cross.

Like neural networks, the brain is based on vector algebra, rather than numerical computations. Vectors have strength and direction, and many vectors, representing multiple inputs, unite to form a result. The result in the brain is strengthening or weakening of a set of neural connections, a relatively slow process. While a single event can have an impact, it usually takes many events to have a relatively permanent change in the brain (aka “learning”) and to extract general features and generate rules from experience.

So there you go.

Learners shall inherit the earth

In times of change, learners inherits the earth, while the learned find themselves beautifully equipped to deal with a world that no longer exists.'

--the late writer Eric Hoffer

Asking the good question is key

Teachers in Victorian schools are coming to grips with formative and summative assessment which are now called:

• assessment of learning (summative)
• assessment for learning (formative)
• assessment as learning (formative)

I recently read an ASCD brief blog by Marge Scherer on Dylan Wiliam co-author of Inside the Black Box , about a session he ran at a conference. It's all about formative assessment:

Some kinds of assessment raise achievement, and some merely measure it, Dylan Wiliam told the educators at his session, titled "Classroom Assessment: Minute by Minute and Day by Day."
The assessments that researchers have found most effective at raising achievement are those that teachers make minute by minute and day by day in the classroom and then use almost immediately to adjust their lessons. For example, teachers who walk the aisles to check on what the class needs to work on next are gathering more helpful data than they would if they used the same time to help two or three individuals with specific problems, he said.

Asking diagnostic questions is another way to find out what students do and don't know. A simple technique like an exit question (a question every student answers before leaving class) can help the teacher know how many students have grasped a basic concept or skill and whether to reteach the concept the next day.

Asking every student to choose one of several answers is another way to make sure students are engaged throughout the lesson. Teachers should not allow students to choose not to participate. Research shows that the more students think and talk in class, the more they learn. But questioning should not be scary, Wiliam reminded the group. If the student answers "I don't know," a good reply might be, "I know, but if you did know, what would you think?" The point is that no student should be able to "choose not to think."

To demonstrate some of his strategies with the audience, Wiliam had the group predict which of several answers were correct and then explain why they chose the answers they did. Such reflection and analysis are part of learning, he said.

Wiliam's final message: Classroom instruction matters most in boosting achievement, and improving questioning and feedback techniques will improve the effectiveness of teachers.