PROCESS MADE VISIBLE: Activate Your Potential as a Research Practitioner
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PROCESS MADE VISIBLE: ACTIVATE YOUR POTENTIAL AS A RESEARCH PRACTITIONER STEPHANIE PEREIRA, BRIC Contemporary Art / Juan Morel Campos ESP Arts Partnership
PROCESS MADE VISIBLE: Activate Your Potential as a Research Practitioner
In this case-study presentation, participants learned about embedded assessment methodologies developed in a year-long residency dedicated to "Making Process Visible." During this residency, we visually mapped the HOWs, WHYs and MOTIVATIONs of our arts in education partnership work in the school's public gallery space. The gallery is transformed into a learning lab for our school community, where art objects, student and teacher voice, and new technologies become vehicles for meaningful story-telling and reflection.This PPT / workshop was presented as part of Common Ground, an annual state-wide arts education conference hosted by Partners for Arts Education.
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1. PROCESS MADE VISIBLE: ACTIVATE YOUR POTENTIAL AS A RESEARCH
PRACTITIONER STEPHANIE PEREIRA, BRIC Contemporary Art / Juan Morel
Campos ESP Arts Partnership
2.
TODAYS PROTOCOL:
Why I proposed this workshop.
A little bit about the BRIC / Campos team, and my role within
it.
Research - What its for, and what anyone can get from it.
Breakout 1 - Telling your story, finding your questions.
Breakout 2 - Creating a plan of action!
Parting Thoughts
3.
Why I proposed this workshop.
4.
s
A little bit about the BRIC / Campos team, and my role within
it.
5. Fall residency map drawing by Angela Earley
6. What is my role? Asking questions. Planning. Listening.
Recording. Feeding Back. I am documenting our progress towards
fulfilling our year-long inquiry, and supporting our efforts in
making it happen. My questions are the partnerships questions
-
7. How can we transform our art gallery through technology,
through programs into a learning laboratory to disseminate our
successes, efficiently absorb and share data and integrate our
community? PARTNERSHIP INQUIRY QUESTION:
8. How can we transform our art gallery context, through
technology, through programs - into a learning laboratory to
disseminate our successes, efficiently absorb and share data and
integrate our community? Concert/ Vote with artwork decorating
Advertising cards Personalized invites Award ceremonies Free food
and drinks/DVDs Kids co-organize Older students mentor younger ones
Link with businesses Hospitality space Cool space OTHER ART FORMS
Meeting space for community groups Marketing/ brand Recognition
space (kids, local folk arts) Distribution of student works
(Academic/Art) Edible Art Display cases Use lights, etc. for
specific events Performance Get published Take it outside Guest
artistsLocal or folk artists Green Screen Teacher Planning iPod-
Radio Show More uses for space Video monitors in hall showing
student performances, work Column in school publications,
communications Furniture, comfort! Refreshments think Latino food,
culture, music, Family community Lighting School event space
Student clubs Folding chairs for flexibility Host other types of
events Increase exposure, familiarity Collaboration with other
schools, our students teaching younger students Go to place (school
+ gallery) Who needs the space / who can use it Lose gallery label-
REBRAND , FESTIVAL! Scaffolding programs with elementary school
Meeting spot for community groups (not just school) Advertise it
empower SLT, parent coordination Visibility within school show work
throughout(to see more) Student ART out into community Work up in
school during events, prep time CULTURAL theme to art Student
culture reflected in the work- link to content of community life
Performances linked Video install of performances (dance concert,
poetry, etc.) Small groups, comfy furniture will help Other themes
for events (Monthly, regular, reading group, etc.) Reach out to
local community groups, churches Representations of student work in
school linked with a symbol or bench (comfort)- benches around
school Student-created, sponsored by local organization LOGO?
student-generated contest (?), rename High Tech apps Get room
wired! Projector hooked to ceiling (Films! Screenings) CREATE BUZZ
Catering: talk to local restaurants, yearbook advertisement-
preferred caterer Little corporate sponsorship Art, advertising
goes up in local businesses LONG TERM: Make evident dialogue within
and out of school Re: Art Space Intimacy of space is a
highlight
9. How can we transform our art gallery through technology,
through programs into a learning laboratory to disseminate our
successes, efficiently absorb and share data and integrate our
community?
10. How can we transform our art gallery through technology ,
through programs into a learning laboratory to disseminate our
successes, efficiently absorb and share data and integrate our
community?
11. How can we transform our art gallery through technology,
through programs into a learning laboratory to disseminate our
successes, efficiently absorb and share data and integrate our
community?
12. How can we transform our art gallery through technology,
through programs into a learning laboratory to disseminate our
successes, efficiently absorb and share data and integrate our
community?
13. How can we transform our art gallery through technology,
through programs into a learning laboratory to disseminate our
successes , efficiently absorb and share data and integrate our
community?
14. How can we transform our art gallery through technology,
through programs into a learning laboratory to disseminate our
successes, efficiently absorb and share data and integrate our
community?
15. How can we transform our art gallery through technology,
through programs into a learning laboratory to disseminate our
successes, efficiently absorb and share data and integrate our
community ?
16. How can we transform our art gallery through technology ,
through programs into a learning laboratory to disseminate our
successes, efficiently absorb and share data and integrate our
community?
17. learning LAB juan morel campos / BRIC rotunda gallery
Evidence Of Teacher And Student Learning AROUND SCHOOL PROFESSIONAL
LEARNING GET INVOLVED ACADEMIC CONNECTIONS VIDEO INTERVIEWS
18. juan morel campos / BRIC rotunda gallery Evidence Of
Teacher And Student Learning Browse by: SUBJECT DATE learning
LAB
19. juan morel campos / BRIC rotunda gallery Evidence Of
Teacher And Student Learning Browse by: SUBJECT DATE ACADEMICS ARTS
learning LAB
20. Evidence Of Teacher And Student Learning Browse by: juan
morel campos / BRIC rotunda gallery SUBJECT DATE VIDEO / PHOTO
MURAL COLLAGE INSTALLATION DRAWING / PAINTING BOOKMAKING learning
LAB ACADEMICS ARTS
21. Evidence Of Teacher And Student Learning juan morel campos
/ BRIC rotunda gallery BOOKMAKING learning LAB FALL 2008
Discovering ACTIVE CHANGE in PERSONAL ESSAYS through DIAGRAM and
DESIGN Visual Artist Angela Earley in residence with 8th Grade ELA
teachers Adam Davison and Keith Miller
22. How can we transform our art gallery through technology
through programs into a learning laboratory to disseminate our
successes, efficiently absorb and share data and integrate our
community?
23. LEARNING LAB - PROGRAMS
24. How can we transform our art gallery through technology,
through programs into a learning laboratory to disseminate our
successes, efficiently absorb and share data and integrate our
community?
25. LEARNING LAB - ENVIRONMENT
26. LEARNING LAB - ENVIRONMENT
27. How can we transform our art gallery through technology,
through programs into a learning laboratory to disseminate our
successes , efficiently absorb and share data and integrate our
community?
28. DISSEMINATE OUR SUCCESSES
29. How can we transform our art gallery through technology,
through programs into a learning laboratory to disseminate our
successes, efficiently absorb and share data and integrate our
community?
30. EFFICIENTLY ABSORB & SHARE DATA
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EMBEDDED ASSESSMENT
Not only did we learn about embedded assessment and begin to
develop some tools and ideas to use in our lessons, we also took
the time to think more reflectively about our ongoing work and
understand how this sort of assessment strategy could be used in
our residency work in the future.
Examples of protocols developed: A peer-review checklist, an
arts-based activity for measuring student understanding.
LOOKING AT STUDENT WORK
Facilitated discussion format, based in visual inquiry.
Enables deeper read of process of making work, and student
outcomes.
TA and CT learn by reflecting on what they did, what their
goals were, and how their expectations were met or not met.
This informal, peer to peer setting enables fresh eyes, honest
expression, and a safe learning environment.
It is used to build community, as well as to assess ongoing
work.
EFFICIENTLY ABSORB & SHARE DATA
53.
EMBEDDED ASSESSMENT - Excerpted notes from PD led by Amy Chase
Gulden
Formative Assessment: Used to determine next steps in an
activity. With this style of assessment, you are assessing as you
go to gauge teaching effectiveness and maximize learning
opportunities. It is an activity that is conceived of as part of
teaching process.
Authentic Assessment: Giving students chances to apply ideas
you are working on, and recording / analyzing the outcomes.
An example might be the "Turn and Talk" strategy - after
presenting students with an idea, they turn and talk to their
neighbor about it. An educator will listen in for clues that will
help them determine if students grasped the idea (such as something
as simple as being able to discuss it, to something as detailed as
citing related examples, or paraphrasing the ideas presented by the
educator). Students will also report main ideas back to the
group.
When creating an embedded assessment:
* Identify a specific aspect of learning (skill or
understanding) that is important to your partnership work.
Consider:
* How do you know when students have made progress?
* How could you show this to others?
What opportunities can you give students to:
* Articulate what they understand - by saying, speaking, or
writing IN WORD
* Demonstrate their understanding or skill by applying what
they have learned IN DEED
EFFICIENTLY ABSORB & SHARE DATA
54.
Kaitlin:
I think I see the growth of an idea.
Monique:
I see exploring of everyday materials in novel ways - i mean
its tape, its something that you usually use to just functionally
put things together, and here it is a design focus of the book- In
addition to what it says, the tape makes an overall design - So
students are experimenting with materials.
Leigh:
Its about process - It is a marking of a process. All the
different kinds of materials, and the process of going from
positive and negative statements to one statement. Each page has a
different kind of statement - I will, I can't, etc. Each page
literally mirrors the process that may have gone on in the
classroom.
EFFICIENTLY ABSORB & SHARE DATA
Betsy:
I notice sort of a way to make your words stronger and speak
more by using the visual aspect of language. By making it a visual
statement it makes the words stronger.
Adam:
Because of the nature of this project, where each statement is
sort of cemented in the material, the process is the storyIn a
traditional published piece of writing, the information of how a
student got from A to B is lost. You just have the final piece in
front of you. But here is like the warts and all perspective - but
in a good way.
And you know what was even more - Angela brought in these
rub-on letters, I had never seen that material, the kids were
really in to it, to the point where there were students who spent
like 20 minutes on like three words. Which is cool, but if that
were a regular class and someone spent a period writing three
words, it would be like a new low. But for the purpose of this
process you see a lot of really beautiful writing.
Amy Chase: What do you think this work is about, what are you
noticing?
55. How can we transform our art gallery through technology,
through programs into a learning laboratory to disseminate our
successes, efficiently absorb and share data and integrate our
community ?
56. LEARNING LAB - COMMUNITY
57. LEARNING LAB - COMMUNITY
58.
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Research - What its for, and what anyone can get from it.
59. Research: What its for, and what anyone can get from it.
WHAT DOES THE WORD RESEARCH MEAN TO YOU?
60. Research: What its for, and what anyone can get from it.
WHAT DOES THE WORD RESEARCH MEAN TO YOU? WHY DO RESEARCH?
61. Research: What its for, and what anyone can get from it.
WHAT DOES THE WORD RESEARCH MEAN TO YOU? WHY DO RESEARCH? Who wrote
from a personal perspective? Who wrote about it as a
requirement?
62. Research: What its for, and what anyone can get from it.
WHAT DOES THE WORD RESEARCH MEAN TO YOU? WHY DO RESEARCH? WHAT ARE
YOUR HANG-UPS OR CHALLENGES WHEN IT COMES TO RESEARCH?
63. Research: What its for, and what anyone can get from it.
WHAT DOES THE WORD RESEARCH MEAN TO YOU? WHY DO RESEARCH? WHAT ARE
YOUR HANG-UPS OR CHALLENGES WHEN IT COMES TO RESEARCH? WHAT DO YOU
NEED TO KNOW?
64. EVALUATION v. ASSESSMENT Extremely oversimplified
definitions, but useful: EVALUATION is used to measure success. It
is often summative - that is to say it comes at the end of a
project. It is used to rate or score, are standardized, numbers
based, and formal. ASSESSMENT is used to measure performance. An
assessment can be ongoing, and can include evaluations. It can be
formative - enacted during a project - or summative. It is a
diagnostic tool for your work. They are not mutually exclusive!
Both are valuable.
65. Reflective Practice is what we do . It is ongoing self-
assessment of your work. Formalizing the work we are already doing
is the easiest method for documenting and learning about your
practice. You can collect emails, notes, images, drafts, hand-outs
to get a picture of your work. THEN - Find ways to capture more of
your process - recording, note-taking, system for collecting
materials, visible thinking strategies Use a question, or series of
questions to help you pull information from the data you collect -
The material alone wont do anything for you! ex. Assessing Student
Objectives : Backwards design - What are your learning goals - big,
broad strokes. Define your lesson. From their clarify, refine,
identify objectives. Pull from those objectives a set of embedded
activities or questions that will help you demonstrate learning or
success. REFLECTIVE PRACTICE, etc.
66.
QUESTIONS TO KEEP IN MIND:
HOW WILL YOU RECOGNIZE SUCCESS?
HOW WILL YOU DEMONSTRATE CHANGE?
DOCUMENTATION becomes EVIDENCE when collected and organized in
response to a question or hypothesis. Photographs are arranged to
demonstrate learning. Captions are written in support of your
hypothesis.
YOUR QUESTION BECOMES A LENS through which you assess your
documentation and draw further questions, ideas and
conclusions.
DOCUMENTATION STRATEGIES are a means to an end.
REFLECTIVE PRACTICE, etc.
67. OUTCOMES : Manageable work plan, ongoing program
improvements, snapshots or stories about ongoing work, more
effective practice, team-building. APPLICATIONS: Grant proposals
and reports, advocacy, planning, dissemination, teaching and
learning. REFLECTIVE PRACTICE, etc.
68. What is Reflective Practice? A FEW MODELS Capture educator
/ programmatic thinking: Face-to-face, over email, over the phone.
A possible frame for this discussion could be something like the
looking at student work activity I showed you before. Embedded
Assessment Strategies: Turn and talk, mind-maps, inventories,
critiques, presentations. Interviews, checklists, critiques.
Reflection - I used to know, now I know. I want to know, I need to
know; I wonder... Whats happening? What makes you say that? (
Visible Thinking Routines ) AGAIN - This is stuff you are already
using as a teaching tool. The next step is organizing the material
into a narrative. REFLECTIVE PRACTICE, etc.
69. What is Reflective Practice? ARCHITECTURE The 80/20 Rule:
This work is only easy if you plan for it. If you do a good job of
planning and thinking at the outset (80% of time and energy) the
work will do itself (20%). Think about ONGOING , REGULAR , BUILT-IN
TIME to do your work. TEAM-BASED work can be more fun and
rewarding, but requires a more commitment and organizing. Set
deadlines . While the activities of reflective practice are
formative, it wont work without a schedule of events. REFLECTIVE
PRACTICE, etc.
70. What is Reflective Practice? ARCHITECTURE, cont. TIME:
Finding time and mental breathing space to reflect on your work can
be the most challenging thing you do. Your work plan might be as
simple as setting up a regular meeting , where you discuss what you
have been doing, look at photos and write about them, tackle a
specific challenge that came up (and write about it), etc. Once you
make the time - RESPONDING to a set of questions or images is easy.
If you have a team, take turns setting the discussion for the day.
REFLECTIVE PRACTICE, etc.
71. What is Reflective Practice? ARCHITECTURE, cont. Activities
for everyone dont work. While you do want some uniformity in your
practice, everyone has different ways to do their best work -
Someone might sketch everyday, other people might be rabid
journalers or emailers. Some might be into checklists, others are
photographers or interviewers. All of these methods are valid, as
long as you have a plan for using them. The constant in your work
should be your essential question or big idea. How you respond to
and collect evidence to support your question depends on the nature
of that question, as much as it does the people who are addressing
it. REFLECTIVE PRACTICE, etc.
72. MAKE IT MEANINGFUL : Too often people collect data because
they should, and with no plan for what to do with it. So now you
have all this stuff - What do you do with it? In my example, I
created a mural. I felt that it would be a friendly, accessible way
for the school community to access the story of our arts
partnership. All the files are digital - and as you saw today, I
can use them in many different ways, to tell different stories to
many people. REFLECTIVE PRACTICE, etc.
73.
CHECKING IN: With formative assessment, you are reflecting on
outcomes, as well as methodologies.
If your outcomes are not interesting, or yielding any results,
most likely your method for assessing them is not effective.
Are you telling the story your want to tell? Look closely,
figure out what is missing, and design a (doable) plan for
capturing that evidence. Sometimes the issue can just be taking a
closer look at what you have collected, or bringing in some outside
eyes to help you unearth unspoken ideas or revelations.
REFLECTIVE PRACTICE, etc.
74.
OUTCOMES: Dont forget them.
What are doing? What is it for?
Who is it for?
What is the thread of your narrative? Is is student
achievement? Make sure you are getting enough data on that. Keep it
loose though - If you find that you are only getting information on
teacher change, it might be that you are actually really interested
in that!
Format - What tools are you using to capture evidence, how will
you be using it later?
REFLECTIVE PRACTICE, etc.
75. REFLECTIVE PRACTICE, etc.
BASIC TOOLS
As I shared earlier, basic tools for documenting your practice
can be emails, worksheets, photos, video, agendas, meeting notes,
sketches, drafts, etc.
TOOLS I COULD NOT WORK WITHOUT:
My compact digital camera for taking pictures and recording
videos.
I use my amazing Mac for transcribing audio and video, editing
images and video, creating presentations.
Software: QuickTime Pro ($25), iPhoto / Preview (free with
Mac), Adobe Elements ($15), PPT or Keynote, Word or Text
Editor.
Worksheets: CAPE, Project Zero, ESP
76. REFLECTIVE PRACTICE, etc. DEMONSTRATION!
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BREAKOUT (1) & (2): Telling your story and creating a plan
of action!
78. BREAKOUT (1)
TELLING YOUR STORY TO FIND YOUR QUESTIONS
Break into teams of 3. Do not work with your colleagues.
Take turns talking about your work. Usually whatever you start
with is what is most interesting to you.
While one person talks, one person listens and asks clarifying
questions, makes appraising comments.
THE THIRD PERSON does not talk - You are the recorder. Jot down
anything that sounds like a big idea, a theme, a question. Notice
and record where the speaker stumbles or has difficulty explaining
something. Where the listener asks a question, or gets excited.
This is not easy - your job is to listen, synthesize, and
record.
When each person is finished speaking, the recorder hands their
notes to the speaker. Try to be legible!
You should each take five minutes to share and discuss your
work. After 15 minutes, you should have each had a turn in each
role.
79. BREAKOUT (2)
USING YOUR QUESTIONS TO DEFINE A WORK PLAN
If you have at team - get together. Review your notes from
Breakout (1). If you are alone, its okay! Were here for you! While
looking through your notes - What stands out to you? What do you
feel is a question or idea you could really take on? You can
combine or essentialize to find that perfect idea that is
meaningful to you.
Once you have your question - Think about work you are already
doing - Planning, Teaching, Emailing, Meeting, Photographing,
Video-Taping, etc. If your question is student-based - how can you
tweak your classroom activities to learn more about the work you
are doing? (i.e. think about some of the examples we talked about -
capturing dialogue from turn and talk, student presentations, or
planning discussions. Photographing ongoing work to give yourself
something to respond to when writing about it. How can you begin to
MAKE YOUR PROCESS VISIBLE?
Are there any other resources you arent yet tapping? What are
the invisible documentable moments that you can easily capture and
turn into EVIDENCE? Think about embedded assessment strategies -
Always be asking questions, listening without comment, and
recording your activities. This is the 80% of the work you can do
now, for 20% you will do later/
What are you going to do with all this stuff?? In my work, the
goal is to make our process visible to our school community - to
invite more people in - as well as making our work more visible to
a wider community. While collecting data I always return to our
question and goals, and think about - Who am I speaking to, and
what do I want to tell them? What is the best way? How can I stay
true to my question?
Remember: Keep it real. Data collection for the sake of it is
onerous, not fun, and has no point. You should always learn from
what you are collecting, and it should always be something that has
a life after collection!
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Parting Thoughts
81. PARTING THOUGHTS?
82. PARTING THOUGHTS. MAKE IT HAPPEN. KEEP IT REAL.
83. THANK-YOU! Stephanie Pereira for BRIC Contemporary Art
Brooklyn, NY [email_address]