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.

• • Reflective practice, formative assessment, embedded assessment

• • Some basic tools

• 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

31.

32.

33.

34.

35.

36.

37.

38.

39.

40.

41.

42.

43.

44.

45.

46.

47.

48.

49.

50.

51.

52.

• 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.

• S

• S

• Research - What its for, and what anyone can get from it.

• • Reflective practice, formative assessment, embedded assessment

• • Some basic tools

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!

77.

• S

• S

• Ad

• d

• 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!

80.

• S

• S

• Ad

• D

• D

• 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]