The Reflective Cycle reflection-in-action reflection-on-action Frameworks for Reflective Teaching

The Reflective Cycle

reflection-in-action

reflection-on-action

Frameworks for Reflective Teaching

Creative BehaviorJuanita Sagan, Oakland California

• The Institute for Creative and Artistic Development (ICAD) – Oakland California

• Integration: an assimilation of the important emotional and intellectual aspects of a person’s experience.

• Credit Taking: Giving yourself recognition and praise for things you do to help yourself and others.

• Changing symbol systems

Seeing Student Learning

Carol R. Rodgers

• What struck you most strongly from this article?

• How do you use reflection in-action and on-action in your teaching? Give examples.

• What does it mean to you to be present in the classroom?

• Generate some questions about the article or the application of Rodgers’ ideas to your practice to share with the rest of the group.


Carol Rodgers

Presence in Experience Learning to see

Description of ExperienceLearning to describe and differentiate

ExperimentationLearning to take intelligent action

Analysis of ExperienceLearning to think from multiple perspectives and form multiple explanations

Self Reflection on Group Process

• What did you think of the mini-lab process?

• How well do you feel your group functioned?

• Is there anything that could have improved the process?

Jules David Prown approachMaterial culture

Material culture is “the study through artifacts of the beliefs values, ideas, attitudes, and assumptions of a particular community or society at a given time” (Prown. 1982.) Prown states that “objects made or modified by man reflect, consciously or unconsciously, directly or indirectly, the beliefs of individuals who made, commissioned, purchased, or used them, and by extension the beliefs of the larger society to which they belonged.” He has developed a functional classification of the objects of material culture, recognizing objects of art, diversions, adornment, modifications of the landscape, applied (decorative) arts, and devices.


Functional classification of the objects of material culture:

Objects of art (paintings, drawings, photos sculpture, etc)

Diversions books, toys, games, meals, performances, etc)

Adornment (jewelry, clothing, hairstyles, tatoos, etc)

Modifications of the landscape (architecture, town planning, agriculture, mining etc.)

Applied arts (furniture, receptacles, decorations, etc)

Devices (machines, vehicles, scientific instruments, musical instruments, implements, etc.)


3 Steps

1. Description

2. Deduction

3. Speculation


1. Description

Read the physical objectThe internal evidence of the object itselfNo subject assumptions or conclusions


2. Deduction

Inject self into the investigationThe relationship of the object to the perceiver

What would it be like to interact with the object?Lift, handle, use, experiment, walk through, act out


3. Speculation

Creative imagining, free associationReview information from steps 1-2 to fuel ideas

Developing theories and questionsDevelop a plan for investigation and validation

Harvard Project Zero

I SEE

I THINK

I WONDER


3 Steps

1. Description

2. Deduction

3. Speculation

"Photographs furnish instant history, instant sociology, instant participation."

(Susan Sontag On Photography, page 75)

The Reading of Photographs

“As an initial lesson in the use of photographs to teach topics in environmental science, I project digital versions of the historical and contemporary photographic images on a large screen constructed in the classroom for this purpose. I encourage my students to "read" the photographs in a systematic way. We are concerned with the subject matter of the images, the multiple meanings that are carried by the photographs, our perceptions of the photographer's intent in making each image, the scientific content that can be extracted from close examination of the images, and the artistic merits of the photographs.”


“I identify each photograph with a brief statement about its subject matter. My students then begin an analysis of the photograph as they study its various details. The range and directions taken by student comments are not expected to be predictable in any way, although future use of the same images will enable me in time to construct a body of information that emerges from the perceptions of many students. Each image may require ten or more minutes of projection, particularly the first ones shown. “


In this classroom activity, my students are asked to compose an essay of at least four pages that addresses the environmental and artistic significance of one of the photographs studied in class. Our school district has placed increased emphasis on reading for information in all subject areas, with district-wide reading assignments being provided to all ninth and tenth grade students. I complement these reading for information assignments with "reading photographs for information" assignments. I feel that these assignments will generate similarly valuable skills in my students, such as enhancing their powers of observation, their assimilation and interpretation of content, and their ability to deduce and speculate about the intentions of the makers of the photographs. In fact, they will make deductions and speculate in ways that could not have been anticipated by the photographers. The written assignments will follow a pattern similar to that of classroom discussions, with students expected to address the environmental (scientific) content of the photograph, its "style" and artistic merits, the point of view of the photographer, the multiple meanings that can be found.

Writing From Photographs

My students are assigned medium-length readings from each of the key figures of the American environmental movement. They include Thoreau's Walden Pond and Cape Cod, Marsh's Man and Nature, Leopold's A Sand County Almanac and Sketches Here and There, Carson's The Sea Around Us, and Silent Spring, and Wilson's Naturalist and The Future of Life. The task of each student, working individually or in a small group, is to match each of a series of photographs of environmental content with an appropriate quotation from the writings assigned. As Susan Sontag states, a number of well-known books have been reissued with accompanying photographs that support or reinforce the narrative views and beliefs of the authors. For example, I have copies of illustrated versions of Thoreau's Walden and Carson's The Sea Around Us. The task of my students is to provide some written explanation of their pairings of photographs and the author's quotations. I suspect that this assignment will encourage extensive research and original thinking on the part of my students. It also will lead to the identification of a collection of photographs that will be new to me and that will enhance the teaching of environmental science.

Matching Photographs with Quotes From the American Environmental Literature


3 Steps

1. Description

2. Deduction

3. Speculation

Case Review

Read 3 cases and choose one to discuss in depth

Case 1: Grade 5-6Case 2: Grade 2Case 3: Grade 8Case 6: Grade 2*Case 12: Grade 5*Case 14: High SchoolCase 15: Teacher learning groups *

Case ReviewGuidelines:

1. Respect each members contribution and point of view and listen carefully.

2. Do not interrupt, Wait for speakers to finish before responding.

Case Review1. 1-2 people summarize the facts2. Analysis -- Analyze the problem from the

viewpoints of the different actors in the case.3. Evaluation – Examine the teacher’s strategies for

handling the problem.4. Alternative solutions – Generate alternative

strategies making sure to consider the risks, benefits and consequences of each

5. Principles of practice – formulate some generalizations about good practice based on the discussion, prior experience, theoretical understandings.

6. What is this a case of? (big ideas)

• How interesting did you find your work in the group?

• How difficult did you find your work in the group?

• Did you understand exactly what the group was supposed to do?

Self Reflection on Group Process

Describe a “moment”

• Choose a moment from your classroom (or life if you are not in a classroom) that you found puzzling, troubling or exciting. Describe it in detail including any or all of the classroom elements – teacher, students, subject matter, and context and their intersecting dynamics.

Asking questions…..

Who asks the questions?What questions do students ask? What do students’ questions and

curiosities tell us about who they are and what they know already?

Offering Choices…

• What choices do students get to make?• Have students been given chances to

practice independence and autonomy?

• Are imagination and unique responses valued and encouraged?

Your Journal

• I take credit for …• I wonder ….• I’ve been thinking …• I wish I would have …• I was thinking about something I read …• Today I had a moment …• My good and bad for today are …

Classroom Observation Project1. Identify a question, a curiosity, an

interest, a concern, or something you would like to improve in your teaching practice.

2. Spend this week observing, listening, reflecting and recording your responses.

3. Work next weekend with a small group of people (3-4) who have looked at a similar issue.

4. Design and present a brief (<15 minute) presentation to the class.

Classroom Observation Project• Some possible topics or questions

might involve:Classroom environment

Student reflection processesGroupwork

Classroom conversation and discourseStudent self-regulation

Student problem solvingLesson planning – curriculum adaptations

Classroom Observation Project• Pay attention to:

YourselfSpecific students

LearningPhysical responses

ContextTime, space and energy

Form and content


Carol Rodgers

Presence in Experience Learning to see

Description of ExperienceLearning to describe and differentiate

ExperimentationLearning to take intelligent action

Analysis of ExperienceLearning to think from multiple perspectives and form multiple explanations

Documents

The Reflective Cycle reflection-in-action reflection-on-action Frameworks for Reflective Teaching