Showing posts with label for teachers. Show all posts
Showing posts with label for teachers. Show all posts

Sunday, June 21, 2015

Violence and Games

A few summers ago someone at the UCLA Writing Project handed me a Lucy Calkins book about accessing and teaching the Common Core. Calkins is known for working with lower grades and for working with teachers, but the book was interesting enough. She talked about handing out articles to read with teachers, not about teaching, but just good solid nonfiction. One she recommended was a piece called "Shoot Out" about a high school assassin game. Calkins walked readers of the book through a way to talk about the article and helped me frame some ideas about Close Reading.

I love to use this article both with students and in leading professional development. I think it is nuanced enough that the first read gives a misleading understanding. To have readers revisit the piece, multiple times, especially around the diction used to describe the game itself and then the students' skills really forces students to use a text to make sense of more ambiguous and nuanced reading.

This piece is especially great with an article by Steven Johnson that was in the LA Times. This piece is an ironic yet fact filled open letter to then-Senator Clinton about violence in videogames. Johnson is known for his book Everything Bad Is Good for You which my friend David and I used with a study group around pop culture in the classroom. In the op ed piece, readers are asked to deal with sarcasm, which is often tricky for them to do in writing and it serves as an interesting companion for the "Shoot Out".

As ever, text sets are so much more interesting and exciting to deal with because they offer students multiple ways to think about a topic. These two articles work together, but they are also strong pieces to examine individually. Morevoer, they avoid the pitfalls of thinking about violence and games solely in the context of videogames nor are they simplistic Violent-Games=Bad articles. If you want to see what sorts of writing, along with the other pieces (a satire that Lucy Calkins mentioned called "The Great Office War" along with a Mother Jones article and a PBS piece) then please feel free to see the handouts from a presentation I gave at the With Different Eyes conference.

Thursday, May 14, 2015

California English Article

Cathy and I had an article accepted for California English. Thought we'd share it with you here: That’s Why: Examining Reasoning and Justification by Kathryn Gullo and Catherine Underwood

“That’s why, Miss.” Kathryn took a moment, looking at Kenneth, the 8th grade boy who was deeply in trouble. This phrase confused her because it was used as the answer to the question “Why would you think it’s okay to put gum in Eunice’s hair!?” without any intermediate information. She didn’t know it but “That’s why, Miss” would be the answer to some of the thorniest questions she posed in class. This elision was not always an attempt at dissembling. Instead it was the wholesale summation of a type of reasoning that could be summed up more succinctly as “duh.”

Kathryn thinks of Kenneth’s declaration each time she is asked to consider text-based writing and the Common-Core trifecta of claim, evidence and reasoning (Kathryn also claims “I also thought of his pat answer for his explanation of his thinking whenever I read the comments on a post on the internet”). Many casual arguments, on-line or in homes, include claims (like orders or opinions) and at least allusions to evidence. Less commonly, however, do they include well-developed reasoning. Well-developed reasoning, however, sits at the heart of argument. Argument begins with an assertion, a claim where you want to direct the audience. Evidence should be relatively indisputable, such as data or a quote from a text. Look-up the data or page number and no debate should continue. The audience can find footing in it. Solidly constructed reasoning shores up the claim with the steadiness of evidence. It carries the audience from the evidence to the claim.

Understanding how to support a claim with appropriate, adequate and accurate evidence along with clearly articulated reasoning and justification is at the basis of academic thinking. In fact, a quick scan of the words “claim,” “evidence,” and “reasoning” show up repeatedly in the Common Core standards and the Next Gen Standards in Science. In the English Language Arts standards claim is written 110 times, evidence 136 times and reasoning 46. In the math standards there are 71 instances of the use of the word reasoning, and in science the word evidence is used a whopping 440 times. The intellectual work in academic argument is engaging with and using these concepts. For the past few years, our journey has been delving into the world of evidence and reasoning both with our students but also with our co-workers. The guiding question for our work has been and continues to be “how do you get students to reason?”

Where We Started

Both of us teach Advanced Placement English, Literature and Language respectively. While we had different assignments, we’d often co-score, sharing the frustrations and joys of papers. It was gratifying to share the pain and to have someone help talk through what we each noticed. Co-scoring was more than just sharing someone else’s pain; instead it was for us to learn and to validate. In 2010, we worked with our department to create and give a school-wide benchmark assignment, based on the AP Language synthesis prompt which we co-scored as a team. What we noticed is that our students’ mistakes could be categorized as either missing a piece of the prompt, misreading critical components of the text, or, most often, merely providing summaries of the text.

Armed with this information, it was easiest to address problems with the prompt. A few targeted minilessons and consistent practice helped there. We also used a wider variety of reading strategies to ameliorate some of the misreading. Addressing the summarizing problem, the problem of students merely using evidence without justification, was a bigger and more intimidating task.

In January 2014, a small team from our department participated in a project focused on argument at the Institute for Standards, Curricula and Assessments. As participants, we worked with a data set from the National Science Teachers Association, and we worked with argument whiteboards. This process, of stepping away from a traditional print text to look at data was liberating and extremely fruitful and the work we did was transformational for us. The argument whiteboard, as adapted from NSTA’s Scientific Argumentation in Biology by Victor Samson and Sharon Schleigh by Charlotte and Day Higuchi, is a two-column graphic organizer that is simple in the best way possible. Students provide evidence on one side and justification on the other. Like the best graphic organizers, it is not especially the boxes that matter, but it provided a framework for us to explicitly teach reasoning and justification. Part of the beauty of this framework is that it separated the variables of claim, evidence and reasoning so that we as teachers began to see where confusion in students’ thinking actually lay.

In Our Classroom

Our first realization was that working with data sets simplified some of the problems with students not understanding the reason. If you are given strictly numbers in a chart, the comprehension issues tend to fall into issues of understanding greater underlying concepts and not the usual reading comprehension issues. Our students started with looking at data around snakes and guppies and birds. Some understood the process, but most others were still muddling through. Without being biology teachers ourselves, we realized that we could not adequately answer what types of thinking underpinned the students who did got it. We used the argument whiteboards with texts, including speeches, articles, poems or whatever we were reading but when only a few students would be able to explain how their textual evidence supported their claims, we were not always able to formulate the right question to move their thinking forward.

In Writer’s Seminar, which is a class we co-taught, Leon, one of our students, attempted to explain his reasoning. Kathryn presented the idea of selecting car colors for a new car model. She presented the idea that the majority of the cars in the parking lot are white, grey or silver. Leon said, “Then make it white.” After we probed his thinking he attempted to explain. “White is popular, “ he said. Catherine looked at him and said, “Yes, since white is more popular....” He finished her sentence by saying, “...if you want to make money you should be sure to make one white.” Eureka. There it was.

Reasoning is not merely explanation of the data. Explanation often provides recapitulaton, not reasoning. To get to justification, a student has to add something more. Reasoning requires that students talk about the evidence and talk about the claim. Reasoning is the center of the Venn diagram; reasoning is the link. Therefore, in their reasoning, they must say something about the evidence and something about the claim. To move them there, we began to look for words and phrases that could goad articulation of reasoning: therefore, since, in order to, in spite of.

This breakthrough in our own understanding along with constant models, both student generated and our own, prompted a leap forward for our students. With the new school year, we were more methodical and explicit teaching argument with argument whiteboards, and we began working with teachers in other disciplines in our school. To support students, we realized that students must practice first in lower levels of Bloom’s Taxonomy with knowledge and identification before attempting the creation of explicit reasoning on their own. We generated several example argument whiteboards and had students sort and categorize pre-written evidence and justification. Then we removed some evidence (while leaving the justification) and some of the justification (while leaving the evidence) and began having students compose the missing pieces, which allowed them an opportunity to see how each piece influenced its pair. Then we had students complete another argument whiteboard that had the justification, but students had to locate the evidence that allowed the justification. The last supported iteration was to provide the evidence and have students create the justification.

Shaping Our Practice

The biggest lesson for us has been that breaking this thinking task into its attendant parts is cognitively demanding. Previously we would scribble a “so what?” in the margin of the paper, which rarely resulted in a student really understanding what we are asking. Writing conferences have always been more fruitful because a teacher can continue to probe a student’s thinking to eventually get to their reasoning. Unfortunately, it’s also time consuming and difficult to schedule writing conferences with all 200 students on a roster.

We have noticed that coming up with a claim prior to thinking about evidence can have a deleterious effect. Often, teachers create prompts where we ask students to start with a claim, and then work backward to prove it. Students rely on impressions to create a claim then hunt for support. However, if an argument whiteboard starts only with evidence, then students must depend on actual reasoning in order to come up with a claim. This works best if students do not have preconceived ideas or opinions about the topic. Once the students already has an opinion, then it is too easy to make statements about a topic without reasoning to get there.

When teaching this process, it is best to start with accessible texts. This past winter, we relied on the podcast Serial. Serial was high interest with many debatable aspects, which was ideal. For the most authentic and interesting work in argument, students need a question whose resolution creates a need for reasoning. A claim that states an undisputed fact does not demand evidence and justification. The claim must explore a concept that is either mysterious or disputed. In socratic seminars and in argument whiteboards, students grappled with a variety of disputable aspects of Serial: information on Adnan’s innocence, the effect of podcast genre on this story, the appropriateness of Sarah Koenig’s reporting.

Our next step is more frequently to have students begin to question each other’s reasoning in a formalized way. We would like students to begin to articulate why they have discarded evidence or what other claims they had considered. Day Higuchi calls these questions “probing skeptic’s questions” and we believe that by answering such questions, students will experience another dimension of reasoning.

Not knowing an answer is very uncomfortable. The process of good reasoning requires us to delay landing on an answer. It requires us to doubt any preconceived ideas and seek for why an answer might be wrong. They must delay an answer. In order for students to deeply reason, they must sustain doubt. They must learn to enjoy the muddle of looking for holes in a theory. If we want students to deeply reason we must make this process of reasoning the main point of academics.

Wednesday, September 24, 2014

Quick Bit: Yo-Yo Ma from On Being

I am finally catching up on some of the podcasts that I usually follow. Yo-Yo Ma's interview with Krista Tippet on On Being is absolutely fantastic. Of course he is a genius and fascinating; to hear the whole podcast go here: podcast

I did want to share this snippet from the podcast, though. Ma asserts:

"Yeah. Good music. Look, or any type of music can be part of good music in the sense that — but I'm not even saying good music. I'm saying good musicians would be able to, you know, to compose, to improvise, to be virtuosic in what they do, and can easily absorb other influences and make it organically their own. So that, you know, new influences are embedded. So there's the process of constant growth. And then, finally, the last quality would be the musician that actually is able to transfer — to inject all of their knowledge and give it to somebody else so that they can actually look at the world and figure it out for themselves without the first musician being there — so it's a process of birth. It's a process of constant cultural rebirth."

I love this! I love that for Ma, mastery is not about merely replicating but it's about generating. In other words, to be educated means to be a person who takes new information, allows it to influence what you already know how to do and transmits that understanding to others. I would love, as a teacher, to aspire to the same.

Tuesday, January 21, 2014

Close Reading, Quick and Dirty

The Common Core asks teachers to focus on close reading of complex and rich texts. What precisely is close reading and how do you get your students to do it.

According to The Partnership for Assessment of Readiness for College and Careers (PARCC) (which, coincidentally, is also one of two consortia that is creating the assessments that will be used to test CCSS)

Close, analytic reading stresses engaging with a text of sufficient complexity directly and examining meaning thoroughly and methodically, encouraging students to read and reread deliberately. Directing student attention on the text itself empowers students to understand the central ideas and key supporting details. It also enables students to reflect on the meanings of individual words and sentences; the order in which sentences unfold; and the development of ideas over the course of the text, which ultimately leads students to arrive at an understanding of the text as a whole.

This lens is useful because it emphasizes the need to slow down and attend to textual details in orderly way as a function of analysis. It seems to me that there are essentially two types of close reading: reading that focuses on craft and reading that focuses on concept, though often the focus on craft will lead to conceptual understanding. For example, imagine reading the second paragraph of the Declaration of Indepence, which has the famous Life, Liberty and pursuit of Happiness line. If I am focused on craft, I am looking at diction, parallelism and other techniques Jefferson used. If I'm looking at meaning, I'm looking at definitions of words, ideas, confluences and contradictions.

Adept readers do this as a matter of course, shifting between craft and meaning seamlessly. Emerging readers need explicit prompting and, in some ways, tricks to remember to read closely.

To that effect, these are generic but typical things my students do with a small piece of text. Be warned, though, that you cannot and should not attempt to have anyone read an entire novel or book closely. Choose excerpts, pieces of articles, or shorter pieces to practice. Choose questions or activities that force a student back into the text. It's not especially useful to know what a student thinks Happiness means or for him to describe a time when he was happy. If you are really checking the student's ability to understand the text, make the question text-based; ask instead what Jefferson meant by Happiness and ask them to back it up with details.

Quick and Generic Steps to Close Reading

Close reading happens after you have already read the text once. You don’t have to go in this order but you should always start with step 1 and end with step 7.

Step 1: What is your first understanding of the text? What would you say the text is about right now? What are the Big Ideas or what is the focus you find most compelling?

Step 2: Look for and mark interesting words that jump out at it you. If you were going to group them together and give that group a name, what would it be? Is there a pattern to the words? What is the author describing with these words?

Step 3: Divide the text into natural sections. Look for shifts. What is the purpose of each section?

Step 4: Examine the syntax. Is there anything interesting that this author uses? Do you see sentence variety? Is there a short sentence among long sentences? Are there plenty of questions? Repetitions? Parallelism? What is he emphasizing with this and why?

Step 5: What images are interesting? What do you picture? How are those images created (devices)? What is the purpose of these images?

Step 6: What’s the tone at the beginning? What is it in each section you have marked? What is the tone at the end?

Step 7: What new claims or ideas about the focus of the text do you have now that you have looked at it closely?

What are your thoughts? What ways do you get students to revisit text?