I truly believe that everything that we do and everyone that we meet is put in our path for a purpose. There are no accidents; we're all teachers - if we're willing to pay attention to the lessons we learn, trust our positive instincts and not be afraid to take risks or wait for some miracle to come knocking at our door.
Marla Gibbs
Application Goals and Questions:
My goal: To help Punahou School build the essential bridge between the Learning Commons and the Studios.
The Challenge: As we change the hardware of our school, we must also initiate a software change in our school.
What Success Looks Like: Success would mean a palpable symbiotic relationship between the Learning Commons and the surrounding classrooms.
I wish to explore how other schools and productive/creative environments are embracing project-based learning and creative design principles. My learning will be first shared with collaborators and ultimately provide students and teachers more opportunities to deepen their learning, as Punahou moves away from traditional modes of delivery, production, and assessment.
My essential questions I will answer:
How have other schools pivoted to a new style of instruction, learning, and assessment?
How can we increase the opportunities for students to engage in more meaningful and "sticky" learning?
What is happening with PBL outside of Punahou's walls?
What type of activities/opportunities should be housed in the Learning Commons, and how can we stretch what we currently believe should be in these buildings?
How can we best engage teachers in PBL and creative design?
How have other schools integrated PBL into their classroom curriculums?
How can we support teacher transitions to PBL?
How can we leverage students' natural attraction to games to help increase their learning?
Can Punahou evolve from a school where students play video games to a school where students create video games?
What type of furniture will support learning in the Makeries and Inspiration Café?
My goal: To help Punahou School build the essential bridge between the Learning Commons and the Studios.
The Challenge: As we change the hardware of our school, we must also initiate a software change in our school.
What Success Looks Like: Success would mean a palpable symbiotic relationship between the Learning Commons and the surrounding classrooms.
I wish to explore how other schools and productive/creative environments are embracing project-based learning and creative design principles. My learning will be first shared with collaborators and ultimately provide students and teachers more opportunities to deepen their learning, as Punahou moves away from traditional modes of delivery, production, and assessment.
My essential questions I will answer:
How have other schools pivoted to a new style of instruction, learning, and assessment?
How can we increase the opportunities for students to engage in more meaningful and "sticky" learning?
What is happening with PBL outside of Punahou's walls?
What type of activities/opportunities should be housed in the Learning Commons, and how can we stretch what we currently believe should be in these buildings?
How can we best engage teachers in PBL and creative design?
How have other schools integrated PBL into their classroom curriculums?
How can we support teacher transitions to PBL?
How can we leverage students' natural attraction to games to help increase their learning?
Can Punahou evolve from a school where students play video games to a school where students create video games?
What type of furniture will support learning in the Makeries and Inspiration Café?
These boxes will hold both my initial questions and my final answers.
Here's an amazing quote that has guided my presentation of my findings. I've attempted to be honest regarding what direction I believe Punahou should travel. Anything less than total honesty would not be fair, helpful, or me.
Well, where to begin? I suppose with a question that'll guide this year of learning for me:
How do we create symbiotic relationships between classrooms and makerspaces/learning commons?
This is a simple question with I believe a couple of simple answers. How we get to those answers implemented is the real challenge, so here we go...
The first step is accepting a need for change in our education system. If you don't believe there's a need for evolution, then stop reading now. I obviously believe there is a need for a seismic shift in how we teach children, a revolution if you will. We'll uncover what constitutes this shift more throughout the year together, but for now, let me just say that I believe learning needs to be more experiential, hands-on, dirty, deep, and most of all– real. And sticky (a term I'll use repeatedly this year meaning the learning should be something that affects a child beyond a paper test date) I'll leave that dangling there for now and start asking questions and trying to answer them.
What role can video games play in a child's learning?
Look, I hate kids playing video games as much as the next curmudgeon. I do. I cringe when I see video games used in classrooms. I piloted "MineCraft" a few years ago and hated it as a classroom tool for two reasons: kids rarely focused on learning anything and I suddenly became a "sheriff" marching around the room scolding kids for having fun. I know there are some who do amazing things with MineCraft, but it didn't work in my classroom. Sim City, on the other hand, I've had wild success with in my classroom. More on that later.
But Gosh Darned if I didn't hear this exact quote while, in all places, getting on a ski lift to mountain bike down a mountain: "Dude, my friend is a History major now because of Assasins' Creed and Call of Duty." I almost jumped off the lift as this operator rocked my world with this statement, but I reconsidered as I think I heard all I needed to hear to spark this debate.
I've believed for years that there is more value in kids' CREATING video games than we could ever imagine. I'm not a fan of the playing of games for hours on end, but the creation is nothing short of fascinating. Kids learn coding, sure. But what else goes into a great video game? (Watch "Indie Game" for a wonderful look at game designers)
Game designers need to consider the following to create a rich game experience:
- Theme/Story
- Visuals
- Sound effects
- Music
- Game Theory (The "Goldilocks Rule" that requires a game not be too hard nor too easy)
"It's the sum total of every expressive medium of all times, made interactive. How is that not, it's awesome! I wanna be part of it." - Phil Fish.
For an look at the diversity of games, emotion-evoking, storytelling, and what game design means to different people check out: Netflix: Indie Game: Life After: Hour/Minute 1:30
Consider for a moment, students creating a video game based on a curricular topic such as Native Americans or mitosis. First, would kids be motivated to complete this project? I say yes. Kids love games. Second, consider the research they'd have to complete in order to get the above-mentioned criteria correct. It's amazing. Next, let's ask if this is a project worth sharing with others and giving/receiving feedback? Of course it is. It's a game that other kids might love (or hate and hey, there's a great lesson there, too). Last, let's ask if this learning is 'sticky'? I say yes.
At this point, I should address this snarky response: "Oh, so my students should be making PacMan in history class?" My snarky answer is this: Yes, it's better than giving them a paper test.
Which leads to these questions and answers: "Should every teacher teach like this?" Nope. "Should every student have the option to learn like this?" Yup.
Enough talk, let's try it out in a mini-case study:
Students: Leia and Woody (my kids)
Scenario: Leia and Woody have both been tasked with doing a report on the region we are now living in: Mammoth Mountain, Ca. Leia chose to use the founder of the ski resort (Dave McCoy) as her project focus while Woody is doing the mountain itself. Both kids have resisted or at least dragged their feet on this project. Both have struggled to do anything beyond looking up facts on Wikipedia. This is my personal teaching nightmare. Kids compiling facts that they'll quickly forget. Zero passion. Zero stickiness. And nothing I'd really care for them to share with anyone else. Nightmare.
Next Step: I'm waiting for the morning to spring on them a new assignment: McCoy: The Video Game! We'll work as a team to build a working video game for others to enjoy (and learn from). Here's a list of the steps we'll have to take in order to complete this project.
Story: What's the big story we're telling here?
Title Screen: A clever title along with inspriring artwork and design. This artwork could be in any form: photography, painting, or digital art.
Music: Created in GarageBand this music will have to fit the theme and excitement of the game.
Scenery: The gorgeous Mammoth mountains and geography will be rendered digitally. For an amazing look at how a "pro" creates scenery check out: Netflix: Indie Game: Life After: Hour/Minute 1:17
Sprites: These are the digital representations of the characters, obstacles, and prizes in the game.
Sound effects: Fun and authentic sound building.
Game mechanics: We'll have to figure out if this is a vertical game (tower) or horizontal game (platformer). Then we'll have to simulate movements that make sense to the theme. It's clear to me at the moment that this will most likely be a Winter experience on the snow. Or maybe the kids will be more ambitious and create seasons in order to see the mountain change throughout the year?
Coding: Done in Scratch, this block coding is the skills-based aspect of this assignment.
Beta-testing the game: I'm hoping we go to the Mammoth Library's MakerSpace during their open sessions to get feedback from kids about the game.
We'll divide up these tasks, but stay within the group to ensure we stay focused on a consistent theme. I saw this firsthand at Riot Games: a diverse group of specialists working separately within a common goal.
Here are some questions that should be put to this project:
Are the kids doing meaningful research to create their game or are they making decisions willy-nilly?
Will they want to share this game with others?
What are the skills they'll be learning along the way?
Is this a fun project and are they motivated to wake up and work on it?
Stay tuned...
How do we create symbiotic relationships between classrooms and makerspaces/learning commons?
This is a simple question with I believe a couple of simple answers. How we get to those answers implemented is the real challenge, so here we go...
The first step is accepting a need for change in our education system. If you don't believe there's a need for evolution, then stop reading now. I obviously believe there is a need for a seismic shift in how we teach children, a revolution if you will. We'll uncover what constitutes this shift more throughout the year together, but for now, let me just say that I believe learning needs to be more experiential, hands-on, dirty, deep, and most of all– real. And sticky (a term I'll use repeatedly this year meaning the learning should be something that affects a child beyond a paper test date) I'll leave that dangling there for now and start asking questions and trying to answer them.
What role can video games play in a child's learning?
Look, I hate kids playing video games as much as the next curmudgeon. I do. I cringe when I see video games used in classrooms. I piloted "MineCraft" a few years ago and hated it as a classroom tool for two reasons: kids rarely focused on learning anything and I suddenly became a "sheriff" marching around the room scolding kids for having fun. I know there are some who do amazing things with MineCraft, but it didn't work in my classroom. Sim City, on the other hand, I've had wild success with in my classroom. More on that later.
But Gosh Darned if I didn't hear this exact quote while, in all places, getting on a ski lift to mountain bike down a mountain: "Dude, my friend is a History major now because of Assasins' Creed and Call of Duty." I almost jumped off the lift as this operator rocked my world with this statement, but I reconsidered as I think I heard all I needed to hear to spark this debate.
I've believed for years that there is more value in kids' CREATING video games than we could ever imagine. I'm not a fan of the playing of games for hours on end, but the creation is nothing short of fascinating. Kids learn coding, sure. But what else goes into a great video game? (Watch "Indie Game" for a wonderful look at game designers)
Game designers need to consider the following to create a rich game experience:
- Theme/Story
- Visuals
- Sound effects
- Music
- Game Theory (The "Goldilocks Rule" that requires a game not be too hard nor too easy)
"It's the sum total of every expressive medium of all times, made interactive. How is that not, it's awesome! I wanna be part of it." - Phil Fish.
For an look at the diversity of games, emotion-evoking, storytelling, and what game design means to different people check out: Netflix: Indie Game: Life After: Hour/Minute 1:30
Consider for a moment, students creating a video game based on a curricular topic such as Native Americans or mitosis. First, would kids be motivated to complete this project? I say yes. Kids love games. Second, consider the research they'd have to complete in order to get the above-mentioned criteria correct. It's amazing. Next, let's ask if this is a project worth sharing with others and giving/receiving feedback? Of course it is. It's a game that other kids might love (or hate and hey, there's a great lesson there, too). Last, let's ask if this learning is 'sticky'? I say yes.
At this point, I should address this snarky response: "Oh, so my students should be making PacMan in history class?" My snarky answer is this: Yes, it's better than giving them a paper test.
Which leads to these questions and answers: "Should every teacher teach like this?" Nope. "Should every student have the option to learn like this?" Yup.
Enough talk, let's try it out in a mini-case study:
Students: Leia and Woody (my kids)
Scenario: Leia and Woody have both been tasked with doing a report on the region we are now living in: Mammoth Mountain, Ca. Leia chose to use the founder of the ski resort (Dave McCoy) as her project focus while Woody is doing the mountain itself. Both kids have resisted or at least dragged their feet on this project. Both have struggled to do anything beyond looking up facts on Wikipedia. This is my personal teaching nightmare. Kids compiling facts that they'll quickly forget. Zero passion. Zero stickiness. And nothing I'd really care for them to share with anyone else. Nightmare.
Next Step: I'm waiting for the morning to spring on them a new assignment: McCoy: The Video Game! We'll work as a team to build a working video game for others to enjoy (and learn from). Here's a list of the steps we'll have to take in order to complete this project.
Story: What's the big story we're telling here?
Title Screen: A clever title along with inspriring artwork and design. This artwork could be in any form: photography, painting, or digital art.
Music: Created in GarageBand this music will have to fit the theme and excitement of the game.
Scenery: The gorgeous Mammoth mountains and geography will be rendered digitally. For an amazing look at how a "pro" creates scenery check out: Netflix: Indie Game: Life After: Hour/Minute 1:17
Sprites: These are the digital representations of the characters, obstacles, and prizes in the game.
Sound effects: Fun and authentic sound building.
Game mechanics: We'll have to figure out if this is a vertical game (tower) or horizontal game (platformer). Then we'll have to simulate movements that make sense to the theme. It's clear to me at the moment that this will most likely be a Winter experience on the snow. Or maybe the kids will be more ambitious and create seasons in order to see the mountain change throughout the year?
Coding: Done in Scratch, this block coding is the skills-based aspect of this assignment.
Beta-testing the game: I'm hoping we go to the Mammoth Library's MakerSpace during their open sessions to get feedback from kids about the game.
We'll divide up these tasks, but stay within the group to ensure we stay focused on a consistent theme. I saw this firsthand at Riot Games: a diverse group of specialists working separately within a common goal.
Here are some questions that should be put to this project:
Are the kids doing meaningful research to create their game or are they making decisions willy-nilly?
Will they want to share this game with others?
What are the skills they'll be learning along the way?
Is this a fun project and are they motivated to wake up and work on it?
Stay tuned...
“If the only tool you have is a hammer, you tend to see every problem as a nail.”
Abraham Maslow
Coding, Cancer, and Storytelling
Wow. Whether you are interested in coding/game design or the human experience of loss, this is an astonishing article that shows the incredible direction some video games are taking.
http://www.nytimes.com/2016/02/06/arts/that-dragon-cancer-video-game-will-break-your-heart.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=mini-moth®ion=top-stories-below&WT.nav=top-stories-below&_r=0
If you're interested in learning how students could create a text-based choose-your-own-adventure experience, let me know. Mary Kiang and I have experimented with Inform which is software that would allow students to create and interact within a world only limited by their imaginations.
http://www.nytimes.com/2016/02/06/arts/that-dragon-cancer-video-game-will-break-your-heart.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=mini-moth®ion=top-stories-below&WT.nav=top-stories-below&_r=0
If you're interested in learning how students could create a text-based choose-your-own-adventure experience, let me know. Mary Kiang and I have experimented with Inform which is software that would allow students to create and interact within a world only limited by their imaginations.
Extra Lives by Tom Bissell: Book Review and What We Can Learn
While this was an enjoyable book itself, it offers very little for a school. This book chronicles the author's love affair with video games with some side notes about the popularity and culture of the video game industry. This is more of a historical telling of video games rather than how video games can help shape society.
Don't just buy a new video game – make one!"
President Barack Obama 2013
Power Play: How Video Games Can Save the World
This is a difficult book to review. The content is wonderful; The outlandish political opinions of the author are criminal. For the sake of this sabbatical, I'll ignore the political opinions of this author and get on with how this book wonderfully presents a case for video games as society changers. This book is perfect for any teacher who believes video games are poisoning youth or don't have any experience/knowledge beyond PacMan or Call of Duty.
Each chapter outlines a different 'game changing' video game that seeks to positively improve the world. Some games offer experiences to simulate peace talks between the Israelis and Palestinians. Some games help a cancer patient understand how their medicine is working. Some games engage students in civics lessons. And some schools are basing their entire curriculum on game design.
As Punahou moves forward in 21st Century thinking, this is an important book to keep on our shelves for both skeptics and innovators. And everyone in between.
Each chapter outlines a different 'game changing' video game that seeks to positively improve the world. Some games offer experiences to simulate peace talks between the Israelis and Palestinians. Some games help a cancer patient understand how their medicine is working. Some games engage students in civics lessons. And some schools are basing their entire curriculum on game design.
As Punahou moves forward in 21st Century thinking, this is an important book to keep on our shelves for both skeptics and innovators. And everyone in between.
A Video Game that helps with depression...
http://www.staradvertiser.com/2017/11/02/news/role-playing-game-helps-fight-depression-in-japan/
Gamify Your Classroom: What we can learn...
Yowza! Now this is a great book for both enthusiasts and skeptics. It's an amazing resource for those interested in bringing any type of gaming to their classroom.
Although this list (Hunicke, LeBlanc, and Zubek 2004) is about the "pleasures" derived from games, I think it's wildly relevant to teachers looking to bring gaming to their curriculum:
1. Sensation - Game as sense-pleasure
2. Fantasy - Game as make-believe
3. Narrative - Game as unfolding story
4. Challenge - Game as obstacle course
5. Fellowship - Game as social framework
6. Discovery - Game as uncharted territory
7. Expression - Game as soap box
8. Submission - Game as mindless pastime
Also, from this book is this wonderful quote from The Tyranny of Fun chapter:
"We think something that's going to be good for the classroom needs to grip the students in some way, it doesn't have to be fun – it has to be absorbing. Fun is one of the most annoying things in game-based learning. I call it the "tyranny of fun." It is a bad measurement for what makes a game good and we need to get away from it, desperately! It's about attention and absorption. Take something like Papers, Please [the serious game in which you play as a Soviet-era passport agent], which isn't fun at all, but it is definitely affecting. You may not want to play it very long, but when you do, you are dialed in to what this is trying to tell you." - Tanner Higgin 2016
This statement challenged my own use of the word 'fun' in my classroom. It's something I hope to mention at future Open Houses to parents.
Although this list (Hunicke, LeBlanc, and Zubek 2004) is about the "pleasures" derived from games, I think it's wildly relevant to teachers looking to bring gaming to their curriculum:
1. Sensation - Game as sense-pleasure
2. Fantasy - Game as make-believe
3. Narrative - Game as unfolding story
4. Challenge - Game as obstacle course
5. Fellowship - Game as social framework
6. Discovery - Game as uncharted territory
7. Expression - Game as soap box
8. Submission - Game as mindless pastime
Also, from this book is this wonderful quote from The Tyranny of Fun chapter:
"We think something that's going to be good for the classroom needs to grip the students in some way, it doesn't have to be fun – it has to be absorbing. Fun is one of the most annoying things in game-based learning. I call it the "tyranny of fun." It is a bad measurement for what makes a game good and we need to get away from it, desperately! It's about attention and absorption. Take something like Papers, Please [the serious game in which you play as a Soviet-era passport agent], which isn't fun at all, but it is definitely affecting. You may not want to play it very long, but when you do, you are dialed in to what this is trying to tell you." - Tanner Higgin 2016
This statement challenged my own use of the word 'fun' in my classroom. It's something I hope to mention at future Open Houses to parents.
The book "Power Play" speaks very clearly about understanding these two concepts:
a. Kids love games, especially interactive video games
b. Video games can actually provide meaningful learning experiences for students
While I do believe video games can teach kids, I hope Punahou's focus is more on video game design rather than play*. Trust me, when you design you yourself do plenty of playing, but usually in the form of "beta-testing" another person's game and giving valuable feedback that influences future versions of the game.
Back to the question of how we can leverage kids' natural desire for gameplay, we have to look to teachers for this answer. First, an acceptance that perhaps games may be a better "in" than textbooks and traditional assessment. "Gamify Your Classroom" possesses some nuggets of knowledge that will certainly help us out here (see my review of the book for details). Next, we need to address head-on the idea that we have permission to move in the direction of PBL and alternative assessment. I believe we do, but I still encounter skeptical teachers on campus who feel an obligation to traditional teaching for reasons such as 'next year' and even college apps. The next step is taking risks, making mistakes, and improving year to year. Collaboration will be key, but so will PD.
* Games such as Sim City and iCivics certainly should be front and center when it comes to teaching how a city runs. In this case, there is no chance for design other than creating a 'wish list' and submitting that to the designers of future versions. And please don't think of these as traditional "games" but rather simulations that feel like a game to a kid. I'll speak more about my successes with Sim City later on in this document.
a. Kids love games, especially interactive video games
b. Video games can actually provide meaningful learning experiences for students
While I do believe video games can teach kids, I hope Punahou's focus is more on video game design rather than play*. Trust me, when you design you yourself do plenty of playing, but usually in the form of "beta-testing" another person's game and giving valuable feedback that influences future versions of the game.
Back to the question of how we can leverage kids' natural desire for gameplay, we have to look to teachers for this answer. First, an acceptance that perhaps games may be a better "in" than textbooks and traditional assessment. "Gamify Your Classroom" possesses some nuggets of knowledge that will certainly help us out here (see my review of the book for details). Next, we need to address head-on the idea that we have permission to move in the direction of PBL and alternative assessment. I believe we do, but I still encounter skeptical teachers on campus who feel an obligation to traditional teaching for reasons such as 'next year' and even college apps. The next step is taking risks, making mistakes, and improving year to year. Collaboration will be key, but so will PD.
* Games such as Sim City and iCivics certainly should be front and center when it comes to teaching how a city runs. In this case, there is no chance for design other than creating a 'wish list' and submitting that to the designers of future versions. And please don't think of these as traditional "games" but rather simulations that feel like a game to a kid. I'll speak more about my successes with Sim City later on in this document.
Great Article: "It Looks Fun, but Are They Learning"
https://www.exploratorium.edu/sites/default/files/pdfs/PetrichWilkinsonBevan-2013-ItLooksLikeFun.pdf
"We find that as learners become comfortable with moments when
their understanding is challenged by the results of their own designs, they
become more engaged, spend more time investigating and/or constructing,
and take ownership for and build confidence in their abilities to learn and
understand."
"We find that as learners become comfortable with moments when
their understanding is challenged by the results of their own designs, they
become more engaged, spend more time investigating and/or constructing,
and take ownership for and build confidence in their abilities to learn and
understand."
Regarding games and PBL, there is probably no better place to look than the Quest to Learn in New York City. "Power Play" gives an amazing description of this school in Chapter 9. At this school kids design games. And play them. It's a dream come true for me to read about this school. They are clearly doing something terribly intriguing.
Check here for more info: http://www.q2l.org/
"At Quest to Learn, students are engaged in their own quests to be inventors, designers, innovators and problem solvers."
CNN article about the school worth reading: http://www.cnn.com/videos/tech/2012/08/01/natpkg-orig-gr-q2l-education.cnn
This is a middle and high school that is focused on project based learning. We can learn loads from this school and do what we do best: Improve on others' risks using our facilities, resources, talent, and student population.
While Quest to Learn focuses on game design for its PBL, High Tech High in San Diego, CA uses a broader approach. Having visited HTH in the Spring of '17, I am convinced this school is doing something wonderful, nutty, and ground-breaking. The commitment to PBL is astonishing, but easy. Easy because they hired teachers with PBL in mind. There was no campus-wide conversion needed. They have total buy in from admin, parents, students, and teachers. Punahou does not. That is perhaps our biggest challenge.
Globaloria is an organization that works directly with schools to put in game-based learning opportunities, specifically ones that challenge students to create their own video games through a robust design process. This is something Punahou should look closely at replicating or adopting.
https://globaloria.com/courses-services/
A more curicular-based and focused (narrow) approach from Kuato Studios challenges students to play a game (Code Warriors) in which to succeed the player must learn to use JavaScript.
Text-based gaming is another avenue that might hit a gold standard at Punahou. Imagine a team of "creatives" writing an interactive story and then handing the coding to a team of "techies." Sounds good I think. But that's not where we have to stop. Software such as Twine now puts the coding into the hands of the "creatives." Simple interfaces allow just about anyone to create an amazing experience for future users without the tech getting in the way.
My son, Woody, hates writing. Hates it. I wonder if he'd be more motivated to write his own electronic Choose Your Own Adventure story? I think I might give that a try.
Check here for more info: http://www.q2l.org/
"At Quest to Learn, students are engaged in their own quests to be inventors, designers, innovators and problem solvers."
CNN article about the school worth reading: http://www.cnn.com/videos/tech/2012/08/01/natpkg-orig-gr-q2l-education.cnn
This is a middle and high school that is focused on project based learning. We can learn loads from this school and do what we do best: Improve on others' risks using our facilities, resources, talent, and student population.
While Quest to Learn focuses on game design for its PBL, High Tech High in San Diego, CA uses a broader approach. Having visited HTH in the Spring of '17, I am convinced this school is doing something wonderful, nutty, and ground-breaking. The commitment to PBL is astonishing, but easy. Easy because they hired teachers with PBL in mind. There was no campus-wide conversion needed. They have total buy in from admin, parents, students, and teachers. Punahou does not. That is perhaps our biggest challenge.
Globaloria is an organization that works directly with schools to put in game-based learning opportunities, specifically ones that challenge students to create their own video games through a robust design process. This is something Punahou should look closely at replicating or adopting.
https://globaloria.com/courses-services/
A more curicular-based and focused (narrow) approach from Kuato Studios challenges students to play a game (Code Warriors) in which to succeed the player must learn to use JavaScript.
Text-based gaming is another avenue that might hit a gold standard at Punahou. Imagine a team of "creatives" writing an interactive story and then handing the coding to a team of "techies." Sounds good I think. But that's not where we have to stop. Software such as Twine now puts the coding into the hands of the "creatives." Simple interfaces allow just about anyone to create an amazing experience for future users without the tech getting in the way.
My son, Woody, hates writing. Hates it. I wonder if he'd be more motivated to write his own electronic Choose Your Own Adventure story? I think I might give that a try.
I want kids to grow up understanding games as just another art form. Not that they're better than comics or writing or whatever, but just another avenue to express what's going on with them. Games deserve that too – they deserve to be a thing people fill with the truth of themselves."
- Anna Anthopy - creator of progressive Dys4ia, a gender-identity game
SimCity: A Writing Course
https://www.latimes.com/business/technology/la-fi-tn-simcity-inspired-urban-planners-20190305-story.html
For an pretty in-depth peek at how PBL, video games, and curricula can collide, take a look at this blog that detailed our daily adventures in learning writing alongside city planning. Mr. Adam Reid and I co-taught this class a few years ago. I felt it was a tremendous success. Big thanks to Casey Agena who approved this course!
http://wherewelive2014.weebly.com
For an pretty in-depth peek at how PBL, video games, and curricula can collide, take a look at this blog that detailed our daily adventures in learning writing alongside city planning. Mr. Adam Reid and I co-taught this class a few years ago. I felt it was a tremendous success. Big thanks to Casey Agena who approved this course!
http://wherewelive2014.weebly.com
Innovative Math Development
Maybe Content is Irrelevant: Case Study
After home-schooling the kids for over a month now, if there's anything I've learned is that the world of information is at our fingertips...literally. Even at 11,053 feet, we are able to Google the answer to any question we come up with. One of my primary goals was to spark the kids' curiosities and we've found nothing to support their curiosity better than a simple Google search. I wonder if being able to search and then discern information is one of the most important skills our students can learn? Might be. Certainly having kids memorize arcane facts can't be our goal anymore.
I tell this story often, but it's worth repeating. I was made to feel stupid a while ago for not knowing what the Magna Carta document stated/explained/outlined. All I had to do was ask the 'genius' who engaged me in this conversation for about nineteen seconds in order to Google the Magna Carta and then I was able to intellectually wipe the floor with him. While I completely understand teaching the Magna Carta in order to engage students in a wider discussion about historical documents, we should consider this story when choosing and assessing what to teach.
I tell this story often, but it's worth repeating. I was made to feel stupid a while ago for not knowing what the Magna Carta document stated/explained/outlined. All I had to do was ask the 'genius' who engaged me in this conversation for about nineteen seconds in order to Google the Magna Carta and then I was able to intellectually wipe the floor with him. While I completely understand teaching the Magna Carta in order to engage students in a wider discussion about historical documents, we should consider this story when choosing and assessing what to teach.
The takeaway for Punahou when it comes to this GameLab is this: They've devoted space and staff to support the student body in game design. It's also clearly interdisciplinary bringing together the arts, computer science, architecture, design, and story-telling. I personally love the emphasis on whimsy throughout the website and physical space of the GameLab. Games should be fun and they acknowledge that from the rooter to the tooter.
July Visitation Notes for UCLA GameLab
UCLA GameLab Summer Two-Week Program:
- Collaboration and Individual work: Half the time a student is in the program he or she is either working collaboratively or individually. Great balance.
- High Tech and Low Tech at work: Students are making analog games and using wildly sophisticated software (Maya and Unity).
- The program and department are all housed in the Arts. Creativity is first while the tools are used to bring the creative ideas to life.
- The Summer Program funds the majority of the work in the school year.
Students experience the following in their two week course:
A. Analog game design which teaches game theory and collaboration
B. Creature design which teaches 3D modeling and even articulation/movement of their character
C. World design which allows students to create an entire world for a gaming environment.
D. App design which exposes students to simple app creation of a game.
What I was thinking the entire time was how most of this experience could move down to lower grades pretty easily.
This place was as inspirational as Riot Games.
The Easy: Make this into a Punahou Club or Summer School Offering
The Real Challenge: Discover a way to embed this program into the regular school day in a willing grade level between Grades 4-12.
- Collaboration and Individual work: Half the time a student is in the program he or she is either working collaboratively or individually. Great balance.
- High Tech and Low Tech at work: Students are making analog games and using wildly sophisticated software (Maya and Unity).
- The program and department are all housed in the Arts. Creativity is first while the tools are used to bring the creative ideas to life.
- The Summer Program funds the majority of the work in the school year.
Students experience the following in their two week course:
A. Analog game design which teaches game theory and collaboration
B. Creature design which teaches 3D modeling and even articulation/movement of their character
C. World design which allows students to create an entire world for a gaming environment.
D. App design which exposes students to simple app creation of a game.
What I was thinking the entire time was how most of this experience could move down to lower grades pretty easily.
This place was as inspirational as Riot Games.
The Easy: Make this into a Punahou Club or Summer School Offering
The Real Challenge: Discover a way to embed this program into the regular school day in a willing grade level between Grades 4-12.
Must Read!
NuVu School in Massachusetts
Terry Yamamoto-Edwards visited this astonishing school while on sabbatical
https://cambridge.nuvustudio.com/
NuVu is a full-time innovation school for middle and high school students. NuVu’s pedagogy is based on the architectural Studio model and geared around multi-disciplinary, collaborative projects. We teach students how to navigate the messiness of the creative process, from inception to completion by prototyping and testing.
So, what makes us different?
No Courses: Instead, we have studios. Around 12 students work closely with their 2 Coaches on solving big (and small) open-ended problems.
No Subjects: Instead, everything is fused together. Students find themselves moving between a studio that requires them to design a telepresence robot to another that requires them to re-imagine Boston with a cable car system.
No Classrooms: Instead, we have an open space that changes all the time to adapt to the needs of every studio.
No One-Hour Schedule: Instead, students spend two weeks from 9am-3pm solving one problem.
No Grades: Instead, we have portfolios that document students' design decisions and show their final products.
NuVu was founded in 2010 in Cambridge, MA by PhDs and Graduates of the Massachusetts Institute of Technology (MIT). For the last seven years, NuVu has been providing an innovation-focused experience for students, ages 11-18. NuVu has reached over 3,000 students worldwide, and created and energized a generation of entrepreneurs, designers, makers and inventors. NuVu forms unique partnerships with schools in the public, private, charter, and international sectors that allow students to enroll full-time at NuVu for a trimester or semester. NuVu also enrolls long-term students who spend one to four years full-time at NuVu completing their middle or high school years.
Studio ModelNuVu’s pedagogy is informed by the architectural design Studio where a coach guides students in hands-on problem-solving to solve complex, comprehensive problems. The Studio model uses exercises to build skills and integrates students’ knowledge in a final project. Within each multidisciplinary Studio, students explore problems rigorously by focusing on one project for two weeks. A Studio Coach mentors students to develop their project through an iterative process over the course of the Studio. Students confront the small and large contexts within problems as they are exposed to complex, ‘messy’ situations. The NuVu Team continuously evaluates students through deskcrits and final reviews.
Develop Real-World Solutions for the WorldTaught within the multidisciplinary framework of the design Studio rather than traditional subjects, NuVu students acquire a highly personalized understanding of the world and how they relate to it and can fully participate in it. They develop multiple solutions to problems and learn the importance of moving from one solution to the next, combining, exploring and thinking of the possibilities. They also learn how to change their perspective on an issue quickly. They learn that solutions depend on perspective, and only by understanding an issue from multiple perspectives can they fully explore the terrain of possibilities.
Iterative Process, Constant FeedbackThe iterative process, or process of refining an idea, product or solution, in the design studio is intended to provide students with continual feedback from NuVu Coaches and Staff on performance as well as product. NuVu students also experience working in an intense, feedback-rich environment that provides them with information and support for continuous self-evaluation, reflection, and improvement.
Learn in New WaysNuVu challenges students to learn in new ways: analytical thinkers are inspired to explore their creative selves, while creative students expand their capacity to think and learn analytically. NuVu capitalizes on the immense resources of the Massachusetts Institute of Technology and Harvard University to focus on hands-on problem solving, encourage an inventive culture, promote peer teaching and learning, and cultivate students’ curiosity.
Portfolio-Based AssessmentInstead of grading, NuVu uses a portfolio-based assessment. A portfolio serves as a compilation of student work done at NuVu over the course of the term, semester or full year and is meant to show the student's growth over time and development of key academic and life skills (creativity, critical thinking, collaboration, communication, research, quantitative reasoning and analysis). Each NuVu student is provided with their own online profile on NuVu's online platform where they document and present their work. At frequent periods during the term, NuVu's team works with the student to assess how far the student has developed since the beginning of the term. The portfolio-based assessment helps make learning and assessment relevant to students' lives.
FAQ
What happens in the studio?Students register for a specific studio such as “Balloon Mapping”, “Music and the City”, or “Future of Global Warming” of which there will be approximately 10 students, one Coach and an Assistant Coach. The Coach begins by providing a general overview of a problem to the students, an ambiguous real-world issue with an open-ended problem. With the Coach’s help each student frames the problem from his/her perspective and enters into an iterative development process supported by the studio team of students and advisors.
Students are provided with access to outside resources – leading thinkers and experts – to whom they present their framework and receive feedback. Students document their process and progress, continually reviewing it with the Coach. They set parameters, synthesize, and continue refining, refining, refining. NuVu trains students to apply multiple perspectives to challenge and refine ideas over and over again until it becomes a natural learning process.
NuVu-Cambridge is housed near the MIT campus and provides access to many MIT resources and experts. NuVu connects students to exciting research projects at MIT and Harvard and to PhD students who are passionate learners and teachers.
How is NuVu structured?Topics, not Subjects
NuVu’s structure is based on 2-week long Studios that take on topics related to the set theme for the Term, such as “City of the Future” or “Science Fiction.” These intensive Studios begin by identifying an issue or point of inspiration, defining the problem, and then engaging in an iterative process toward a solution.
1. Studio
Each Studio runs for 2 weeks, culminating in a final review where external reviewers (professors, practitioners, entrepreneurs and designers) are invited to evaluate students’ work. During the Studio period, students and coaches work together at NuVu from 9am to 3pm with the option to stay until 5pm (which happens frequently, especially before the final review).
2. Term
Each Term runs for 11 weeks. Each Term contains 8 or 12 Studios with a range of topics that fall under one broad theme (“City of the Future,” “Science Fiction,” “Smarter Planet,” “Storytelling,” etc.). Each student enrolls in a sequence of 4 Studios. The Term culminates in a final public exhibit where students showcase their projects from the Term.
3. Year
One Year at NuVu runs 3 Terms. Enrollment for the entire Year gives students an opportunity to explore multiple creative ideas, learn about diverse fields, develop a particular project or idea in-depth over a sequence of Studios, and have a rich and diverse portfolio of projects.
So, what makes us different?
No Courses: Instead, we have studios. Around 12 students work closely with their 2 Coaches on solving big (and small) open-ended problems.
No Subjects: Instead, everything is fused together. Students find themselves moving between a studio that requires them to design a telepresence robot to another that requires them to re-imagine Boston with a cable car system.
No Classrooms: Instead, we have an open space that changes all the time to adapt to the needs of every studio.
No One-Hour Schedule: Instead, students spend two weeks from 9am-3pm solving one problem.
No Grades: Instead, we have portfolios that document students' design decisions and show their final products.
NuVu was founded in 2010 in Cambridge, MA by PhDs and Graduates of the Massachusetts Institute of Technology (MIT). For the last seven years, NuVu has been providing an innovation-focused experience for students, ages 11-18. NuVu has reached over 3,000 students worldwide, and created and energized a generation of entrepreneurs, designers, makers and inventors. NuVu forms unique partnerships with schools in the public, private, charter, and international sectors that allow students to enroll full-time at NuVu for a trimester or semester. NuVu also enrolls long-term students who spend one to four years full-time at NuVu completing their middle or high school years.
Studio ModelNuVu’s pedagogy is informed by the architectural design Studio where a coach guides students in hands-on problem-solving to solve complex, comprehensive problems. The Studio model uses exercises to build skills and integrates students’ knowledge in a final project. Within each multidisciplinary Studio, students explore problems rigorously by focusing on one project for two weeks. A Studio Coach mentors students to develop their project through an iterative process over the course of the Studio. Students confront the small and large contexts within problems as they are exposed to complex, ‘messy’ situations. The NuVu Team continuously evaluates students through deskcrits and final reviews.
Develop Real-World Solutions for the WorldTaught within the multidisciplinary framework of the design Studio rather than traditional subjects, NuVu students acquire a highly personalized understanding of the world and how they relate to it and can fully participate in it. They develop multiple solutions to problems and learn the importance of moving from one solution to the next, combining, exploring and thinking of the possibilities. They also learn how to change their perspective on an issue quickly. They learn that solutions depend on perspective, and only by understanding an issue from multiple perspectives can they fully explore the terrain of possibilities.
Iterative Process, Constant FeedbackThe iterative process, or process of refining an idea, product or solution, in the design studio is intended to provide students with continual feedback from NuVu Coaches and Staff on performance as well as product. NuVu students also experience working in an intense, feedback-rich environment that provides them with information and support for continuous self-evaluation, reflection, and improvement.
Learn in New WaysNuVu challenges students to learn in new ways: analytical thinkers are inspired to explore their creative selves, while creative students expand their capacity to think and learn analytically. NuVu capitalizes on the immense resources of the Massachusetts Institute of Technology and Harvard University to focus on hands-on problem solving, encourage an inventive culture, promote peer teaching and learning, and cultivate students’ curiosity.
Portfolio-Based AssessmentInstead of grading, NuVu uses a portfolio-based assessment. A portfolio serves as a compilation of student work done at NuVu over the course of the term, semester or full year and is meant to show the student's growth over time and development of key academic and life skills (creativity, critical thinking, collaboration, communication, research, quantitative reasoning and analysis). Each NuVu student is provided with their own online profile on NuVu's online platform where they document and present their work. At frequent periods during the term, NuVu's team works with the student to assess how far the student has developed since the beginning of the term. The portfolio-based assessment helps make learning and assessment relevant to students' lives.
FAQ
What happens in the studio?Students register for a specific studio such as “Balloon Mapping”, “Music and the City”, or “Future of Global Warming” of which there will be approximately 10 students, one Coach and an Assistant Coach. The Coach begins by providing a general overview of a problem to the students, an ambiguous real-world issue with an open-ended problem. With the Coach’s help each student frames the problem from his/her perspective and enters into an iterative development process supported by the studio team of students and advisors.
Students are provided with access to outside resources – leading thinkers and experts – to whom they present their framework and receive feedback. Students document their process and progress, continually reviewing it with the Coach. They set parameters, synthesize, and continue refining, refining, refining. NuVu trains students to apply multiple perspectives to challenge and refine ideas over and over again until it becomes a natural learning process.
NuVu-Cambridge is housed near the MIT campus and provides access to many MIT resources and experts. NuVu connects students to exciting research projects at MIT and Harvard and to PhD students who are passionate learners and teachers.
How is NuVu structured?Topics, not Subjects
NuVu’s structure is based on 2-week long Studios that take on topics related to the set theme for the Term, such as “City of the Future” or “Science Fiction.” These intensive Studios begin by identifying an issue or point of inspiration, defining the problem, and then engaging in an iterative process toward a solution.
1. Studio
Each Studio runs for 2 weeks, culminating in a final review where external reviewers (professors, practitioners, entrepreneurs and designers) are invited to evaluate students’ work. During the Studio period, students and coaches work together at NuVu from 9am to 3pm with the option to stay until 5pm (which happens frequently, especially before the final review).
2. Term
Each Term runs for 11 weeks. Each Term contains 8 or 12 Studios with a range of topics that fall under one broad theme (“City of the Future,” “Science Fiction,” “Smarter Planet,” “Storytelling,” etc.). Each student enrolls in a sequence of 4 Studios. The Term culminates in a final public exhibit where students showcase their projects from the Term.
3. Year
One Year at NuVu runs 3 Terms. Enrollment for the entire Year gives students an opportunity to explore multiple creative ideas, learn about diverse fields, develop a particular project or idea in-depth over a sequence of Studios, and have a rich and diverse portfolio of projects.
AltSchool: What a Vision!
Great Website: Makershare
https://makershare.com/
CAD Monkeys, Dinosaur Babies and T-Shaped People: Inside the World of Design Thinking and How It Can Spark Creativity and Innovation
Not Impossible: The Art and Joy of Doing What Couldn't Be Done
This amazing book chronicles the efforts of its author who takes on impossible challenges and makes them happen. It's a fantastic read for anyone looking for either personal inspiration or anyone involved in the DIY movement. It touched me because this man:
A. Knew nothing about the challenges he accepted and had no real expertise except as an organizational producer/leader
B. Dove in head first instead of simply outsourcing the work to others
A. Knew nothing about the challenges he accepted and had no real expertise except as an organizational producer/leader
B. Dove in head first instead of simply outsourcing the work to others
Institute of Play & Gigantic Mechanics
I am now engaged with the designers of a new social studies simulation software package, discussing how best to get awesome experiences into the hands of students. We discussed how SimCity provides a pathway for other simulation software to help students. If anyone is interested in giving feedback, these two companies are looking for middle and high school social studies/civics teachers to engage with.
http://www.giganticmechanic.com/
instituteofplay.org
SimCityEDU: Pollution Challenge
"...being in charge for once is kinda cool." - Student using SimCityEDU
Check out how this school has implemented using SimCity into its days:
https://vimeo.com/102270816
https://vimeo.com/102270816
Grammarly: Is this our future?
If you haven't signed up for Grammarly, try it. Then ask yourself if this tool should be used in schools. It's a fascinating breakdown of your writing each week while it also checks your work while you write.
I think controversy is not always a bad thing. Jesus was controversial. It's through controversy that people often wake up and smell the coffee and say, 'What's going on here? Do we need to rethink something here?'
Kirk Cameron
Confidence Code for Girls book
Girls can rule the world. All you need is confidence.
Ever wish you had the guts to try out for that team or play, or finally talk to that grumpy, intimidating teacher, or actually start that animal welfare club you dreamed up? Or maybe your list of scary stuff is totally different. But here’s the secret to making it all happen:
Confidence. It gives you the power to do everything you want.
Packed with graphic novel strips, fun lists and quizzes, and stories from real girls, this book will reveal the code for confidence—how to make it and how to use it. Soon you’ll be a girl of action, tackling risks that lead to big, big adventure and taking on challenges you've never even imagined.
https://www.amazon.com/Confidence-Code-Girls-Amazingly-Imperfect/dp/0062796984/ref=sr_1_1?ie=UTF8&qid=1524408558&sr=8-1&keywords=confidence+code+for+girls
Ever wish you had the guts to try out for that team or play, or finally talk to that grumpy, intimidating teacher, or actually start that animal welfare club you dreamed up? Or maybe your list of scary stuff is totally different. But here’s the secret to making it all happen:
Confidence. It gives you the power to do everything you want.
Packed with graphic novel strips, fun lists and quizzes, and stories from real girls, this book will reveal the code for confidence—how to make it and how to use it. Soon you’ll be a girl of action, tackling risks that lead to big, big adventure and taking on challenges you've never even imagined.
https://www.amazon.com/Confidence-Code-Girls-Amazingly-Imperfect/dp/0062796984/ref=sr_1_1?ie=UTF8&qid=1524408558&sr=8-1&keywords=confidence+code+for+girls
Terry Yamamoto-Edwards pointed me to this blog (https://letgotolearn.com/page/2/ ) which identifies some neat PBL strategies:
Michael McFadden states:
Of course, there are many, many teachers who are doing amazing things with student creation, but it seems increasingly saved for elective classes in public education. When I took a professional development course on STEM across the curriculum at my school, I had the pleasure of experiencing what those students are yearning for. While setting us off on a project of our own creation, Design and Applied Technology teacher, Michael McFadden gave three pieces of wisdom that I couldn’t help but write down:
Michael McFadden states:
Of course, there are many, many teachers who are doing amazing things with student creation, but it seems increasingly saved for elective classes in public education. When I took a professional development course on STEM across the curriculum at my school, I had the pleasure of experiencing what those students are yearning for. While setting us off on a project of our own creation, Design and Applied Technology teacher, Michael McFadden gave three pieces of wisdom that I couldn’t help but write down:
- In the engineering process, students have to fail before they can start. It’s not until they fail and have to figure out why something didn’t work that they have a real problem to solve.
- You’re never finished.
- The two biggest requirements for any project–be engaged in the process and be as ambitious as you want.
A great look at a great school tech-plan: Westminster Atlanta
So re-affirming...
Collaboration
Creativity
Deeper richer learning
Stickier learning
And perhaps best of all from my view is PBL where we see content running parallel with skill-building. And it's more fun than textbooking kids to death.
Collaboration
Creativity
Deeper richer learning
Stickier learning
And perhaps best of all from my view is PBL where we see content running parallel with skill-building. And it's more fun than textbooking kids to death.
HQPBL Case Study: Albemarle County Public Schools
http://www.gettingsmart.com/2018/04/hq-pbl-case-study-albemarle-county-public-schools/
The walls are covered with products and classrooms are buzzing with voices and sounds of collaboration. Students are working on integrated projects tied to passions, interests and real-world causes. This is a common scene found in most classrooms in Albemarle County Public Schools, located at the base of Shenandoah National Park in Charlottesville, Virginia. High Quality Project Based Learning (HQPBL) in Albemarle County Public Schools has come as a result of an intentional effort to rethink what school should look like and how to create more powerful learning experiences for all students. Pam Moran, Superintendent for over twelve years, has provided the structure and support to make educators feel empowered to take on Project Based Learning.
Coding Across the Curriculum Article from Edutopia
Great article outlining some coding tools at a variety of levels K-12.
https://www.edutopia.org/article/coding-across-curriculum
https://www.edutopia.org/article/coding-across-curriculum
The 99-Day Project: An Experiment to Fuel Passionate Learning
"My homework is to work on what I'm passionate about."
https://vimeo.com/245473499?mc_cid=71261fdf3a&mc_eid=e62971c840
https://vimeo.com/245473499?mc_cid=71261fdf3a&mc_eid=e62971c840
"Preparing Students for a Project-Based World"
Here's the why...
“The concepts of work and career are central organizing principles in most of our lives. The notion of working full-time for a single organization, at one time a foundational idea for what constitutes a career, has been turned on its head…. Whether due to technological unemployment or an increased desire to make meaningful contributions to the world, education could come to focus on making an impact, encouraging learners to pursue learning journeys that embrace complexity, lead to deep knowledge and deeper learning outcomes, and set them up to initiate and anticipate change. Students could come to be seen as innovators and problem solvers who actively shape the world around them as part of their education. In this scenario, social impact scores rather than standardized tests could become critical metrics for schools attracting funding, partnerships and community engagement.”
—“Educating for Impact in a Project-Based World” by Jason Swanson, Director of Strategic Foresight at KnowledgeWorks
preparing-students-for-a-projectbasedworld-final.pdf | |
File Size: | 2035 kb |
File Type: |
I believe we've seen what a real Learning Commons should look, sound, and feel like...at Riot Games in West Los Angeles, Ca. Riot Games produces the most popular online game in the world (League of Legends). It boasts incredible numbers 24/7. What I witnessed in the "work barn" at Riot Games is quite simply put this way: Diverse teams of people working on a fascinating challenge. It was explained to us during our Wonka-like tour that projects used to get passed from designs to coders to musicians to art department and so on. This created a predictible disconnect and incoherent themes throughout the project. Now, they jam everyone together to work on the projects so that, for example, the Pirate World theme stays consistent throughout the process. Engineers working alongside musicians. You get it. And that's what I believe we should see in the Learning Commons at Punahou. Teams of students solving interesting problems.
The physical space of this "work barn" was specifically to support these groupings. We were not allowed to take pictures of anything inside Riot Games, sorry. We saw reconfigurable spaces that could fit groups of three to twenty collaborators. Moveable walls, writeable surfaces, and tons of support materials any collaborative group would ever need, including snacks. Snacks opens a Pandora's Box, I know, but that's what we saw at Riot – full support of collaborative work that included free coffee. What's the kid version of this support is something we'll need to figure out.
What I found fascinating was the flip-flopping of space. The bulk of the square footage was devoted to noisy collaborative work while those seeking a quiet meeting or something intimate could use one of the small room on the periphery of the barn. This really hit me. Libraries have traditionally devoted hundreds of square feet to six kids who want to read in silence. To my thinking, this is ridiculous if our goal is to have kids working collaboratively. It's a big philisophical leap to flip a library space like this, I understand.
The answer I have for the question above is this: When we walk through a Learning Commons we should be struck in the face with the following:
• Students working collaboratively a la Riot Games
• Students challenged to work on projects they are passionate about a la High Tech High and Sir Ken Robinson's "Make me care" philosophy/challenge
• Adults or mentors supporting students in these projects a la Castelleja
• Projects that spark debate, discussion, and excitement a la Nueva High School
• Projects that originate in classrooms, not the Learning Commons a la Nueva Elementary School
• Fun a la BrightWorks
• Displays of former projects a la High Tech High Middle School
The physical space of this "work barn" was specifically to support these groupings. We were not allowed to take pictures of anything inside Riot Games, sorry. We saw reconfigurable spaces that could fit groups of three to twenty collaborators. Moveable walls, writeable surfaces, and tons of support materials any collaborative group would ever need, including snacks. Snacks opens a Pandora's Box, I know, but that's what we saw at Riot – full support of collaborative work that included free coffee. What's the kid version of this support is something we'll need to figure out.
What I found fascinating was the flip-flopping of space. The bulk of the square footage was devoted to noisy collaborative work while those seeking a quiet meeting or something intimate could use one of the small room on the periphery of the barn. This really hit me. Libraries have traditionally devoted hundreds of square feet to six kids who want to read in silence. To my thinking, this is ridiculous if our goal is to have kids working collaboratively. It's a big philisophical leap to flip a library space like this, I understand.
The answer I have for the question above is this: When we walk through a Learning Commons we should be struck in the face with the following:
• Students working collaboratively a la Riot Games
• Students challenged to work on projects they are passionate about a la High Tech High and Sir Ken Robinson's "Make me care" philosophy/challenge
• Adults or mentors supporting students in these projects a la Castelleja
• Projects that spark debate, discussion, and excitement a la Nueva High School
• Projects that originate in classrooms, not the Learning Commons a la Nueva Elementary School
• Fun a la BrightWorks
• Displays of former projects a la High Tech High Middle School
University of Chicago: MHUB Model
Punahou should look to this concept when building out its Learning Commons. Support support support is the key that I see here.
https://mhubchicago.com/
Learning Commons to Classroom: Proposal
So, here's a question: How can the Learning Commons support what is happening in the classroom?
And here's an answer: AutoDesk electronics.
Students in 4th Grade have traditionally learned about circuitry. In the end, they usually build very simple circuits using whatever their kits have allowed. Okay, good. Not great. Not all that sticky in my opinion.
Students are now able to design their own circuit boards digitally and then 3D print the circuit boards! This is a great example of something that can be tinkered with in the LC/Makery and then transferred to the classrooms but ONLY when the teachers themselves complete and understand their OWN circuit board projects.
And here's an answer: AutoDesk electronics.
Students in 4th Grade have traditionally learned about circuitry. In the end, they usually build very simple circuits using whatever their kits have allowed. Okay, good. Not great. Not all that sticky in my opinion.
Students are now able to design their own circuit boards digitally and then 3D print the circuit boards! This is a great example of something that can be tinkered with in the LC/Makery and then transferred to the classrooms but ONLY when the teachers themselves complete and understand their OWN circuit board projects.
Three Great Books That Will Help Punahou...
Each of these three books not only addressing the mind shift, but also highlights schools that are currently walking the walking in PBL. Punahou should have these books available to teachers and also they should help guide the program-building in the Learning Commons buildings.
Here is a wonderful article about the Lifelong Kindergarten book shared by Rebecca Kesler:
The excerpt below is from the book “Lifelong Kindergarten: Cultivating Creativity through Projects, Passion, Peers, and Play” by Mitchel Resnick, published by MIT Press.
TEN TIPS FOR PARENTS AND TEACHERS
There’s a common misconception that the best way to encourage children’s creativity is simply to get out of the way and let them be creative. Although it’s certainly true that children are naturally curious and inquisitive, they need support to develop their creative capacities and reach their full creative potential.
Supporting children’s development is always a balancing act: how much structure, how much freedom; when to step in, when to step back; when to show, when to tell, when to ask, when to listen.
In putting together this section, I decided to combine tips for parents and teachers, because I think the core issues for cultivating creativity are the same, whether you’re in the home or in the classroom. The key challenge is not how to “teach creativity” to children, but rather how to create a fertile environment in which their creativity will take root, grow, and flourish.
Sponsored ByI’m organizing this section around the five components of the Creative Learning Spiral: imagine, create, play, share, and reflect. I propose strategies for helping children imagine what they want to do, create projects through playing with tools and materials, share ideas and creations with others, and reflect on their experiences.
Creative Learning Spiral (Courtesy of Mitchel Resnick)For each of the five components, I’ll suggest two tips. That’s a total of 10 tips. Of course, these 10 tips are just a very small subset of all of the things you might ask and do to cultivate children’s creativity. View them as a representative sample, and come up with more of your own.
1. IMAGINE : SHOW EXAMPLES TO SPARK IDEAS
A blank page, a blank canvas, and a blank screen can be intimidating. A collection of examples can help spark the imagination. When we run Scratch workshops, we always start by showing sample projects—to give a sense of what’s possible (inspirational projects) and to provide ideas on how to get started (starter projects). We show a diverse range of projects, in hopes of connecting with the interests and passions of workshop participants. Of course, there’s a risk that children will simply mimic or copy the examples that they see. That’s OK as a start, but only as a start. Encourage them to change or modify the examples. Suggest that they insert their own voice or add their own personal touch. What might they do differently? How can they add their own style, connect to their own interests? How can they make it their own?
2. IMAGINE : ENCOURAGE MESSING AROUND
Most people assume that imagination takes place in the head, but the hands are just as important. To help children generate ideas for projects, we often encourage them to start messing around with materials. As children play with LEGO bricks or tinker with craft materials, new ideas emerge. What started as an aimless activity becomes the beginning of an extended project. We’ll sometimes organize mini hands-on activities to get children started. For example, we’ll ask children to put a few LEGO bricks together, then pass the structure to a friend to add a few more, then continue back and forth. After a few iterations, children often have new ideas for things they want to build.
3. CREATE : PROVIDE A WIDE VARIETY OF MATERIALS
Children are deeply influenced by the toys, tools, and materials in the world around them. To engage children in creative activities, make sure they have access to a broad diversity of materials for drawing, building, and crafting. New technologies, like robotics kits and 3-D printers, can expand the range of what children create, but don’t overlook traditional materials. A Computer Clubhouse coordinator was embarrassed to admit to me that her members were making their own dolls with “nylons, newspapers, and bird seed,” without any advanced technology, but I thought their projects were great. Different materials are good for different things. LEGO bricks and popsicle sticks are good for making skeletons, felt and fabric are good for making skins, and Scratch is good for making things that move and interact. Pens and markers are good for drawing, and glue guns and duct tape are good for holding things together. The greater the diversity of materials, the greater the opportunity for creative projects.
4. CREATE : EMBRACE ALL TYPES OF MAKING
Mitchel ResnickDifferent children are interested in different types of making. Some enjoy making houses and castles with LEGO bricks. Some enjoy making games and animations with Scratch. Others enjoy making jewelry or soapbox race cars or desserts—or miniature golf courses. Writing a poem or a short story is a type of making, too. Children can learn about the creative design process through all of these activities. Help children find the type of making that resonates for them. Even better: Encourage children to engage in multiple types of making. That way, they’ll get an even deeper understanding of the creative design process.
5. PLAY : EMPHASIZE PROCESS, NOT PRODUCT
Throughout this book, I’ve emphasized the importance of making things. Indeed, many of the best learning experiences happen when people are actively engaged in making things. But that doesn’t mean we should put all our attention on the things that are made. Even more important is the process through which things are made. As children work on projects, highlight the process, not just the final product. Ask children about their strategies and their sources of inspiration. Encourage experimentation by honoring failed experiments as much as successful ones. Allocate times for children to share the intermediate stages of their projects and discuss what they plan to do next and why.
6. PLAY : EXTEND TIME FOR PROJECTS
It takes time for children to work on creative projects, especially if they’re constantly tinkering, experimenting, and exploring new ideas (as we hope they will). Trying to squeeze projects into the constraints of a standard 50-minute school period—or even a few 50-minute periods over the course of a week—undermines the whole idea of working on projects. It discourages risk taking and experimentation, and it puts a priority on efficiently getting to the “right” answer within the allotted time. For an incremental change, schedule double periods for projects. For a more dramatic change, set aside particular days or weeks (or even months) when students work on nothing but projects in school. In the meantime, support after-school programs and community centers where children have larger blocks of time to work on projects.
7. SHARE : PLAY THE ROLE OF MATCHMAKER
Many children want to share ideas and collaborate on projects, but they’re not sure how. You can play the role of matchmaker, helping children find others to work with, whether in the physical world or the online world. At Computer Clubhouses, the staff and mentors spend a lot of their time connecting Clubhouse members with one another. Sometimes, they bring together members with similar interests—for example, a shared interest in Japanese manga or a shared interest in 3-D modeling. Other times, they bring together members with complementary interests—for example, connecting members with interests in art and robotics so that they can work together on interactive sculptures. In the Scratch online community, we have organized month-long Collab Camps to help Scratchers find others to work with—and also to learn strategies for collaborating effectively.
8. SHARE : GET INVOLVED AS A COLLABORATOR
Parents and mentors sometimes get too involved in children’s creative projects, telling children what to do or grabbing the keyboard to show them how to fix a problem. Other parents and mentors don’t get involved at all. There is a sweet spot in between, where adults and children form true collaborations on projects. When both sides are committed to working together, everyone has a lot to gain. A great example is Ricarose Roque’s Family Creative Learning initiative, in which parents and children work together on projects at local community centers over five sessions. By the end of the experience, parents and children have new respect for one another’s abilities, and relationships are strengthened.
9. REFLECT : ASK (AUTHENTIC) QUESTIONS
It’s great for children to immerse themselves in projects, but it’s also important for them to step back to reflect on what’s happening. You can encourage children to reflect by asking them questions about their projects. I often start by asking: “How did you come up with the idea for this project?” It’s an authentic question: I really want to know! The question prompts them to reflect on what motivated and inspired them. Another of my favorite questions: “What’s been most surprising to you?” This question pushes them away from just describing the project and toward reflecting on their experience. If something goes wrong with a project, I’ll often ask: “What did you want it to do?” In describing what they were trying to do, they often recognize where they went wrong, without any further input from me.
10. REFLECT : SHARE YOUR OWN REFLECTIONS
Most parents and teachers are reluctant to talk with children about their own thinking processes. Perhaps they don’t want to expose that they’re sometimes confused or unsure in their thinking. But talking with children about your own thinking process is the best gift you could give them. It’s important for children to know that thinking is hard work for everyone—for adults as well as children. And it’s useful for children to hear your strategies for working on projects and thinking through problems. By hearing your reflections, children will be more open to reflecting on their own thinking, and they’ll have a better model of how to do it. Imagine the children in your life as creative thinking apprentices; you’re helping them learn to become creative thinkers by demonstrating and discussing how you do it.
CONTINUING THE SPIRAL
Of course, the Creative Learning Spiral doesn’t end with a single cycle of imagining, creating, playing, sharing, and reflecting. As children move through the process, they get new ideas and continue to the next iteration of the spiral, with another cycle of imagining, creating, playing, sharing, and reflecting. With each iteration of the spiral, there are new opportunities for you to support children in their creative learning.
Mitchel Resnick, an expert in educational technologies, is Professor of Learning Research at the MIT Media Lab. He has worked closely with the LEGO toy company for thirty years, collaborating with them on such innovative projects as the LEGO Mindstorms robotics kits, and he holds the LEGO endowed chair at MIT. He leads the team developing the Scratch programming software and online community, and he is cofounder of the Computer Clubhouse project, a network of after-school learning centers for youth from low-income communities.
The excerpt below is from the book “Lifelong Kindergarten: Cultivating Creativity through Projects, Passion, Peers, and Play” by Mitchel Resnick, published by MIT Press.
TEN TIPS FOR PARENTS AND TEACHERS
There’s a common misconception that the best way to encourage children’s creativity is simply to get out of the way and let them be creative. Although it’s certainly true that children are naturally curious and inquisitive, they need support to develop their creative capacities and reach their full creative potential.
Supporting children’s development is always a balancing act: how much structure, how much freedom; when to step in, when to step back; when to show, when to tell, when to ask, when to listen.
In putting together this section, I decided to combine tips for parents and teachers, because I think the core issues for cultivating creativity are the same, whether you’re in the home or in the classroom. The key challenge is not how to “teach creativity” to children, but rather how to create a fertile environment in which their creativity will take root, grow, and flourish.
Sponsored ByI’m organizing this section around the five components of the Creative Learning Spiral: imagine, create, play, share, and reflect. I propose strategies for helping children imagine what they want to do, create projects through playing with tools and materials, share ideas and creations with others, and reflect on their experiences.
Creative Learning Spiral (Courtesy of Mitchel Resnick)For each of the five components, I’ll suggest two tips. That’s a total of 10 tips. Of course, these 10 tips are just a very small subset of all of the things you might ask and do to cultivate children’s creativity. View them as a representative sample, and come up with more of your own.
1. IMAGINE : SHOW EXAMPLES TO SPARK IDEAS
A blank page, a blank canvas, and a blank screen can be intimidating. A collection of examples can help spark the imagination. When we run Scratch workshops, we always start by showing sample projects—to give a sense of what’s possible (inspirational projects) and to provide ideas on how to get started (starter projects). We show a diverse range of projects, in hopes of connecting with the interests and passions of workshop participants. Of course, there’s a risk that children will simply mimic or copy the examples that they see. That’s OK as a start, but only as a start. Encourage them to change or modify the examples. Suggest that they insert their own voice or add their own personal touch. What might they do differently? How can they add their own style, connect to their own interests? How can they make it their own?
2. IMAGINE : ENCOURAGE MESSING AROUND
Most people assume that imagination takes place in the head, but the hands are just as important. To help children generate ideas for projects, we often encourage them to start messing around with materials. As children play with LEGO bricks or tinker with craft materials, new ideas emerge. What started as an aimless activity becomes the beginning of an extended project. We’ll sometimes organize mini hands-on activities to get children started. For example, we’ll ask children to put a few LEGO bricks together, then pass the structure to a friend to add a few more, then continue back and forth. After a few iterations, children often have new ideas for things they want to build.
3. CREATE : PROVIDE A WIDE VARIETY OF MATERIALS
Children are deeply influenced by the toys, tools, and materials in the world around them. To engage children in creative activities, make sure they have access to a broad diversity of materials for drawing, building, and crafting. New technologies, like robotics kits and 3-D printers, can expand the range of what children create, but don’t overlook traditional materials. A Computer Clubhouse coordinator was embarrassed to admit to me that her members were making their own dolls with “nylons, newspapers, and bird seed,” without any advanced technology, but I thought their projects were great. Different materials are good for different things. LEGO bricks and popsicle sticks are good for making skeletons, felt and fabric are good for making skins, and Scratch is good for making things that move and interact. Pens and markers are good for drawing, and glue guns and duct tape are good for holding things together. The greater the diversity of materials, the greater the opportunity for creative projects.
4. CREATE : EMBRACE ALL TYPES OF MAKING
Mitchel ResnickDifferent children are interested in different types of making. Some enjoy making houses and castles with LEGO bricks. Some enjoy making games and animations with Scratch. Others enjoy making jewelry or soapbox race cars or desserts—or miniature golf courses. Writing a poem or a short story is a type of making, too. Children can learn about the creative design process through all of these activities. Help children find the type of making that resonates for them. Even better: Encourage children to engage in multiple types of making. That way, they’ll get an even deeper understanding of the creative design process.
5. PLAY : EMPHASIZE PROCESS, NOT PRODUCT
Throughout this book, I’ve emphasized the importance of making things. Indeed, many of the best learning experiences happen when people are actively engaged in making things. But that doesn’t mean we should put all our attention on the things that are made. Even more important is the process through which things are made. As children work on projects, highlight the process, not just the final product. Ask children about their strategies and their sources of inspiration. Encourage experimentation by honoring failed experiments as much as successful ones. Allocate times for children to share the intermediate stages of their projects and discuss what they plan to do next and why.
6. PLAY : EXTEND TIME FOR PROJECTS
It takes time for children to work on creative projects, especially if they’re constantly tinkering, experimenting, and exploring new ideas (as we hope they will). Trying to squeeze projects into the constraints of a standard 50-minute school period—or even a few 50-minute periods over the course of a week—undermines the whole idea of working on projects. It discourages risk taking and experimentation, and it puts a priority on efficiently getting to the “right” answer within the allotted time. For an incremental change, schedule double periods for projects. For a more dramatic change, set aside particular days or weeks (or even months) when students work on nothing but projects in school. In the meantime, support after-school programs and community centers where children have larger blocks of time to work on projects.
7. SHARE : PLAY THE ROLE OF MATCHMAKER
Many children want to share ideas and collaborate on projects, but they’re not sure how. You can play the role of matchmaker, helping children find others to work with, whether in the physical world or the online world. At Computer Clubhouses, the staff and mentors spend a lot of their time connecting Clubhouse members with one another. Sometimes, they bring together members with similar interests—for example, a shared interest in Japanese manga or a shared interest in 3-D modeling. Other times, they bring together members with complementary interests—for example, connecting members with interests in art and robotics so that they can work together on interactive sculptures. In the Scratch online community, we have organized month-long Collab Camps to help Scratchers find others to work with—and also to learn strategies for collaborating effectively.
8. SHARE : GET INVOLVED AS A COLLABORATOR
Parents and mentors sometimes get too involved in children’s creative projects, telling children what to do or grabbing the keyboard to show them how to fix a problem. Other parents and mentors don’t get involved at all. There is a sweet spot in between, where adults and children form true collaborations on projects. When both sides are committed to working together, everyone has a lot to gain. A great example is Ricarose Roque’s Family Creative Learning initiative, in which parents and children work together on projects at local community centers over five sessions. By the end of the experience, parents and children have new respect for one another’s abilities, and relationships are strengthened.
9. REFLECT : ASK (AUTHENTIC) QUESTIONS
It’s great for children to immerse themselves in projects, but it’s also important for them to step back to reflect on what’s happening. You can encourage children to reflect by asking them questions about their projects. I often start by asking: “How did you come up with the idea for this project?” It’s an authentic question: I really want to know! The question prompts them to reflect on what motivated and inspired them. Another of my favorite questions: “What’s been most surprising to you?” This question pushes them away from just describing the project and toward reflecting on their experience. If something goes wrong with a project, I’ll often ask: “What did you want it to do?” In describing what they were trying to do, they often recognize where they went wrong, without any further input from me.
10. REFLECT : SHARE YOUR OWN REFLECTIONS
Most parents and teachers are reluctant to talk with children about their own thinking processes. Perhaps they don’t want to expose that they’re sometimes confused or unsure in their thinking. But talking with children about your own thinking process is the best gift you could give them. It’s important for children to know that thinking is hard work for everyone—for adults as well as children. And it’s useful for children to hear your strategies for working on projects and thinking through problems. By hearing your reflections, children will be more open to reflecting on their own thinking, and they’ll have a better model of how to do it. Imagine the children in your life as creative thinking apprentices; you’re helping them learn to become creative thinkers by demonstrating and discussing how you do it.
CONTINUING THE SPIRAL
Of course, the Creative Learning Spiral doesn’t end with a single cycle of imagining, creating, playing, sharing, and reflecting. As children move through the process, they get new ideas and continue to the next iteration of the spiral, with another cycle of imagining, creating, playing, sharing, and reflecting. With each iteration of the spiral, there are new opportunities for you to support children in their creative learning.
Mitchel Resnick, an expert in educational technologies, is Professor of Learning Research at the MIT Media Lab. He has worked closely with the LEGO toy company for thirty years, collaborating with them on such innovative projects as the LEGO Mindstorms robotics kits, and he holds the LEGO endowed chair at MIT. He leads the team developing the Scratch programming software and online community, and he is cofounder of the Computer Clubhouse project, a network of after-school learning centers for youth from low-income communities.
"Hard Fun" Theory by Mitch Resnick from his book
I really like this concept of "Hard Fun" here...
Resnick vs. Schwengel
Here is a side-by-side comparison of a Mitch Resnick graphic and I graphic I've created and used for a few years now. While a tad different is purpose, both seem to point out the importance of fun/play and creativity/imagination.
Creative Society: Mitch Resnick
In this video, Mitch Resnick describes why it is important to support children’s development as creative thinkers in today’s fast-changing society, and shares ideas on how to bring the spirit of kindergarten to children of all ages and all backgrounds.
Is PBL a "hippy-dippy" fad OR can it be as rigorous as a "traditional" education?
whatisrigorousprojectbasedlearning.pdf | |
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A Brave New World: A Close Look at What You Might Not Know Exists...and is wildly popular worldwide
For a closer look at this fascinating game (League of Legends) and obsession people have with it, check out the Netflix movie "All Work All Play"
The Korda Method: Entrepreneurism in Schools
SOLVING REAL PROBLEMS ON TEAMSStudents gain deep knowledge, master 21st century skills and develop habits of mind as they solve real problems supplied by a person, business or organization.The curriculum provides the method for selecting problems and partners. The time required by the partners is minimal. Students are given problems that matter to them, a team, and a deadline when they will present their evidence-based solutions to the partner.
Korda created Hawken School’s Entrepreneurial Studies semester course as the model for this method. In the Hawken program, teachers partner with local businesses who challenge their students to solve their real and urgent startup-type problems.
Example challenge: “How should Beam Dental market their oral care products and create customer engagement?”
Korda created Hawken School’s Entrepreneurial Studies semester course as the model for this method. In the Hawken program, teachers partner with local businesses who challenge their students to solve their real and urgent startup-type problems.
Example challenge: “How should Beam Dental market their oral care products and create customer engagement?”
On-Line Courses: MIT Lifelong Learners Community
I'm currently engaging with hundreds of educators throughout the world in this online course. It's a fascinating experiment and definitely what I'm enjoying are the topics posted and the diversity of experiences and questions those in the course are reporting and asking. You take these courses at your own pace, which is great.
Great video about Passion by the creator of Scratch
Passion in LearningIn this video, Mitch Resnick describes the value of people following their interests, and suggests strategies to engage people working on things that they really care about.
Wildfire Education: Training Institute in the "Korda Method"
“The Korda Method is an excellent turnkey solution for educators [that makes] teachers feel confident taking risks in their curriculum that combines content with building 21st century skills, not only because the methodology has proven successful, but because the training and support materials lead teachers every step of the way.”Gabrielle Russomagno, Germantown Academy’s Director of Innovation
I was horrified to see what we teach kids and how we teach it." - Doris Korda
Creativity Challenges: What, Why, How
http://makingcreativityvisible.edublogs.org/sparking-creativity/creativity-challenges-what-why-how/
What: Creativity challenges are short, usually one-sentence prompts inviting imaginative action, often playful or containing unexpected juxtapositions (e.g. Design a feast for dragons). Creativity challenges are usually meant to be completed quickly (5 to 10 minutes)
Why: As a recurring routine, especially when coupled with regular reflection, creativity challenges foster a culture of creative thinking and problem solving. They are quick and often fun; whimsical prompts set an unintimidating tone for engagement.
How: Begin with a collection of prompts (some Creativity Challenges can be found at makingcreativityvisible.edublogs.org) and open-ended, non-precious materials such as cardboard. Keep work time short to emphasize that this is to be a draft rather than a finished product.
Why: As a recurring routine, especially when coupled with regular reflection, creativity challenges foster a culture of creative thinking and problem solving. They are quick and often fun; whimsical prompts set an unintimidating tone for engagement.
How: Begin with a collection of prompts (some Creativity Challenges can be found at makingcreativityvisible.edublogs.org) and open-ended, non-precious materials such as cardboard. Keep work time short to emphasize that this is to be a draft rather than a finished product.
First Step: Define PBL.
* Excerpt from my Makefesto
What is Project-Based Learning?
Here is the internet's standard definition:
Project Based Learning is a teaching method in which students gain knowledge and skills by working for an extended period of time to investigate and respond to an authentic, engaging and complex question, problem, or challenge.
I believe this is too 'vanilla' for a school to follow.
This article by M. Hildebrand lays out three pillars of PBL nicely: Technology, Community, and 'Letting go' of traditional curriculum. I couldn't agree more, although I'm a bit hesitant to claim Technology as a pillar. I think that could be broader to include concepts outside this category.
http://casinerina.blogspot.com/2014/01/3-pillars-of-project-based-learning.html
One of the leading voices in PBL is the Buck Institute. This company is a true evangelist and teacher trainer. I've seen them in action at "the Schools of the Future" events in Honolulu. They are wonderful, and evolving.
BIE (Buck Institute for Education) has worked hard to define and refine its definition for PBL. This is an outstanding article explaining how a teacher might design a PBL project for students:
https://www.bie.org/blog/why_we_changed_our_model_of_the_8_essential_elements_of_pbl
What is Project-Based Learning?
Here is the internet's standard definition:
Project Based Learning is a teaching method in which students gain knowledge and skills by working for an extended period of time to investigate and respond to an authentic, engaging and complex question, problem, or challenge.
I believe this is too 'vanilla' for a school to follow.
This article by M. Hildebrand lays out three pillars of PBL nicely: Technology, Community, and 'Letting go' of traditional curriculum. I couldn't agree more, although I'm a bit hesitant to claim Technology as a pillar. I think that could be broader to include concepts outside this category.
http://casinerina.blogspot.com/2014/01/3-pillars-of-project-based-learning.html
One of the leading voices in PBL is the Buck Institute. This company is a true evangelist and teacher trainer. I've seen them in action at "the Schools of the Future" events in Honolulu. They are wonderful, and evolving.
BIE (Buck Institute for Education) has worked hard to define and refine its definition for PBL. This is an outstanding article explaining how a teacher might design a PBL project for students:
https://www.bie.org/blog/why_we_changed_our_model_of_the_8_essential_elements_of_pbl
why_we_changed_8ees_article.pdf | |
File Size: | 228 kb |
File Type: |
From BIE:
What is Project Based Learning (PBL)?
Project Based Learning is a teaching method in which students gain knowledge and skills by working for an extended period of time to investigate and respond to an authentic, engaging and complex question, problem, or challenge. In Gold Standard PBL, projects are focused on student learning goals and include Essential Project Design Elements:
What is Project Based Learning (PBL)?
Project Based Learning is a teaching method in which students gain knowledge and skills by working for an extended period of time to investigate and respond to an authentic, engaging and complex question, problem, or challenge. In Gold Standard PBL, projects are focused on student learning goals and include Essential Project Design Elements:
- • Key Knowledge, Understanding, and Success Skills - The project is focused on student learning goals, including standards-based content and skills such as critical thinking/problem solving, communication, collaboration, and self-management.
- • Challenging Problem or Question - The project is framed by a meaningful problem to solve or a question to answer, at the appropriate level of challenge.
- • Sustained Inquiry - Students engage in a rigorous, extended process of asking questions, finding resources, and applying information.
- • Authenticity - The project features real-world context, tasks and tools, quality standards, or impact – or speaks to students’ personal concerns, interests, and issues in their lives.
- • Student Voice & Choice - Students make some decisions about the project, including how they work and what they create.
- • Reflection - Students and teachers reflect on learning, the effectiveness of their inquiry and project activities, the quality of student work, obstacles and how to overcome them.
- • Critique & Revision - Students give, receive, and use feedback to improve their process and products.
- • Public Product - Students make their project work public by explaining, displaying and/or presenting it to people beyond the classroom.
"In PBL you’re teaching through the project—not teaching and then doing the project."
– Andrew Miller from Edutopia article
Kris Schwengel Definition of PBL:
My overly-simplified definition of project-based learning is this:
Words are great, but mean little without a concrete example to grab onto. So here is an example of content running parallel to skill-building.
NorthWest Tribes Coding
Project Example
Don't just buy a new video game – make one!" - President Barack Obama 2013
Don't just buy a new video game – make one!" - President Barack Obama 2013
NW Hunting Simulation Explanation:
Context: Create (code) a NorthWest Tribes hunting simulation (game) that is historically, geographically, biologically, and culturally authentic.
Content: NorthWest Native American way of life, culture, and practices
Skills: Research and Coding
Research-based Decisions: Kids should be making creative decisions based on their research. Here are some examples where their research informs their artistic and coding decisions. If we see teepees in the background, we know the research has not been completed as there were no need for teepees in the NorthWest.
Historically Authentic: Totem poles, arrow shapes, longhouses, and the distinctive artistic design of the NW tribes need to be included in the project.
Geographically Authentic: The backgrounds and foregrounds need to resemble the NorthWest terrain.
Biologically Authentic: The animals must look authentic both in appearance and movement. Does, fawns, and bucks all are distinct, as are the specific species of deer in the NorthWest. Students research and mimic the biomechanics of a running deer.
Culturally Authentic: Music and preservation are key components of capturing authenticity. We use actual Native American music captured from YouTube and the students learn to "punish" a hunter who kills a female or baby deer. Seasons are also important to consider while hunting, so the students have to find a coding solution to monitor these preservation tactics. We also read about how Native Americans like to give hunted and shot (with an arrow) animals time to "turn East" in order to enter the next world. Students are challenged with respecting this belief in the coding of the death of the deer.
Below you can see how the research is directly affecting the kids' design work in this project.
This is an email I send parents about this project:
NW Coding Project FAQs
"This seems like a mountain of work for my child. Is it?"
Yes, it is. It's a big project. I've reminded the kids that the best way to eat an elephant is one bite at a time. This is also part of the learning model: A long, deep-dive where the students labor on a project that has a very specific theme woven through it. The project itself can be most likely completed at school without too much work at home. It's neat to hear kids passionate about the project and spending a lot of time at home on it.
The biggest mistake a student could make is getting stuck on a specific problem when there are a zillion other things to work on. Put the problem to the side and work on something else. Support for that problem can be given in class.
"What extra support will there be before the deadline for the project?"
My classroom will be opened at 7:15am as a Genius Bar Mon-Wed this week. Students who are knowledgeable will be the geniuses and I'll be helping, too.
"My child is really struggling with the X-Y coordinates and the size of the sprites. Is that okay?"
It's expected and desired that students have to tinker, tinker, tinker with the coordinates and sizes. By doing this, the students are learning Cartesian Coordinates and percentages through a project, not a worksheet. I believe this learning is stickier than traditional methods.
"How can I help my child if I have no coding knowledge at all?"
You are the user of the simulation. If your child has to explain anything to you, then he/she needs to alter the instructions, sprites, or coding. You should be able to point to anything and ask for an explanation. Your lack of coding experience is a blessing because if they can explain something to you, that is the ultimate sign of understanding.
NW Coding Project FAQs
"This seems like a mountain of work for my child. Is it?"
Yes, it is. It's a big project. I've reminded the kids that the best way to eat an elephant is one bite at a time. This is also part of the learning model: A long, deep-dive where the students labor on a project that has a very specific theme woven through it. The project itself can be most likely completed at school without too much work at home. It's neat to hear kids passionate about the project and spending a lot of time at home on it.
The biggest mistake a student could make is getting stuck on a specific problem when there are a zillion other things to work on. Put the problem to the side and work on something else. Support for that problem can be given in class.
"What extra support will there be before the deadline for the project?"
My classroom will be opened at 7:15am as a Genius Bar Mon-Wed this week. Students who are knowledgeable will be the geniuses and I'll be helping, too.
"My child is really struggling with the X-Y coordinates and the size of the sprites. Is that okay?"
It's expected and desired that students have to tinker, tinker, tinker with the coordinates and sizes. By doing this, the students are learning Cartesian Coordinates and percentages through a project, not a worksheet. I believe this learning is stickier than traditional methods.
"How can I help my child if I have no coding knowledge at all?"
You are the user of the simulation. If your child has to explain anything to you, then he/she needs to alter the instructions, sprites, or coding. You should be able to point to anything and ask for an explanation. Your lack of coding experience is a blessing because if they can explain something to you, that is the ultimate sign of understanding.
Edutopia article on getting started with PBL
https://www.edutopia.org/blog/project-based-learning-getting-started-basics-andrew-miller
These shop utility carts might be perfect for conversion to MakerSpace furniture.
"A place for everything and everything in its place."
I've always believed a great MakerSpace should resemble Grandpa's Garage. But hopefully Grandpa has mild obsessive compulsive disorder when it comes to organizing his tools and materials.
Food-Truck Efficiency in Spacing and Design
As our Makeries seem to shrink during construction, we'll need to maximize our spacing in creative ways. We can seek inspiration from this article on food truck design when it comes to placement, storage, and work efficiency. Trust me, this will be essential considering the number of students these makeries will be servicing.
https://www.washingtonpost.com/graphics/2018/food/food-trucks/?utm_term=.ace65deda7f7
https://www.washingtonpost.com/graphics/2018/food/food-trucks/?utm_term=.ace65deda7f7
Makerspace Build by Students
https://www.edutopia.org/article/makerspace-built-elementary-students
Oof, now this is space-saving innovation!
Transform a window into a stand-up work station with this floating desk. It’s an adjustable and portable solution that ensures your work space always has a good view. The desk mounts securely to glass and other non-porous surfaces (like tile) with industrial-grade suction cups. Sturdy aluminum brackets can handle up to 40 pounds of laptop, mouse—or plants and books after office hours.