Bridges Built: Reflections Revisited

Final Reflection... Finally. Phew!

As I embarked on this journey to discover the nature and design of compelling experiences, the path was paved with pedagogical pebbles, pitted with procedural potholes, and packed with pensive peers and provocative publications. All of these worked together to create picturesque panoramas in which I took great pleasure. I admit, there were times I stumbled over scholastic stones and fretted about fundamental forks in the road, but I believe I was stretched and strengthened by these struggles, personally and professionally. The best and brightest moments came, though, when bridges were built. It is from these bridges I could see beyond.

Photography
Insight: Perspective
Impact: Provokes pensiveness
In the photography module, “pattern” (Rowse, 2008), “placement” (Calvetti, 2006) and “patience” (Rockwell, 2008), focus / focal points (Calvetti, 2006; Rowse, 2009), framing (Calvetti, 2006; Hill, 2010), and field (Calvetti, 2006; Rowse, 2008) all came in to play. Each of these relatively basic bricks was used to form the foundation for a good photograph. In many cases, this advice from experts can easily extend to education, for when it is not helpful to consider where a certain topic should be placed within a unit, what should be the primary focus of study, and how that focal point should be framed within its given context? These design elements of photography are equally important in the design and delivery of curricular material. But… while these basics build the base of the bridge, the boards and beams necessary to span the gap from good to great (from common to compelling) are still missing. Perspective might be the (a) missing piece.

According to Dictionary.com, perspective can mean, “the technique of representing three-dimensional objects and depth relationships on a two-dimensional surface,” and it can also mean, “the relationship of aspects of a subject to each other and to a whole” (American Heritage, 2009). By perspective, I do not necessarily mean the former, referring to the depth or dimension of an image nor the angle or point of view from which a subject is shot (the front / back, above / below, far away / up close). Of course, this physical interpretation of perspective is important, but it is the personal (or interpersonal, perhaps) piece of perspective that is a priority.

As I worked on my photography project, I remember the moment when I… put perspective in perspective. In analyzing my initial image I said, “Even with elements of line, texture, angle, [and] pattern, this image lacked intimacy and intrigue” (Rupp, 2010). As I worked toward my final image, perspective entered in. I began to think about “the relationship of aspects of a subject to each other and to a whole.” Calvetti (2006) and Hill (2010) might say, I set the scene and snapped the shot within a story. “My emotional perspective impacted my photographic perspective” (Rupp, 2010). As a result, there was much more to ponder than what could be seen within the frame of the photo.

Likewise, as an educator, I have been challenged to set the scene for my students. I must find a way to help them see and think beyond the borders of the blackboard, beyond the borders of their books. As I design lessons, I must consider “the relationship of aspects of a subject to each other and to a whole.” I must find ways to provoke pensiveness, to encourage my students to wander and wonder. Designing lessons around essential questions might be a place to start. I must cause them to ask… “How does division relate to fractions? How do ancient civilizations relate to modern America? How do any of these things relate to me?”

When perspective is gained, they will not only have a collection of but a connection to the ideas explored.

Film & Television
Insight: Piquing & Planning
Impact: Potentially provocative; Propels to new pursuits

Perspective and story certainly spill over into the realm of film and television, but as I contemplated the cutting room and critiqued commercials, other characteristics caught my attention… piquing and planning.

Commercials are a dime a dozen (well… actually several thousand dollars a second). Most of the time, they serve as background noise for bathroom and beverage breaks. On occasion, though, I have been stopped dead in my tracks, transfixed by a tune, jolted by a jingle, or intrigued by an image. Forced to freeze and focus, my interest is piqued, and I am potentially provoked to ponder (and perhaps even purchase) a product. The first step is getting the viewer to look up.

I experienced the power of piquing first hand as I watched the Superbowl. It really was an interesting exercise. While I was somewhat underwhelmed by the quality of commercials this year, there were a few that caused me to look up from my computer. Once my curiosity was piqued, advertisers could pull me in. This idea came across in a piece on promos, featured in the July 20, 1998 issue of The Rundown. In reference to a promotional piece for a news program, Paul Spingola is quoted as saying, “As soon as you have the viewer’s attention, you go on to say, ‘This is tonight at 11 on XYZ news’.” Piquing is a priority.

Is this not true in a classroom, as well? Which introduction has greater potential to pique? “Today, boys and girls, we are going to be learning about geometric shapes.” OR “Boys and girls, have you ever met a greedy triangle? If not, then today’s your day! Watch and listen closely to see what happens when this greedy triangle makes a visit to the shapeshifter.” I would argue, the latter. Anytime a teacher starts out with, “Today, boys and girls we are going to be learning about…” hearts drop, hands doodle, and heads daydream. When a question is posed, particularly one pertaining to something “silly” like a greedy triangle, hearts and hands and heads engage (Note: There is substance behind the silliness). Similar to what Pete Spingola said, “As soon as you have the students’ attention, you go on to say…” “This is a regular, equilateral triangle.”

Walter Murch also alluded to the need to grasp viewer’s attention in an interview with Michele Norris. “’My job as an editor is to gently prod the attention of the audience to look at various parts of the frame,’ he says. ‘And I do that by manipulating, by how and where I cut and what succession of images I work with.’” (Norris, 2005). In addition to grasping, though, there was a subsequent element of guiding involved. As he mentions (and later discusses in reference to a scene from Jarhead) “manipulating,” the “how and where” of cutting, and the “succession of images,” piquing is followed up by a great deal of planning. It is not good enough to just capture the initial attention of an audience; one must keep it. Attentions are fleeting and fickle. They can be lost just as easily as they were found. If producers of films fail to follow through, the flick falls flat.

Likewise with a lesson. It simply is not good enough to employ a gimmick at the outset of a lesson. One must masterfully “manipulate” the mind to want more. This requires planning – planning pertaining to subject matter, planning pertaining to strategies, AND planning pertaining to students. If even one of these pieces is not planned, there is potential for a problem. For example, how often do experts in fields enter in to education without a real understanding of how to successfully share their specialty? College classrooms are filled with professors who have not only planned but also perfected their subject matter. Unfortunately, many fail to plan their strategies and end up presenting a lecture that is less than compelling. Conversely, there are educators who have mastered instructional strategies, pulling out all the engaging and / or entertaining stops they can think of. While they often impart to their students lots of love for learning, they often lack links to learning.

Paul Hirsch could easily have been talking about teachers when he said,

“I think that the good editors have been undermined by the poor ones. There are some editors still working who do it sort of ‘by the numbers,’ who don’t have any feelings of showmanship or don’t have an instinct for what’s right. They put the film together as best they can in their relatively inept way, then go to screenings with the director and take notes about what he wants changed. They’re functioning as a pair of hands, they’re not contributing, and therefore they not really worthy of respect by creative people who bring the movie together. There are editors out there, working professionally, who don’t have a clue as to what editing is about. Then there are editors who take a very active role. They try to elevate everyone else’s work, and they’re in a position to do that as an editor. It’s their job to make everybody look as good as possible – the actors, the cameraman, the director, the screenwriter. The editor is the final filter before the film reaches the audience. If your standards are high enough and you can apply them to every aspect of the film, you can make a difference” (Oldham, 1995: 196).

Good teachers, like good editors, are purposeful planners. In order to transform their work from common to compelling, they must account for all the pieces and people, plan purposefully, and propel themselves and their students on to new pursuits.

As I said in a previous post, “In order to design a compelling experience, we must attend to the elements that cause us and our students to:

Look up!

Linger…

Listen.

And… learn… for a lifetime!” (Rupp, 2010).


Architecture and Interior Design
Insight: Purpose
Impact: Preserves “peace”

Again, the segue from one genre to another is relatively seamless. There is no question that planning is paramount in the areas of architecture and interior design, as well. With bridges in mind, I cringe at the thought of the chaos that would ensue on a construction site without any blueprints, not to mention the imminent disaster of the bridge succumbing to the slightest weight. I can see it now, the construction crumbling to the ground at even the hint of wind or rain. Lest we forget, planning is paramount!

In addition to planning, though, purpose ought to be a priority. After all, what would be the point of a bridge built in the middle of a flat, farmer’s field? With no water to cross or no valley to span, the bridge would be more of a barrier than of any benefit. It would lack purpose and would probably be the cause of conflict, internal and otherwise. Neighbors would lament the lack of aesthetic appeal, and the farmer would lament the land lost. Without purpose, problems tend to proliferate. In the case of this hypothetical bridge, the problems affected both the aesthetic and physical aspects of individuals’ lives.

The physical realm is, of course, the most tangible. In the case of the bridge, it is neither practical nor functional. Classrooms have similar clunky constructions. How often do we, as teachers, incorporate into our classrooms pieces of furniture that are neither practical nor functional… not the least of which are students’ desks? Or, how about those cozy and “compelling” centers set up around the room with pillows and lamps and other “homey” accoutrements. Supposedly, these special spots are designed to supplement and stimulate. Do they really serve that purpose?

Albeit subtly, Susan Susanka purports the power of purpose. Even in the title of her book, Home by Design, there is the sense that purpose is key and without it, buildings are basically… bridges to nowhere. One of my favorite quotes from this module, one I found especially applicable to education, came from this book.

"So it's a house that has a Theme and Variations. Most houses are lacking features like these that tell you, as you move from room to room, that they are all parts of a singular whole. But a house that's a Home by Design has some underlying organizational features that help identify it as all one thing, no matter where you are in the house." (Susanka, 2004: 9)

In my post for this module, I adapted the quote and titled it, “Learning Experience by Design.”

“So it's a LEARNING EXPERIENCE that has a Theme and Variations. Most LEARNING EXPERIENCES are lacking features like these that tell you, as you move from LESSON TO LESSON, that they are all parts of a singular whole. But a LEARNING EXPERIENCE that's a LEARNING EXPERIENCE by Design has some underlying organizational features that help identify it as all one thing, no matter where you are in the SCHOOL YEAR” (Rupp, 2010).

When I think about what is required in order for the more “aesthetic” elements of theme and variations to exist, purposeful design is imperative. Lessons and units must be treated like these cohesive pieces of architecture. Consideration must be given to the interdisciplinary nature of the lesson and attention to application. When students see purpose in their learning, they will be at peace with the process. Learning will make sense! And, it will make sense to learn... more.

Music
Insight: Passion
Impact: Promotes participation

Music is such a powerful medium; one in which I find great meaning. Despite being a musician, though, the music module was probably the most challenging for me. Most of the time was spent on identifying and elaborating on “the hook,” which was much more difficult for me than I would have expected. It was hard for me to dissect something I usually take in as a whole. Meaning is more than just a moment in a song. In the end, I managed to find myself mired in metaphor as I entered in to the project. The result was somewhat less than satisfying, certainly not my most shining moment. That said, it did allow for further reflection and additional revelations.

While I appreciated the opportunity to improve my analytical skills, what I found most fascinating was the passion with which Robert Kapilow what makes music great and Aaron Copland elaborated on the sonorous image. Kapilow’s commentary was especially contagious. After listening to his conversation with Tom Ashbrook, I couldn’t help but participate in his passion.

Bridges built in the music module were abundant, but it is passion that promotes participation I found most pertinent. Passion is contagious. Even when interest is almost nonexistent, a person in the presence of one who is passionate cannot help but, at the very least, lend a listening ear. Students are no exception. When in the presence of a passionate teacher, they cannot help but perk up. While it is not easy for a teacher to convey passion equally for every subject or subtopic, it behooves us as educators to at least try to work up enough energy to engage our students. When employed effectively, passion has the power to promote participation. When students participate wholeheartedly, they are more likely to learn.

Fashion
Insight: Personal-ness
Impact: Props up potential; Proliferates possibilities

The final bridge was fashioned out of… fashion. After watching an episode of What Not to Wear, I was able to identify “Three Peas (+1) in a Pod.” After reading and reflecting, I think it is a variation of the first “P,” personal-ness, that is most powerful.

Fashion and style are very personal things. As evidenced in every episode of “What Not to Wear,” people seek to share who they are by what they wear, and what people wear reveals, to some degree, who they are. And, when challenged to change, it is not only the clothes that are affected. Change can be a very emotional experience. Change can also be an encouraging experience, particularly when it is tailored to the individual.

In my reflection about “What Not to Wear,” I said,

“[F]ashion is not only about patterns, palettes, and pumps, it is about sharing and celebrating the individuality of each person and personality. Almost without fail, when the old is off and the new is in view, friends and family (and fans at home) notice not only how “nice” the individual looks but also the pride or perkiness or peacefulness with which they present themselves as they walk in the room. Fashion ought to be a reflection (and revelation) of personality” (Rupp, 2010).

While education is not necessarily a “reflection of personality,” instruction tailored to the person can accentuate the skills and strengths of the individual. When teachers fashion instruction with individuals in mind, they are better able to prop up potential and proliferate possibilities. Students begin to realize that they can be more than they are and doors are opened wide to things they can do. A “can do” context is compelling.

Such a personal learning experience was designed in this very course, fashioned in the form of the Work of Art project. Allowing us, as individuals, to identify and pursue a topic of personal interest compelled each one to dig deeply and apply all that we had learned. We were challenged to aim high (potential) and to look beyond any barriers that might block our path (possibilities). This tailored task was more than compelling.

What a thrill to think about how these insights, when applied, will impact my instructional experience and the learning experience of my students.