1 00:00:00,000 --> 00:00:00,429 2 00:00:00,429 --> 00:00:01,970 STEPHEN CARPENTER: Welcome, everyone. 3 00:00:01,970 --> 00:00:03,650 It's good to have you here. 4 00:00:03,650 --> 00:00:07,370 I see some familiar faces and some less familiar faces. 5 00:00:07,370 --> 00:00:09,520 So that's fantastic. 6 00:00:09,520 --> 00:00:14,570 So what I wanted to do is prepare to talk. 7 00:00:14,570 --> 00:00:18,195 And within the talk, I have some images, 8 00:00:18,195 --> 00:00:21,380 a few videos to look at, and there's also 9 00:00:21,380 --> 00:00:24,110 a audience participation component, 10 00:00:24,110 --> 00:00:26,000 because that's just how I roll. 11 00:00:26,000 --> 00:00:29,030 We have to practice what we're up to. 12 00:00:29,030 --> 00:00:37,410 So this segment, this talk, is one that is looking at pedagogy 13 00:00:37,410 --> 00:00:42,060 as not simply pedagogical strategies in general 14 00:00:42,060 --> 00:00:44,520 but to look more at the ways that I translate 15 00:00:44,520 --> 00:00:48,840 this idea of pedagogy through lenses or filters of disruption 16 00:00:48,840 --> 00:00:50,730 or of criticality. 17 00:00:50,730 --> 00:00:56,370 And so part of the work that I do professionally 18 00:00:56,370 --> 00:01:00,050 is prepare teachers of art for K12. 19 00:01:00,050 --> 00:01:03,420 But I also work with graduate students 20 00:01:03,420 --> 00:01:05,670 as they conduct their research, I also 21 00:01:05,670 --> 00:01:09,690 do my own research in scholarly kinds 22 00:01:09,690 --> 00:01:14,280 of moves about the ways in which visual imagery, visual art, 23 00:01:14,280 --> 00:01:20,250 visual cultural production, functions, as modes or spaces 24 00:01:20,250 --> 00:01:22,170 for teaching and learning. 25 00:01:22,170 --> 00:01:25,890 Jasper Johns, a pop artist, someone 26 00:01:25,890 --> 00:01:27,420 who's been relegated into that space 27 00:01:27,420 --> 00:01:29,724 by some critics and historians, this 28 00:01:29,724 --> 00:01:31,140 is something-- this is a statement 29 00:01:31,140 --> 00:01:33,089 he made about his art practice. 30 00:01:33,089 --> 00:01:34,380 Like, how do you make your art? 31 00:01:34,380 --> 00:01:35,940 What's your approach? 32 00:01:35,940 --> 00:01:38,580 Take an objective, do something to it, 33 00:01:38,580 --> 00:01:40,420 and I do something else to it. 34 00:01:40,420 --> 00:01:41,330 Really? 35 00:01:41,330 --> 00:01:43,920 Well, yeah, I mean, that seems really simplified. 36 00:01:43,920 --> 00:01:49,170 But for me, that's a really interesting and quite powerful 37 00:01:49,170 --> 00:01:51,770 methodology or method to use. 38 00:01:51,770 --> 00:01:55,410 You take something, and then that thing is not just-- 39 00:01:55,410 --> 00:01:56,972 it's not finished. 40 00:01:56,972 --> 00:01:58,680 It's not done being whatever it could be. 41 00:01:58,680 --> 00:02:00,710 And then, do something to it. 42 00:02:00,710 --> 00:02:03,190 OK, but then, keep it going. 43 00:02:03,190 --> 00:02:04,210 Do something else do it. 44 00:02:04,210 --> 00:02:06,870 So for me, the doing can happen in a number of ways. 45 00:02:06,870 --> 00:02:09,120 You can alter it, you can modify it, you can throw it. 46 00:02:09,120 --> 00:02:10,139 You can add something to it. 47 00:02:10,139 --> 00:02:11,430 You can take something away. 48 00:02:11,430 --> 00:02:15,030 But we can also, as viewers or people 49 00:02:15,030 --> 00:02:17,610 who are engaging with that object, we might ask questions. 50 00:02:17,610 --> 00:02:20,610 So the asking questions is a form of doing. 51 00:02:20,610 --> 00:02:24,480 And so for me, Johns's quotation is nice, for me, 52 00:02:24,480 --> 00:02:27,600 as a bridge from a more modernist mindset or approach 53 00:02:27,600 --> 00:02:29,100 where it's about the object and it's 54 00:02:29,100 --> 00:02:31,759 about the making, the process of making to-- 55 00:02:31,759 --> 00:02:33,300 some books might talk about the slide 56 00:02:33,300 --> 00:02:36,630 into postmodernism or other post spaces, 57 00:02:36,630 --> 00:02:41,110 where we move beyond objectness or materialness 58 00:02:41,110 --> 00:02:46,760 to other realms that have more conceptual content 59 00:02:46,760 --> 00:02:48,180 and interest. 60 00:02:48,180 --> 00:02:50,460 That notion of asking questions or take an object, 61 00:02:50,460 --> 00:02:52,543 doing something to it, doing something else to it, 62 00:02:52,543 --> 00:02:54,780 you could engage learners like that. 63 00:02:54,780 --> 00:02:57,576 That's one way to engage learners. 64 00:02:57,576 --> 00:02:58,950 So if we think about learners, we 65 00:02:58,950 --> 00:03:00,420 should also think about curriculum. 66 00:03:00,420 --> 00:03:01,960 Now, this is an image-- 67 00:03:01,960 --> 00:03:03,930 this is not one that I drew, but it's 68 00:03:03,930 --> 00:03:09,990 a cartoon, a single cartoon panel from Non Sequitur. 69 00:03:09,990 --> 00:03:13,640 And I use this image when I teach curriculum classes. 70 00:03:13,640 --> 00:03:16,447 So on the right, we have this larger fish 71 00:03:16,447 --> 00:03:18,780 with kind of sharp teeth, and there's stuff falling down 72 00:03:18,780 --> 00:03:22,020 from the fish's mouth, and then there are these three smaller 73 00:03:22,020 --> 00:03:24,987 fish, and then there's another fish that's 74 00:03:24,987 --> 00:03:27,570 kind of medium sized, and that one actually knows how to talk, 75 00:03:27,570 --> 00:03:29,580 which I think is an interesting thing. 76 00:03:29,580 --> 00:03:32,960 So we're able to know what fish say. 77 00:03:32,960 --> 00:03:37,360 The medium-sized fish says, "No, we can't swim any faster. 78 00:03:37,360 --> 00:03:40,440 The school curriculum is geared for the slower swimmers. 79 00:03:40,440 --> 00:03:44,650 So the 10 of you have to wait for the others to catch up." 80 00:03:44,650 --> 00:03:47,860 I don't know about you, I only see four other fish. 81 00:03:47,860 --> 00:03:49,050 I only see four other fish. 82 00:03:49,050 --> 00:03:50,520 I do see one fish. 83 00:03:50,520 --> 00:03:52,770 It looks like little fish bits that are falling 84 00:03:52,770 --> 00:03:55,530 from this larger fish's mouth. 85 00:03:55,530 --> 00:03:58,690 So where is the curriculum? 86 00:03:58,690 --> 00:04:00,580 Here, is the curriculum this larger fish 87 00:04:00,580 --> 00:04:02,530 with the sharp teeth? 88 00:04:02,530 --> 00:04:06,520 Is the curriculum the swimming? 89 00:04:06,520 --> 00:04:08,230 Is the curriculum the water itself? 90 00:04:08,230 --> 00:04:11,530 This cartoon allows us to have multiple entry points to ask 91 00:04:11,530 --> 00:04:13,720 where the curriculum resides. 92 00:04:13,720 --> 00:04:18,880 And if we think about that word "curriculum," 93 00:04:18,880 --> 00:04:24,590 it is derived from a Latin word, currere. and that's 94 00:04:24,590 --> 00:04:29,720 the infinitive "to run" So "curriculum" is "to run." 95 00:04:29,720 --> 00:04:33,620 It's the running of a course, rather than a noun. 96 00:04:33,620 --> 00:04:36,500 We think about it in those terms, right? 97 00:04:36,500 --> 00:04:42,052 Curriculum theorists did work in the '70s and '80s 98 00:04:42,052 --> 00:04:43,760 to reconceptualize curriculum, but didn't 99 00:04:43,760 --> 00:04:48,390 focus on this idea of curriculum as a verb "to run." 100 00:04:48,390 --> 00:04:52,240 So the running or, in this case, the swimming of the course 101 00:04:52,240 --> 00:04:55,210 is the curriculum-- so how they swim. 102 00:04:55,210 --> 00:04:59,800 I'm assuming the medium-sized fish is the teacher 103 00:04:59,800 --> 00:05:04,030 and could be, could also be the school principal 104 00:05:04,030 --> 00:05:06,250 or whoever is in charge there. 105 00:05:06,250 --> 00:05:08,830 But the middle three are probably-- 106 00:05:08,830 --> 00:05:12,370 or this is supposed to be maybe the students who 107 00:05:12,370 --> 00:05:14,680 seem to know how to swim the course the way 108 00:05:14,680 --> 00:05:16,970 that it was designed. 109 00:05:16,970 --> 00:05:19,150 Well, this could be one of the learners, 110 00:05:19,150 --> 00:05:20,800 too, swimming adequately. 111 00:05:20,800 --> 00:05:25,260 But sometimes when I have used this image with my students 112 00:05:25,260 --> 00:05:28,000 in curriculum courses, they talk about how this larger fish, 113 00:05:28,000 --> 00:05:29,846 they often call it the barracuda-- 114 00:05:29,846 --> 00:05:30,970 see, that's the curriculum. 115 00:05:30,970 --> 00:05:33,370 The curriculum eats up the swimmers 116 00:05:33,370 --> 00:05:37,040 who don't swim in predetermined ways. 117 00:05:37,040 --> 00:05:40,780 Oh, OK, so here, a curriculum is a noun 118 00:05:40,780 --> 00:05:42,580 and an adversarial thing. 119 00:05:42,580 --> 00:05:45,160 How depressing is that to be a teacher or a learner 120 00:05:45,160 --> 00:05:47,940 to think the curriculum's after you; you better stay 121 00:05:47,940 --> 00:05:49,115 in front of it? 122 00:05:49,115 --> 00:05:50,490 But if we think of the curriculum 123 00:05:50,490 --> 00:05:52,860 as a verb in the ways in which we swim, 124 00:05:52,860 --> 00:05:56,250 maybe some swimmers swim higher in the water, some swim lower, 125 00:05:56,250 --> 00:06:00,360 some swim sideways, some swim faster and slower. 126 00:06:00,360 --> 00:06:02,910 How might the curriculum allow for multiple swimmers 127 00:06:02,910 --> 00:06:05,490 rather than a predetermined and singular notion 128 00:06:05,490 --> 00:06:07,890 of what a learner could be. 129 00:06:07,890 --> 00:06:12,845 But that's if we privilege the idea of learning. 130 00:06:12,845 --> 00:06:15,150 If we think about teaching, we can just deliver. 131 00:06:15,150 --> 00:06:20,400 I mean, there are notions of teaching and curriculum 132 00:06:20,400 --> 00:06:25,710 that, from the early 1900s and late 1800s that would proclaim 133 00:06:25,710 --> 00:06:29,534 that learners are empty vessels, and the teacher 134 00:06:29,534 --> 00:06:30,450 has all the knowledge. 135 00:06:30,450 --> 00:06:32,790 We just fill you up with knowledge. 136 00:06:32,790 --> 00:06:34,560 And that says, well, you're a learner. 137 00:06:34,560 --> 00:06:36,330 You don't bring anything to the classroom. 138 00:06:36,330 --> 00:06:37,330 But that's not the case. 139 00:06:37,330 --> 00:06:39,000 You swim the way you swim. 140 00:06:39,000 --> 00:06:40,360 Bring that to the classroom. 141 00:06:40,360 --> 00:06:43,500 So this idea of shifting from teaching to learning privileges 142 00:06:43,500 --> 00:06:48,540 or allows more attention to what learners bring to those spaces. 143 00:06:48,540 --> 00:06:50,820 Well, another standardized approach 144 00:06:50,820 --> 00:06:54,600 that was very popular 100 years ago and still 145 00:06:54,600 --> 00:06:59,160 somehow is popular within some circles in art teaching 146 00:06:59,160 --> 00:07:01,410 and education are the elements of art 147 00:07:01,410 --> 00:07:03,687 and the principles of design. 148 00:07:03,687 --> 00:07:05,770 Some people call them the elements and principles. 149 00:07:05,770 --> 00:07:08,500 But it's the elements of art and principles of design. 150 00:07:08,500 --> 00:07:10,760 And certainly, these are ways to say, look, 151 00:07:10,760 --> 00:07:13,720 these are the things that are going on in visual imagery 152 00:07:13,720 --> 00:07:16,780 or material culture. 153 00:07:16,780 --> 00:07:19,690 But they weren't intended to be the limitations. 154 00:07:19,690 --> 00:07:22,000 They were intended to be ways to gain access to what 155 00:07:22,000 --> 00:07:23,470 we're seeing in front of us. 156 00:07:23,470 --> 00:07:27,340 Misinterpretation of that, quite often, 157 00:07:27,340 --> 00:07:29,679 studio teachers, art teachers, other folks 158 00:07:29,679 --> 00:07:31,220 will think that these are the limits. 159 00:07:31,220 --> 00:07:33,844 And if we only talk about line, shape, color, texture, pattern, 160 00:07:33,844 --> 00:07:38,532 rhythm, then we've covered the curriculum. 161 00:07:38,532 --> 00:07:39,990 We've taught what we need to teach. 162 00:07:39,990 --> 00:07:41,910 Well, that's an interesting approach 163 00:07:41,910 --> 00:07:45,540 if you want to avoid content, if you 164 00:07:45,540 --> 00:07:47,790 want to avoid concepts, and ideas, 165 00:07:47,790 --> 00:07:51,600 and social issues-- if you want to avoid 166 00:07:51,600 --> 00:07:55,411 lived experiences in the lives of other people. 167 00:07:55,411 --> 00:07:57,660 And certainly when you're looking at works of art that 168 00:07:57,660 --> 00:08:01,320 are representative or reflections of lived 169 00:08:01,320 --> 00:08:06,450 experiences to omit interest in what we're seeing and what is 170 00:08:06,450 --> 00:08:10,110 being represented by simply limiting it to a formalist-- 171 00:08:10,110 --> 00:08:12,750 and this is formalized notions-- 172 00:08:12,750 --> 00:08:15,720 then, we're missing part of the conversation. 173 00:08:15,720 --> 00:08:19,200 So a number of years ago, Olivia Gude, 174 00:08:19,200 --> 00:08:24,360 who is a scholar at School of the Art Institute in Chicago. 175 00:08:24,360 --> 00:08:27,270 She said, look, we're not in this modernist notion, 176 00:08:27,270 --> 00:08:28,770 and there are different ways that we 177 00:08:28,770 --> 00:08:32,250 can mobilize art practices. 178 00:08:32,250 --> 00:08:35,850 And she constructed this set of postmodern principles 179 00:08:35,850 --> 00:08:37,919 by looking at the work that her students were 180 00:08:37,919 --> 00:08:44,159 making during weekend art classes in the Spiral Workshop. 181 00:08:44,159 --> 00:08:47,250 And she said, you know, there's other principles, 182 00:08:47,250 --> 00:08:49,650 the elements of art and principles of design, 183 00:08:49,650 --> 00:08:51,270 those seven-- 184 00:08:51,270 --> 00:08:54,910 group of seven elements and group of seven principles 185 00:08:54,910 --> 00:09:00,970 were guiding and have done some work in art curriculum. 186 00:09:00,970 --> 00:09:03,760 But she said, as I look at the work my students are making 187 00:09:03,760 --> 00:09:06,730 based on the assignments that we're 188 00:09:06,730 --> 00:09:10,990 up to in the Spiral curriculum, that are focused on themes, 189 00:09:10,990 --> 00:09:14,260 focused on social issues, focused on concepts, 190 00:09:14,260 --> 00:09:19,330 focused on lived experiences, she said of all of these works, 191 00:09:19,330 --> 00:09:21,862 these seven principles seem to emerge, 192 00:09:21,862 --> 00:09:24,070 not that the elements of art and principles of design 193 00:09:24,070 --> 00:09:24,611 aren't there. 194 00:09:24,611 --> 00:09:28,600 Because I kind of dare you to point to something in the world 195 00:09:28,600 --> 00:09:31,530 that you can't talk about in terms of line, 196 00:09:31,530 --> 00:09:35,080 or shape, or texture, right? 197 00:09:35,080 --> 00:09:37,240 So she's saying that from looking 198 00:09:37,240 --> 00:09:40,210 at the students' work generated from a thematic approach 199 00:09:40,210 --> 00:09:43,480 about concepts and lived experiences in the world-- 200 00:09:43,480 --> 00:09:46,060 text and image is a postmodern principle. 201 00:09:46,060 --> 00:09:51,070 Hybridity, this idea of things kind of overlapping and merging 202 00:09:51,070 --> 00:09:53,202 together, gazing, the way in which one looks, 203 00:09:53,202 --> 00:09:54,910 and the perspective from which one looks, 204 00:09:54,910 --> 00:09:57,070 and how one is looked at. 205 00:09:57,070 --> 00:09:59,770 Representing-- not just to represent something 206 00:09:59,770 --> 00:10:02,560 but how one's identity gets represented 207 00:10:02,560 --> 00:10:04,870 or how one represents oneself. 208 00:10:04,870 --> 00:10:07,150 Appropriation-- borrowing from one context or another; 209 00:10:07,150 --> 00:10:09,130 juxtaposition, the critique of two objects 210 00:10:09,130 --> 00:10:11,840 or two images in relationship to each other. 211 00:10:11,840 --> 00:10:14,320 Recontextualization, similar to appropriation, 212 00:10:14,320 --> 00:10:16,060 but taking something out of one context, 213 00:10:16,060 --> 00:10:17,740 putting it in a new context, now it 214 00:10:17,740 --> 00:10:19,720 speaks differently about this other context. 215 00:10:19,720 --> 00:10:24,970 And layering, this idea of how narratives or layers can 216 00:10:24,970 --> 00:10:28,320 be read through each other for multiple meanings. 217 00:10:28,320 --> 00:10:29,950 And I love what she says, which is also 218 00:10:29,950 --> 00:10:32,350 the pull-out quotation from this article, 219 00:10:32,350 --> 00:10:36,370 "An infinite amount of time is wasted in misdirected effort 220 00:10:36,370 --> 00:10:38,770 because tradition has a strong hold." 221 00:10:38,770 --> 00:10:41,200 I mean, there are other things that we can be doing, 222 00:10:41,200 --> 00:10:43,780 but, because we're regimented in tradition, 223 00:10:43,780 --> 00:10:46,790 we just can't get there. 224 00:10:46,790 --> 00:10:50,130 All right, so let's engage some learners like this. 225 00:10:50,130 --> 00:10:52,500 How about being some learners? 226 00:10:52,500 --> 00:10:53,220 Good? 227 00:10:53,220 --> 00:10:54,450 All right, I have-- 228 00:10:54,450 --> 00:10:56,020 we have large paper. 229 00:10:56,020 --> 00:10:59,910 These are essentially jumbo-sized Post-it notes. 230 00:10:59,910 --> 00:11:01,140 And we have markers. 231 00:11:01,140 --> 00:11:03,900 We have markers of different colors. 232 00:11:03,900 --> 00:11:06,390 Most of them are also gigantic sizes. 233 00:11:06,390 --> 00:11:09,120 It's like this larger cartoon version of Post-it notes 234 00:11:09,120 --> 00:11:10,560 and little markers. 235 00:11:10,560 --> 00:11:12,840 And what I would like you to do is, 236 00:11:12,840 --> 00:11:17,460 we're going to use this approach where we're going to do-- 237 00:11:17,460 --> 00:11:20,280 it's derived from think, pair, share-- 238 00:11:20,280 --> 00:11:22,800 this approach of learning, where I 239 00:11:22,800 --> 00:11:24,810 want you to think on your own, and then you're 240 00:11:24,810 --> 00:11:28,364 going to find someone else to pair with, and connect with, 241 00:11:28,364 --> 00:11:30,780 and then you're going to share your ideas with each other, 242 00:11:30,780 --> 00:11:32,340 then we'll share with the group. 243 00:11:32,340 --> 00:11:34,680 So what I'd like you to do right now 244 00:11:34,680 --> 00:11:37,420 is, if you have something to write with, that's great-- 245 00:11:37,420 --> 00:11:41,010 I don't think we brought any normal-sized paper, 246 00:11:41,010 --> 00:11:46,205 but I'll give you two minutes to do this first part 247 00:11:46,205 --> 00:11:47,080 to think on your own. 248 00:11:47,080 --> 00:11:48,974 What I would like you to do is choose one-- 249 00:11:48,974 --> 00:11:50,640 I'm not going to decide for you, but I'd 250 00:11:50,640 --> 00:11:56,540 like you to choose on your own, one of these tasks, 251 00:11:56,540 --> 00:11:58,040 one of these statements, and I want 252 00:11:58,040 --> 00:12:01,517 you to come up with a list. 253 00:12:01,517 --> 00:12:03,100 So if you choose the first one, you're 254 00:12:03,100 --> 00:12:05,260 going to come up with a list of 10 important women 255 00:12:05,260 --> 00:12:07,060 in the history of the world. 256 00:12:07,060 --> 00:12:08,820 Don't show anybody. 257 00:12:08,820 --> 00:12:11,820 Keep it to yourself for now. 258 00:12:11,820 --> 00:12:13,520 Or you could choose the second one. 259 00:12:13,520 --> 00:12:15,270 You can make a list of 10 important events 260 00:12:15,270 --> 00:12:16,830 in the history of the world. 261 00:12:16,830 --> 00:12:19,590 Or you can make a list of 10 important human creations 262 00:12:19,590 --> 00:12:20,775 in the history of the world. 263 00:12:20,775 --> 00:12:22,260 Does that make sense? 264 00:12:22,260 --> 00:12:26,040 Two minutes, go for it, and then we'll come back together. 265 00:12:26,040 --> 00:12:29,250 The activity that we are doing is one 266 00:12:29,250 --> 00:12:32,370 that I use in a curriculum development class and also 267 00:12:32,370 --> 00:12:34,950 curriculum theory class, usually near the beginning 268 00:12:34,950 --> 00:12:38,760 of the semester to underscore this idea that curriculum 269 00:12:38,760 --> 00:12:41,490 development, curriculum design, curriculum, 270 00:12:41,490 --> 00:12:44,110 as a general practice, is a political act, 271 00:12:44,110 --> 00:12:45,270 and it's based in values. 272 00:12:45,270 --> 00:12:48,210 It's based in experiences. 273 00:12:48,210 --> 00:12:50,760 Imagine a textbook company approached you and says, 274 00:12:50,760 --> 00:12:56,010 oh, you could get this contract for a textbook, a history book. 275 00:12:56,010 --> 00:12:59,980 We only have enough money for 10 chapters. 276 00:12:59,980 --> 00:13:03,660 So if you had 10 weeks to teach a course, what 10 topics 277 00:13:03,660 --> 00:13:04,860 would you teach? 278 00:13:04,860 --> 00:13:07,260 You've got to decide what doesn't get taught. 279 00:13:07,260 --> 00:13:09,052 Deciding what is not in the curriculum 280 00:13:09,052 --> 00:13:10,260 is part of the political act. 281 00:13:10,260 --> 00:13:12,690 It's part of the decision-making. 282 00:13:12,690 --> 00:13:15,120 So these three prompts are ones that I've 283 00:13:15,120 --> 00:13:17,010 used for years, and years, and years 284 00:13:17,010 --> 00:13:18,240 to do exactly what we did. 285 00:13:18,240 --> 00:13:20,510 You did it in like 15 minutes. 286 00:13:20,510 --> 00:13:23,070 I typically spend 15 minutes having the students generate 287 00:13:23,070 --> 00:13:24,780 the ideas, then we spend 45 minutes 288 00:13:24,780 --> 00:13:26,494 critiquing and interpreting. 289 00:13:26,494 --> 00:13:28,410 We're not going to spend 45 minutes critiquing 290 00:13:28,410 --> 00:13:30,300 and interpreting, but I'll lead you through some of the things 291 00:13:30,300 --> 00:13:31,440 that I like to do. 292 00:13:31,440 --> 00:13:34,029 Which prompt was this one? 293 00:13:34,029 --> 00:13:35,480 AUDIENCE: It's events? 294 00:13:35,480 --> 00:13:37,280 STEPHEN CARPENTER: This is events? 295 00:13:37,280 --> 00:13:38,135 This one? 296 00:13:38,135 --> 00:13:39,065 AUDIENCE: Yeah. 297 00:13:39,065 --> 00:13:40,070 AUDIENCE: Creations. 298 00:13:40,070 --> 00:13:41,090 STEPHEN CARPENTER: Creations? 299 00:13:41,090 --> 00:13:41,690 What was this one? 300 00:13:41,690 --> 00:13:42,170 AUDIENCE: Creations. 301 00:13:42,170 --> 00:13:43,378 STEPHEN CARPENTER: Creations. 302 00:13:43,378 --> 00:13:44,170 AUDIENCE: Women. 303 00:13:44,170 --> 00:13:45,050 STEPHEN CARPENTER: Women. 304 00:13:45,050 --> 00:13:45,883 AUDIENCE: Creations. 305 00:13:45,883 --> 00:13:48,190 STEPHEN CARPENTER: Creations. 306 00:13:48,190 --> 00:13:49,860 Now, notice the prompts are-- we'll 307 00:13:49,860 --> 00:13:52,380 talk about how I worded the prompts in a little bit. 308 00:13:52,380 --> 00:13:56,550 I find it interesting-- this is just the way I'm reading 309 00:13:56,550 --> 00:13:57,630 your lists-- 310 00:13:57,630 --> 00:14:03,960 one, two, three, four of the five lists use numbers. 311 00:14:03,960 --> 00:14:08,700 My assumption is that the one entry next to the number one 312 00:14:08,700 --> 00:14:12,660 is the most important, only because it's listed-- 313 00:14:12,660 --> 00:14:15,240 I'm just kind of culturally-- 314 00:14:15,240 --> 00:14:17,910 you know in that habit. 315 00:14:17,910 --> 00:14:20,340 When I see a one, I think of that being first. 316 00:14:20,340 --> 00:14:23,430 Usually, first is most important unless you're David Letterman; 317 00:14:23,430 --> 00:14:25,770 you're reading your top-10 lists backwards. 318 00:14:25,770 --> 00:14:30,680 If you had a last-minute email from the publisher, [GASP] 319 00:14:30,680 --> 00:14:33,150 we just got some more money. 320 00:14:33,150 --> 00:14:37,140 We could add another chapter to your textbook. 321 00:14:37,140 --> 00:14:40,860 But you've got to tell us by the end of the business day today. 322 00:14:40,860 --> 00:14:44,190 Could you come up with your number 11? 323 00:14:44,190 --> 00:14:46,140 Right? 324 00:14:46,140 --> 00:14:47,200 Or, oh, I'm sorry. 325 00:14:47,200 --> 00:14:49,870 Our budget has been slashed. 326 00:14:49,870 --> 00:14:52,410 We have to cut two chapters. 327 00:14:52,410 --> 00:14:54,240 Which two are the least important. 328 00:14:54,240 --> 00:14:56,860 329 00:14:56,860 --> 00:14:59,260 These are questions that curriculum designers, 330 00:14:59,260 --> 00:15:01,900 curriculum developers make all the time. 331 00:15:01,900 --> 00:15:03,370 Teachers, how much time do we have 332 00:15:03,370 --> 00:15:05,203 in the semester or the school year to teach? 333 00:15:05,203 --> 00:15:06,190 Oh, we only got so far. 334 00:15:06,190 --> 00:15:08,640 We've got to hurry up and rush because this is more important. 335 00:15:08,640 --> 00:15:10,515 And somebody else told us this was important, 336 00:15:10,515 --> 00:15:11,924 so we've got to teach-- 337 00:15:11,924 --> 00:15:13,090 well, I'm not teaching that. 338 00:15:13,090 --> 00:15:15,100 That seems less important. 339 00:15:15,100 --> 00:15:17,090 These are political decisions. 340 00:15:17,090 --> 00:15:23,680 But what is in is only there because it wasn't left out. 341 00:15:23,680 --> 00:15:25,780 A critical pedagogy or pedagogy that I 342 00:15:25,780 --> 00:15:29,350 like to enact and encourage my students to use 343 00:15:29,350 --> 00:15:31,120 is one that asks these kinds of questions. 344 00:15:31,120 --> 00:15:32,887 It's constantly in this frame of asking. 345 00:15:32,887 --> 00:15:35,470 Even when we have our list, even when we have our decision of, 346 00:15:35,470 --> 00:15:37,227 what seems to be important-- 347 00:15:37,227 --> 00:15:40,209 348 00:15:40,209 --> 00:15:43,250 well, why is this on the list? 349 00:15:43,250 --> 00:15:45,080 And where else does this allow us to go? 350 00:15:45,080 --> 00:15:47,840 351 00:15:47,840 --> 00:15:51,280 If we take Toni Morrison, what can we do with her work? 352 00:15:51,280 --> 00:15:53,860 Where does her work allow us to go, following Jasper Johns? 353 00:15:53,860 --> 00:15:55,780 And then, where does that allow us to go? 354 00:15:55,780 --> 00:15:58,370 Take Toni Morrison, not an object-- 355 00:15:58,370 --> 00:16:00,630 but we can think it in those ways-- 356 00:16:00,630 --> 00:16:05,740 take this entry, do something to it, do something else to it. 357 00:16:05,740 --> 00:16:08,860 The word "most" doesn't appear in any of those prompts. 358 00:16:08,860 --> 00:16:11,249 Did you pick up on that? 359 00:16:11,249 --> 00:16:13,540 Why do you think I didn't put the word "most" in there? 360 00:16:13,540 --> 00:16:15,100 AUDIENCE: Too much pressure. 361 00:16:15,100 --> 00:16:17,210 STEPHEN CARPENTER: Too much pressure? 362 00:16:17,210 --> 00:16:17,710 On me? 363 00:16:17,710 --> 00:16:19,317 I could've easily written-- 364 00:16:19,317 --> 00:16:20,650 I'm fine with four-letter words. 365 00:16:20,650 --> 00:16:23,210 I can just-- so, too much pressure for whom? 366 00:16:23,210 --> 00:16:26,330 AUDIENCE: For us, for [INAUDIBLE] 367 00:16:26,330 --> 00:16:27,924 368 00:16:27,924 --> 00:16:28,840 STEPHEN CARPENTER: Oh. 369 00:16:28,840 --> 00:16:32,030 AUDIENCE: Even though I think we still tried to do that, 370 00:16:32,030 --> 00:16:33,490 it didn't feel-- 371 00:16:33,490 --> 00:16:36,420 it felt, like, OK, what are 10 important events you 372 00:16:36,420 --> 00:16:38,070 can come up with. 373 00:16:38,070 --> 00:16:39,820 AUDIENCE: And it's subjective. 374 00:16:39,820 --> 00:16:42,630 What's most important to me is probably not 375 00:16:42,630 --> 00:16:47,628 what's most important to you, or her, or whoever's sitting here. 376 00:16:47,628 --> 00:16:49,002 STEPHEN CARPENTER: OK. 377 00:16:49,002 --> 00:16:51,520 AUDIENCE: "Most" might have got in the way of the word 378 00:16:51,520 --> 00:16:52,150 "important." 379 00:16:52,150 --> 00:16:54,480 Because if you don't have the "most" there, you think, 380 00:16:54,480 --> 00:16:57,285 what is important, and [INAUDIBLE] 381 00:16:57,285 --> 00:16:59,660 STEPHEN CARPENTER: So it's kind of a pedagogical strategy 382 00:16:59,660 --> 00:17:02,900 to take some stress away, to allow entry, 383 00:17:02,900 --> 00:17:05,869 to remove some of the complications embedded 384 00:17:05,869 --> 00:17:08,339 in just working out the different values ahead of time 385 00:17:08,339 --> 00:17:08,839 anyway. 386 00:17:08,839 --> 00:17:10,730 I mean, certainly, those are important conversations. 387 00:17:10,730 --> 00:17:11,355 Not the stress. 388 00:17:11,355 --> 00:17:13,430 I don't like to induce stress in students. 389 00:17:13,430 --> 00:17:16,819 But to make an activity or allow an activity 390 00:17:16,819 --> 00:17:19,460 to have points of entry for people 391 00:17:19,460 --> 00:17:23,060 where they feel like they can be part of that work is crucial. 392 00:17:23,060 --> 00:17:25,890 AUDIENCE: I also think that now, that all the lists are 393 00:17:25,890 --> 00:17:29,160 done, that because the word "most" is not there, 394 00:17:29,160 --> 00:17:30,670 it's not a final list. 395 00:17:30,670 --> 00:17:34,010 So I can look at somebody else's list 396 00:17:34,010 --> 00:17:36,720 and say, OK, that is also important, as 397 00:17:36,720 --> 00:17:41,330 opposed to a final list of the most important. 398 00:17:41,330 --> 00:17:45,621 So it allows for changing after it's done up there. 399 00:17:45,621 --> 00:17:46,870 STEPHEN CARPENTER: Absolutely. 400 00:17:46,870 --> 00:17:48,130 So it's not fixed. 401 00:17:48,130 --> 00:17:49,570 Absolutely. 402 00:17:49,570 --> 00:17:51,840 But that notion of curriculum, for a lot of people-- 403 00:17:51,840 --> 00:17:52,800 it's fixed. 404 00:17:52,800 --> 00:17:54,390 It's done. 405 00:17:54,390 --> 00:17:55,800 It's a noun. 406 00:17:55,800 --> 00:17:56,640 It's not a running. 407 00:17:56,640 --> 00:17:57,660 It's not a continuation. 408 00:17:57,660 --> 00:17:59,550 It's not a springboard and a prompt. 409 00:17:59,550 --> 00:18:01,350 You're exactly right. 410 00:18:01,350 --> 00:18:03,012 It's a point of continuous learning. 411 00:18:03,012 --> 00:18:03,720 Yeah, good stuff. 412 00:18:03,720 --> 00:18:07,590 All right, so let's slide back up here. 413 00:18:07,590 --> 00:18:12,080 Wow, this is about 20 years ago. 414 00:18:12,080 --> 00:18:16,740 And I was working with hypertext software, story space. 415 00:18:16,740 --> 00:18:18,940 So you kind of see that map in the upper left. 416 00:18:18,940 --> 00:18:22,350 And my idea was, I go to the barber shop, 417 00:18:22,350 --> 00:18:24,960 and I get my haircut. 418 00:18:24,960 --> 00:18:27,880 But I learn a lot of stuff in that barber shop. 419 00:18:27,880 --> 00:18:31,316 I think this barber shop might be a curriculum. 420 00:18:31,316 --> 00:18:33,720 It might be an educational space. 421 00:18:33,720 --> 00:18:35,700 No, it's a hypertext. 422 00:18:35,700 --> 00:18:38,610 There's a bunch of moving parts and different relation-- maybe 423 00:18:38,610 --> 00:18:39,945 it's all of those things. 424 00:18:39,945 --> 00:18:44,490 So I started to overlap those different thoughts into a piece 425 00:18:44,490 --> 00:18:46,290 called "Pat's Barbershop." 426 00:18:46,290 --> 00:18:48,900 One day I asked the gathering of barbers and clients, 427 00:18:48,900 --> 00:18:50,670 what can someone learn in here? 428 00:18:50,670 --> 00:18:52,890 Meaning, what can someone learn in this barber shop? 429 00:18:52,890 --> 00:18:55,410 And this barber shop is in Norfolk, Virginia, 430 00:18:55,410 --> 00:18:59,160 predominately African-American segment of Norfolk. 431 00:18:59,160 --> 00:19:03,510 This was when I was on faculty at Old Dominion University. 432 00:19:03,510 --> 00:19:05,417 So I asked Pat, the owner and lead barber, 433 00:19:05,417 --> 00:19:06,750 what can somebody learn in here? 434 00:19:06,750 --> 00:19:08,166 And according to Pat, people learn 435 00:19:08,166 --> 00:19:10,020 a lot about life, education, business, 436 00:19:10,020 --> 00:19:11,640 the street, the whole nine. 437 00:19:11,640 --> 00:19:16,560 Someone else noted with a smirk, they learn what a gram is. 438 00:19:16,560 --> 00:19:20,700 He was talking about illicit substances. 439 00:19:20,700 --> 00:19:23,460 How much you can get for a stolen TV-- 440 00:19:23,460 --> 00:19:25,260 "and they can learn that crack is good. 441 00:19:25,260 --> 00:19:27,330 We love crackheads." 442 00:19:27,330 --> 00:19:28,862 What he meant was-- 443 00:19:28,862 --> 00:19:30,820 the first part he was actually being sarcastic. 444 00:19:30,820 --> 00:19:36,420 But the second part, he was being more supportive. 445 00:19:36,420 --> 00:19:39,450 In a matter-of-fact tone, one of the barbers 446 00:19:39,450 --> 00:19:42,900 commented, If you could put a camera in here for a week, 447 00:19:42,900 --> 00:19:44,790 you could make a movie. 448 00:19:44,790 --> 00:19:47,280 At one point, Pat himself responded to my question 449 00:19:47,280 --> 00:19:49,980 in a melodic chant, "OJ did it! 450 00:19:49,980 --> 00:19:53,280 OJ did it!--" a reference to a scene in the movie Barbershop 451 00:19:53,280 --> 00:19:55,230 and the famous court trial. 452 00:19:55,230 --> 00:19:57,480 Later, in a more serious tone, Pat proudly 453 00:19:57,480 --> 00:20:01,200 stated, "Younger teenagers, learn from me. 454 00:20:01,200 --> 00:20:06,540 Don't sell drugs, be successful, keep a straight head." 455 00:20:06,540 --> 00:20:12,140 Pat admitted that, in his place, you learn about everyday life. 456 00:20:12,140 --> 00:20:17,987 And this project went on for years. 457 00:20:17,987 --> 00:20:19,320 And they'd call me "Professor"-- 458 00:20:19,320 --> 00:20:20,534 "Hey, Professor, guess what?" 459 00:20:20,534 --> 00:20:22,950 And they would start to tell me what they learned recently 460 00:20:22,950 --> 00:20:24,100 until I'd get new lessons. 461 00:20:24,100 --> 00:20:28,350 And so this article is filled with different ways 462 00:20:28,350 --> 00:20:32,490 to think about that barbershop as a hypertext. 463 00:20:32,490 --> 00:20:35,370 Looking at other subsequent work, not only 464 00:20:35,370 --> 00:20:38,190 am I artist in residence here at MIT this year, 465 00:20:38,190 --> 00:20:40,080 but I'm also an artist in residence 466 00:20:40,080 --> 00:20:44,820 at a local elementary school back where I live. 467 00:20:44,820 --> 00:20:47,200 I've been working with first graders and third graders. 468 00:20:47,200 --> 00:20:48,825 So you know what I did a few weeks ago? 469 00:20:48,825 --> 00:20:51,250 I talked to third graders about epidemiology, 470 00:20:51,250 --> 00:20:53,092 which is what you do, right? 471 00:20:53,092 --> 00:20:55,274 I showed them this map. 472 00:20:55,274 --> 00:20:56,940 My intention wasn't to talk specifically 473 00:20:56,940 --> 00:20:58,830 about epidemiology. 474 00:20:58,830 --> 00:21:00,750 My intention was to talk about how 475 00:21:00,750 --> 00:21:03,800 the visual representation of ideas 476 00:21:03,800 --> 00:21:06,075 or how the visual representation of data 477 00:21:06,075 --> 00:21:08,010 and the visual representation of information 478 00:21:08,010 --> 00:21:11,940 might allow us access to ways of knowing and understanding 479 00:21:11,940 --> 00:21:15,540 that we wouldn't have without those visual representations. 480 00:21:15,540 --> 00:21:18,360 So here, we have a segment of London. 481 00:21:18,360 --> 00:21:20,585 And you see a bunch of dots there. 482 00:21:20,585 --> 00:21:23,220 And those dots, essentially, are the places 483 00:21:23,220 --> 00:21:28,440 where John Snow, in the late 1800s, 484 00:21:28,440 --> 00:21:32,260 identified people who had died from cholera. 485 00:21:32,260 --> 00:21:34,840 And his theory, which was different than local theory 486 00:21:34,840 --> 00:21:38,390 and the common theory at that point-- 487 00:21:38,390 --> 00:21:41,140 his theory was, people were getting cholera from water. 488 00:21:41,140 --> 00:21:42,280 Everybody else, said, no! 489 00:21:42,280 --> 00:21:43,840 It's in the air. 490 00:21:43,840 --> 00:21:45,190 Or, it's divine intervention. 491 00:21:45,190 --> 00:21:46,481 Or, something else is going on. 492 00:21:46,481 --> 00:21:48,980 John, you don't know what you're talking about. 493 00:21:48,980 --> 00:21:51,964 So I told the kids this. 494 00:21:51,964 --> 00:21:53,130 I didn't tell them this yet. 495 00:21:53,130 --> 00:21:53,790 I said, here's a map. 496 00:21:53,790 --> 00:21:54,550 What do you see? 497 00:21:54,550 --> 00:21:55,590 Oh, it's a map. 498 00:21:55,590 --> 00:21:56,109 OK. 499 00:21:56,109 --> 00:21:57,150 And what else do you see? 500 00:21:57,150 --> 00:21:58,110 Well, I see a bunch of dots. 501 00:21:58,110 --> 00:21:59,160 What do you think those dots are? 502 00:21:59,160 --> 00:22:00,035 Those are the people. 503 00:22:00,035 --> 00:22:01,111 That's where they live. 504 00:22:01,111 --> 00:22:02,860 Or, maybe that's where something happened. 505 00:22:02,860 --> 00:22:03,930 Why are there more dots here and not over there? 506 00:22:03,930 --> 00:22:04,430 I don't know. 507 00:22:04,430 --> 00:22:06,120 And they said, oh, wait, there's some X's. 508 00:22:06,120 --> 00:22:07,020 What do you think those X's are? 509 00:22:07,020 --> 00:22:07,920 And they had all these ideas. 510 00:22:07,920 --> 00:22:08,730 Well, you don't see the X's? 511 00:22:08,730 --> 00:22:09,630 Here are the X's. 512 00:22:09,630 --> 00:22:10,972 The X's are here. 513 00:22:10,972 --> 00:22:11,930 Oh, OK, that's helpful. 514 00:22:11,930 --> 00:22:13,330 Thanks. 515 00:22:13,330 --> 00:22:14,210 So what's going on? 516 00:22:14,210 --> 00:22:16,710 Tell me about the relationship between the X's and the dots. 517 00:22:16,710 --> 00:22:19,300 Oh, well, most of the dots are in the middle, and most of them 518 00:22:19,300 --> 00:22:20,860 are on that green dot in the center. 519 00:22:20,860 --> 00:22:22,250 I said, oh, you know what? 520 00:22:22,250 --> 00:22:24,040 That's what John Snow thought, too. 521 00:22:24,040 --> 00:22:25,480 Guess what he figured out? 522 00:22:25,480 --> 00:22:27,940 That's where the people were getting sick. 523 00:22:27,940 --> 00:22:29,940 That's where the people were dying, because they 524 00:22:29,940 --> 00:22:31,270 were drinking the water. 525 00:22:31,270 --> 00:22:34,530 And it was because he was able to visually represent the data, 526 00:22:34,530 --> 00:22:39,474 he could get to this observation. 527 00:22:39,474 --> 00:22:40,890 They thought that was pretty cool. 528 00:22:40,890 --> 00:22:43,740 Then, I told them, so now, here's 529 00:22:43,740 --> 00:22:47,952 a new word-- epidemiology. 530 00:22:47,952 --> 00:22:49,410 A bunch of eight and nine-year-olds 531 00:22:49,410 --> 00:22:50,370 saying, "epidemiology." 532 00:22:50,370 --> 00:22:52,790 It was great. 533 00:22:52,790 --> 00:22:57,590 But they start to understand how visual representation 534 00:22:57,590 --> 00:23:00,650 of information allows access to ideas in different ways. 535 00:23:00,650 --> 00:23:03,700 And I said, if you like this map, what about this one? 536 00:23:03,700 --> 00:23:06,115 Other people thought that that map was interesting, too. 537 00:23:06,115 --> 00:23:07,490 How many different ways could you 538 00:23:07,490 --> 00:23:11,090 represent data visually using a map? 539 00:23:11,090 --> 00:23:13,910 Other people thought John Snow's idea was really cool. 540 00:23:13,910 --> 00:23:15,860 Oh, and then as soon as I showed this, oh! 541 00:23:15,860 --> 00:23:18,550 That's Google Maps! 542 00:23:18,550 --> 00:23:21,250 Eight and nine-year-olds know about Google Maps? 543 00:23:21,250 --> 00:23:22,683 Yeah. 544 00:23:22,683 --> 00:23:23,650 Hmm. 545 00:23:23,650 --> 00:23:25,450 So now, how does Google Maps play 546 00:23:25,450 --> 00:23:29,140 into how we might teach in elementary school 547 00:23:29,140 --> 00:23:33,030 about space, about visual representation? 548 00:23:33,030 --> 00:23:35,160 Just taking an object, and doing something to it, 549 00:23:35,160 --> 00:23:38,110 and doing something else to it? 550 00:23:38,110 --> 00:23:42,000 I do something similar with my preservice teachers. 551 00:23:42,000 --> 00:23:43,680 As they're preparing to become teachers 552 00:23:43,680 --> 00:23:46,254 and preparing to go out into classrooms to do their student 553 00:23:46,254 --> 00:23:47,670 teaching, when they're just trying 554 00:23:47,670 --> 00:23:49,770 to figure out how learning and teaching 555 00:23:49,770 --> 00:23:51,300 happens in educational spaces, one 556 00:23:51,300 --> 00:23:53,260 of the tasks I give them is, all right, 557 00:23:53,260 --> 00:23:54,870 go ahead and do your next observation. 558 00:23:54,870 --> 00:23:56,703 What I want you to do is, when you sit down, 559 00:23:56,703 --> 00:24:00,270 I want you to draw a map of the classroom on a piece of paper 560 00:24:00,270 --> 00:24:02,750 and take with you a marker that you 561 00:24:02,750 --> 00:24:06,902 know will bleed if you leave it too long on the piece of paper. 562 00:24:06,902 --> 00:24:08,360 And what I want you to do is I want 563 00:24:08,360 --> 00:24:10,400 you to make a note of where all of the furniture 564 00:24:10,400 --> 00:24:11,540 is in the room-- 565 00:24:11,540 --> 00:24:13,650 entry points, exit points-- 566 00:24:13,650 --> 00:24:16,150 I want you to indicate where the students are when you enter 567 00:24:16,150 --> 00:24:17,830 the room and indicate where the teacher is 568 00:24:17,830 --> 00:24:18,850 by putting your marker down. 569 00:24:18,850 --> 00:24:20,530 And the entire time that you're there, 570 00:24:20,530 --> 00:24:22,810 you move your marker wherever the teacher moves. 571 00:24:22,810 --> 00:24:26,020 And when the teacher stops, you stop your marker. 572 00:24:26,020 --> 00:24:28,510 When the teacher starts moving, you move the marker. 573 00:24:28,510 --> 00:24:30,831 So if the teacher stops, the marker stops. 574 00:24:30,831 --> 00:24:32,830 If the marker stops, the marker starts to bleed. 575 00:24:32,830 --> 00:24:37,020 It starts to, over time, take up more and more space. 576 00:24:37,020 --> 00:24:39,790 And then, I collect these maps, and we look at them. 577 00:24:39,790 --> 00:24:42,970 We start talking about the relationship between where 578 00:24:42,970 --> 00:24:44,404 the teacher is in the room, where 579 00:24:44,404 --> 00:24:46,820 the learners are in the room, how the content is conveyed. 580 00:24:46,820 --> 00:24:50,250 We talk about, what were the kids doing over here? 581 00:24:50,250 --> 00:24:52,580 If they're sitting over here, what were the kids doing? 582 00:24:52,580 --> 00:24:53,430 Because it looks like the teacher 583 00:24:53,430 --> 00:24:54,780 was over here most of the time. 584 00:24:54,780 --> 00:24:55,530 Were they talking? 585 00:24:55,530 --> 00:24:56,730 Were they engaged? 586 00:24:56,730 --> 00:24:58,581 Were they moving around the room? 587 00:24:58,581 --> 00:24:59,830 I'll show you some other maps. 588 00:24:59,830 --> 00:25:02,458 589 00:25:02,458 --> 00:25:05,450 This person didn't use a marker, so they just kind of kept 590 00:25:05,450 --> 00:25:07,990 scribbling and overlapping. 591 00:25:07,990 --> 00:25:10,500 This is curious, isn't it? 592 00:25:10,500 --> 00:25:13,260 This teacher is either exhausted, or on Rollerblades, 593 00:25:13,260 --> 00:25:16,040 or something. 594 00:25:16,040 --> 00:25:19,960 The teacher's all over the place, maybe not in a bad way. 595 00:25:19,960 --> 00:25:23,284 Certainly, not giving a lecture like I'm doing right now. 596 00:25:23,284 --> 00:25:23,950 How do you know? 597 00:25:23,950 --> 00:25:25,740 Well, look at the map! 598 00:25:25,740 --> 00:25:26,990 Well, where was the teacher? 599 00:25:26,990 --> 00:25:29,591 The teacher was, essentially, everywhere, 600 00:25:29,591 --> 00:25:31,090 interacting with different students, 601 00:25:31,090 --> 00:25:34,520 moving to one station, moving to another station. 602 00:25:34,520 --> 00:25:36,590 The teacher filled that space physically. 603 00:25:36,590 --> 00:25:39,950 So in the conversations that would 604 00:25:39,950 --> 00:25:41,504 have to be generated later would be, 605 00:25:41,504 --> 00:25:43,670 so then, what was happening among the learners, too? 606 00:25:43,670 --> 00:25:45,503 What relationship does this teacher movement 607 00:25:45,503 --> 00:25:47,915 have to do with the ways in which students are learning? 608 00:25:47,915 --> 00:25:49,040 Whoa, look at that teacher! 609 00:25:49,040 --> 00:25:52,410 610 00:25:52,410 --> 00:25:54,540 What might we learn about the practice of teaching 611 00:25:54,540 --> 00:25:57,805 and the practice of learning by visualizing movement? 612 00:25:57,805 --> 00:25:59,680 You could try to do it with all the students, 613 00:25:59,680 --> 00:26:01,500 but I don't know if you have enough fingers 614 00:26:01,500 --> 00:26:04,770 to move all the kids around, right? 615 00:26:04,770 --> 00:26:06,990 Interpretation-- the construction 616 00:26:06,990 --> 00:26:14,150 of meaning or the attending to the construction of meanings 617 00:26:14,150 --> 00:26:16,345 by talking about and making sense of works of art. 618 00:26:16,345 --> 00:26:18,720 Ooh, do you know about America Rock and Schoolhouse Rock? 619 00:26:18,720 --> 00:26:22,590 When I was a kid, these shows would come on Saturday morning 620 00:26:22,590 --> 00:26:25,830 cartoons between the cartoon-- 621 00:26:25,830 --> 00:26:29,460 two or three-minute videos, Schoolhouse Rock 622 00:26:29,460 --> 00:26:30,510 and America Rock. 623 00:26:30,510 --> 00:26:34,380 America Rock was a way for us to learn 624 00:26:34,380 --> 00:26:36,720 about the history of the United States-- 625 00:26:36,720 --> 00:26:38,850 or "a" history of the United States. 626 00:26:38,850 --> 00:26:41,850 So here, you see some of the episodes-- 627 00:26:41,850 --> 00:26:43,680 "No More Kings," "The Founding of America," 628 00:26:43,680 --> 00:26:45,720 "Fireworks," "The Declaration of Independence," 629 00:26:45,720 --> 00:26:47,250 "The Preamble of the Constitution." 630 00:26:47,250 --> 00:26:48,990 I know the entire preamble because I 631 00:26:48,990 --> 00:26:51,090 watched Schoolhouse Rock-- 632 00:26:51,090 --> 00:26:53,630 "We, the people, in order to form a more perfect union--" 633 00:26:53,630 --> 00:26:56,130 The one at the top is from "No More Kings." 634 00:26:56,130 --> 00:26:58,252 There's King George in the middle. 635 00:26:58,252 --> 00:27:01,018 [GIGGLE] 636 00:27:01,018 --> 00:27:03,150 Ooh, Boston Tea Party. 637 00:27:03,150 --> 00:27:05,410 Is that big cup still here in the water? 638 00:27:05,410 --> 00:27:05,910 No? 639 00:27:05,910 --> 00:27:07,610 The one on the bottom-- 640 00:27:07,610 --> 00:27:09,520 this is called "Elbow Room"-- 641 00:27:09,520 --> 00:27:13,629 elbow room, elbow room, got to got to get me some elbow room. 642 00:27:13,629 --> 00:27:15,795 That's where I learned the word "manifest destiny"-- 643 00:27:15,795 --> 00:27:17,350 or the term "manifest destiny." 644 00:27:17,350 --> 00:27:18,490 Schoolhouse Rock. 645 00:27:18,490 --> 00:27:22,810 This is the melting pot, shaped in the form of the Continental 646 00:27:22,810 --> 00:27:24,040 United States-- 647 00:27:24,040 --> 00:27:26,650 little guy just jumps right in. 648 00:27:26,650 --> 00:27:28,164 "It doesn't matter what your skin. 649 00:27:28,164 --> 00:27:29,080 Those are the lyrics." 650 00:27:29,080 --> 00:27:29,558 [VIDEO PLAYBACK] 651 00:27:29,558 --> 00:27:30,036 [MUSIC - SCHOOLHOUSE ROCK, "NO MORE KINGS"] 652 00:27:30,036 --> 00:27:32,904 (SINGING) Rockin' and a-rollin, splishin' and a-splashin, 653 00:27:32,904 --> 00:27:35,772 over the horizon, what can it be? 654 00:27:35,772 --> 00:27:38,002 The pilgrins sailed the sea to find a place 655 00:27:38,002 --> 00:27:41,358 to call their own in their ship Mayflower. 656 00:27:41,358 --> 00:27:43,838 They hoped to find a better home. 657 00:27:43,838 --> 00:27:46,814 They finally knocked on Plymouth Rock 658 00:27:46,814 --> 00:27:49,294 and someone said, "We're there." 659 00:27:49,294 --> 00:27:54,270 It may not look like home, but at this point, I don't care. 660 00:27:54,270 --> 00:27:56,571 Oh, they were missing Mother England. 661 00:27:56,571 --> 00:27:59,320 662 00:27:59,320 --> 00:28:03,150 They swore their loyalty until the very end. 663 00:28:03,150 --> 00:28:04,620 Anything you say, King. 664 00:28:04,620 --> 00:28:05,872 It's OK, King. 665 00:28:05,872 --> 00:28:08,706 You know, it's kind of scary on your own. 666 00:28:08,706 --> 00:28:10,510 build a new land the way we planned. 667 00:28:10,510 --> 00:28:12,970 Could you help us run it until it's grown? 668 00:28:12,970 --> 00:28:17,398 669 00:28:17,398 --> 00:28:19,858 They planted corn, you know. 670 00:28:19,858 --> 00:28:22,318 They built their houses one by one. 671 00:28:22,318 --> 00:28:26,746 And bit by bit, they worked until the colonies were done. 672 00:28:26,746 --> 00:28:31,994 They looked around, yeah, up and down, and someone said, Hurray! 673 00:28:31,994 --> 00:28:36,206 If the king could only see us now, he would be proud of us 674 00:28:36,206 --> 00:28:37,620 today! 675 00:28:37,620 --> 00:28:42,480 They knew that now they'd run their own land. 676 00:28:42,480 --> 00:28:46,630 But George III still vowed he'd rule until the end. 677 00:28:46,630 --> 00:28:49,180 Anything I say, do it my way now. 678 00:28:49,180 --> 00:28:51,870 Anything I say, do it my way. 679 00:28:51,870 --> 00:28:54,406 Don't you get to feeling independent because I'm 680 00:28:54,406 --> 00:28:57,660 going to force you to obey! 681 00:28:57,660 --> 00:28:59,060 He taxed their property. 682 00:28:59,060 --> 00:29:01,710 He didn't give them any choice. 683 00:29:01,710 --> 00:29:07,414 And back in England, he didn't give them any voice. 684 00:29:07,414 --> 00:29:09,680 That's called taxation without representation, 685 00:29:09,680 --> 00:29:11,350 and it's not fair. 686 00:29:11,350 --> 00:29:15,805 But when the colonies complained, the king said, 687 00:29:15,805 --> 00:29:17,290 I don't care. 688 00:29:17,290 --> 00:29:20,260 689 00:29:20,260 --> 00:29:25,323 He even has the nerve to tax our cup of tea. 690 00:29:25,323 --> 00:29:30,040 To put it kindly, King, we really don't agree. 691 00:29:30,040 --> 00:29:32,249 Going to show you how we feel. 692 00:29:32,249 --> 00:29:36,081 We're going to this tea and turn this harbor 693 00:29:36,081 --> 00:29:39,920 into the biggest cup of tea in history! 694 00:29:39,920 --> 00:29:45,050 They wanted no more Mother England. 695 00:29:45,050 --> 00:29:48,805 They knew the time had come for them to take command. 696 00:29:48,805 --> 00:29:51,715 It's very clear you're being unfair, 697 00:29:51,715 --> 00:29:55,110 King, no matter what you say, we won't obey. 698 00:29:55,110 --> 00:29:57,050 Going to hold a revolution now, King, 699 00:29:57,050 --> 00:29:58,980 and we're gonna run it all our way. 700 00:29:58,980 --> 00:29:59,855 With no more kings-- 701 00:29:59,855 --> 00:30:01,230 We're going to elect a president. 702 00:30:01,230 --> 00:30:02,077 No more kings. 703 00:30:02,077 --> 00:30:03,660 He's going to do what the people want. 704 00:30:03,660 --> 00:30:04,530 No more kings. 705 00:30:04,530 --> 00:30:06,556 We're going to run things our way! 706 00:30:06,556 --> 00:30:08,050 No more kings! 707 00:30:08,050 --> 00:30:10,050 Nobody's going to tell us what to do! 708 00:30:10,050 --> 00:30:12,420 Rockin' and a-rollin', splishin' and a-splashin'. 709 00:30:12,420 --> 00:30:14,130 Over the horizon, what can it be? 710 00:30:14,130 --> 00:30:16,952 Looks like it's going to be a free country. 711 00:30:16,952 --> 00:30:20,920 [CHEERS] 712 00:30:20,920 --> 00:30:21,944 [END OF VIDEO PLAYBACK] 713 00:30:21,944 --> 00:30:23,860 STEPHEN CARPENTER: What a great place to live. 714 00:30:23,860 --> 00:30:25,910 [LAUGHTER] 715 00:30:25,910 --> 00:30:30,634 I mean, the president does what the people want. 716 00:30:30,634 --> 00:30:32,300 Like, what else did you learn from that? 717 00:30:32,300 --> 00:30:34,280 I just learned that the president 718 00:30:34,280 --> 00:30:36,320 does what the people want. 719 00:30:36,320 --> 00:30:40,280 What else did you learn about this country 720 00:30:40,280 --> 00:30:42,575 based from this Schoolhouse Rock video? 721 00:30:42,575 --> 00:30:44,896 AUDIENCE: That we stand up for what we want? 722 00:30:44,896 --> 00:30:45,396 OK. 723 00:30:45,396 --> 00:30:46,360 Fight for what we want. 724 00:30:46,360 --> 00:30:47,100 STEPHEN CARPENTER: OK, fight for what we want, 725 00:30:47,100 --> 00:30:48,710 stand up for what we want. 726 00:30:48,710 --> 00:30:50,000 What else did you learn? 727 00:30:50,000 --> 00:30:52,250 Pilgrims and the colonists didn't pay any attention 728 00:30:52,250 --> 00:30:53,240 to people living there. 729 00:30:53,240 --> 00:30:54,620 Were there people living here in this video? 730 00:30:54,620 --> 00:30:55,426 AUDIENCE: There were these-- 731 00:30:55,426 --> 00:30:56,510 STEPHEN CARPENTER: There were three. 732 00:30:56,510 --> 00:30:58,511 AUDIENCE: We learned about what we didn't learn. 733 00:30:58,511 --> 00:31:00,926 STEPHEN CARPENTER: Oh, what we didn't-- tell me something. 734 00:31:00,926 --> 00:31:02,600 AUDIENCE: All the things that we didn't 735 00:31:02,600 --> 00:31:09,020 learn that this video wildly misrepresented and erased 736 00:31:09,020 --> 00:31:14,370 a crucial part of history before and after. 737 00:31:14,370 --> 00:31:16,370 And even in the implications of "freedom," 738 00:31:16,370 --> 00:31:19,070 it was freedom for white males. 739 00:31:19,070 --> 00:31:22,280 But it paints a very nice, easy picture 740 00:31:22,280 --> 00:31:24,960 of what history was that is not true, 741 00:31:24,960 --> 00:31:31,195 and it has repercussions now because of a false history. 742 00:31:31,195 --> 00:31:32,570 STEPHEN CARPENTER : Well, I mean, 743 00:31:32,570 --> 00:31:35,210 they only had three minutes. 744 00:31:35,210 --> 00:31:37,250 I mean, you only had 10 slots. 745 00:31:37,250 --> 00:31:39,564 If you had 11 slots, that-- 746 00:31:39,564 --> 00:31:40,730 they only had three minutes. 747 00:31:40,730 --> 00:31:42,230 How can they put all that stuff in-- 748 00:31:42,230 --> 00:31:43,980 I'm being, you know. 749 00:31:43,980 --> 00:31:47,620 750 00:31:47,620 --> 00:31:52,490 So if you're an art teacher, let's say you're assigned to 751 00:31:52,490 --> 00:31:57,970 or you're teaching interdisciplinary unit, 752 00:31:57,970 --> 00:32:00,590 working with the history teacher, 753 00:32:00,590 --> 00:32:02,390 you could justify showing this video-- 754 00:32:02,390 --> 00:32:07,220 I mean, illustration, video production 755 00:32:07,220 --> 00:32:09,230 can be taught through the art classroom. 756 00:32:09,230 --> 00:32:11,020 The history teacher can pull the-- 757 00:32:11,020 --> 00:32:12,760 there's history being taught. 758 00:32:12,760 --> 00:32:16,940 I could justify following a prescribed curriculum that 759 00:32:16,940 --> 00:32:18,770 says, history teacher and art teacher 760 00:32:18,770 --> 00:32:21,710 will work collaboratively to teach together. 761 00:32:21,710 --> 00:32:24,596 Yeah, OK, we're watching some Schoolhouse Rock, 762 00:32:24,596 --> 00:32:26,490 and we're going to interpret through-- 763 00:32:26,490 --> 00:32:29,130 remember those pedagogical lenses that-- 764 00:32:29,130 --> 00:32:32,430 well, you were applying many of them in your reading. 765 00:32:32,430 --> 00:32:33,990 And we were applying many of them 766 00:32:33,990 --> 00:32:35,160 in our reading of that list. 767 00:32:35,160 --> 00:32:38,040 So as an art teacher or just a teacher who 768 00:32:38,040 --> 00:32:41,370 likes to cause trouble, or ask questions, or promote 769 00:32:41,370 --> 00:32:44,930 critical thinking, we could show these videos like this, 770 00:32:44,930 --> 00:32:47,990 or you could show any visual culture example 771 00:32:47,990 --> 00:32:50,454 in interpreting critique through those different lenses. 772 00:32:50,454 --> 00:32:52,370 So I want to show you a couple of assignments. 773 00:32:52,370 --> 00:32:57,160 This assignment is by another colleague, Andres Hernandez, 774 00:32:57,160 --> 00:32:59,980 who teaches at School of the Art Institute in Chicago. 775 00:32:59,980 --> 00:33:03,090 And so this is a project that he asked the students 776 00:33:03,090 --> 00:33:06,470 to do where he uses this quotation to talk about this 777 00:33:06,470 --> 00:33:09,700 and to question this term, "informal settlements." 778 00:33:09,700 --> 00:33:10,950 Now, you think about refugees. 779 00:33:10,950 --> 00:33:12,830 You think about people who have been displaced. 780 00:33:12,830 --> 00:33:14,550 And to think about the housing that they 781 00:33:14,550 --> 00:33:17,110 have constructed for themselves is informal-- really? 782 00:33:17,110 --> 00:33:18,630 It's as formal as it's going to get 783 00:33:18,630 --> 00:33:19,921 for those folks in that moment. 784 00:33:19,921 --> 00:33:23,050 I mean, the terminology itself is problematic. 785 00:33:23,050 --> 00:33:25,442 And so he's thinking about these-- 786 00:33:25,442 --> 00:33:27,150 if you think about these kinds of places, 787 00:33:27,150 --> 00:33:30,580 it says, in fewer words, the city produced by the people. 788 00:33:30,580 --> 00:33:33,270 So inspired by the notion of, a city produced by people, 789 00:33:33,270 --> 00:33:37,280 he tells the students who are learning to be art teachers-- 790 00:33:37,280 --> 00:33:41,412 and we have these open spaces at Vermont College of Fine Arts-- 791 00:33:41,412 --> 00:33:42,870 you're going to take on this space, 792 00:33:42,870 --> 00:33:45,834 and you're going to build a shelter out of cardboard, 793 00:33:45,834 --> 00:33:48,000 and it has to have-- and there are certain criteria. 794 00:33:48,000 --> 00:33:49,780 You have to have a certain number of people in it. 795 00:33:49,780 --> 00:33:51,154 And by doing that, at the bottom, 796 00:33:51,154 --> 00:33:53,630 you see the purpose of this assignment 797 00:33:53,630 --> 00:33:56,010 is that it's this intuitive building using 798 00:33:56,010 --> 00:33:58,020 limited materials and is focused on a 1 to 1 799 00:33:58,020 --> 00:34:00,210 scale or the scale of real life. 800 00:34:00,210 --> 00:34:02,220 So right there, because it's not a model, 801 00:34:02,220 --> 00:34:03,750 because it's scaled at real life, 802 00:34:03,750 --> 00:34:05,280 there's a way that our bodies enter 803 00:34:05,280 --> 00:34:08,369 into the reality and maybe into the reality of other people. 804 00:34:08,369 --> 00:34:12,210 It says, "Further purposes of this design brief 805 00:34:12,210 --> 00:34:14,580 is a basic introduction of site specificity 806 00:34:14,580 --> 00:34:16,860 as well as full-scale prototyping and sketch 807 00:34:16,860 --> 00:34:18,480 modeling." 808 00:34:18,480 --> 00:34:20,190 And then, at the end, these models 809 00:34:20,190 --> 00:34:22,139 can be used to design to talk about principles 810 00:34:22,139 --> 00:34:24,780 of structure, enclosure, construction techniques. 811 00:34:24,780 --> 00:34:26,533 So these are elements I would assume 812 00:34:26,533 --> 00:34:28,199 that are part of many other disciplines, 813 00:34:28,199 --> 00:34:31,380 architecture, urban planning, and so forth. 814 00:34:31,380 --> 00:34:34,170 But the idea is that he's drawing 815 00:34:34,170 --> 00:34:38,100 from a quotation from a theoretical argument 816 00:34:38,100 --> 00:34:42,138 focusing on a term and saying, this term is problematic. 817 00:34:42,138 --> 00:34:43,679 Let's see what we might learn and how 818 00:34:43,679 --> 00:34:46,440 we might trouble this term through the act of making 819 00:34:46,440 --> 00:34:47,454 works of art. 820 00:34:47,454 --> 00:34:48,870 And then, those works of art allow 821 00:34:48,870 --> 00:34:51,570 us to gain literally entry points into them, 822 00:34:51,570 --> 00:34:54,270 but also entry into the complications of what 823 00:34:54,270 --> 00:34:56,100 those terms mean. 824 00:34:56,100 --> 00:34:58,650 Here's another assignment Andres provides the students. 825 00:34:58,650 --> 00:35:02,070 Find a building and engage with the spaces. 826 00:35:02,070 --> 00:35:05,347 And then, document it through photography. 827 00:35:05,347 --> 00:35:07,680 So what do you learn about the physicality of a building 828 00:35:07,680 --> 00:35:09,330 by becoming part of that building, 829 00:35:09,330 --> 00:35:12,270 by becoming part of the negative spaces? 830 00:35:12,270 --> 00:35:13,590 You could write about it. 831 00:35:13,590 --> 00:35:15,410 You could measure it-- 832 00:35:15,410 --> 00:35:16,075 tape measures. 833 00:35:16,075 --> 00:35:17,700 Or, your body could try to fit in there 834 00:35:17,700 --> 00:35:21,210 and try to understand what that space is about. 835 00:35:21,210 --> 00:35:24,742 I know from teaching drawing, one technique we can do, 836 00:35:24,742 --> 00:35:26,450 if we put a chair, or a series of chairs, 837 00:35:26,450 --> 00:35:28,290 or still life in the middle of the room, 838 00:35:28,290 --> 00:35:30,502 we all had our drawing paper. 839 00:35:30,502 --> 00:35:31,960 We could start drawing what we see. 840 00:35:31,960 --> 00:35:33,860 And that would get us so far. 841 00:35:33,860 --> 00:35:37,180 But one strategy an art teacher will always do or often do 842 00:35:37,180 --> 00:35:39,400 is say, I want you to draw what's not there. 843 00:35:39,400 --> 00:35:41,290 I want you to draw the negative space. 844 00:35:41,290 --> 00:35:44,500 And when you draw the negative spaces between the chair, 845 00:35:44,500 --> 00:35:47,200 the spaces between the bars, and the spaces between the handles 846 00:35:47,200 --> 00:35:48,190 and the rungs-- 847 00:35:48,190 --> 00:35:50,380 by drawing and rendering those negative spaces 848 00:35:50,380 --> 00:35:55,120 as accurately as possible, you render the positive spaces. 849 00:35:55,120 --> 00:35:57,280 So what do we learn by studying what is not 850 00:35:57,280 --> 00:35:58,750 there or the neglected spaces? 851 00:35:58,750 --> 00:36:04,010 We learn more about the presence of the dominant structure. 852 00:36:04,010 --> 00:36:06,110 So there are a number of books about pedagogy 853 00:36:06,110 --> 00:36:10,850 and about translating art practice and pedagogical 854 00:36:10,850 --> 00:36:14,400 engagements in public spaces, right? 855 00:36:14,400 --> 00:36:17,310 So I'll just conclude here for some questions. 856 00:36:17,310 --> 00:36:22,602 You know, you can engage learners like this-- 857 00:36:22,602 --> 00:36:23,810 or you could do boring stuff. 858 00:36:23,810 --> 00:36:25,050 [LAUGHTER] 859 00:36:25,050 --> 00:36:25,890 It's up to you. 860 00:36:25,890 --> 00:36:27,120 All right, thanks. 861 00:36:27,120 --> 00:36:31,970 [APPLAUSE] 862 00:36:31,970 --> 00:36:54,253