From IWBs to Interactive Worlds: Game - Leading-Our-Way
Transcription
From IWBs to Interactive Worlds: Game - Leading-Our-Way
From IWBs to Interactive Worlds: Game-Changing Applications by Lynell Burmark, Ph.D. www.educatebetter.org Adoption process Like most new technologies introduced into education, in the initial stages Interactive White Boards (IWBs) were expensive tools used to do the same old things a little differently, maybe a little faster or a little more efficiently. Think of word processing: initially, just a way to type where you could use the backspace key to make corrections, and the font library to create ransom notes and other decorative documents without using scissors or glue. Or the first encyclopedias on CD-ROMs: just “the latest” linear copies of the same old texts and reproductions of the same old static, mostly black and white images. Or the PowerPoint at your last staff meeting: how, instead of reading the printed Agenda, your boss (or was that you?) read a litany of words projected on the screen. IWB adoptions have followed the same trajectory: early users posted class schedules, attendance rosters, lunch menu choices, homework assignments – all those factoids that are easier to keyboard and project than to scrawl out in big letters on the blackboard. Good tools, experienced teachers And then, somewhere along the line, the classroom teachers who initially resisted giving up their treasured chalkboard space for these interactive whiteboards began to see the power of this new technology. Teachers found that using the boards attracted students’ attention and improved their engagement “with even the most tedious content.”1 The mere act of putting anything on the board – particularly if there was some kind of color, image or animation – drew the students to it like a magnet. Most recently, as Robert Marzano has pointed out in his highly touted report2 on the value of IWBs in the classroom, it has been established that integrating whiteboard lessons can raise student achievement an average of 17 percent – if a teacher has ten or more years of teaching experience, has been using the technology for two or more years, has high confidence in his or her ability to use the IWB lessons, and uses the board 75 to 80 percent of the time in the classroom. In other words, IWB manufacturers cannot guarantee that just nailing their board to the classroom wall will raise test scores or catapult students’ ability to transfer learning. For that we need confident, experienced, trained teachers. And by training we do not mean a two-hour vendor in-service on how to install and operate the projector and the board; we mean at least two years of ongoing opportunities to apply research and integrate best instructional practices with this new technology. © 2010. Lynell Burmark Page 1 of 13 Research into practice Let’s take a brief look at some of the most widely known bodies of research and pause to enjoy a few creative applications of that research by exemplary educators as they deploy good pedagogy and good technology to inspire and engage learners in their classrooms. Marzano: Similarities & Differences Before he conducted the research study on IWBs, of course, Robert Marzano was a household (or at least a classroom) name because of his classic research identifying nine categories of instructional strategies that are most likely to improve student achievement across all content areas and grade levels. (These strategies are explained in the book Classroom Instruction That Works3 by Robert Marzano, Debra Pickering, and Jane Pollock, published by ASCD in 2001.) Even a non-statistician can quickly observe that the most effective strategy is at the top of the chart: “Identifying similarities and differences.” Traditional PowerPoint slideshows have not been the best means of supporting this strategy because they display images one slide after another rather than placing them side-by-side, which would have required using two projectors and two screens. (I’ll never forget the look on one tech director’s face when he had just finished installing 2000+ Epson LCD projectors and I told him he needed a second one in every classroom!) Fortunately, before he started down that path, Epson introduced its new line of WXGA projectors. Instead of the old XGA resolution (1024 pixels wide by 768 pixels high, in the 4:3 aspect ratio of our traditional television sets), WXGA projected images are 1280 pixels wide by 800 pixels high (in the 16:10 aspect ratio of HDTV). © 2010. Lynell Burmark Page 2 of 13 With 30% more screen real estate, you can juxtapose images side-by-side, project Venn diagrams, and plug items into classification charts. Art teachers love the option of comparing two paintings (e.g., same artist, different period in life; two different artists, same location or subject depicted); science teachers love software that supports dragging items into appropriate circles and boxes. Of course, some new concepts – even though rendered visually and executed physically on the IWBs – can still be a bit abstract for students to comprehend on a flat screen. To teach classification, middle school science teacher Tanisha Brooks at Oliver Wendell Holmes Foundation Academy in Flint, Michigan, takes her students out on the concrete cement playground where she draws a 20-foot wide Venn diagram with two overlapping circles. Visually surveying her female students (for whom the daily “outfit” is a huge deal), she comes up with labels for the two outer circles (e.g., leggings, and pink tops) and then has her male students direct the girls where to stand. (Girls wearing leggings AND pink tops would be in the overlapping center part of the circle.) After a couple of rounds of this concrete game, the subsequent, indoor, more abstract science classification Venn diagram becomes a no-brainer. Mayer: Modality Principle Widely cited by most of the world’s presentation gurus, Richard E. Mayer, Professor of Psychology at the University of California, Santa Barbara (UCSB), is the author of Multimedia Learning,4 published by Cambridge University Press in 2001 and updated in Multimedia Learning, Second Edition,5 released in 2009. Mayer’s extensive research documents much of what educators already intuited in their “teacher guts,” and gives enough evidence of the potential for projectors to put a smile on the face of every projector vendor on the planet. I would like to take Mayer’s entire book and match each point with resources, specific lessons and strategies for multimedia instruction in the classroom (much like Howard Pitler did with Marzano’s work in Pitler’s 2007 ASCD publication: Using Technology with Classroom Instruction That Works).But, for the moment, I will focus on the modality effect, because if instructors and curriculum developers applied just that one principle they could revolutionize our educational system. Simply stated: “Students who receive a multimedia lesson will perform better on a problem-solving transfer test when the words are presented as spoken text rather than as printed text.” After reading Mayer’s 2001 publication, I created the following chart to present this finding to educators: © 2010. Lynell Burmark Page 3 of 13 By using narration/voiceovers rather than written text to accompany an image, recall and retention (i.e., test scores) increase 42% and the ability to apply learning to new problemsolving situations goes up 89%! What school district wouldn’t want to see its test scores boosted 42%? What teacher wouldn’t want to see actual learning increase 89%? How do we translate this into classroom practice? Instead of reading screen after screen of PowerPoint text (which Mayer has shown to actually decrease retention), we fill the screen with full-color, photographic images, animations and/or videos; we use the voice and/or music to narrate (to the audio processing channel) what the eyes are seeing (in the visual processing channel). The brain quickly accesses prior knowledge, decides which words to “Velcro” to the image, and then saves the package to long-term memory. This “modality principle” can inform the way teachers introduce new information; it can also be the rationale for designing a variety of activities, including what I call the “Progressive Story.” Using a slideshow of full-screen photographic images (4-20 images depending on the age of the students, the complexity of the topic, and the time allocated for the activity), the teacher divides the class into groups of three. Each group receives a small, soft ball (commonly referred to as koosh balls). The person chosen to start begins the story by telling something about the first image on the screen. That person then tosses the koosh ball to another person in the group who continues the story by narrating the next slide. And so on. An interesting application of the progressive story is implemented by middle school language arts teacher Yolanda Jackson at Oliver Wendell Holmes Foundation Academy in Flint, Michigan. Rather than lecturing her students about making good choices, Yolanda put them in groups of three and then had them create a progressive story to narrate the following images: 1. School 2. Two girlfriends sneaking out 3. Burger joint 4. Wallet with only $2 5. Cheeseburger and fries 6. Clothing store 7. Girl stealing perfume © 2010. Lynell Burmark Page 4 of 13 8. Juvenile detention center 8. Girl leaving perfume in shoe department 9. Security guard 10. Empty purse, smiling girl 11. Two girls leaving store 12. Two girls back at school Of course, the two girls who had posed for the series of photographic images were already in on a possible story line! . Burmark: First, the images In the eBook update (available from www.educatebetter.org) of my award-winning ASCD print book, Visual Literacy: Learn to See, See to Learn,6 I share a revolutionary insight: “Words can only recall images we have already seen.” To bring the point home, try this activity: 1. First, on the left-hand side of your whiteboard, write or project the word, “cat.” Ask the students or audience members to draw a picture of what that word represents. Then invite one volunteer up to draw the image on the right-hand side of the whiteboard for the whole group to see. Comment on the pointy ears, the whiskers, and (if shown), the tail and the paws. After a round of applause, the artist-volunteer may go back to his or her seat. 2. Next, on the left-hand side of the whiteboard, project the word, “okapi.” Invite a volunteer up to draw that image. Why is that more difficult? Why doesn’t the word bring a picture to your mind’s eye? How many of you have seen an okapi? (Check it out on wikipedia. It’s a cross between a zebra and a giraffe. You have to see it to believe it!) Both teachers I interviewed from Oliver Wendell Holmes Foundation Academy found ways to implement this strategy in teaching vocabulary: Working with the inner city kids in her middle school English classroom, Yolanda Jackson frequently came up with words for which her students drew a complete blank. One such word was “gait.” Yolanda had told me she often used movie clips to introduce new material and create shared experience in the classroom. When she said “gait,” I immediately flashed back 1977, to the opening credits of Saturday Night Fever, where John Travolta was strutting his stuff with an amazing gait, as the Bee Gees sang: “Well, you can tell by the way I use my walk, I’m a woman’s man: no time to talk….” Of course, today’s students weren’t even born when that film came out, but that music and that “gait” are timelessly infectious. (And you can easily find the clip on YouTube.) Once that example was shared, Yolanda could ask the kids to think about other distinctive gaits they might have observed in real life, on television, or in a movie: e.g., a toddler learning to walk, a model in spike heels on a catwalk, an elderly grandfather shuffling along, bending his wearied torso over a walker, etc. © 2010. Lynell Burmark Page 5 of 13 In preparing her science and math students to take tests where they would have to understand directions like “Justify,” Tanisha Brooks resorted to dancing out the words to a rap song all her students would recognize immediately. Tanisha assured me I would not want to know the rest of the song’s lyrics, just that they ask a guy with a handsome face to “back it up.” First the image of the words “back it up” flashing on the screen as the “movie” of the handsome guy backing it up rolls in your mind’s eye, then a morph to the new word “Justify” – oh, yeah, we get it now! Medina: Visual, Multi-sensory, Engaging University of Washington professor of cognitive psychology, John Medina, has written one of the most informative, fun-to-read books of the century: Brain Rules: 12 Principles for Surviving and Thriving at Work, Home, and School. Every principle could be applied to increasing the effectiveness of projectors and IWBs, but I’ve selected just three to illustrate here. • Rule #10: Vision trumps all other senses. Certainly, a huge part of why the IWBs have been so successful is the same reason for the popularity of LCD projectors: whatever image teachers (or student presenters) need, they can bring it into the classroom – in full color, vivid detail, and, in most cases, for free or as part of a subscription license (like Discovery Education) that the district has already paid for. We know our students learn and remember best when the instruction is delivered visually, and research has told us that images (unlike words) go to long-term memory. One practice I’ve been advocating now for over a decade is to have an anchor image projected when students arrive in class. Let’s say you were going to discuss seasons. There could be an image of a maple tree… in winter. Once the students were comfortably settled in, the image could morph to that same tree… in spring… in summer… in fall. With the glorious autumn colors displayed, the teacher could ask students to discuss in small groups what was going on with that tree! Then, perhaps with all four seasons of the tree displayed in quadrants on the same screen, a whole class discussion could ensue about seasons. Once their prior knowledge was tapped and shared, the lesson could cut to a clip from a wonderful video like the Four Seasons (complete with music from Vivaldi, of course) from 100% Educational Videos. www.schoolvideos.com • Rule #9: Stimulate more of the senses at the same time. Our senses work together – which means that we learn best if we stimulate several senses at once. Activating the sense of touch by dragging objects around (via pen or finger) on the whiteboard adds not only to the level of engagement but also to the power of retention. According to Medina, “Smells have an unusual power to bring back memories, maybe because smell signals bypass the thalamus and head straight to their destinations, which include that supervisor of emotions known as the amygdala.” So, if you are showing © 2010. Lynell Burmark Page 6 of 13 movies on the projector or whiteboard, make sure to serve popcorn. Moviegoers who eat popcorn during the show will remember 10 – 50% more when quizzed after the film if they are eating popcorn during the quiz! • Rule #4: We don’t pay attention to boring things. And, after 10 minutes, anything and everything is boring. Professor Medina has found that even college students start losing attention after ten minutes of lecture. Nobody knows why. The speculation is that somehow the interval is wired into our genes. We need to program, religiously, into our presentations and into our instructional days, the formula of 10:2. Ten minutes of stimulating, scintillating, engaging lecture followed by a two-minute shift to active participation by the audience or class members. In Maïda Cárdenas’ first-grade classroom at Grimmer Elementary School (Fremont, California), for example, students apply the last ten minutes of teacher-driven content by pausing for two minutes to discuss it with a partner. The beauty of the Grimmer practice, in my opinion, is that they not only change the pace to refocus kids after ten minutes, but they also take that opportunity to give the students a chance to relate the content to the reality of their own special worlds. Think different. What we’ve discussed above, exciting and productive as it may be, still largely represents incremental change – most of which could be done with a good WXGA projector, without even having an IWB. We have taken the research and especially the documented power of images and visual learning into consideration and we are thinking differently about the way we teach and engage learners. But I think we are ready for more. I believe we are ready to “think different,” as the term was coined by Apple Computer’s awesome advertising campaign8 launched back in 1997. Apple computers were forever linked in our minds with famous people who didn’t just think a little differently, but who invented totally original, breakthrough, different things. © 2010. Lynell Burmark Page 7 of 13 Apple plastered individual posters everywhere. In addition, they aired a one-minute television commercial, featuring black and white video footage of significant historical figures including Albert Einstein, Bob Dylan, Martin Luther King, Jr., Richard Branson, John Lennon (with Yoko Ono), R. Buckminster Fuller, Thomas Edison, Muhammad Ali, Ted Turner, Maria Callas, Mahatma Gandhi, Amelia Earhart, Alfred Hitchcock, Martha Graham, Jim Henson (with Kermit the Frog), Frank Lloyd Wright and Pablo Picasso, and narrated with a voiceover by Richard Dreyfuss: “ Here’s to the crazy ones…. The round pegs in the square holes. The ones who see things differently. You can praise them, disagree with them, quote them, disbelieve them, glorify or vilify them. About the only thing you can’t do is ignore them. Because they change things. They invent. They imagine. They heal. They explore. They create. They inspire. They push the human race forward. Maybe they have to be crazy. How else can you stare at an empty canvas and see a work of art? Or sit in silence and hear a song that’s never been written? Or gaze at a red planet and see a laboratory on wheels? While some see them as the crazy ones, we see genius. Because the people who are crazy enough to think they can change the world, are the ones who do.” I believe that’s where educators are today with presentations and instruction, projectors and IWBs. We have embraced multimedia and by-and-large replaced clip art and bulleted text with full-color photographs, full-motion video, voice-over narration and music that inspires as it entrains. © 2010. Lynell Burmark Page 8 of 13 But while we were embedding video clips in our PowerPoints, the world has moved on. In case you missed it, multimedia has been replaced by “transmedia” where the viewers become part of the action. In 2008, Warner Brothers partnered with Big Fantastic to create its first original web series: Sorority Forever. In addition to the episodes, a fully interactive metaverse was created and produced to provide an immersive, transmedia experience, with almost limitless entry points into the story, inviting viewers to interact with characters in real time using MySpace, Twitter, and other Internet platforms. Can our classrooms simulate “the hottest sorority on campus,” or compete with the sex, drama, and beautiful people (or the excitement of the terrifying secret that lurks around every corner of the Phi Chi House)? Probably not. At least probably not the content. But we need to start thinking how we can simulate the transmedia and social media aspects of the experience. In Datacloud,9 author Johndan Johnson-Eilola asserts that with IWBs we are “attempting to understand how users can exist within information spaces rather than merely gaze at them, and how information spaces must be shared with others rather than being private, lived in rather than simply visited.” He supports the boards as spaces where students can engage in active collaboration and “bodied” (direct manipulation) experiences. In the movie theater, have you ever fantasized about walking into the screen and becoming part of the action? Like Alice stepping through the looking glass into an alternative world? The technology is not quite there yet with the IWBs, so it’s probably still not a good idea to encourage students to walk into the boards. But what we can do is to interact with what’s being projected. Have a look at Lasse Gjertsen’s Amateur video on YouTube where he’s playing both drums and piano! There’s a whole world of possibilities for synchronous and asynchronous musical groups. Project a recorded video performance and have your students set up their instruments on either side of the screen and join the jamming session. Or, for the ultimate thrill, have students tap into a band using Stickam to stream live from their recording studio. (Christian hard rock band Underoath used Stickam for two months while recording their album, Lost in the Sound of Separation, and racked up over 1.8 million live views.) Assign students a “set” to create, the way they would for a theater performance, except that this one would be digital with projected (stills) and/or rolling (video) as a backdrop for live student actors and actresses at the front of the “stage.” Think of a French class where a passionate dialog could have a real café on Les Champs-Elysées as a backdrop. Or a Spanish class where a couple of students could follow the teacher’s commands for dance moves in the courtyard of a gorgeous hacienda awash with bougainvillea. Or what about remixing the content of any unit of study into a song and creating a video backdrop to perform that song live for the rest of the class? What could the students learn designing the “sets”? How much more engaged would they be as reconstructed their knowledge in these digital worlds? With Internet connections in our classrooms, teachers and students could access Google Earth and transform great works of literature into literal trips they could map out and © 2010. Lynell Burmark Page 9 of 13 follow. (Download Jerome Burg’s Grapes of Wrath GoogleLit Trip as a stellar example. www.googlelittrips.org) Using the overlay writing pens, students could trace the journey of the Joad family, while twittering their own ideas about journeys from poverty to hope. Think about projecting whole new genres of software that invite the user to participate and direct their flow. Check out Soy Tu Aire…. Pintando una Canción. Listen to this incredible, evocative song and watch the wonderful music video that accompanies it. Then interact with the narrative of the song, by going to Labuat. Make sure you move your cursor like a paint brush across the screen as the song crosses the space and takes its emotional journey with you, allowing you to connect with the piece as an art form. Immerse yourself in it. As you interact, your own expressive journey is recorded, each person unique and different. And then you can send your recording to your friends. This is truly inspired. Read about it on Angela Thomas’ website: http://angelaathomas.com/2009/03/29/soy-tu-aire-i-am-your-air/ Warning: The lyrics are not suitable for K-12 students, but educators should experience this love song and keep their antennae up for classroom-appropriate materials in this genre. *** So, back to the beginning of this conversation, where we asked ourselves whether we were making optimal use of these IWBs, these expensive pieces of equipment. Hopefully, we have shown that these interactive projection technologies are absolutely necessary for reaching and teaching the “multimedia” let alone the “transmedia” generation. Secondly, thousands and thousands of the IWBs are already paid for, already installed in classrooms, and significant time and effort has already been expended to train teachers to optimize use of the education-related software that IWB manufacturers have developed to increase the value of their products. (Teachers have already gone past that two-year learning curve that Marzano prescribes to actually translate into significant gains in student achievement.) Convinced? Need more boards? 50% price drop Schools who need more IWBs (who still don’t have one, or understand the power of using more than one in every classroom) can now purchase the biggest size (96-inch diagonal) for well under $2000 per classroom! How is this possible? Two in one Effective March 1, 2010 there’s a game-changing player in the Interactive Whiteboard market: the Epson 450Wi. By building the brains for interactivity into the LCD projector and the two digital infrared pens, Epson has eliminated the constraints and expense of the board! Anything your computer, DVD player or document camera can project through the LCD projector, you can control (like with a wireless mouse) or annotate (like with the weatherperson’s telestrator) with the rugged, battery-operated pens. And the image can be projected on any surface! © 2010. Lynell Burmark Page 10 of 13 Really, any surface? Theoretically, you can project from the Brightlink onto any surface. Realistically, a lightcolored (to not black out the images) and smooth (for the pens to glide over) surface would be best. If you already have a traditional (not interactive) whiteboard, you’re ready to roll. If you want a bigger image (no extra cost for the 96-inch diagonal), you can take a tip from the burgeoning home theater business and just paint a screen on any smooth surface: drywall, light wood paneling, or even your old chalkboard. (Visit www.gooscreen.com for all kinds of tips and tricks and to learn why a slightly gray screen may actually give you better image contrast than a stark white whiteboard.) No budget for paint? Watch the hilarious YouTube video of beloved educator Hall Davidson showing Discovery Education videos on four pieces of styrofoam he was strapping together with duct tape! (Hall Davidson demos Epson BrightLink 450W • Recorded on January 13, 2010 at the Florida Educational Technology Conference) How far can you “throw”? In the olden days (maybe 5-10 years ago), most projectors had flexible lenses with medium to long throw. (You would place the projector as far back in the room as necessary to get an image big enough to fill the screen). You still see long-throw projectors in permanent ceiling installations in church sanctuaries, hotel ballrooms, theaters, and some (wealthier) school auditoriums. Lately, we have seen a lot of short-throw projectors, like the ones hanging on “arms” that protrude from IWBs. Although those arms are good things in that they get the projector up off a cart and avoid pesky and potentially expensive ceiling installations, they don’t solve the problem that anyone or anything between the projector and the wall gets its shadow projected on the board. (Sometimes, I think the kids want to come up to the board just to see their shadow! Admit it, some of you remember making hand puppet shadows with technology from the last century. Kids will always be kids….) © 2010. Lynell Burmark Page 11 of 13 The time has come for ultra-short-throw projection! Start looking for projectors that are mounted to the wall (gone are the Star Wars-like arms) with the image projected at a much steeper angle (think almost down the wall rather than at it), reducing not only the dark shadows but also the glaring “hot” spots on the projection screen. And you get a big, bright image from a very short distance – great for tight spaces, crowded classrooms, and light-sensitive environments. How bright can it get? I love explaining to teachers that one lumen represents the light of one candle. So, when we have an LCD projector with 2500 lumens it’s like one of those big old European cathedrals with every possible candle lit. How could we not get our message through with that many candles burning for it! Still, no matter how many lumens, we always want to avoid having a fluorescent light right above the space where we’ll project our image, because fluorescent lighting will wash out any image. (Think about it. How many fluorescent lights do you see in those cathedrals?) Fortunately, by now, even though most school architects and facilities planners remain clueless, most teachers have figured out how to make friends with the custodian and/or unscrew those tube lights themselves. How ’bout those lemons? I’ve started doing a workshop called “The Straight Scoop on Projectors and Presentations.” (See Presentations on my website: www.educatebetter.org) In the session, I define terms and explain what educators need to ask for in an LCD projector: • WXGA resolution so we get the wide screen we need for the space to compare and contrast; • >2500 lumens so we don’t need to turn the lights off, and • breathtaking image color/quality. For the image quality, I suggest two tests: First, show a full-color, full-motion video that you plan to use and see how the projector displays it. Second, put together a short slideshow with full-screen photographic images, pre-sized in Photoshop to 1280 pixels wide by 800 pixels high, 72 dots per inch. Make sure the photo selection includes closeups of faces in a variety of skin tones, images you know you’d like to use, and at least one good lemon. If the projector turns your brown eyes blue, or your yellow lemons chartreuse, it’s the wrong projector. My favorite lemon picture is “lemonpie” posted on www.flickr.com on October 9, 2006 by beta karel. All sizes of this photo are available for download under a Creative Commons license. If you’d like a copy of other images I’ve collected to test for image quality, see “The Straight Scoop” article on my website. (Go to www.educatebetter.org and click on FREE RESOURCES, then FREE ARTICLES.) © 2010. Lynell Burmark Page 12 of 13 *** My first LCD projector was actually an LCD panel that used an overhead projector as its light source. It had two colors – purple and white – and cost $3,500. I helped design the tablet and pen that plugged into the panel and gave teachers overlay writing capability. That was twenty years ago. You can understand why I cried when I saw the BrightLink 450Wi. The technology finally caught up with (and even exceeded) my dreams. So, to all of you crazies. You round pegs in the square classrooms. You who invent and inspire. You who believe the educational system is here to serve kids and not the other way around. Seize these marvelous tools. Use them to transform the walls of your classrooms from prison bars to windowpanes. Take kids to see places they’ve never been so they can dream dreams they would have not otherwise imagined. Put the digital pens in their hands. Make sure they all can write: Think different. Then let them astound you with what they create. NOTES: 1. Joy Maine, art teacher at Chestertown Middle School, Kent County School District, Chestertown, Maryland. 2. Marzano, Robert and Haystead, Mark, “Evaluation Study of the Effects of Promethean ActivClassroom on Student Achievement.” The full report and/or an executive summary may be downloaded from www.prometheanworld.com. 3. Marzano, Robert, Pickering, Debra, and Pollock, Jane, Classroom Instruction That Works, Association for Supervision and Curriculum Development, Alexandria, VA, 2001. 4. Mayer, Richard E., Multimedia Learning, Cambridge University Press, New York, NY, 2001. 5. Mayer, Richard E., Multimedia Learning, Second Edition, Cambridge University Press, New York, NY, 2009. 6. Burmark, Lynell, Visual Literacy: Learn to See, See to Learn, Association for Supervision and Curriculum Development, Alexandria, VA, 2001, 2005. 7. Medina, John, Brain Rules: 12 Principles for Surviving and Thriving at Work, Home, and School, Pear Press, Seattle, WA, 2008. 8. Think different, many resources and articles online about the campaign. Be sure to view the one-minute commercial, narrated by Richard Dreyfuss: www.uriahcarpenter.info/think-different-one.html 9. Johnson-Eilola, Johndan, Datacloud: Toward a New Theory of Online Work, Hampton Press, Inc., Cresskill, NJ, 2005. © 2010. Lynell Burmark Page 13 of 13
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