What is an authentic problem?

1. What is an authentic problem? The mere formulation of a problem is far more essential than its solution, which may be merely a matter of mathematical or experimental skills. To raise new questions, new possibilities, to regard old problems from a new angle requires creative imagination and marks real advances in science. Albert Einstein

2. What is an authentic problem? Accepting simultaneously a student's right to equality in approaching a problem and his lack of experience puts a burden on the teacher. This way of teaching at first seems more difficult, for the teacher must often sit out the discoveries of the student without interpreting or forcing conclusions on him. Yet it can be more rewarding for the teacher, because when student-actors have truly learned through playing, the quality of performance will be high indeed.” Viola Spolin Improvisation for the Theater

3. What is an authentic problem? • Personal Interest • No predetermined right answer – requires uncovering

4. What is an authentic problem? • Use of methods of an expert – authentic methodology • Intended to have an impact on an audience in addition to the teacher

5. Thinking in a domain General Characteristics or Skills • Playfulness • Suspension of judgment • Cooperation Domain specific skills • Breaking expectations • Adapting or changing • Interaction with materials or processes • Attention to detail

6. Type of authentic problems • Research Questions • Collect data from primary sources • Activism – do something to solve the problem • Personal Expression -- Creative or Artistic Expression of a Theme, Idea, Feeling

7. Getzels – 3 types of problems • Type I : Presented problem, known method of solution • Type II: Presented problem, method of solution not known to solver • Type III:No presented problem, neither problem nor solution known to anyone

8. Dillon – 3 types of problems • Existent : A problem exists • Emergent: Problem must be discovered • Potential:Unformed, interesting, worth elaborating

9. Essential Questions • have no simple right answer – they are meant to be argued • are designed to provoke and sustain student inquiry while focusing learning and final performances • often address the conceptual or philosophical foundations of a discipline • raise other important questions • naturally and appropriately recur • stimulate vital, ongoing rethinking of big ideas, assumptions and prior lessons • Require uncoverage because it is an abstraction

10. Big Idea • What is it? • Manifests itself in various ways within disciplines • core concept (adaptation) • theme (man’s inhumanity to man) • debate (conservative vs. liberal) • puzzling paradox (poverty amidst plenty) • persistent challenge (illiteracy, voter apathy) • illuminating theory (manifest destiny) • underlying assumption (markets are rational) • differing perspectives (terrorist vs freedom fighter)

11. Hook Questions • Why do we go to school in a synagogue? • Why do we live here and why do we speak English? • What can we discover for ourselves about what was here before us? • Where do the people in our neighborhood come from? • What events (geologic, historical, political, and cultural) shaped this place?

12. Essential Question /Hook Question • How is a fight within your family different than a fight with other people? • Why do we live here why do we speak English?

13. Let’s play with some Essential Questions • What makes a great one?

14. Let’s play with some Essential Questions Jared Diamond: Guns, Germs and Steel "Why do white people have so much cargo, but we New Guineans have so little?" Yali, New Guinean leader talking to Jared Diamond

15. Language Arts • Essential Questions…..

16. Social Studies • Essential Questions…..

17. Science • Essential Questions…..

18. Math • Essential Questions…..

19. Physical Education • Essential Questions…..

20. Linking EQ/Problem/Products • Intriguing stimulating Essential Questions. • Open ended problems. • Experiences to stimulate thinking and creative inspiration. • Range of product options – based on student strengths and interests, the nature of the domain, the intended audience, the requirements of the curriculum.

21. Linking EQ/Problem/Products

22. Starko Problem Finding • How can we help students become problem finders as well as problem solvers? • How do we find the balance between structure and freedom so that students have real choices? • What are some of the kinds of more (Type I) and less (Type II) structured problems you offer in your class? • Have you offered any Type III problems to your students?

23. Types of Assessment • Observational assessment (performance-based) • Portfolios • Open ended-written or verbal prompts • Written tests (multiple choice or single correct answer) • Self-assessment • Peer assessment

24. Self Reflection • What was something you contributed to the group process? • How well do you feel your group functioned? • What could have improved the process?

30. Characteristics of Effective Self- and Peer Assessment • Clearly articulated goals, targets, criteria that reveal what counts and answers the question, “Where am I going?” • Constructive reflection on strengths, weaknesses, and possible improvements: “Where am I now? How can I close the gap?” • Time for revision before getting teacher feedback: Closing the gap.

31. Formative Assessment via Self- and Peer Feedback The teacher does not—should not—be the only source of feedback in the classroom. Under the right conditions, students can be useful sources of feedback for themselves and each other.

32. Liz Lerman’s Critical Response Process • Step One: Affirmation • at least one thing that we noticed about the work being discussed that brought us something special. • Step Two: Presenter As Questioner • The creator asks the questions first. The more artists clarify what they are working on and where their own questions are, the more intense and deep the dialog becomes. These questions need to be quite specific.

33. Liz Lerman’s Critical Response Process • Step Three: Responders Ask the Questions • The responders form their opinions into a neutral question. So instead of saying, "It's too long," a person might ask, "What were you trying to accomplish in the circle section?" or "Tell me what's the most important idea you want us to get and where is that happening in this piece?”

34. Liz Lerman’s Critical Response Process • Step Four: Opinion Time • In step four the responder asks permission to state an opinion: "I have an opinion about the costumes. Do you want to hear it?" Now this artist may be very interested in hearing about the costumes, but not from that person, so he or she can say no—or yes—or no, not now but later.

35. Liz Lerman’s Critical Response Process • Step Five: Subject Matter Discussion • Sometimes the subject matter of a work is such that responders want to get into a discussion about its content. The discussion may or may not relate to the specific evolution of the piece. Also personal stories, memories or feelings could be told at this step.

36. Liz Lerman’s Critical Response Process • Step Six: Working on the Work Sometimes after a session like this, the artist may be ready to get to work on a particular section.

37. Affirmation: Always begin by discussing successes with the playwright. • Examples of affirmative comments: • What did you like most about her/his writing? • What were some memorable lines? Why were these lines memorable? • Could you relate to what was written? How? • Did the writing make you think of a personal experience? • Did the writing inspire you to be creative? • Did the writing alter your perspective?

38. Questions from the artist: The artist asks specific questions in order to help him/her improve the work.Artists should avoid general questions such as, “Did you like my work?” • Examples: • Do you believe my language sounds authentic? • Were you surprised by the ending of my play? • Do you think I have too many conflicts? • Were you surprised at how my characters overcame their obstacles? • Do you think it was too easy for my protagonist to reach her/his objective? • Do you believe my characters are making active decisions?

39. Responders ask neutral questions: Respondents develop neutral questions for the artist in an effort to consider challenges in her/his writing. The aim is to turn criticism into a question that has no judgment. The artist has the choice to respond to these questions or not. • Examples of neutral questions: • What were you trying to communicate to the audience when your character…? • How might you add in more obstacles for your play? • What do you want the audience to take away from this play? • What do you consider the primary conflict of your play? • How old is your character? Where is s/he from?

40. One sentence opinions: Each member of the group, including the playwright, shares their opinion about the work in one sentence. Your opinion sentence must begin one of the following ways: • I enjoyed your play because… • I believe one challenge you might consider in your work is…

41. Structured Response Protocols • Provide safety and support • Honor the work and its creator • Allow everyone to participate • Reinforce guidelines for appropriate response • Help manage time

42. In what topics, subjects, areas do we want student to use….

43. Language Arts • Writing for a purpose • Writers notebook • What’s in it? • Collaborative writing • Different pre-writing stimuli • Different topics

44. Social Studies • Student as Historical Researchers • Primary sources • Open ended problems • Different perspectives • What ifs • Participatory Democracy • Making Art, Drama, Dances reflecting different cultures, time periods, ideas • Range of products

45. Science • Open ended experimentation • Problem finding • Real world issues related to students’ lives • Inventions and adaptations

46. Math • Thinking like a mathematician • Flexible Thinking • Problem finding • Exploring patterns • Looking for math in the world • Aesthetics/Beauty in symmetry, pattern, form • Real world application and problem solving

47. Physical Education • Understanding the body • Group cooperation • Problem finding • Exploring patterns • Balance between competition with others and inner drive • Aesthetics/Beauty in symmetry, pattern, form • Real world applications and problem solving

48. Do you have any of these kids in your school?

49. Do you have any of these kids in your school?

50. Do you have any of these kids in your school? Sculptor Photographer Singer Poet Filmmaker Violinist Would you know it if you did? Dancer Songwriter Painter Composer Painter Architect Guitarist Architect Choreographer Actor Singer Cellist