teaching the student plasticity!€¦ · anamorphic art thanks to the brain’s rules of...

34
Teaching The Student In Front Of You A wholly inadequate crash course in differentiation, psychosocial development, and neuroscience When you see… 2 Plasticity! In table groups: List characteristics of a child that you know you will naturally like. List characteristics of a child that you know you will struggle to like. Ross Greene: Challenging Behavior: Must be understood as a form of developmental delay in flexibility/adaptability, frustration tolerance, and problem- solving Is no less a form of developmental delay than delays in reading, writing, and arithmetic Deserving of the same compassion and strategic approach as other areas of learning. Not to be misunderstood and counterproductively labeled as bratty, spoiled, manipulative, attention-seeking, coercive, limit-testing, controlling, or unmotivated.

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Page 1: Teaching The Student Plasticity!€¦ · ANAMORPHIC ART Thanks to the brain’s rules of perspective, artists can fool the brain into perceiving two-dimensional drawings as three-dimensional

Teaching The Student In Front Of You

A wholly inadequate crash course in differentiation, psychosocial development, and neuroscience

When you see…

2

Plasticity!

In table groups:List characteristics of a child that you know you will naturally like.

List characteristics of a child that you know you will struggle to like.

Ross Greene: Challenging Behavior:• Must be understood as a form of developmental delay in

flexibility/adaptability, frustration tolerance, and problem-solving • Is no less a form of developmental delay than delays in

reading, writing, and arithmetic • Deserving of the same compassion and strategic approach

as other areas of learning. • Not to be misunderstood and counterproductively

labeled as bratty, spoiled, manipulative, attention-seeking, coercive, limit-testing, controlling, or unmotivated.

Page 2: Teaching The Student Plasticity!€¦ · ANAMORPHIC ART Thanks to the brain’s rules of perspective, artists can fool the brain into perceiving two-dimensional drawings as three-dimensional

You teach who you are.

-Parker Palmer

Schooling

=Learning

Our Job: Increase Cognitive

Effectiveness

Differentiation

• The Changing Human ▫ Developmental Level • The Individual Human ▫ Unique Learning Profile ▫ The Universal Human ▫ What All Brains Like

8

Page 3: Teaching The Student Plasticity!€¦ · ANAMORPHIC ART Thanks to the brain’s rules of perspective, artists can fool the brain into perceiving two-dimensional drawings as three-dimensional

What does this student’s unique brain need to

learn best?

“The only time my education was interrupted was when I was in school.”

— George Bernard Shaw

“It’s a miracle that curiosity survives formal education."

— Albert Einstein

Hopes and Disclaimers•Do something. If it works, do more of it. If it doesn’t, do something else.

Cerebrodiversity

Page 4: Teaching The Student Plasticity!€¦ · ANAMORPHIC ART Thanks to the brain’s rules of perspective, artists can fool the brain into perceiving two-dimensional drawings as three-dimensional

Exceptional

Weak

Golf

Cooking

Intelligence

Average

Are you passionate about your subject?

Is the person sitting next to you?

Exceptional

Weak

Golf

Cooking

VerbalSpatialLiteracyMath PerformanceSocial/CollaborationExecutive FunctionPersistence

Top of your school

Bottom of your school

Student 1

Verbal

Spatial

Social/Collaboration

Persistence

Student 2

Social/Collaboration

Persistence

EF

Student 3

10% - 15%Rate of Dyslexia

U.S.

Page 5: Teaching The Student Plasticity!€¦ · ANAMORPHIC ART Thanks to the brain’s rules of perspective, artists can fool the brain into perceiving two-dimensional drawings as three-dimensional

30%Rate of Dyslexia

CEO’s

I.Q. changes

Intelligence is malleable.

Intelligence: A better view

20

• Successful interaction with the environment. • Learning success and struggle are intimately tied to

the ecology of the classroom • Equal onus on the environment to allow for different

interactions with it • You, plus your “surround” • Multivariate (ie. Gardner’s Multiple Intelligences)

Page 6: Teaching The Student Plasticity!€¦ · ANAMORPHIC ART Thanks to the brain’s rules of perspective, artists can fool the brain into perceiving two-dimensional drawings as three-dimensional

A Triad of Intelligence: Perkins

21

Neural •Genetics •Maturation •Unique mix of features •Variance of skills

Experiential •Time spent in certain pursuits •“Street smarts”

Reflective •Metacognition

•Persistence •Task analysis

•“How am I doing?”

This Person is......

10085 115 13070

Independent Schools: Pathologizing the Normal?

Developmental And Learning FrameworksA Historical View

24

Page 7: Teaching The Student Plasticity!€¦ · ANAMORPHIC ART Thanks to the brain’s rules of perspective, artists can fool the brain into perceiving two-dimensional drawings as three-dimensional

Maslow: Human Needs (1954) Erikson: Psychosocial (1950)

Piaget: Learning Theory (1952) Bloom: Taxonomy of Learning 1956

Page 8: Teaching The Student Plasticity!€¦ · ANAMORPHIC ART Thanks to the brain’s rules of perspective, artists can fool the brain into perceiving two-dimensional drawings as three-dimensional

Bloom: Taxonomy of Learning 2001The problem is…• Research does not agree about their validity • People unfold in ways that defy the order • Assert you must successfully negotiate one level before

moving to the next • Might imply a student “should” be something other than

they are

31

Physiological

Safety

Love/Belonging

Esteem

Self- actualization

Maslow

32

Remember

Understand

Apply

Analyze

Evaluate

Create

Bloom

Page 9: Teaching The Student Plasticity!€¦ · ANAMORPHIC ART Thanks to the brain’s rules of perspective, artists can fool the brain into perceiving two-dimensional drawings as three-dimensional

33

Sensorimotor 0 - 2 yrs

Preoperational 2 - 6 yrs

Concrete Operations 7 - 12 yrs

Formal Operations

12 yrs - adult

Piaget

34

Trust/Mistrust 0 - 18ms

Autonomy/Shame

18 mos - 3 yrs

Initiative/Guilt 3 - 5 yrs

Industry/Inferiority

6 - 11

Identity/Role Confusion

12 - 18

Intimacy/Isolation

19-40

Erikson

Generativity/Stagnation

41 - 65

Ego Integrity/Despair

65 and older

35

Grade 1 6 yrs

Grade 2 7 yrs

Grade 3 8 yrs

Grade 4 9 yrs

Grade 5 10 yrs

Grade 6 11 yrs

Our Schools

Grade 7 12 ys

Grade 8 13 yrs

The Developing BrainCritical periods of development from birth to teen

36

Page 10: Teaching The Student Plasticity!€¦ · ANAMORPHIC ART Thanks to the brain’s rules of perspective, artists can fool the brain into perceiving two-dimensional drawings as three-dimensional

Critical Periods!

• First Great Period of Brain Reorganization • 26 weeks: 50,000 neurons per second • At birth, same number of synapses as adults • By age 2 or 3, twice or three times the synapses as

adults • After that, pruning based on what is used • By 8, back to adult levels • First years of schooling are critical!!!

• Last Great Push of Brain Development! • Several brain areas double or triple • Frontal lobe thickens11- 13, thins until 20 • Pruning of unneeded childhood memories • Decides what is important based on what is used • Growth in frontal lobes (DLPFC, OFC) • Hormonal changes make the body a new machine to

learn how to work

40

Page 11: Teaching The Student Plasticity!€¦ · ANAMORPHIC ART Thanks to the brain’s rules of perspective, artists can fool the brain into perceiving two-dimensional drawings as three-dimensional

• Facial expressions read with the amygdala,not fusiform face area • Brain grows in spurts (like the rest of the body) • Extremes of novelty seeking • Lack of planning (hard to see consequences) • Crowd morality (immature PFC) • Sensitivity to reward (actual, not adult defined) • Social context is HUUUUGGGEEE

41

The Social-Emotional BrainWhat stress is good and bad for the brain?

42

What is bad stress?

• Ramped up physiology • Response to aversive stimulus • Feeling out of control

43

Effects of Bad Stress?

• Adrenaline burst (RUN!!!) • Followup of cortisol balances adrenaline • We are designed for this in short bursts • Chronic: ▫ Deregulates blood pressure ▫ Increases stroke or heart attack ▫ Depresses immune system ▫ Hippocampus has lots of cortisol receptors: blocks

neurogenesis

44

Page 12: Teaching The Student Plasticity!€¦ · ANAMORPHIC ART Thanks to the brain’s rules of perspective, artists can fool the brain into perceiving two-dimensional drawings as three-dimensional

Stress and Fear

Good Stress?

• Out of our comfort zone • Probably surmountable • Not chronic • Hippocampus thrives on this level

46

An Experiment!

47

Walla Walla, Washington

• Lincoln High School in Walla Walla, WA, tries new approach to school discipline — suspensions drop 85%

48

Jim Sporleder

Page 13: Teaching The Student Plasticity!€¦ · ANAMORPHIC ART Thanks to the brain’s rules of perspective, artists can fool the brain into perceiving two-dimensional drawings as three-dimensional

49

2009-2010 (Before new approach) 798 suspensions (days students were out of school)

50 expulsions 600 written referrals

2010-2011 (After new approach) 135 suspensions (days students were out of school)

30 expulsions 320 written referrals

Good Stress?

• Reduced calories

• Learning new, challenging things

• Exercising vigorously

Mirror Neurons

• Fire whether you move or just see movement

• Purposeful vs. random actions and movements

• The contagious yawn

• Possibly the origins of language through shared gestures and facial expressions

Mirror Neurons

Page 14: Teaching The Student Plasticity!€¦ · ANAMORPHIC ART Thanks to the brain’s rules of perspective, artists can fool the brain into perceiving two-dimensional drawings as three-dimensional

Ostracism

Play and Fun!!

Page 15: Teaching The Student Plasticity!€¦ · ANAMORPHIC ART Thanks to the brain’s rules of perspective, artists can fool the brain into perceiving two-dimensional drawings as three-dimensional

Hippocampus

Amygdala

!Limbic

System

Cognitive

Capability

Asleep

Ideal Learning Zone

Developmental And Learning FrameworksRecent Ideas

59

Daniel Pink: Motivation and Self Determination Theory

Page 16: Teaching The Student Plasticity!€¦ · ANAMORPHIC ART Thanks to the brain’s rules of perspective, artists can fool the brain into perceiving two-dimensional drawings as three-dimensional

61

Relatedness Autonomy

Competence

Sweet Spot! Motivation Research on Rewards

• Harms effectiveness • Reduces creativity and intrinsic motivation • Reduces collaboration • Increases unethical behavior • Rewards can boost completion of mechanical tasks,

but hinders cognitive tasks • Strongest motivator? Feeling effective

Drive, Daniel Pink

Research Study About Grades

• Grades only: Made no learning gains post grades • Comments only: Made most learning gains • Comments and grades: No learning gains ▫ Probably due to focus on grades instead of comments

Focus on Formative Feedback, Valerie Shute, Educational Testing Services, 2007

Carol Dweck: Mindsets

http://www.mindsetworks.com/webnav/whatismindset.aspx

Page 17: Teaching The Student Plasticity!€¦ · ANAMORPHIC ART Thanks to the brain’s rules of perspective, artists can fool the brain into perceiving two-dimensional drawings as three-dimensional

Mindset Research

• Predicts motivation and achievement • Narrows the gender gap in math • Narrows the racial achievement gap • Correlates with higher grades and test scores

http://www.mindsetworks.com/webnav/whatismindset.aspx

New Bloom: Marzano and Kendall

67

The Three Story Intellect

With Thanks to: Arthur L. Costa, Search Models Unlimited

Complete Count Define Describe Identify List Match Name Observe Recite Select

Compare Contrast Classify Sort Distinguish Explain (Why) Infer Sequence Analyze Synthesize Make Analogies Reason

Evaluate Generalize Imagine Judge Predict Speculate If/Then Apply a Principle Hypothesize Forecast Idealize

Howard Gardner: Multiple Intelligences

Page 18: Teaching The Student Plasticity!€¦ · ANAMORPHIC ART Thanks to the brain’s rules of perspective, artists can fool the brain into perceiving two-dimensional drawings as three-dimensional

Costa-Kalick: Habits of Mind

A Tour of the Brain

70

Page 19: Teaching The Student Plasticity!€¦ · ANAMORPHIC ART Thanks to the brain’s rules of perspective, artists can fool the brain into perceiving two-dimensional drawings as three-dimensional

What does the brain do?

6 SCIENTIFIC AMERICAN REPORTS I l lus ions

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AMBIGUOUS FIGURESThis bunch of violets contains the faces of Napoleon Bonaparte, Marie Louise of Austria and their son. Can you find them among the flowers? Napoleon’s admiring troops gave him the name of “Petit Caporal,” or “Little Corporal”: their leader’s short stature had not prevented him from defeating four armies larger than his own during his very first campaign. Years later, when Bona-parte was banished to the isle of Elba, he told his friends he would return with the violets, thus earning the nickname of “Corporal Violet, the little flower that returns with spring.” When he broke his imposed exile to return to France, women support-ers assembled to sell violets. They would ask passersby, “Do you like violets?” Answering “oui” indicated that the person was not a confederate; “eh bien” signaled that the respondent adhered to Napoleon’s cause. Napoleon’s supporters distributed reproduc-tions of this 1815 engraving.

In ambiguous illusions such as this one, the brain interprets the same picture in two different ways, with the two interpreta-tions being mutually exclusive. You can see one of two possible images, but not both at the same time.

These so-called ambiguous figures are especially powerful tools to dissociate the subjective perception from the physical world. The physical object never changes, yet our perception alternates between two (or more) possible interpretations. For this reason, ambiguous illusions are used by many laboratories in the search for the neural correlates of consciousness.

SHAPE DISTORTIONThe visual oddity above, known as the café wall illusion, was discovered on the exterior of a small restaurant near Richard Gregory’s psychology laboratory in Bristol, England. (The photograph, taken a few months ago, shows Gregory outside the café.) Steve Simpson, a member of Gregory’s lab at the time, noticed that the parallel grout lines between the green and white tiles on the wall appeared to be tilted, even though the tiles were actually straight.

Scientists use a simplified black-and-white version of the café wall illusion (above,

center) to demonstrate how objects or patterns can appear to take on shapes that are different from their true physical form. The illusion works only when the contrasting black and white “tiles” are offset and when every tile is surrounded by a border of gray “grout.” Because different types of neurons in the brain react to the dark and light shades of the tiles, the grout appears to be dimmer in some places and brighter in others—and the brain interprets this con-trast as a sloping line.

As with brightness and color illusions, shape distortion effects are produced by the

interaction between the actual shape of the object and the shapes of nearby figures. For the brain, perception is very often dependent on context.

In another illusion, created by Kitaoka, a circular section of black-and-white tiled “floor” appears to bulge out toward the viewer, even though the image contains nothing but perfect squares—and all the floor “tiles” are of equal size (above, right). As with the café wall, this geometric illusion is an example of shape distortion. The small-er, contrasting squares provide context that deceives the brain.

© 2010 Scientific American

www.Sc ient i f icAmerican.com/Mind SCIENTIFIC AMERICAN REPORTS 11

ANAMORPHIC ARTThanks to the brain’s rules of perspective, artists can fool

the brain into perceiving two-dimensional drawings as three-dimensional. Artist Kurt

Wenner’s 3-D pavement paintings—such as Muses in

Lucerne, Switzerland—are anamorphic illusions that

create an impression of three dimensions when seen from

one particular viewpoint (above). From the “wrong”

side, however, you can see the distortions that Wenner uses

to create the 3-D effect (right). The word “anamorphic”

comes from the Greek mean-ing “formed again.”

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© 2010 Scientific American © 2010 Scientific American

Page 20: Teaching The Student Plasticity!€¦ · ANAMORPHIC ART Thanks to the brain’s rules of perspective, artists can fool the brain into perceiving two-dimensional drawings as three-dimensional

www.Sc ient i f icAmerican.com/Mind SCIENTIFIC AMERICAN REPORTS 11

ANAMORPHIC ARTThanks to the brain’s rules of perspective, artists can fool

the brain into perceiving two-dimensional drawings as three-dimensional. Artist Kurt

Wenner’s 3-D pavement paintings—such as Muses in

Lucerne, Switzerland—are anamorphic illusions that

create an impression of three dimensions when seen from

one particular viewpoint (above). From the “wrong”

side, however, you can see the distortions that Wenner uses

to create the 3-D effect (right). The word “anamorphic”

comes from the Greek mean-ing “formed again.”

KU

RT

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NN

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© 2010 Scientific American © 2010 Scientific American

34 SCIENTIFIC AMERICAN REPORTS I l lus ions

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THE MANE DIFFERENCEVisual illusions showcasing politicians are all the rage. At first sight it looks like Al Gore standing behind Bill Clinton, but notice that Gore is really a doppelgänger Clinton, only with Gore’s gor-geous head of hair (left). A set of face features (Clinton’s) mixed with a different set of features (Gore’s hair) isn’t easily recognized as being misplaced.

Superman relies on the same illusion to protect his identity: thanks to a pair of glasses, a change of clothes and a different hairstyle, nobody in Metropolis realizes that he and Clark Kent are the same person (below).

RACE FACE ILLUSIONWhile viewing composites of racially black (left) and white (right) faces that reflect exactly the same amount of light, psychologist Mahzarin R. Banaji of Harvard University noticed an interesting illusion: the white face appears lighter. Banaji and Daniel T. Levin of Vanderbilt University have proposed that the distortion occurs because abstract social expecta-tions about skin tone influence our perception of faces.

EMOTION ADAPTATIONGaze at the angry face (left) for about 30 seconds while looking around the face from the eyes to the mouth, to the nose, back to the eyes, and so on. Then look at the center face. It looks scared, right? Now look at the scared face (right) for 30 seconds and then look at the center face again. This time it is angry! In reality, the center face is a 50–50 blend of an angry and a scared face.

Created by Andrea Butler and her colleagues at the University of British Columbia, this illusion shows that our visual-processing system adapts to an unchanging facial expression by temporarily becoming less responsive to it. As a result, the other facial expression dominates when you view the blend. This adaptation occurs in higher-level brain circuits, rather than in the retina, because the illusion works even if you view the left or right image with one eye only and then look at the center image with your other (unadapted) eye.

© 2010 Scientific American © 2010 Scientific American34 SCIENTIFIC AMERICAN REPORTS I l lus ions

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THE MANE DIFFERENCEVisual illusions showcasing politicians are all the rage. At first sight it looks like Al Gore standing behind Bill Clinton, but notice that Gore is really a doppelgänger Clinton, only with Gore’s gor-geous head of hair (left). A set of face features (Clinton’s) mixed with a different set of features (Gore’s hair) isn’t easily recognized as being misplaced.

Superman relies on the same illusion to protect his identity: thanks to a pair of glasses, a change of clothes and a different hairstyle, nobody in Metropolis realizes that he and Clark Kent are the same person (below).

RACE FACE ILLUSIONWhile viewing composites of racially black (left) and white (right) faces that reflect exactly the same amount of light, psychologist Mahzarin R. Banaji of Harvard University noticed an interesting illusion: the white face appears lighter. Banaji and Daniel T. Levin of Vanderbilt University have proposed that the distortion occurs because abstract social expecta-tions about skin tone influence our perception of faces.

EMOTION ADAPTATIONGaze at the angry face (left) for about 30 seconds while looking around the face from the eyes to the mouth, to the nose, back to the eyes, and so on. Then look at the center face. It looks scared, right? Now look at the scared face (right) for 30 seconds and then look at the center face again. This time it is angry! In reality, the center face is a 50–50 blend of an angry and a scared face.

Created by Andrea Butler and her colleagues at the University of British Columbia, this illusion shows that our visual-processing system adapts to an unchanging facial expression by temporarily becoming less responsive to it. As a result, the other facial expression dominates when you view the blend. This adaptation occurs in higher-level brain circuits, rather than in the retina, because the illusion works even if you view the left or right image with one eye only and then look at the center image with your other (unadapted) eye.

© 2010 Scientific American © 2010 Scientific American

34 SCIENTIFIC AMERICAN REPORTS I l lus ions

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THE MANE DIFFERENCEVisual illusions showcasing politicians are all the rage. At first sight it looks like Al Gore standing behind Bill Clinton, but notice that Gore is really a doppelgänger Clinton, only with Gore’s gor-geous head of hair (left). A set of face features (Clinton’s) mixed with a different set of features (Gore’s hair) isn’t easily recognized as being misplaced.

Superman relies on the same illusion to protect his identity: thanks to a pair of glasses, a change of clothes and a different hairstyle, nobody in Metropolis realizes that he and Clark Kent are the same person (below).

RACE FACE ILLUSIONWhile viewing composites of racially black (left) and white (right) faces that reflect exactly the same amount of light, psychologist Mahzarin R. Banaji of Harvard University noticed an interesting illusion: the white face appears lighter. Banaji and Daniel T. Levin of Vanderbilt University have proposed that the distortion occurs because abstract social expecta-tions about skin tone influence our perception of faces.

EMOTION ADAPTATIONGaze at the angry face (left) for about 30 seconds while looking around the face from the eyes to the mouth, to the nose, back to the eyes, and so on. Then look at the center face. It looks scared, right? Now look at the scared face (right) for 30 seconds and then look at the center face again. This time it is angry! In reality, the center face is a 50–50 blend of an angry and a scared face.

Created by Andrea Butler and her colleagues at the University of British Columbia, this illusion shows that our visual-processing system adapts to an unchanging facial expression by temporarily becoming less responsive to it. As a result, the other facial expression dominates when you view the blend. This adaptation occurs in higher-level brain circuits, rather than in the retina, because the illusion works even if you view the left or right image with one eye only and then look at the center image with your other (unadapted) eye.

© 2010 Scientific American © 2010 Scientific American

78

Page 21: Teaching The Student Plasticity!€¦ · ANAMORPHIC ART Thanks to the brain’s rules of perspective, artists can fool the brain into perceiving two-dimensional drawings as three-dimensional

You see with your brain, not with your eyes.

You hear with your brain, not with your ears.

You feel with your brain, not with your fingers.

Page 22: Teaching The Student Plasticity!€¦ · ANAMORPHIC ART Thanks to the brain’s rules of perspective, artists can fool the brain into perceiving two-dimensional drawings as three-dimensional

You smell with your brain, not with your nose.

 A  newspaper  is  better  than  magazine.      A  seashore  is  a  better  place  than  a  street.    At  5irst  it  is  better  to  run  than  to  walk.    You  may  have  to  try  several  times.    It  takes  some  skill,  but  it  is  easy  to  learn.    Even  young  children  can  learn  it.    Once  successful,  complications  are  minimal.    Birds  seldom  get  too  close.    Rain,  however,  soaks  in  very  fast.    Too  many  people  doing  the  same  thing  can  also  cause  problems.  One  needs  lots  of  room.    If  there  are  no  complications,  it  can  be  very  peaceful.    A  rock  will  serve  as  an  anchor.    If  things  break  loose  from  it,  however,  you  will  not  get  a  second  chance.      

Kite Architecture of the Brain

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Motor Sensory

Visual Auditory

Executive

Homunculus

Hippocampus

Amygdala

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Plasticity

• The brain rewires itself all the time. • Intelligence is not fixed. • Study: Knowledge of the expanding nature of

intelligence did more to boost math grades than how to study for math. • Teen brains have a natural variation of IQ test scores

Plasticity

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The Executive BrainAttention, Executive Function, ADHD and Multitasking

Pay Attention!

Clean Your Room!

Get Organized!

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What were you

thinking?!!

This student is…• Lazy

• Apathetic

• Inattentive

• Unmotivated

• Manipulative

• Attention-seeking

• Controlling

• Helpless

• Negative

• Clueless

• Underachieving

• Hotheaded

“The faculty of voluntarily bringing back a wandering attention, over and over again, is the very root of judgment, character, and will… An education which should improve this faculty would be the education par excellence.”

William James

Internal Command v.

External Demand

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The task: Draw this

(McCloskey, 2014)

First Attempt

(McCloskey, 2014)

Attempt From Memory

(McCloskey, 2014) (McCloskey, 2014)

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With guiding questions…

(McCloskey, 2014)

90 minutes later…

(McCloskey, 2014)

What are Executive Functions?Depends whom you ask!

Purposeful,  organized,  strategic,  self-­‐regulated,  goal-­‐directed  behavior.    They  direct  and  cue  mental  processes  that  we  use  to  think,  feel,  perceive,  and  act  (McCloskey,  2011)  

Choice  of  goals  and  the  ability  to  select,  enact,  and  sustain  acEons  across  Eme  (Barkley,  2012)  

Complex  cogniEve  processes  that  control  flexible,  goal-­‐directed  behavior  and  the  coordinaEon  of  numerous  

subprocesses  and  skills  (Meltzer,  2013)

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Executive Functions are NOT:

• The same as IQ

• A single thing. They are multiple systems working interdependently.

(ie: the coaching staff, not the head coach)

• Even in their development; there is great developmental variability at the same age

• The same in all contexts; the same EF skill can be strong in one context and weak in another

• The cause of LEARNING difficulties; they cause PRODUCTION difficulties

Contexts

Modes of Processing

(Adapted from McCloskey, 2013)

Reading people and

relationshipsSelf-

knowledge

Physical space and

environmentSymbol systems (reading, math)

CognitionWhat thoughts am I having?

Emotion What feelings

are coming up?

PerceptionWhat are my

senses perceiving?

ActionWhat am I doing in

response?

(Adapted from McCloskey, 2013)

Reading People/Relationships Self-knowledge Symbol

Systems

Physical space/environment/organization

Perceiving Accurately Y N Y N Y N Y N

Thinking Clearly Y N Y N Y N Y N

Even Emotions Y N Y N Y N 1 2 3

Effective Action Y N Y N Y N Y N

Modes of Processing

(Adapted from McCloskey, 2013)

Put example of Goal Directed behavior sheet

Reading People/

RelationshipsSelf-

knowledgeSymbol Systems

Physical space/

environment/organization

Planning Y N Y N Y N Y N

Organizing Y N Y N Y N Y N

Initiating Y N Y N Y N Y N

Attention Y N Y N Y N Y N

Emotional Regulatio

nY N Y N Y N Y N

Inhibition Y N Y N Y N Y N

Self-monitorin

gY N Y N Y N Y N

Shifting Y N Y N Y N Y N

Adaptability Y N Y N Y N Y N

Executive Processes

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The Remembering BrainMemory and how to help it work better

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• 106 students were interviewed the day after Challenger and journaled: ▫ How did you feel, what were you doing? • 2 1/2 years later, they were asked about it. • Fewer than 10% got the details right. • Most were certain they were right. • Many went with their memories instead of the

documentation.

A Study... What is memory?

• Stored: ▫ Information ▫ Procedures and processes ▫ Affective states ▫ Impressions

SemanticMeanings,

understandings, knowledge

EpisodicExperience, emotions

Things you know

(and can say)Things you know how to

do

Declarative

(Explicit)Non-declarative

(Procedural, Implicit)

Automatic actions without conscious

awareness

What gets stored?

• NOT a separate encoding for each memory • Sights, colors, sounds, content are stored across the

brain in different places � Yr dg chsd th ct

• Reuses old memories if they approximately match • Reactivates the network of neurons when we recall • Functionally recreates the experience

124

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How do we best remember?

• Attentiveness and concentration • Interest, relevance, motivation • Emotional content • Environmental context • Multi-sensory input

125

Motor Sensory

Visual Auditory

Executive

Everything Important About A Subject

Personally relevant

Hands-on,

multisensory

Engaging problem-

solving

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Memory Strategies

• “Repeat to remember” • “Remember to repeat” (space rehearsal) • Manipulate new information elaborately! • Invoke emotion and experience • Involve all senses • Attach it to a context • Talk about it right after! • Sleep!!!!

129 130

131 132

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135