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Be astonished.

Pay attention.

Through the creative turns of language they use to describe the world and our experiences, the familiar becomes unfamiliar again, and we discover in the everyday world fresh food for insight and reflection.

We want them to pay attention to course content, to be astonished by what they find there, and to report back to us and the world what they have discovered.

Find an everyday object that connects to your discipline, or a photograph or image that accompanies an article or book in your field.

Close — and I mean really close — reading.

asked what they had learned from the experience, and especially what they had noticed about the text that they hadn’t perceived before

Engagement with objects.

What? For the first step, students spend time just observing the object and taking notes.

So what? Students write down questions based on their observations and share them with one another.

Now what? The final stage shifts into more whole-class and teacher-centered discussion

Attention through assessments.

For 13 consecutive weeks, she asked students to leave the campus and make a visit to the nearby Worcester Art Museum in order to spend time in front of the same work of art.

As they learned to train their attention on a work of art, their attention brought them insights. They saw more clearly, developed new ideas, and wrote creatively about what they observed.

attention due to their high levels of youth engagement that contribute to substantial learning, enhanced critical thinking

such as heightened confidence and sense of agency

Decades of research findings link adolescent engagement, efficacy, and responsibility with opportunities for immersion and mastery, connection in a community of practice, embracing youth voice, and cultivating youth leadership with adolescent engagement, and non-school settings have emerged as crucial developmental and learning environments for youth

Throughout the United States, teen participants in CYD programs assert that the programs saved their lives, putting them on positive trajectories and away from gangs, drug use, crime, and ennui.

The creative process at the center of CYD programs contributes to profound personal growth for youth participants

And as they experience the creative process over an extended period, they learn that they can use it to express their own identities, understand and change the world around them, and connect to the greater human experience.”

community of practice of youth artists and their artist mentors, the paid, professional artists who comprise the full-time faculty. SAY Sí boasts a 100% rate of graduation and pursuit of higher education in a community with a 45% dropout rat

hese programs had a central belief in the ability of young people to achieve and grow artistically and personally through creative expression and skill building in the arts.

impact of arts-based youth programs in reducing risk factors and building protective factors in a study conducted in three American cities

She also catalogued characteristics of effective CYD programs, such as supporting risk within a safe space (

Teens develop intrinsic motivation as they immerse themselves and develop competence in a topic, connect with others who share this interest, and work with educators positioned as senior collaborators—

What you’re not doing is inspiring your team to level up. What you’re not doing is inventing a new game. Instead, you’re playing someone else’s game.

There are two traps

First, it’s easier than ever to do A/B testing

Second, it’s easier to stay busy.

Leadership is the art of doing things you’re not sure of, and doing them with enrollment instead of authority.

On the other hand, leadership is voluntary. Those who follow you must be enrolled in your journey and persuaded to follow (and contribute to) your vision.

Digital charisma doesn’t feel like management, and it requires alternative channels. Human channels. Channels that involve actually showing up, not hiding behind a system.

how can you possibly listen back?

We can learn quite a bit from how the modern cultural leaders of Instagram and Facebook use their platform, despite so many of their habits we’d prefer to avoid.

Among other things, I now research and write just about every column using an iPad (I still compose many first drafts by speaking into my headphones, but I’m an odd duck).

Jobs declared the iPad to be the future of computing. “PCs are going to be like trucks,”

Like a phone, in most scenarios I find the iPad to be faster, more portable and easier to use and maintain than any traditional P.C. I’ve ever owned.

The iPad still can’t do everything a laptop can, and I still have to log in to a “real” computer sometimes.

the iPad doesn’t work with antiquated work flows that are built for PCs

The process of enactive listening is a pathway to the performance of music. The goal of this third level of a listening pedagogy is to continue ear training with a strong musicianship program by allowing the listening act to guide musicians to stylistically appropriate performance.[ 6] Not only can students learn the music of oral cultures aurally, but they can also effectively learn the nutated music of literate cultures by listening. In attempting to perform a musical selection, students gain from opportunities to hear a recording that allows them to concentrate on timbrai qualities, the dynamic How of a piece, its melodic and rhythmic components, and the interplay of its parts. Notation alone, whether from composed or transcribed works, can never fully depict all the musical nuances of a piece, and so listening is a helpful guide to performance.

Enactive listening takes time. It can be frustrating for those who have learned to use and value notation as an important means for music's transmission.

Young musicians can learn songs for solo or unison voices — as well as multipart songs and selections for percussion ensembles, strings groups, and gatherings of wind players — by ear.