Group items tagged

Require students to have evidence ready at the start of the discussion

"prove it"

evidence will actually open up a text to different interpretations

The challenge is getting students to expand and explain. To get students to explain why they choose a piece of evidence, provide them with a structure that moves from evidence to interpretation. Williams' students use a graphic organizer with three columns: They write their answer in the first column, note textual evidence in the second, and explain their evidence in the third.

Use sentence starters strategically

In the text ... the author mentions ...

the author uses this evidence to ... this lets us know that ...

Give students enough time to flip through and find just the right piece of evidence. If other students are getting antsy, choose one of your always-ready students to share, then loop back to the student who needed time with the text

"Just because there's more than one right answer," says Riley, "doesn't mean there's no wrong answer."

According to page

create an anchor chart

Listen for how students personalize the discussion, and encourage them to develop their own voice.

go back to the text

They answer the focus question a second time, explain whether or not they changed their answers, and reflect on how the evidence brought up during discussion impacted their thinking.

(2) shall have the right to prevent the use of his or her name as the author of the work of visual art in the event of a distortion, mutilation, or other modification of the work which would be prejudicial to his or her honor or reputation; and

(3) subject to the limitations set forth in section 113 (d), shall have the right— (A) to prevent any intentional distortion, mutilation, or other modification of that work which would be prejudicial to his or her honor or reputation, and any intentional distortion, mutilation, or modification of that work is a violation of that right, and (B) to prevent any destruction of a work of recognized stature, and any intentional or grossly negligent destruction of that work is a violation of that right.

(b) Scope and Exercise of Rights.— Only the author of a work of visual art has the rights conferred by subsection (a) in that work, whether or not the author is the copyright owner. The authors of a joint work of visual art are coowners of the rights conferred by subsection (a) in that work.

(4) All terms of the rights conferred by subsection (a) run to the end of the calendar year in which they would otherwise expire.

(d) Duration of Rights.— (1) With respect to works of visual art created on or after the effective date set forth in section 610(a) of the Visual Artists Rights Act of 1990, the rights conferred by subsection (a) shall endure for a term consisting of the life of the author.

(2) With respect to works of visual art created before the effective date set forth in section 610(a) of the Visual Artists Rights Act of 1990, but title to which has not, as of such effective date, been transferred from the author, the rights conferred by subsection (a) shall be coextensive with, and shall expire at the same time as, the rights conferred by section 106.

(3) In the case of a joint work prepared by two or more authors, the rights conferred by subsection (a) shall endure for a term consisting of the life of the last surviving author.

(c) Exceptions.— (1) The modification of a work of visual art which is a result of the passage of time or the inherent nature of the materials is not a distortion, mutilation, or other modification described in subsection (a)(3)(A). (2) The modification of a work of visual art which is the result of conservation, or of the public presentation, including lighting and placement, of the work is not a destruction, distortion, mutilation, or other modification described in subsection (a)(3) unless the modification is caused by gross negligence. (3) The rights described in paragraphs (1) and (2) of subsection (a) shall not apply to any reproduction, depiction, portrayal, or other use of a work in, upon, or in any connection with any item described in subparagraph (A) or (B) of the definition of “work of visual art” in section 101, and any such reproduction, depiction, portrayal, or other use of a work is not a destruction, distortion, mutilation, or other modification described in paragraph (3) of subsection (a).

(e) Transfer and Waiver.— (1) The rights conferred by subsection (a) may not be transferred, but those rights may be waived if the author expressly agrees to such waiver in a written instrument signed by the author. Such instrument shall specifically identify the work, and uses of that work, to which the waiver applies, and the waiver shall apply only to the work and uses so identified. In the case of a joint work prepared by two or more authors, a waiver of rights under this paragraph made by one such author waives such rights for all such authors.

(2) Ownership of the rights conferred by subsection (a) with respect to a work of visual art is distinct from ownership of any copy of that work, or of a copyright or any exclusive right under a copyright in that work. Transfer of ownership of any copy of a work of visual art, or of a copyright or any exclusive right under a copyright, shall not constitute a waiver of the rights conferred by subsection (a). Except as may otherwise be agreed by the author in a written instrument signed by the author, a waiver of the rights conferred by subsection (a) with respect to a work of visual art shall not constitute a transfer of ownership of any copy of that work, or of ownership of a copyright or of any exclusive right under a copyright in that work.

2. Model and Narrate These Behaviors Constantly

3. Celebrate Rock Star Online Learners!

4. Make Students Explain Their Reasoning Online

5. Provide Students With Written Feedback

6. Use Data To Make The Right Connections In Class

7. Provide Support During Online Learning Time

8. Create Activities Tailored To Student Needs

However, an interesting finding in some of the empirical studies is that we tend to overestimate our own reading comprehension when we read on screen compared to on paper.

it has been found that we tend to read faster on screen and consequently understand less compared to when reading from paper. This is a very new research topic and there are studies that have not found any differences in this area.

such findings do highlight something very important, namely that we may have a different mental attitude to what we read on a screen. This has very significant implications, including in the context of education.

For example, reading literature has proven to have a stimulating effect on the imagination and encourage the development of empathy. Reading has an effect on our ability to concentrate and for abstract thinking. We want to discover if such processes are influenced by the reading medium.

There is a need for more empirical research on reading comprehension in terms of screen reading and also on the subjective reading experience.

But the teaching of reading veered significantly off track when those personal connections (also well represented on some high-stakes state assessments) began to dominate the teaching and testing of comprehension, often leaving the text itself a distant memory.

the shift to teaching reading as a set of thinking strategies too often left readers with the notion that the text was simply a launching point for their musings, images that popped into their heads, and random questions that, in the end, did little to enhance their understanding of the text itself.

examining meaning thoroughly and analytically

directing attention to the text, central ideas, and supporting details

reflecting on meanings of individual words and sentences

developing ideas over the course of the text

The best thinkers do monitor and assess their thinking, but in the context of processing the thinking of others (Paul & Elder, 2008)