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Two of the things I learned at the Learning & The Brain Conference at Avon Old Farms this year was the importance of learning cycles, and the value of face-to-face time. The brain takes in 4,000,000,000 bits of information per second through the sensorium of hearing, touch, taste, smell, sight, and kinetics.
The RAS processes this information (compresses it or filters it, we don't know) down to 2,0000 bps, and then the Amygdala analyzes it for stress or danger. If there's no stress or danger, the brain turns on its own reflective mode, and learning can occur, as the brain releases dopamine and seretonin, and a host of other neuro-chemicals to activate first working memory, and then long-term memory.
However, that cycle is short; you only have about 6-8 minutes of time before the neurotransmitters get re-absorbed and the mind begins to become bored. The only way to stimulate it is with a new burst of novelty that is neither stressful nor dangerous (to keep the Amygdala placated and happy).
Hence, the need to use Visual (V), Auditory (A) and Kinesthetic (K) methodologies to create novel, happy experiences so that the brain remains in a relaxed, happy, multisensory mode for a 40-minute period — the average length of a class at my school. Furthermore, there must be a priming — through homework, through classroom modification, through exposure to art, and through exposure to vocabulary — beginning a month to six weeks before the material is taught in the classroom.
Once in the classroom, this chart comes into play, quite literally. The priming feeds the cloud of energy that could/should occur in the classroom. Novelty initiates the first lesson, which encourages the students to learn by playing with, and then reviewing, a new concept every six-to-eight minutes. In a 40-minute class, this should happen 5-6 times. Furthermore, by combining this path of learning in the classroom with Ned Hallowell's FIVE STEPS of learning, any student (EVERY student) can in fact connect-play-practice-'master'-and-be-recognized in a 40-minute period. If I as the teacher am aware that the first 8-minute period is devoted to trying to get everyone to connect to the classroom's Daily Main Idea, then everyone should get connected. The second 8-minute period is about playing with a new concept or skill. The third is about practicing that new skill; the fourth is about working that skill to become much better at it. The last 8-minute period is about reviewing the day as a whole, and recognizing each student for what they have accomplished that day.
Then there follows a period of reflection or fermentation, where the student isn't in your class, but is interacting with and connecting to other ideas. The ideas bubble into long-term memory, and then have a chance to re-emerge during that night's homework. With luck, the ideas explored in class and in homework then are explored in dream that night — when we do a substantial part of the processing of information
and data. Further, the homework ideally contains some element that primes the learning for a lesson in the next week, and the next month.
It's an ideal to work for, and I'm looking forward to trying it.
The empathy map, one of XPLANE's methods for understanding audiences, including users, customers, and other players in any business ecosystem, has gotten some press lately because it was featured in Alex Osterwalder's excellent book, Business Model Generation as a tool for discovering insights about customers.
Here's how it works:
GOAL: The goal of the game is to gain a deeper level of understanding of a stakeholder in your business ecosystem, which may be a client, prospect, partner, etc., within a given context, such as a buying decision or an experience using a product or service. The exercise can be as simple or complex as you want to make it. You should be able to make a rough empathy map in about 20 minutes, provided you have a decent understanding of the person and context you want to map. Even if you don't understand
1. Start by drawing a circle to represent the person and give the circle a name and some identifying information such as a job title. It helps if you can think of a real person who roughly fits the profile, so you can keep them in mind as you proceed. In keeping with the idea of a "profile" think of the circle as the profile of a person's head and fill in some details. You might want to add eyes, mouth, nose, ears, and maybe glasses if appropriate or a hairstyle to differentiate the person from other profiles you might want to create. These simple details are not a frivolous addition -- they will help you project yourself into the experience of that person, which is the point of the exercise.
2. Determine a question you have for that stakeholder. If you had a question you would want to ask them, or a situation in their life you want to understand, what would that be? You might want to understand a certain kind of buying decision, for example, in which case your question might be "Why should I buy X?"
3. Divide the circle into sections that represent aspects of that person's sensory experience. What are they thinking, feeling, saying, doing, hearing? Label the appropriate sections on the image.
4. Now it's time for you to practice the "empathy" portion of the exercise. As best you can, try to project yourself into that person's experience and understand the context you want to explore. Then start to fill in the diagram with real, tangible, sensory experiences. If you are filling in the "hearing" section, for example, try to think of what the person might hear, and how they would hear it. In the "saying" section, try to write their thoughts as they would express them. Don't put your words into their mouth -- the point is to truly understand and empathize with their situation so you can design a better product, service or whatever.
5. Check yourself: Ask others to review your map, make suggestions, and add details or context. The more the person can identify with the actual stakeholder the better. Over time you will hone your ability to understand and empathize with others in your business ecosystem, which will help you improve your relationships and your results.
Austin Kleon's eyebrows/mouths exercise, with my proof of Austin's concept that captions add meaning.
En Noviembre voy a dictar un curso abierto de Presentaciones Efectivas en la Universidad Javeriana.
Inscripciones abiertas.
Para mayor información:
Tel: (571)3208320 Ext 4569 - 4625
Fax: (571) 3208320 Ext 4569 -4576
educontinua.com@javeriana.edu.co
www.intersectionconsulting.comThis is a visual designed for a client. Calliope is a leadership and learning company based in Victoria, BC. The challenge was to create a visual that represented their core values and mission to inspire leadership greatness. www.calliopelearning.com/about/company-overview.php
Sketchnote resumen de la charla sobre Visual Thinking de Rafa Vivas en el Centro de Innovación BBVA 13 de mayo de 2015
Organised by Julie Guegan and Obhi Chatterjee, the internal summer online sessions offer to European institutions colleagues conversations on topics such as navigating uncertainty, building trust, overcoming biases or emotional courage. "All of this with a view to equip ourselves and develop good strategies to cope according to research and the experience of our colleagues", as beautifully expressed by Julie. Last week's session was on What is the right mindset to thrive in challenging times?
To feed our conversations, the session hosts chose a Tedtalk by Carol Dweck on The power of believing that you can improve. Here are my visual notes, sketchnotes, where I tried to capture the essence of the points of the Tedtalk as well as those expressed by my colleagues.
Thank you Lucia Soldatova Miruna Andreea Stamate Obhi Chatterjee for hosting online so well.
I'm going to lead a couple of mini-workshops on visual notetaking at RefreshPhilly tonight. These notes are my preparation for tonight. The first thing I'm going to do is give a little drawing instruction, using Ed Emberly as inspiration.
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This image is image 26 of the 100 Days Envizualized, a project where I upload my visual notes that I create on 100 consecutive days. To check out the other notes, go here
An eBook will be available of all 100 days worth of notes, with annotation, once the 100 days are over.
I created the original visual to promote the webinar on #EUClimatepact organised by the European Commission's Directorate-General for Climate Action (DG CLIMA). Then organisers asked for this adaped version (without the mention of the webinar) so that they can reuse it in their future communication.
The European Climate Pact aims to engage citizens and communities in action for our climate and environment. The second #EUClimatePact webinar held on 14 July 2020 was organised as a follow up to the open public consultation, which received 3510 contributions.
Done on Ipad and Procreate.
More on ec.europa.eu/clima/events/second-european-climate-pact-we...
Here's two pages of notes in my American history notebook - one is a page of increasingly complex Zentangle patterns, the other a random assortment of symbols from Hopi and Zuni carpets and winter counts (actually collated from the postcard resting against my computer.
If you took 45 minutes, a class period, to teach these (as I did), the quality of your student's note-taking ability would go up — because you would have shown them things to do with their pens beyond just write with them. And they will turn their notebooks into works of art, as they doodle and draw around their notes about The Aztecs and the Intolerable Acts.
You're also showing parents and kids that you value creativity — that beauty is important in your classroom. And if you want to know more, you can follow posts on visual thinking on my blog at andrewbwatt.wordpress.com
The Power of An Agile Mindset by Linda Rising. Visual notes by Lynne Cazaly at the Agile Singapore Conference 2014.
1. Things that are flat, 2. Vending machine, 3. 16 Trucks, 4. BLUE BLUE BLUE, 5. Vertical rectangle collection, 6. A collection of rectangles, 7. Paper, 8. Litter, 9. 16 dumpsters, 10. Shed, 11. 16 hydrants, 12. 16 hydrants, 13. 16 squares, 14. Composition in blue, 15. Blue dumpsters, 16. City colors, 17. Paper and plastic, 18. Cabinet of curiosities, 19. Vending machine, 20. Yellow hydrants, 21. Fire hydrants, 22. Pale composition, 23. Urban abstraction II, 24. Metal, 25. Earth tones, 26. Landscape construction, 27. Yellow orange red, 28. Urban abstraction III, 29. Black composition, 30. Urban abstraction I, 31. Abstraction, 32. Metal, 33. Landscape construction, 34. Pavement, 35. Quilt 1, 36. Pavement
Created with fd's Flickr Toys.