Hello everybody. Hi and welcome to this art and inquiry themed, Art Hangs with MoMA Learning event. We are broadcasting live from the Department of Education here at the Museum of Modern Art in New York. My name is Stephanie Pow, and I'm an educator specializing in interpretation and research here at MoMA. I'm happy to introduce my colleague Lisa Mazzola who is Assistant Director of School and Teacher Programs. She's also likely a very familiar face to you because she's also the instructor of the museum's first massive open online course entitled Art and Inquiry teaching museum teaching strategies for your classroom. We've really conceived of this hangout as a virtual open house event for those of you who are enrolled in the course or for anyone interested in learning more about the inquiry methods used in museums and how they might apply to your own practice. If you've ever watched or participated in a hangout on-air event. You know that most hangouts take the form of a roundtable discussion involving multiple on-screen presenters. This is a format that we really love and have used in the past, but this time we've decided to do things just a little bit differently. As Lisa and I were planning this art hang our partners at Coursera told us about a new Hangout On Air tool called Questions, which Google is currently field testing with a really limited number of users. One reason we are really eager to beta test the Questions tool is that, we were always looking for new ways to make it easier for you to take an active role in the conversation. And with over 17,000 people currently enrolled in the Art and Inquiry course and only an hour of broadcast time available tonight. We know that we probably won't have a chance to address every single question that's sent to us. But the Questions app offers us a really easy and more democratic way for you to chime in, either by typing in a question or by voting for which questions you think are most important. So I just want to give a little sense of how this is going to work tonight. When you went to the Google+ event page, you should have seen and clicked on a black still image overlaid with the word the words Hangouts. And if you did that, then you're watching this broadcast from a pop-up video player. And you also see a green ask a new question button towards the bottom of the pop-up window. If you click on it type in your question, and then press the submit button to ask your, to add your question to the queue. You can also participate by voting on your favorite questions. And to do so, simply click on the plus sign below that question. And the most up voted questions will rise to the top of the stack for consideration by for consideration. And have a better chance of being answered by Lisa. So without further ado, I think we should put this new format to the test and I'm actually going to turn it over to Lisa who has a few words of welcome. And in the mean time, please feel free to start submitting your questions and voting on, on your favorites. >> Hi, everybody. Welcome to the Art and Inquiry Open House. This is very exciting. I'm really glad that we have the opportunity to be here together in real time to discuss your questions about the course and to test out this new feature in Google Hangout. I really enjoyed not only, you know, putting together this course, but also, just being a part of the discussion forum. You know, reading your posts and, you know, posting when I can, and I'm, I'm really in awe of the amount of sharing that has taken place thus far. You know, your abil, ability and willingness to share with each other is, is one of the reasons why I love my job working with teachers specifically. You know, by nature I think you're very thoughtful, creative, inquisitive, folks. And that's really evident thus far in the conversations. And you know, or those of you who maybe are, are posting to your assignments, but maybe not following some of the other forums as closely. I just wanted to point out that there are some really great ideas and ways that people are expanding on the content of the course, both in assignment forums, and in the, in the teacher's lounge. We have, within the teacher's lounge, several subject content area specific threads. There's one for history, for language arts, for science, for math. We even have a thread of museum educators who have come together, and they're talking about you know, the ways that they are engaging with inquiry. And you know, in addition to their own ideas that they're posting, everyone's cross posting within those threads. So what's great about that is that now there's all this other sort of richer dialogue that's taking place amongst so many different types of educators. Which is something that, you know, I think we were all, on our end of the course developers, hoping for, but it's been really wonderful to see that exchange. So, thank you for that exchange and also, thank you because I've gotten a lot of really great teaching tips from you guys. So, I really appreciate it. I've, I'm looking at MoMA objects in a whole new way, which is really, really awesome. So, I see that there's some questions that are being loaded. So let's start answering your questions. Let's see. So, you know, I see this question that is about the techniques and how these techniques would be different with adu, you know, are they different for adults. Do they work differently for adults than kids? And I think that's a really, really great question from Bill. You know, one of the things actually, you know, I was specifically looking at today in preparation for the hangout and just thinking about the final week of our course and, and some other kinds of things that I might want to tell you guys about. We have a variety of really interesting programs in the education department that are, you know, students, adults you know, all different types of, you know, sort of subgroups within that. And I would say that, in general, I would say that no, the techniques are not dramatically different. And I think that yes we do tailor the techniques to meet our different audiences. But, for example one of the projects we have here is is the Meet Me At MoMA project, which is our Alzheimer's project. And there's actually a really great website that I often use for teaching research, research that has just modules and ways that they, the folks who work in the Alzheimer's project work with objects and engage with their audiences. And I was watching some of their content the other day, and it just reminded me again of how, one, how similar the strategies are. But, the, the really amazing nuances of how just knowing your audience, similar to how you guys know your students. How you can just tailor this particular approach. So I would say it would be different in that you would understand that cognitively, depending on the age of the students and who the adults are, it might be a little bit different. But in general the big ideas and big concepts can absolutely be applied in, in almost, with almost any audience. I think that, you know, sparking creativity and sparking people's great ideas is, is sort of a universal thing. So I think that's a really great question. >> Mm-hm. >> Okay. What question, oh yeah. Stephanie, did you want to? >> Looks, yeah. It looks like what questions or activities do you use when the participants begin to drift and lose attention? >> [LAUGH] That's great. >> From Alice. >> That's a really great question. And thank you Alice. It's, it's funny because someone, there was actually a discussion forum conversation, specifically about that. Couple of things. I mean, I my personality I have a pretty sort of outgoing personality. So there's a couple of things. I mean, you know, you guys for those of you that are that are classroom teachers especially. But I think all teachers encounter this, you know, we all have our sort of tricks right? Our ways of kind of looping people back and getting their attention again you know, one of the, you know, more, more basic things that I might do is depending on what the dialog and the, the sort of cross conversations are, like, I try to listen in, like, what are they, what are they doing while I'm talking. And then I start to think, well what am I doing that's not engaging them? So one, sometimes I just listen a little bit because often if students are sort of drifting, it's because their attention might be more interested in another aspect of a work of art or the conversation, so I try to be really like, careful about what it is that they're doing. Like, what's the dynamic? Is it like a fidgety physical thing, is it, is it like a side conversation, and I might be like, well what are you guys talking about, like what's interesting to you? And if I fe, quite honestly if I feel like the conversation isn't working in the direction. Where we're going, I'll just, in that moment, it's that flexibility fa, facilitation piece. Where I just decide, okay, this isn't working. Well where am I going to bring the conversation next? Okay well, we've talked about x, y, and z. You know what, let's talk about this or if I think that maybe it's me, and maybe they're somehow kind of not focusing on me, I might turn it to a partner talk conversation, or all the sudden turn the dynamic from talking to maybe something that's doing in small groups or with a partner to bring their feedback, or to bring their attention back, I should say. >> Mm-hm. All right. Looks like we have, well, I wonder if you've covered this, but there's a, a, a question with 12 votes that says, I always struggle with kids getting silly and noticing nudity. How would you address this in inquiry-based learning? >> You know, there is a certain amount of, you know, there are the, some things in our collection that when we're walking through galleries that could make kids, you know, chuckle or get kind of silly. Quite honestly, what I choose to do if, especially if we're just walking by something is I don't really engage it. It, you know, if I think that, you know it's just something that I can, you know, kind of like, laugh with them a little bit. And great, let's just keep on going. I don't put any attention to it. I don't call it out and often, you know, I've been working with museum collections for a really long time I find that 99% of the time, if you don't engage it, they don't go there. I literally, I won't, I won't say anything. I'll just literally, and if, and if it persists and persists, I might make like, you know, okay, that's funny. But let's focus back to here. I just keep redirecting my energy to the content that I want to talk about and I don't even, I don't even engage with it other than that. And most of the time, if you just, kind of just, like, put it, put it to the side, and well we're here talking about this. They can, they generally, when they're here in the museum, they can let it go. So, you know, I just, I just don't give it any weight, and then they just then they just kind of follow along. >> Mm-hm. All right. There is another question from actually, the other one has risen to the top. Hm, which one to answer. [LAUGH], have you, have you been able to use these techniques with children with special needs in the museum? >> Yeah. Actually and, and, you know, I'm going to reference, you know, several times, I already did with the Alzheimer's, the Meet Me at MoMA project. And I just want to highlight the great work that all of my colleagues are doing here at the museum. Obviously, I'm not the only one here. And we actually the way it works here, is we actually have different people sort of working across audiences and then in different areas. And we actually have two different ways that we have done that and one, there's several programs that we have. One is called our creatability program, and if you actually go to the MoMa website, and just go to the learn you go explore, you go to learn, and then you can go to community programs. And you'll get to creatability. And it's actually a program that is for children and adults with various developmental disorders and there's actually a great video that they've put together to highlight the strategies, but also just to highlight the work that we do. So, yes we have done that and then also through our work with the Department of Education specifically there's a district here, who deals with students with special needs we have close ties with them, and I actually work with them as well. You know, me working with them in terms of the work I do in teacher programs, and they also bring their teachers here, for professional development and then they also brings their students. And overwhelmingly, the response to this approach, it's just been amazing. And, we have such great teacher colleagues locally here, and again through the creatability program which is for kids and adults and their families to come together. And I strongly recommend that you look at some of the content that's on moma.org about those program and it's been great to be a part of that and I feel really lucky that we get to work with both of those programs so. Yeah, so thank you for that question. >> Right. Okay the next question with 16 votes is there a way that MOMA can collate some of the information on the discussion form into a format that can be accessed by coarse participants e.g, Weber's Sources Lesson Plans or Specific? To, topic specific post. Say that we can download as a PDF later. >> Hm, you know that is a really interesting idea, and I actually am going to go ahead and just make a little note of that there is so much content there. I mean, I was planning, actually, myself, to do a deep dive into the discussion forum. Which, just so you know, the discussion forum content, if we leave the course active, which we are planning to do that. After the course concludes, you can still have access to the discussion forum. So you'll, you'll be able to continue to go in there but that's actually a very good question. I hadn't thought about collating and sort of because the volume is so large in MOOCs, I wasn't sure how we could distribute out, other than within the MOOC, where you can access the content. But I'll definitely give that some thought about maybe some other formats, and obviously if you guys have ideas about that you can post about that. I know there is like a Facebook study group that got started but I would say for now the content, just so, you know, is going to be there for you to access beyond the end date of the course so you can go back and get it. But I'll definitely give some thought to maybe some other format, you know, that possibly these ideas can be shared in. >> Mm-hm. Great let's see. We have a question about assessment, and how can inquiry learning be assessed. Do you use assessment rubrics? It's a really interesting question. >> Yeah, I mean, and there's a couple of different you know, I'll tell you about what we do here, and then I'll share sort of what I know. About the field and I think that actually and I'm just going to, just make another note about this, because I think this could also be a follow-up thread in the discussion forum. In terms of what we do here at the museum, we do, our format, just so you know, is a little bit different than say, if you're a classroom teacher. We see the students sometimes for, for either, you know, a range of one to three visits. We do have partnership programs, where we'll see students for a longer period of time. But in general, in our school visit program, you know, the average is one to three visits. So, what we do is we will do evaluation of the program as a whole-. But actually doing something that was like an inquiry focused study we have not done. We've did o, done overall studies about our approaches and our practice, definitely. In terms of the rubric what we have done is we have a we have a professional development program that we do every July called Connection Collections with the Whitney, the Met and the Guggenheim. And we actually use a specific rubric there, when they're working on their lesson plans that they're creating. So, but one thing that I would say, is that there, on the Guggenheim Museum's LTA program, the Learning Through Art program, they actually got grants to evaluate their program. And I actually recommended Rebecca Sholes Herman, Sholes' book in the course. And on their website they actually have posted some of their research, just about evaluating their program in general, which is a, is a multi session residency program in schools. And the idea of inquiry and art comes into that. So I would definitely say to look at that. I don't have a particular rubric that we use but I bet there's other teachers out, in this course, that do have rubrics that they use that can be applied. It's, it's a tricky thing, right? Because there's this level of engagement that you have to be able to create a measurement around. But I think that that idea of a rubric, I think there are ways that you can create rubrics and, obviously, you'll see the peer assessment that I came up for you guys and the project. But I think what you're talking about is when you're actually facilitating with the students. So, I would say, if you look at that learning through art study, where they actually took students over a period of time using this approach, I think that could be some really good data. And I'll also put a note to actually reach out to the woman who wrote that book that I referenced and see if she has specific, she talks about assessment in the book. I'll ask her specifically if she's got rubrics that she uses. I mean, I think you could create a rubric. I think it just depends on your teaching environment, and what your goals are. We don't always use a rubric, just because, again, we, we have them here for a finite period of time. And it's usually one to three visits. So we just work with the teacher and kind of work with them on evaluating what their goals are. And we do, we work in alignment with those teacher's goals. So really it's the teacher, most of the time, who's doing the kind of assessment later. But that's a really good question. >> Mm-hm. Great. I just want to interrupt just a little bit. I noticed that someone named Sandy was having a little bit of trouble with image and audio, or video. So I think maybe I'm, I can't really diagnose your issue from here, but I think if you got to the event page, maybe just close the pop up. And try relaunching it, by clicking on that black image with the words Hangout overlaid on it, and see if that fixes your question. Yeah I'm hoping, I'm hoping that you'll be able to get in. So we have a great question what, what advice if you could give one would you give to someone who is going to start teaching for the first time using art inquiry? >> Well. >> kind of big question, but. [LAUGH]. >> Yeah, no. And I, and I think that well, number one, I would say do not be, you know, be flexible. Don't, don't be afraid of the outcome. I mean, I think that, and this has come up a lot where I think that and Laurel talked about it in the article. The idea of how uncomfortable we get with sort of a silence that happens when you use this approach. And I think that you sh, you know, I want to strongly encourage you to be brave and not be fearful and to just be as open as possible to the process. And be open that in the beginning it's going to take a little while. I mean, it was a very long time ago now, but I remember when I first started teaching in this way. Well one, I was terrified. And two, I, there was a period of time where I noticed that I was asking questions in a certain way and I wasn't getting the response that I wanted. And then over time what I realized is the more flexible I could be in the moment and just think, okay, well this question isn't going that well. What's another way I can get my students to understand what I'm trying to ask them? And sometimes, you know, it's just simple, and that's the beauty of starting off by asking them what do you see? What do you notice? Because everybody can look at something and talk about it. And the more stuff that they generate, I just started to be more comfortable with following the threads of where they went. So I would say, one, just be flexible, you know, don't be afraid. Trust your instincts as a teacher. You know, you know what to do, it's, it's, and you're probably already doing it to a certain degree. So I would say just be brave, be bold, do not be uncomfortable when it's quiet. There is nothing wrong with quiet. It just means your students are thinking. So you shouldn't be afraid of that. And just, just go for it. And just keep, keep trying, and keep trying until you get the right mix of what works for you, the right way of presenting, you know, the, your approach. Just, just be, have faith in that process. >> Great question. Great advice. [LAUGH] Okay. We have, let's see, how do you quickly assess the art history background of a mixed group of visitors to a museum that you have to guide? >> That's, that's a really good question. I mean, a couple of things that you should probably know about, sort of, what I'm doing here, at the museum. I, you know, one, I am teaching in this, you know, inquiry based way, which is really wonderful. Because it's really based on, on conversation, and us, you know, generating ideas together. Even if it's an adult group, because sometimes I do end up with either teachers who are adults, or I might end up with a mixed group, with a family group. And, and there are times where it's it is that way. I generally don't ever plan to throw out any huge, big art historical topics or terms, sort of straightaway. No matter, I, I generally will start with a question like, have you guys ever explored this? Or what do you guys know about this? Or, I'm always kind of asking them, I'm very sort of upfront about that, like, what do you, have you guys ever experienced? You know, how many of you have seen this, know this artist? And have you seen any of his artwork before? I never assume anything. And I just, generally, ask them. I'm very up front about it. Because you know, people come with, it's true, very varied experience. And I don't assume that people know anything. Now, on the other end of that, you know, often, when I deal with teachers, especially, like, you know, art studio teachers or art history teachers, I might say to them, well, I imagine you guys know a lot about x or a lot about y. What, what is it that you know? Share with me what you know. And I just ask them to share with me what they know. And you know, I, I keep it very open, and I, I try to be as, you know not as loaded about anything. I mean, I don't assume that anybody, you know, knows anything. And, and I just ask, I just ask them straight up, very direct. >> Mm-hm. And Lisa, don't you often start with, you know, what kind of things that can be seen in the work? Details that can be seen in the work? >> Yeah. >> Or whatever object you happen to be talking about, so that you're staring with a, a point of reference that they can actually observe on their own? >> Exactly. I mean, quite honestly, when it is, you know, students and teachers that I'm working with, my normal audience, it's really not about the art historical context, straight off the bat. It's totally like, what do you see here? Just, you know, literally like, we can talk about the visual elements. And I might introduce vocabulary, so they can associate something they see in the work of art with either the foreground or the background. But it's never really, we, I never need to really worry, quite honestly, about what their background is. Because we're always just starting from the same place, all of us, so yeah. >> Mm-hm. All right. With 19 votes, we have a question from Emily LLP. How do you feel about preparing students for class, with digital resources? Do you think students can practice. Looking on a screen, maybe, maybe that's do you think students can practice by looking on a screen. >> I mean I think the question, if I'm, if I'm hopefully understanding it, is really about using reproductions and. Absolutely. I have no, I think that, especially if it's say, a teacher preparing students, either in the classroom for a museum visit or, in general, just working in the classroom. I mean, there are some teachers who aren't able to leave the classroom, and, to go on a museum visit. So I have no problem. With digital images, or reproductions of any kind. I think that, something that we are always very aware of here when we're working with teachers and giving them strategies for them to use in the classroom, or if it's our MoMA educators going into the classroom, which happens in like pre-visit or post visit. That we try to make sure for example, you know, if we're taking about a sculptural work of maybe it's a work that's a huge scale work. We try to give them tools so that they understand the dimensionality of an object. Or any physicality of it that. That we think that they need or something, you know, if it's not going to be representative in a two dimensional image, we try to come up with strategies for them to prep their students so they understand exactly what they're looking at. But I don't, I don't think there's any, any problem with using digital resources. And, and luckily these days there's some other tools. I mean we've. You know, and next week you're going to hear about some, specifically on the MoMa learning site, but there's even things like, you know, the Google Art Project, where people can look at close details of a work of art. So I, I think that looking at things digitally is not, is not a bad thing. I'm not, I'm not against that. >> Mm-hm. Okay, oh, we actually have a question. Let me see, I just want to scroll down and make sure I"m seeing the ones with the most votes. Well you kind of covered this question a little bit. How can new technologies be used with inquiry learning. I don't know if you have anything to add to that last question that you answered, about using digital images. And >> Well just to say. Day. And, you know, you guys will see more about this in the week four lecture video. Just that there's amazing tools. I mean, some of them are already on the, the web resource list that we posted in, in th course. There's. Great tools that also foster close looking, and the other great thing so much content is now available, in digital foreman online. So I think that all of that stuff just, you know, use, you know, I don't think every piece of technology should use use because it's technology, But I think whatever tools help you, you should go out and use it, so if it's a great piece of audio or video that supports where the dialogue or the conversation's going, you should definitely use it. And again you'll hear a little bit about some resources that I kind of point to next week, but yeah, I think that's, I think that's a great. >> Yeah. >> You know. >> And it seems like technology is a great way to also introduce the voice of the artist. >> Mm-hm. >> Either in the galleries, or you know as a preparatory thing, or a kind of follow up experience. Just to get, you know, some multiple perspectives on that object, or on a work of art, directly from the creator of it. >> Absolutely. >> Let's see. Okay. We have a question about structure. How's the, how important is the technical structure of the lesson, and discussion to you? In other words, if students are interrupting you and one another, how important is it to address that in order to encourage a respectful discussion? >> Well, I think that I'll sort of address it as kind of two areas. And I mean in terms of the idea of this respectful discussion. And I think someone actually posted about that. I saw a thread today in the discussion forum, and then someone was asking about the kids laughing at things. I mean, my experience is that. I, you know, I, I have been fairly fortunate, I guess, in that, you know, it's, rare that I've had situations that I thought, the conversation was not a respectful conversation. I mean, I like you guys. Have certain facilitation techniques. And yes, it's very important to me. If all the kids are talking at once. You know, that's not okay for me, and I will just stop everyone and say, sometimes I literally will stop everyone and say, take a deep breath. Close your eyes, let's just get centered for a second, and then let's start again. And if kids are going crazy, you know, similarly, I just tell them straight up, we can't have a conversation if you're all talking at once. So I'm just going to wait. 'Til you're all done. And that generally just keeps people, you know, and then they're, you know, they're a little bit embarrassed, you know, you shame them a little bit. But then they, you know, and then we can proceed. So, you know, I, I probably use the same sort of techniques that you guys use in terms of your classroom management. And I do think that's. Super super important. You cannot have a fruitful discussion if everyone's talking at the same time. So then I also bring up the idea of, you know, we have an environment a culture of respect. I listen to you. You listen to me. And you will listen to each other. So right off the bat, what we do at all of our educators talk about this here at the museum that. This is a conversation and it's about listening to each other. So it's not just me talking to you, and you don't get to talk at all. It's about us all listening to each other and we have to do that respectfully. Within that, I do think that structure is actually very important and as open as this approach can feel, which is really wonderful, we're very structured about the way we approach these interactions with. With the students, I mean I'm always thinking about, how they might react to a work of art, I'm thinking about exactly the kinds of activities that I want them to do. I'm, I'm very clear with them upfront about my expectations, so I would say, yes, I think structure is very important, and I think just like with any good teaching, you have to be very transparent about your expectations. All right. We have a really interesting question. We've talked about difficult students. What about how to deal with difficult teachers when they're trying to over take your lesson or tour in the museum. That's really funny. Okay, well, you know, first of all, and I, I, if you were all with me, if all 17,000 of you were with me in an actual, like, you know, in person workshop, I would tell you that I think that teachers have the hardest job. I'm actually the daughter of a teacher. And I think that teachers have a very hard job. And it's the mo, the hardest job, in my opinion, on the planet. And I think that are times that I've experienced where you know, teachers, I think just get excited. They want to input, and I actually think that there is. Absolutely room for that within a, within the museum setting, let's talk about my setting. I, I actually welcome teacher input, I think just like with your students, and I'm sure you guys joke with your colleagues about this sometimes too. I find that teachers, when I work with them, act very similar to the students. So I actually just approach them in the same way, and I'm very clear about what my expectations are, and I'm all for. Contribution. And occasionally on some more controversial art historical or art works, some controversy, or, or there might be a teacher who knows a lot about a particular artwork and they want to share, and I, I let them share. And then if I feel like we're kind of getting. Sort of off topic or off theme and off focus, then I'll just you know, very gently be like, that's really great. Thank you so much for sharing, but let's go back to X or Y. So, I think it's just really important to let people, let their feedback be heard. And then, just like you would sort of manage your students, you just manage the conversation that way. Hm. >> [SOUND] Sound advice. An experienced teacher. Okay, we have another great question. By the way, thank you everyone for submitting all these amazing questions. And- >> Yeah. >> Also for, I'm just so glad that this questions app is working out as, as well as it is. Contemporary art can be intimidating sometimes, so how can you eliminate this fear, especially for students with minimal background in art? >> That's a really great question. Yeah. So this is my full disclosure moment. So, I've been here at MoMA for eight years. And when I started working here I actually came from a design museum. So I was not dealing with contemporary art, modern or contemporary art. I was dealing with modern design and contemporary design. But I have to admit that when I started working with the collection, especially the contemporary collection, my education base and sort of my art historical education was you know, I had a learning curve that I was experiencing and so a couple of things, one, what I always remind myself is that really the approaches that we're talking about with the students, it's the same, it's the same for those. Objects, right? because it can work. And I, I do believe that, with any object. So I think the first thing is to find a very specific connection with those works of art, and your students. So I'm very careful about the works of art. That I pick. I try to pick things that I think that they can connect with, around a theme. And again, in week 4, I'm going to talk more about theme, and how you can link the objects. And you know, the other thing that I often do, too. I find with, actually with contemporary art, students are actually pretty, pretty easily, there, there, they engage with it actually a lot more easily than you think that they would I don't know if sometimes there are things that might be sort of new media or you know,. Maybe it's because in their world you know, I feel like there's a lot more that they're seeing and experiencing, especially with the digital world. So it's not, it, it's, I, I wouldn't say that contemporary art, I have a particular problem with the students. Sometimes I feel like it's more teachers that grapple with it. Whereas if I take them to something more representational, and that's the other piece, sometimes it's just something that is more abstract or more conceptual is what is the sticking thing, so if I think that there's something that needs to be. Sort of said up front. Or a little piece of information that might help them connect. I'll always make sure they know what that thing is, and then proceed with a conversation. But I, generally speaking, kind of bring them in. To these works, and if I know I had a time that I'm picking something that really fits to my theme, I just kind of anchor around what my big ideas are, and if my theme, which again, in week 4 you'll learn more about this, is something that's universal that students can connect to, then I stay there. And then within that. We can then look at the object. And generally speaking, students really don't have a problem making that leap. They're very bold in that way. And that's something that I really live about working with. You know, modern and contemporary art because I feel like students are willing to make that leap. So I just make sure my goals are really clear in my own mind and I think about how I think the students might react and then I can just facilitate the conversation and if a student. Are having trouble with something. I mean, if they were having so much trouble with something if they couldn't generate any ideas about something then of course in that situation I would probably just move onto whatever next object I was going to talk about, but I've never had that problem, that a student couldn't have a conversation around a contemporary work. >> Okay. We have a question about group size. Is there an ideal group size for inquiry-based learning? >> This, I mean, I, I'll tell you what our sort of size of the, of the groups that we deal with and knowing that you all deal with different group size,. I, we have a 1 to 15 ratio here at the museum, we used to have a 1 to 30. And I can say from a facilitation standpoint. A smaller number of students, in some ways, is easier. I don't know that I think that there is an ideal size. I think if you have a huge group of students, like, and I don't know if there's any teachers out there that are ever dealing with more than 30 students at a time, I think that could be a problem. But quite honestly, between the 15 and the 30 shift that we had here, I think. In both cases we were able to you know, I, I think that we could accomplish our goals. So, I wouldn't say, I mean again, I've always dealt with, you know, those. Group sizes, I've also had sometimes a smaller group shows up and, and sometimes we have a really small group in a way, it's sometimes harder if it's less kids talking. So I wouldn't say that there's a perfect group size, I would just say that whatever the group size is, you can structure things. You know, if it's very. Big group and sometimes some teachers have a harder time facilitating a large group. You can always, sometimes I'll put students in smaller groups and have them do projects that they come back and then report on. So, I wouldn't say that there's one exact size. I would say it's just about sort of tweaking. You know, tweaking your sort of facilitation techniques. But I think most of you probably have a, a pretty good handle on, on most of your students. So I would say that you know, that there isn't one set number. >> Mm-hm. Great. Let's see. I'm looking at the questions and I think some of them you have addressed. We, actually have an interesting question about apart from running this course again, does MoMA have any plans for future hangouts or other ways we can connect. As a community. >> That's a really great question. Yes, I mean you know, Stephanie and I both and some of our other colleagues here, we you know, so far we've been experimenting with the hangouts. With our hangs and we've really enjoyed them. And. And, you know, this week some of you or hopefully, most of you have been able to look at a ArtHang that we did last time. because we actually, I sort of assigned a couple of pieces of that for you guys to see those inquiry. Techniques in action, over a Google Hangout. So I would say yes. And obviously, Stephanie, you should chime in about this as well. So, so, you know, plan to see more of these. I mean, I think we really like working with this format. It's been really great. You know, to experiment for sure. And then you know, in terms of the course itself and, and this MOOC platform you know, there's definitely been conversations about other things that we could explore there as well. Did you want to add any of the stuff, any about the hangouts? >> Yeah. I mean, I think yeah, the, the hangout has been a really fun experience for a platform for us to experiment with. I mean, the first time we kind of did it as kind of the more typical round table discussion where we used we actually got you know, as you, as you saw if you watched the, the broadcast. Some kind of non-art people together and actually demonstrated for them some of the art inquiry methods that are used on-site in the museum, but in a virtual space. And using someone had a question. Earlier about digital images, like that's a perfect you know, use I think of digital imagery, and kind of a digital platform. In order to kind of engage people, even if they can't be onsite, at the museum. And I think. You know, the course is going to be run again, and then, you know, we, for this we wanted to play around with this new questions app which I think, you know, as we were, you know. 40 minutes in and I think we've gotten like a ton of questions and I think we probably will run this sort of format again, but we're also very open to using this format for other ways to have conversations, either about specific works of art or about topics in learning and engagement. Around art I think also we have as you saw, the MoMA Learning site so you can, that resource is always available to you. We have the @MoMAlearning Twitter handle which you know, is, is used to engage. About the education practices of the MoMA education department but also as a platform for us to share the information that is funnelled through us, because we I think that you know, we do have. We do follow a lot of people and try, as much as possible, to disseminate information that comes, comes to us, to the, the, our followers yeah, and I think you know, there's Facebook. Page MoMA K to 12 teachers, I believe, is that what they call themselves? >> Mm-hm, yeah. >> So, yeah, there's a multitude of ways and yeah, we definitely love the hangout capability and will be testing it out again in the future. So, I think we're ready to move on to the next question which is, ooh. Is there a momo work of art that you personally have found generates the most interesting and engaging conversations? >> Oh, God theres so many. Ugh, I mean, you know, this, I mean I think anything can generate a lot of conversation. I mean, if you asked me to sort of like pick, you know, when I saw that flash up on the screen about favorite ones. I mean, it really depends what the theme or the topic is that I'm teaching from. I mean, I have, you know, character street Dresden, that's a work of art I love. Segal, Eye in the Village. Again, but, I mean, it really depends on, like, you know, who the students are I mean, God, there's so many works of art that I, that I enjoy teaching with and that are really generative. You know, Jasper John's Flag, Duchamp Bicycle Wheel, I mean. It is kind of, I, there, there's almost no object that I've ever really taught from, that students have just like, not really been that excited about. I mean, you know, I think that yeah. I mean, if I had to pick sort of my favorites and it's, I, you know, I don't know that I have, I have works that I think of for certain things and I'm happy to if it's helpful to anyone, you know, share some of the. And again, and I keep referencing before, because I talk about how you can sort of save the objects in the, on moma.org into these little sets. But I have all these little sets that I've created, and I know when I teach certain things for certain things. So, I guess maybe in those ways, those are my favorite but again, I would say it's more about the, the, it's not my favorite object. It's what do I think the students are really going to connect with? Does it, how do these objects relate to each other, do they fit with my goals? And as long as I find ways to engage them in the, in the, inquiry part of the object. And get them interested in the looking. So many interesting things can happen. And sometimes it's objects that I don't, necessarily think. I mean there are times where, you know, yes, there are certain things that I, I know of say, on the fifth floor, that I think would be good things to teach with sort of, you know, characters, or narrative, or identity. But it often objects that I don't always teach from, because I try to do that to myself to like don't teach, you know, from this, because you always do. Why don't I try this? And then all of the sudden I'm completely blown away, by things that they say, so I wouldn't say that there's any like set group. I mean I like you know, I'm always excited when new things get ro, rotated into the on view that haven't been on view before. So I would say like generally speaking if it's something you're excited about you know? A lot of times like if there's something you think is really interesting often it's something that the students will think is interesting too. So yeah, hopefully that's an answer for you. >> Okay, let's see we have a question about books. >> Hm. What is your favorite book on inquiry based education, and your favorite writers slash academics you would recommend us reading apart from the ones already recommended in the readings of the course. >> Yeah, I mean I would definitely, the suggested reading list I would definitely look there. I'm also just so I get the title right I want to grab a couple of things I realized, oh it's right here, because i referenced Rebecca Schulman hers. Yes I'm sorry, we're back to Schulman Hers. This is a book that I recommended, Looking at Art In a Classroom, and it's again, in this, the Guggenheim had money to do this work out a grant to do this research and then produce this book. Laurel Schmidt, whose article you read, you know the first week that everyone responded so well to I love Laurel's article, because I think it's one of the, the clearest sort of articulations. Of how inquiry can really look in a in a in a K to 12 classroom and I would just say yeah. Pretty much anything on that suggested reading list. This week you read Olga Hubbard's articles which I think are, are really great, and she's, actually I, I talked to her recently, and she said she had a new article coming out. And also on there, there's a woman named who's got some great articles, they're also on the reading list. But then there's also, some just museum education folks like George Hine that have really interesting work about objects and engagement. So I would say start with that reading list obviously has the book where the chapter came from that you read confidential and maybe the looking at art in the classroom book might be another one. I really enjoyed reading that one while I've been preparing for the course. >> Okay. I have a question, actually, about special education. This person teaches special edu, education, and they wonder if you have any suggestions for using inquiry with autistic and ADHD learners. >> So actually, the specifically I want to bring you to that Create Ability website, or the Create Ability program on MoMA's site, because they do work with people with autism. And ADHD among other developmental disorders so a couple of things, I would say that one, you could, you know, I think the approaches, obviously, they would have to be tailored, but I would say look at the information. And that's on moma.org and if you go, I'm actually going to check it while we're doing it here, while I'm chatting with you. And what I would also say is if you're interested in following up with those folks. You know, I can actually connect you to them but they do specifically work with that audience as part of their programs and they do amazing work. And I think actually if you watch the video where they, they, they have on the showcase screen, and I'm actually going to go ahead and just make sure I tell you the right. Visitor okay, so it's learn in moment that work and then it's visitors with disability. And then you'll go through this menu of the different items. And it says, individuals with developmental or learning disabilities. And then there's a video that talks about specifically the creatibility program. And I would have you look at that, and then, for anybody who was really interested. You know, we can put you in touch with the colleagues here. Specifically about that program. But it's it's amazing work that they've done. And a lot of their program is structured also around the doing because that's the other piece right? Because obviously the conversation piece will be harder. So it's important that and it and it's similar for for anyone, right, that it has to be multimodal, right, so they're creating, they're doing things with their hands, they're physically engaging in the process and that's one thing that I've learned from watching that program is that's a really key piece to it is that you can still have conversation around the works of art but it's also important to really get them physically involved in the process. So, but definitely look at that creatibility showcase program. Mm-hm. [SOUND]. >> Before we moved on, move on to our final questions, because we are in the last ten minutes, I did have noticed a few comments and questions from people who've. Had a few technical difficulties or unable to watch this, Hang Out, on their iPhone, their iPads, and I think that might because of this Beta app that we're using, this Questions App I don't think there's quite. iPhone, or iPad integration at this point. So I really apologize for that, but just know that this is kind of, we're field testing this app, and they are wor, working to make improvements. And this will be recorded. And are auto archived on our YouTube channel. >> Mm-hm. >> So you can experience it, unfortunately, not in real time, but later on. Just give it you know, a few hours, to kind of compress the video. And then it'll be archived for you. To watch later. We have a really interesting question from Linda Shuttleworth. She hopes it's okay to ask this. Of course it's okay to ask this. >> Uh-oh. I wonder how you are finding teaching a MOOC and how can you tell us, and could you tell us how many active students you have? This Hangout's great by the way. >> Aw. Thank you, Linda. So we have, it's been really. Really interesting and it's actually been very fun and very rewarding to teach this MOOC. And you know, I was very you know, I've never done you know, taught a MOOC before. And I was you know, I was very you know, sort of nervous about the whole process. And you know, I had some sort of hopes for things that would happen, but you know, you sorted out know. So it's been. A range of emotions. And the place that I'm now sitting now is it's, it's really interesting. Like super, super interesting on, on so many levels. And you know, I feel really fortunate that I have been able to you know, be a part of it. So I'm sort of thankful to my colleagues, and to, to the folks that kind of put me in this, in this position. We have, I can tell you there are 17,000 students that are enrolled in the course. And I think the number that we have is about 8,000 of those 17,000 that are. Active as of this week. So I think that you know, the numbers sort of go up and down but that's the numbers that we're at right now. >> When you say active, Lisa, can you clarify what that means? >> Yeah, so active means that they are participating in forums, that they are streaming the video, and they're accessing the content. >> Mm-hm. Awesome. Yeah. Yeah. And also I think you know, from your perspective as students I don't know if all of you are enrolled, but if you are we would love to, you know, get your perspectives too about how the course is, is. You know, the experience of learning through this MOOC format because it's new for us as well. >> Yeah so when the survey link goes out to you, to you all, so many of you did our pre-survey please if you, you know, could take a few minutes to do that survey because yeah as Stephanie said we would love, we really you know, it's, it's, this is, we need, we need you as we move forward so it'll be great to get your feedback. >> Okay, so, in a live setting museum oop, actually, let me select this. In a live setting, slash museum, classroom, a new strategy is try to make sure the shyest students get heard without embarrassing them. >> Yeah. I mean that, you know, as we know and I know Laurel talks a lot about this in her chapter. You know, about those, like instant answerers, you know, which is why, when it's a very open conversation and there's no one right answer you know, you can get away from that instant answer. Couple of things. I mean, I. Tend to you know, when we're at the first object and we're just sort of warming ourselves up. You know, while I'm you know, eliciting responses and you know, engaging with the students, I'm also at the same time sort of taking a temperature on all of the students in the group. So I'm trying to get a sense of you know, it, it becomes obvious right away, who is talking more. . Than others so what I'll do is there's a, there's a couple of things that I'll do you know, often, I will just be like, that's great we've heard from you and you and you. What do you guys think? And I'll just sort of gesture over to a section without kind of pointing at someone like well, what else do you guys think and just kind of like, you know, directly engage those students that maybe aren't talking as much. The other thing that I will often do, is if I feel like, if a large percentage of students aren't talking. What that signals to me is that maybe I need to switch up the dynamic, and create a moment for them again to do things in smaller groups so that they can speak with each other and then they can talk with me. And so that's what I'll do. If I notice that there's a you know, certain kids who aren't you know. On their own sharing. The other thing I might also do is switch the activity to a drawing activity or something that's not dialogue based. So it's about them being able to have a moment and engage with something. So it's always just sort of you know, taking the temperature. Like, well let me try this, and let me try this, and generally speaking. You know, often even when I just sort of address kids like I haven't heard from you guys, you're really quiet, you know, like I make a little joke about it, and generally speaking I can kind of draw out, out most kids. But you definitely do have to sometimes switch it up a little. So I think that's a, that's a good question. because you don't want to embarrass anybody, and I'm always really, really careful about that, so I. I'm you know, I think that's really good that you pointed that out, because that, you know, we don't want that. >> Okay. So we're in our last five minutes, and we have a co, I think, so we're, I think we have time to do a couple more questions. I think you may have covered this a little bit, but I you know, there's a lot of votes for it, so I want to make sure that we do address it. Do you have ideas or experience. On how art can be used across a variety of disciplines? >> Yeah, I mean there's a couple of things, so one, if you haven't gone into the teacher's lounge forum, go there after this hangout. There are you konw, I have ideas, which you're going to hear about in week 4. There are amazing ideas already in there, about integrating math, social studies, English. I mean, there's a whole thread just on STEM and STEAM, which is Science, Technology, Math. And then Science, Technology, you know,. Art, math, you know, so there's, there's tons of content that's in there. Couple of things that I would also say is that in the next week, you're going to see some sort of specific you know, kind of objects and how you can link them together. But what I would definitely say to you. A couple of things is that you can one, just sort of, you know, scroll through MOMA's online collection, or any sort of online collection and start ex, exploring works of art. And when you go through that sort of research phase, when you start to learn about different works of art, and get the context of what those works of art are, then that kind of helps sort of piece together the story. Like, for example, we have some photographs on MOMA Learning that are about the construction of the Eiffel Tower. So, there are photographs in the photography collection, but they document this incredible piece of history of creating this, you know, iconic image in the world that everyone knows, which relates to history. But you can also talk about the physical construction which relates to science and technology. So, basically what you're doing is, you know, the artwork can be at the center and then you're just pulling out the strands, right? Where it fits, into other content areas. So, in terms, again, of super, super specifics, and I've been a little bit active in that form and I can go back. If you look in those forms, if you want to see there's people actually posting from different disciplines about what they're using, and I would say that whatever object that you use, you can find, if the, if the actual connection is there, you can find a way to introduce it. Sometimes it's really the excitement around that one particular object that then sparks all the other content that you're going to show. You could also use the close looking and critical thinking skills around a work of art to apply to a concept. Like for example, in math, I often talk to mathematicians who tell me the way you approach looking at art, is the way we approach looking at math problems. We need to prove that what we think we see, we see. So even just the dialogue around something is actually articulating a skill. So sometimes you're going to attach to content knowledge, and sometimes it's a skill, right? But again, if you start by just researching objects and then looking at them in the context of your content, once you see the threads, just start making those, like, sort of web of threads. And go into those discussion forums because there are some great ideas there. >> All right. I think we have time for one more question. So with 18 votes, what would you suggest for educators like me who live in countries with very few to no museums and therefore little access for my students to encounter art directly? >> Yeah. >> I used to work in museums in New York and really miss the resources the city offers. >> Yeah. And I, I really, I have to say, one, obviously, you know, I, whenever I work with teachers who are in that situation, I really, you know, and I understand it's, you know, I'm so fortunate, you know, and, and our students in, in New York are very fortunate or in these other places where they have access. So what I would say to that though is, you know, previously we did talk about online resources, so luckily so many museums are now putting their collections online that you can digitally access you know almost anything which is, which is really great. The other thing that I would say is don't or, or look around in the community where you are, even for the local artists and the people in your local arts community, because there might be some organizations that you don't know about that are actually doing really great work. Like, maybe it's public art that's happening, or specific community based organizations. So, I would definitely do that, and then the other thing is I would use even students own artwork as a, as a platform. So, you know, digital resources and then just mine locally where you are to find those, those art folks that are there and engage them in the process with your students. And, you know, there's, that's just as rich and I understand why it's important to bring students to, you know, I believe in bringing students to museums, but if you can't, it doesn't mean that you can't have that experience just in a different way. So, that's what I would suggest. >> Mm-hm. Great, so, I think that's all the time we have for questions this evening. Thank you all for participating. I wonder, Lisa, do you have any final thoughts or any kind of information pertaining to the, the course >> Yeah. Yeah. >> The final sentiments or anything like that. >> Yeah, so a couple of just things. First of all, thank you so much for participating. And all of your thoughtful questions and it's been really great because I do feel like I'm getting some real time, time with you which is great. And we will post in the course, the URL once it's ready for the hangout if anyone wants to go back, so we will do that. I will, I've made notes about some of the questions you guys ask, so if I have follow-up about anything that comes to my brain after we log off, I'll also make sure to put it in that page where we put the hangout. The other thing that I would say I know that some people, and it didn't come up here, but there's going to be some questions moving forward about the final project and the peer assessment. So continue to put the questions in the form about the content of the final project and we can keep, you know, I can keep answering those. And just one little note, because somebody had asked about this your final assignment is due on August 25th, and then, you have till August 30th to do your peer assessment. So basically, when you submit your final assignment on the 30th, then you will automatically, Coursera will send you two people's assessments that you'll then evaluate. And the rubric you see is right in the assignment so you'll just, you'll only get two, so that's all you'll have to do. But once you submit those two, by August 30th, then at that point, we can calculate your grades, and get your statement of accomplishment. But you have to just give us about three to five days, once everything finishes, to, to generate grades, and to do the statement of accomplishment, so don't fear. We'll be, we'll be on it, but just remember, those deadlines are in the course, but I just wanted to point that out, that you'll only have two of your assessments to do. And I'll answer any other content questions about the final assignment in the forum, so, so I'm excited, I can't wait, I can't wait to see what you guys come up with because it's been great so far. So thank you so much for, for your participation, it's been, it's been really great. >> Yeah. Thank you so much everyone for watching and for sending your great questions, and especially to our friends who are in different time zones and are either up really early or up really late. [LAUGH]. To take part in this. And just remember that you know, this, this event is being auto, is being auto-archived right now. And so, we'll be available on that event page. Now because it there, because it is a beta version of this questions app you will have to click I, I believe you will have to click again as you did to start this event. By clicking on that black image with the hangouts word. The hangouts overlaid on it. And when you click on that you can watch the auto-archived version. But yeah, you just have to do that extra step so, yeah! Thank you all for participating and I, I guess you know, you have a, a few more, or you have a, another week or a couple weeks of [INAUDIBLE]. >> Another week. [CROSSTALK]. >> Another week left so yeah, I hope it's a, a great experience for everyone. And we will see you later. >> Thanks, everyone. Bye. >> Bye.