1
1 Test test test test test test
test test test test test test
test test test test test test
test test test test test I see
5 it chattering, but. We're here
this morning for the UDL@UVM
conference. UDL@UVM. This is
UDL@UVM. Good morning. This is
a test ... perfect. Good job,
10 team.
>> >>: I can't tell you how
delighted I am to welcome you
all to better learning by
15 design. This conference was
conceived of in the hallway and
cast about a year ago when our
UDL@UVM staff attended cast
training on universal design for
20 learning on higher education and
it was such a powerful
experience for all of us to have
framework that really fit for
and we could really see it and
25 envision it as a model for UVM.
2
1 And so we embarked on creating
this conference, and we're just
very excited to have a great
variety of participants here
5 today. Many of the participants
are also presenters which we
think will be a wonderful way
for us to begin to network and
then to strengthening networking
10 for the future A. cross
different college campuses with
our partners in K through 12
education, and to strengthen our
work here at UVM. I'd like to
15 invite Dr. Susan Ryan to come
and give you a few words of
welcome, because we are paths
housed within the center of
community and inclusion and
20 we're very, very helpful with
the support. Well
>> >>: welcome everybody it's
great to see so many people
25 coming to the conference, and
3
1 Susan has worked so hard with
larry Sheldon who both of them
wrote the UDL grant and the
byproducts of the grant had been
5 enormous and this is one of
them. I wanted to tell you just
a little bit about p the center
on disability and community
incalculation. It's one of 67
10 centers on disability in the
United States. And you can see
them. There's one in every
state and some states have three
of them. We have
15 representatives from Virginia
here today, and also from Maine
a and these centers are
scattered around the United
States and their mission is to
20 improve the lives of people with
disabilities.
>> >>: threw research,
interdisciplinary training,
25 community service and
4
1 dissemination.
>> >>: and the universal design
for learning project represents
5 the mission of the center really
well and is a reflection of work
that has been going on in the
center for over 30 years. We
have a strong belief in
10 belonging, so the projects that
are at the center, whether
they're early intervention or
higher education, such as UDL,
represent the value of
15 belonging, that all individuals,
whatever their abilities are,
belong in their homes, schools,
and communities. Another value
that this UDL project represents
20 is that of inclusion. So we at
CDCI believe that all
individuals should be included
in all aspects of the community
and life and school. And this
25 UDL grant demonstrates as you
5
1 shall be able to see through the
various workshops about making
accommodations in the classroom
so that all individuals can
5 learn better, regardless of
their ability and finally it
represents a strength that the
center and area collaboration,
so that the UDL grant has worked
10 A. cross the university and A.
cross departments and actually
A. cross the United States as
will be indicated by the work
that they've done with CASS. So
15 thank you very much for coming
and I'll turn it back to Susan.
>> >>: thank you, Susan. We
love the name Susan in Vermont.
20 We're really grateful for the
support of CDCI in helping us to
break ground with this
conference and we are hoping
that this conference will be an
25 annual event. So we'll be
6
1 looking to all of you to help us
with your ideas about what will
make next year's conference
really wonderful. I am very,
5 very excited to share with you
that we are at a university
where our president really gets
what we're doing. And our
president, Daniel Fogel, was
10 hoping to be with us this
morning, but because of his
graduation schedule, wasn't able
to be, but he permitted this
individual yes welcome to video
15 welcome to you. Awe're going to
ask for some support to get our
audio connected because you want
to hear his words, I'm sure.
Across.
20
>> >>: I forgot how to get back
to the slide that I left, so
pardon me, please. At this time
I'd like all of UDL@UVM staff to
25 stand, please. Don't be shy.
7
1 This is really the wonderful
team that put all this together,
and probably the chief -- yes.
And the chief organizer, you all
5 met at the registration table,
crystal La Bell. I hope that
you will get to know all of
these staff members throughout
the day or if you're here for
10 the three days, they all have a
yellow designation on their name
tag. And we hope that you will
just introduce yourself so we
can all get to know each other.
15 This is a very hard-working
group of people and they're all
part-time. So if you think that
that's a challenge, you're
right. To bring something like
20 this together, and it just is a
testimony to the incredible
dedication and the commitment to
what we're teaching and
promoting here in this
25 conference. You'll also notice
8
1 that some individuals have a
green tab on their badge and
those are our presenters. Many
of our presenters, as I
5 mentioned before, are also
participants, so we're very
excited about that. In
addition, we've got volunteers,
mostly from CDCI, who have given
10 up their time to come and help
us in any way that they can, and
even some that have come out of
retirement, so we're really
grateful for everyone's help.
15
>> >>:
>> >>: we're trying something
very different during these next
20 three days and we hope that you
will give us a little grace if
there are a few bumps. We
really want to create a
community here, and to make this
25 conference accessible as an
9
1 online experience, and to that
end, we're going to be doing a
few things different than you
may typically expect. We are
5 trying to go green and to reduce
the paper that we use for this
conference, and for that reason,
you will find the power points
and materials that the
10 presenters have provided to the
conference available on the
website that we will show you
shortly. So you will access the
conference materials online. If
15 there is anyone who needs a
printed copy for any reason, let
us know and we will try to
provide that with you as quickly
as we can. We also have placed
20 our evaluation process for each
session on that online location,
so that each session has a
survey monkey link that's
specific to that session, so as
25 you finish your participation in
10
1 the session, you will be
reminded of that survey monkey
link. Now, many of you came
with laptops and requested
5 access to the Internet during
your stay here. Don't worry if
you haven't come with a laptop.
We can -- we have a laptop that
is out at the registration area,
10 so you can conduct your
evaluation there, and yes, we do
have paper copies, as well. So
if you need that, please stop
out at the registration area for
15 that.
>> >>: we will also be posting
session notes, as we go along.
In each of the rooms, a room
20 host will be present, and either
the room host or someone who
might volunteer, and you can
consider whether you'd like to
volunteer, will be taking a few
25 notes related to that session,
11
1 and we have some guides about
what we would like to be
included in those notes. For
example, any websites or
5 articles or people resources
that might be mentioned during
the session by the presenter or
by the participants, but that
might not have made it into the
10 PowerPoint. They may be pieces
of information that emerge from
the session. We want to make
sure that that gets recorded.
So those will be some things
15 that will be in those session
notes. Why are we making this
such an important part? Because
some of you have selected a
session that you're going to
20 attend, but you may be very
interested in the other
sessions. So this will give a
way for you to have access to
some of what happened there. In
25 addition, we'll have an online
12
1 blog and I'm going to have Holly
Parker come and join me up here
to actually walk you through
that, and what we want you to do
5 is to feel really comfortable
commenting and raising questions
in that blog experience. So
that we have sort of an ongoing
conversation, so if haven't
10 noticed, we're really big on
participation ot this conference
and your participation will
really be what makes this an
excellent conference, rather
15 than just a good one.
>> >>: so Holly, I'll let you go
ahead.
20 >> >>: thanks, Susan. So here
is the URL for the blog that
will be our conference blog.
It's also blipgd pg linked from
our main UDL website and our
25 UDL@UVM blog so if you forget
13
1 this particular link, you can go
to either one of those websites
and as Susan mentioned, we hope
this becomes an annual event, so
5 I've set up the URL so it can
become an annual event and
hopefully each year we can just
be adding to this. So if we
click here, just give you a
10 little bit of preview ...:
>> >>: this is a main page and
you'll see there's a welcome
here. There's a day one link.
15 The all of the materials for
days two and three will be
forthcoming. They are not all
up there yet, but they will be.
And everything for day one that
20 I have so far is there, but we
will be adding to it. So Susan
mentioned that you can go to
evaluations here. Once you've
finished a session you can click
25 on day one and you'll see
14
1 there's an evaluation set up for
each of the sessions so here's
the one for the keynote address
and as you scroll down, you also
5 see each workshop has a link.
If I have received a file for a
particular workshop such as the
PowerPoint file or word file, I
will include that but I don't
10 have all of them up there yet
for today. So this is sort of
how it's going to go for each of
the days, and you can just click
right on the link for each day,
15 you'll be able to get all of
these resources. Susan
mentioned that we wanted you
also to be participating and
we've created a water cooler for
20 everyone to be talking online
about the sessions. And also
some blog guidelines and a
purpose for why we have created
this online participatory
25 environment, so if you want to
15
1 post, please review the
guidelines first. Obviously
it's just a lot about being
respectful to each other and not
5 posting anything really
derogatory about the conference
up here for everybody to see.
If you have issues, just let one
of the staff people know. And
10 otherwise, in the water cooler
area, you should be able to post
a comment and I've set it up so
it's a threaded discussion, so
we'll he see how that works out.
15 I haven't done this before in
word press but you know, I'm up
for the challenge. So I hope
some people start commenting
today.
20
>> >>: thank you, Holly, can you
get me back to my PowerPoint
page? Thank you.
25 >> >>: # she did it so easily.
16
1 >> >>: OK, we have established
some guidelines for our comments
and really we want to have a
sense of community about our
5 writing and our contributions.
So these bullets represent what
we think would be good practice
and would help us to really
build that connection. We want
10 to build and expand upon the
values that promote universal
design and universal design for
learning for everyone. We would
like you to limit your comments
15 and questions to the conference
topics. And relevant material.
We'd like you to share your
ideas and the relevance of UD
and UDL in your lives. We'd
20 like you to also feel free to
post comments or questions about
the conference presentations or
about applications and hopefully
we'll get some conversation
25 going back and forth. As you
17
1 would expect, we all will be
respectful in our commentary on
the conference and related
information. We ask that you
5 use person-first language as a
value and honor confidentiality
if that is an issue. We also
just want you to respect each of
our presenters and we're just
10 really excited that they're
willing to share their
materials. We will be having,
as you are aware, keynotes from
cast and we're very, very
15 excited about having each
morning a full morning of
keynote presentation that will
then launch us into the
afternoon breakout sessions.
20 You should have selected
breakout sessions and we've
tried to give first choice as
much as possible. The locations
of the breakout sessions are all
25 on this floor and they should be
18
1 fairly easy to find. If you
have any difficulty, ask someone
with a yellow name tag or check
at the registration desk. We
5 will be having a closing session
at the end of the day. And I
know that's a very risky thing
to do, especially on a gorgeous
May day. But we're counting on
10 you to stay with us in this
community, and to that end,
we're going to be having some
very nice prizes awarded at the
closing each day, and we've kind
15 of coined this little PPP, if
you post on the blog, and you
are present in the afternoon,
you may win a prize and some of
our prizes are not so elaborate
20 and some are very, very nice.
So I hope that that motivates
you a little bit. I actually
hope that you're motivated more
by the community that you find
25 yourselves in. On Tuesday, we
19
1 will be having a social from 4
to 6 -- 4:30 to 6 in the far
ballroom from down at the end of
this hall, and during that time,
5 we will have some exhibiter
tables and we have a few vendors
who are going to be coming to
share with us some of their
materials and technology
10 applications. During that time,
p if you are present, you may
win our grand prize, which is
valued at over $600. So please
be there for the social. There
15 will be a cash bar that evening,
so you may want to plan
accordingly.
>> >>: all of the other
20 conference logistics, hopefully
you have been able to locate the
rest rooms which are in the area
near the registration table.
There are some computer stations
25 on the second floor. Is it the
20
1 second floor where the bookstore
is?
>> >>: third floor, excuse me.
5 We're on the fourth. On the
third floor is the main level of
the Davis Center. And there are
actually 8 computer stations
there that you are welcome to
10 use if you did not bring a
laptop computer. And then we
have an additional one at our
registration table. If you
didn't bring your computer today
15 or request Internet service but
you would like to tomorrow or
Wednesday, just see crystal or
someone at the registration
table and they will set you up
20 with a guest pass to use the
Internet.
>> >>: now, I think I've covered
all of the logistics. I'm going
25 to look to my team to see if
21
1 I've forgotten anything. All
right. Well, I just have a
very, very brief story to share
with you before we move to the
5 introduction of our keynote
speaker. It was about five
years ago that the initial grant
came to CDCI under CHIDY's
director, she was our former
10 director at CDCI and we had a
very small grant that was about
$5,000 called the equity in
excellence project and it was a
consortium if you will of the
15 New England USED. There were
five universities in the New
England area that came together
to explore the use of universal
design and universal design for
20 learning. It was our
introduction at CDCI to this
body of literature, although our
values and our principles and a
all of our work in K through 12
25 education, had already reflected
22
1 much of this material. So if
that grant, CHIDY gave me the
job of working on this project
part-time and I really knew very
5 little about what was happening
in higher education, but it
really created an unbelievable
opportunity for us. During that
time, my partnerner, larry shell
10 on, was one of the original
group of small members. It's a
small group that began to
conceptualize what universal
design for learning might look
15 like on campus here at UVM.
That group grew and swelled and
included Wendy and Ellen
McShane, by the time that the
RFA came out for this grant, we
20 had sort of conceptualized,
dreamed about, never thinking we
would actually be in this
position today. But we took the
risk and wrote the grant and now
25 we're in year two of our
23
1 three-year grant from universal
design for learning here at UVM
and it's been a great ride, and
we have much to do and far to
5 go. Those of you who got the
Free Press this morning maybe
were able to take a peek at what
the public is saying about what
we're doing at UVM. We're very
10 excited about that. So it's my
great pleasure to introduce my
coPI on the UDL@UVM grant,
Dr. Larry Richelle shell ton.
15 >> >>: thank you, Susan, and I
want to just comment on the fact
that Susan and crystal and the
staff have put this entire
three-day event together, and
20 it's incredible to have it
actually happening wonderfully.
>> >>: I'm going to continue the
story about the grant, because
25 that leads into the introduction
24
1 of skip Stahl, our first keynote
speaker. The story is that, a
couple of things, one is that we
wouldn't have been able to put
5 the grant together on the very
north notice that we had without
the assistance of Susan Ryan and
her staff at CDCI. She walked
us through the process and help
10 helped us package it and then we
kind of forgot about it. It was
May and it was graduation time
and in the process of writing
the grant, one of the things
15 that we discovered was how
little I knew about higher
education and disabilities and
universal design. How little I
knew is I didn't know anything,
20 actually. So we kind of
dismissed the possibility of
getting the grant until we got
the call from Washington saying,
well, you got it. And then we
25 looked at each other and said,
25
1 oh, what have we done? And it
has been and is being a
wonderful ride. I was sort of
beginning to slide off into
5 retirement looking forward to
becoming dead wood around and
having a lot of free time in my
senior years as a faculty member
and this past year has been the
10 busiest sear of my 42-year
career and it has been more fun
than most of those years, as
well. But a funny thing
happened along the way. My wife
15 communicates with her entire
extended family regularly and we
got the grant and she sent the
announcements of that to all of
her relatives, and I got a nice.
20 Mail back from our
sister-in-law, who said, I think
my brother skip does related to
that. And then I got a copy of
skip's response to her, which
25 is, it's a little disappointing
26
1 to think that my baby sister
doesn't know what I do. But it
turned out that skip was in fact
already aware of our proposal
5 and our grant, and was looking
forward to making contact with
us. So I have the pleasure
today of introducing my
brother-in-law's brother-in-law.
10 The contact with skip turned out
to be incredibly important for
our entire project, because as
we found out what skip and his
crew at the center for applied
15 special technology in in
Wakefield, Mass. have done, we
realized that they have done for
K-12 education what we wanted to
do for higher education, and
20 they had the materials and they
had a conceptual framework that
grabbed us immediately. So we
took the entire project staff a
year ago to cast for a three-day
25 training and it changed our
27
1 entire focus. So for our first
conference on UDL in higher
education here, we wanted to
bring skip and tomorrow David
5 Rose, his colleague, so that
they could share that
perspective with you, because we
found it mind-bending, and it
bent our minds in a wonderful
10 way that has turned out to be
incredibly powerful. So a
little background about this
mind-bending keynote speaker.
Skip was born in Connecticut.
15 I'm a developmental psychologist
by the way. I teach human
development, life span, so I'm
going to give you his whole life
span and interpret it for you
20 and then if he has any time
we'll let him speak. He was
born in Connecticut but then had
the good sense to move as a very
young child to Vermont. And
25 lived here for a while and then
28
1 his family took him away, but he
came back, and skip is a
graduate of Edmunds high will
school in Burlington, down the
5 street. The last graduating
class from Edmunds high school.
If you've been around long
enough, you can figure out then
what year he graduated. He went
10 on to get a bachelor yes, sir in
English literature at bashed
college and then taught and he
taught for 8 years in the south
Bronx. Primarily with students
15 with behavioral disorders, and
that was where he got ANNEALED,
hardened and educated about kids
who are having difficulty
adapting to the school
20 environment. He then heard the
call and came back to Vermont
and was a school consultant with
Washington County Mental Health
and it was at that point that he
25 crossed paths eventually with my
29
1 future life, because my wife, my
current wife was then teaching
in one of the schools he was
consulting at and I'd forgotten
5 at what point he married her
brother's sister -- no, his
sister married, ... anyway. To
make the short story longer, he
then went on and got a master's
10 in special education at bank
street College of Education.
Along the way he taught for a
while in the GODDARDMAT program
so he has background in teacher
15 education, and then worked with
students with behavioral
disorders in Peabody Mass., and
worked in the neuropsych clinic
at the north shore children's
20 hospital, and it was at that
point that he became interested
and eventually expert in
adapting technology so that
students with disabilities could
25 access opportunities in
30
1 education. And along the way, I
think, skip discovered that
adapting to the environment is
difficult for students with
5 behavior disorders, but in order
to help them really need to lock
at the interface between the
educational environment and the
students. And that goes not
10 just for students with
disabilities, but all students.
He and four colleagues from that
neuropsych clinic established in
1984 the center for applied
15 special technology focus on
adapting technology to help
students adapt to educational
environments. And that's the
work that he's been doing for
20 the last 25, 26 years. Along
with David Rose and others.
>> >>: a few years ago, they had
what, a hiccup in the brain?
25 They changed the way they look
31
1 at the world, and stopped
focusing on adapting technology
for students with disabilities,
to adapting education
5 instruction, and materials for
all students. And they adapted
universal design concept that
comes from architecture, and
engineering, to education and
10 focused on the learning part of
it, and that's the part that
he's going to tell us about
today. I hope. But he can talk
about anything else that he
15 wants. His lovely intelligent
and stunning wife told me first
of all that, and then she told
me that she was lovely, stunning
and intelligent and we all
20 agree, she told me that skip can
talk about anything that he
witness wants to so I would like
you to welcome skip Stahl to
talk to you about universal
25 design for learning. Skip,
32
1 we're yours.
>> >>: Shelton. Shelton.
5 >> >>: God morning, how's
everybody this morning? Can
everybody hear me? Good.
That's even better. All right.
10 >> >>: thank you, larry for that
terrific introduction. I just
want to share with you a couple
of thoughts. As larry
mentioned, my organization cast
15 has been we're in our 25th year
so we're celebrating our 25th
annual, we had a 25th year
celebration and one of the
things we did a number of years
20 ago as larry mentioned is we
spent a lot of time thinking
about adaptive technology and
assistive technology and we
actually started at a children's
25 hospital as an assistant
33
1 technology clinic and then a
group of us got together and
said what is it we really want
to do and somebody said let's
5 change the world and somebody
said if we do that one person at
a time, particularly one student
at a time, it's going to take a
long long time to do it. So we
10 shifted our focus. And about
knife years ago, we have an
annual years ago and about five
years ago at the retreat,
somebody said what is it we're
15 doing now? We're doing
curriculum development, we're
doing schools with educator
training, we're reaching out to
post secondary, and somebody
20 said well we're not doing any
policy. Particularly federal
policy or state-related policy
and that's not something that
cast will likely ever do. My
25 current title, which changed
34
1 this year, is senior policy
analyst. Who knew?
>> >>: so part of the work that
5 I'm actively involved in right
now is what's referred to as
aim, accessible inextrusional
materials, and I am currently
project director of what's known
10 as accessible instructional
materials and that ward is
particularly focused on K-12
instructional materials, but
guess what, in the higher
15 education act, Congress has
empowered office of post
secondary education to identify
a national commission to begin
to address the challenges
20 associated with the acquisition
and delivery of accessible
versions of corollary materials
to any students with disability
in post secondary settings and
25 there's also funding in that
35
1 higher education act for a
national technical center. So
there's significant momentum
now. The other thing I just
5 wanted to share with you before
I move into kind of the what of
UDL, is recently at a national
conference, and the assistant
secretary of education said that
10 the reauthorization of the
elementary and secondary
education act which is about to
be undertaken by the Obama
administration, the push is to
15 begin to move together the
individuals with disabilities
education act. IDDA and the
elementary and secondary
education act, to begin to blend
20 those two statutes, and that it
is the intention of, at least
office of special education
programs, to promote universal
design for learning as the
25 vehicle for bringing those
36
1 statutes together so I was in
the audience when that was
announced and I was sitting back
and going, whoa, this is cool.
5 So things are moving forward.
>> >>: OK. I'm going to give
you just some background
information. And as larry
10 mentioned, my colleague, David
Rose, from Harvard will be here
tomorrow. David and I rarely
actually get a chance to present
at the same conference. Which
15 is generally good, because we
steal from each other in terms
of what material we're currently
using and the general rule is
that whoever cervical presenting
20 first gets to set whatever
slides and content they want to
use and whoever's following up
has to kind of make do at the
last minute. So I sent David an
25 email about 9:00 last night.
37
1 And said oh, by the way there's
a set of slides I'm planning on
using and I hope you're not
using them so anyway, well, let
5 me know.
>> >>: so some background,
universal design, the term
universal design really relates
10 to accessibility and it really
arose out of architecture and
built environments, but this is
the language from the assistive
technology act. The term
15 universal design means a concept
or philosophy for design
delivering products and services
that are usable by people with
the widest possible range of
20 functional capabilities which
include products and services
that are directly accessible
without requiring assistive
technologies. So having
25 products and services that are
38
1 interoperable with assistive
technologies. So if you think
about buildings nowadays, you
will no longer find doors with
5 round doorknobs. You can use
your hip and you know, bump the
button and get a -- so that
doesn't require any assistive
technology. It's built in from
10 the very beginning. One of the
challenges is ultimately the
United States Department of
Education, whether it's K-12 or
OPE, office of post secondary
15 education, is really not
particularly interested in
access. What they are
interested is achievement and
access is a necessary component
20 of getting to achievement, so if
you cannot reach a student with
instructional practices, there's
no way you're going to be able
to teach that student. And what
25 happened at cast in the early
39
1 years, and we're basically a
small nonprofit research and
development organization, we're
roughly 40 people. In the early
5 years we started thinking
universal design has a terrific
vision of building in but a lot
of what's being promoted for
building environments doesn't
10 transfer on a one to one basis
to learning environments and the
reason for that is will school
is supposed to be hard. It
really is designed to be
15 difficult. Because what we want
to do is we increasingly want to
present students with
challenges, beef up their skills
and abilities and then give them
20 a new set of challenges because
they're in at a new base level.
So if we apply universal design
to learning environments we have
to be very, very careful because
25 we want to eliminate Barriers
40
1 for any student but we do not
want to Little Nate challenges.
And that's a very subtle
distinction and we need to pay
5 attention to that because if we
don't present students
challenges they're not going to
learn. So part of what we put
together in the early years of
10 thinking was notion of universal
design for learning and I'm just
going to read to you a section
here, this is from the higher
education act of 2008.
15 Universal design for learning
provides flexibility in the way
information is presented and the
way students respond or
demonstrate knowledge and skills
20 and the way students are
engaged. So it's three areas.
Information presentation,
responsiveness, ability of the
student, how they exhibit what
25 they know, and three the level
41
1 of engagement. Notice also at
the very bottom of this
quotation, it's all students and
then including students with
5 disabilities and students who
are limited English proficient.
So we're beginning to move out
of not just disabilities but
into a much broader range of
10 student. So the core UDL
principles that we developed at
cast are the ones in red.
Underneath it is the language
from the higher education act.
15 So we have three basic
principles at cast that drive
our work. Cast is definitely a
mission-driven organization and
we're really looking to develop
20 and make available multiple
means of representation. So the
language of the higher education
act is. The seabed second.
You'll see right under that that
25 the language in the education
42
1 act is tracking that phrase and
finally engagement. So we felt
quite honored that what had
become part of the statutory
5 reference was in fact the result
of a number of years of our
work. So I'm going to take you
back to where this work all came
from. And David's probably
10 going to do a lot more of this
when he talks to you tomorrow,
because we want to give you a
sense of where our principles
merge or where the framework for
15 universal design for learning
came from and what we learned
from the advent of some
technologies that didn't exist
when we began. So basically one
20 of the key aspects actually came
from what's known as
neuroimaging techniques.
Functional magnetic imaging or
PET scans. For the very first
25 time we were able to get images
43
1 of alert and active brains and
we were able to see how glucose
was being burned in response to
external stimuli. The glucose
5 is burned in the brain, there's
a level of intensity glucose
burns, so if if there's a very
high level of intensity in a
particular area, it's associated
10 with a new experience for novel
application of an old
experience, whereas if the
glucose burn is kind of low,
then it's going that we. So
15 there's some direct correlations
now that we can relate to
images.
>> >>: I'm going to actually
20 take you on a quick guided tour
of some neuroanatomy and talk
about about it from a functional
perspective. I'm going to do it
briefly as I said, because
25 David's going to spend some time
44
1 with more intense and focus on
this tomorrow. But I wanted to
give you a clear sense of
background and where our notion
5 of universal design for learning
emerged, from whence.
>> >>: basically there are three
cornet works in the brain and
10 I'm going to tease these apart
just a little bit, but this is
artificial, because these
networks never work in
isolation. They always work
15 together. One has to do with
recognition, how we identify
things. The second has to do
with strategies for teaching
network, how we exhibit
20 meaningful, purposeful behavior
and the third is affect. What's
important to us, what engages
us, what compels us? So I'm
going to start with recognition
25 systems, which are roughly
45
1 approximate the hinted portion
of the brain and for those of us
with intact vision occipital
cortex, this area really stores
5 a lot of information. I'm going
to show you an image and I'm
going to show it to you very
briefly and I'm going to ask you
to tell me what you saw. So
10 there's the image. That was
brief. Were there people in
that picture?
>> >>: were there any children
15 in the picture? Yes, some
people said yes. Were there any
men in the picture? Women?
Yes. Was it indoors or
outdoors? Indoors. Can
20 somebody give me a date for that
image?
>> >>: 1800s? Early 1900s?
Somewhere in Victorian,
25 everybody would pretty much
46
1 agree. OK, we'll go back to
this. This is an image that's
meant to be a little fuzzy.
It's used in certain type of eye
5 tracking, visual tracking
research. What I just asked you
to do was essentially a
recognition test. What do you
see here? And depending upon
10 how much information you already
have stored, you actually don't
need a lot of exposure to a
particular image like this,
because you can get the
15 information very quickly. If I
show this image to a group of
second graders, same type of
exposure, very quick and I say,
indoors, outdoors, male, female,
20 children in the picture? They
will answer eye dentically eye
dentally to the way that you
answered except with the
question can you give a date to
25 this image and my favorite
47
1 response from a second grader is
yesterday. Because yesterday
covers a lot of ground you know?
You can -- from a you know a
5 7-year-old's perspective that's
a lot of ground. Those of us
have a lot of in our brains know
that we can tell by the nature
of the chair and the fact that
10 there's some wallpaper and so on
and so forth. So we're going to
come back to this information
but what's neat about this is
we've stored certain information
15 so that we're able to identify
very quickly what's in this
particular image and so this is
very much a recognition test and
tapping prior experience. So
20 let's shift the task just a
little bit. So if I were to ask
you, is there a dog in this
picture? Most of you are not
going to look from waist level
25 down, right? But if I were to
48
1 ask you, is there a cat in this
picture then you have to look
everywhere. Because the nice
thing about dogs is they don't
5 climb in the drapes, they don't
end up on top of bookcases, you
know, they're pretty much below
the waist level. Cats, however,
are totally unpredictable, they
10 could be pretty much anywhere.
So your strategy for analyzing
this particular visual image is
going to change depending upon
what the stimulus is. And
15 that's the basis of some
eye-tracking research, and these
are scatter plots from two
individuals. The individual on
the left is actually a pretty
20 fully functioning individual
with no frank brain injury in in
contrast to the scattered plot
from the individual on the
right-hand side. So what's
25 happening here is individual is
49
1 seated in front of -- has two
video cameras pointed at their
eyes and video cameras track off
their movement and generate a
5 scatter plot and this happens
instantaneously like in seconds
or even Millie seconds in
response to certain stimuli. So
the question on the lefts is is
10 there a cat on this picture and
they're looking at the same
picture and you have to look
everywhere. The question on the
right-hand side for an
15 individual has a significant
frontal lobe lesion is, is there
a cat in this picture? And
what's stickily striking about
that scatter plot is regardless
20 of the question that you asked
this individual, their scatter
plot looks identical. Question
to question to question. And
it's because they really have no
25 strategic capacity to alter
50
1 their ability to respond to
their environment. It's just
kind of random looking through
it. And what's really
5 interesting and somewhat
intrigging and a little
challenging is that this
individual in the right-hand
side, who actually has
10 significant frontal lobe lesions
and needs ongoing care, does
pretty well on standard IQ
tests, because a lot of that
kind of preplanning, as well
15 sequenced task analysis often
doesn't show up on some of the
tests, particularly Wechsler.
So here you have that dichotomy
between someone who needs really
20 24-hour care because they're
unable to plan for themselves,
doesn't show up so bad on kind
of standard IQ testing.
25 >> >>: OK, we're all somewhere
51
1 between these two extremes of
highly strategic, able to
analyze environments and having
no strategies whatsoever and
5 just kind of randomly being
tossed in the middle of
circumstance.
>> >>: final network to consider
10 really has to do with affect.
How we engage with our
environment, what turns us on,
what propels us. How many
people here have iPods or
15 portable music players? Raise
your hands up high so I can see.
OK, almost everybody. So here's
that quick little exercise for
you. Pick somebody you think
20 you know really well who has an
iPod or a portable music player
and ask them to share with you
their favorite place, and you
will in all circumstances either
25 be stunned or appalled. What
52
1 you'll discover is someone you
thought you knew really which
will listens to something that
would drive you totally insane.
5 Or vice versa, you might find
that their choice of music is
identical to ours. Music is
incredibly evocative. It's very
personal. It's between you and
10 your emotive moment and iPods
increase that level of intimacy,
because it's this portable
little device that you rarely
show with anybody else. So all
15 of your emotive secrets are
locked in that place. And share
it with someone at some point
because it's a really
interesting experiment. It's a
20 similar thing if I go back to
this image. And I won't take a
long time to do this now, but if
I were to ask, well, maybe I'll
see. Just see if somebody can
25 do this. Can somebody tell me
53
1 what's happening in this
picture? Give me a story?
There's no one right answer.
5 >> >>: yes?
>> >>: someone's returning --
well, returning from
10 >> >>: where do you think
they're returning from?
>> >>: from war, from a long
stint at work.
15
>> >>: OK. Any other stories?
Somebody want to throw out?
>> >>: yes.
20
>> >>: person looks like they
might be either house staff or
support and or they could be in
some sort of a medical setting.
25 So that could be a patient since
54
1 there are other people in the
room. I'm guessing it could
be --
5 >> >>: oh, OK, so
interpretations. One is someone
returning, could be from war or
from work. Or it could be that
this is a medical facility and
10 that the person coming in might
be related to a patient or
related to a patient or
>> >>: some sort of a patient,
15 medical offer psychological
>> >>: psychological, medical
situation.
20 >> >>: where does this stuff
come from?
>> >>: so if I ask you what's
here. What I'm asking you to do
25 is kind of impose meaning on a
55
1 static image. And what tends to
happen is I'm going a little
deeper. This is not what is
here. This is not -- so it's
5 not a recognition test. It's
not there, is there a cat or a
cang roo or a dog in the image.
This really has to do with
engagement and what's important
10 to you at any given moment. So
if I ask this -- if I show this
image and ask a group, which I
did a month ago, in mid April,
the first response I got was
15 it's the tax collector. And the
date was, I believe, April 17th,
right? So classic. So we also,
a number of us have family and
friends in harm's way, so to be
20 able to look at this and say
someone coming back from war or
there's an announcement here or
something like that. During
this culture and where we are at
25 the moment that's not an
56
1 uncommon response. What we're
doing isn't really projecting on
this image. It's the typical
psychologically -- this is a
5 Rorschach. It's an ink blot.
There's nothing here. But what
happens is it very quickly
overrides your recognition
system and you really struggle
10 to figure out some meaning and
somebody says tell mow about
what's going on here and
basically if you asked this to
60,000 middle age white guys and
15 they all say it's two moose
dancing around a totem pole and
middle age white guy 6,001 says
road kill you kind of go why
that person feeling threatened.
20 There's something here about
vigilance. So I'm going to move
this ahead because this is
generally an unpleasant image
for most people.
25
57
1 >> >>: so I'm going to recap.
Three networks. Recognition
network. That's really the what
of who we are and in most cases,
5 we want to automate a lot of
recognition tasks. How many
people here shop in the same
grocery store that they've
shopped in for say, four or five
10 years. A lot of us? Did you
ever go into the store and
discovered that they changed the
aisle where they keep something?
I don't know what your reaction
15 is but I'm outraged. They
didn't call me to tell me that
they were moving coffee from
aisle 4 to aisle 8 and in fact
if I go to a grocery store, I
20 really don't want to burn any
glucose. This is not a learning
experience for me. I want to be
as comatose as possible and make
this automatic. I just want to
25 move on down the aisle and I
58
1 have to stop I'm in aisle 4 and
no coffee. Oh, great, now what?
After we learn the rule thing.
A lot of our recognition
5 capabilities tend to be
automated and as I'll talk about
a little later this morning, the
brain in in automating a lot of
its decisionmaking capabilities
10 can be very dictatorial and
sometimes actually alter the
reality of your experience, and
there's all sorts of good
reasons for that. But it's a
15 little disconsrting when it
happens. But having multiple
representations of information
is really critical, because each
of us infuse into different
20 thingsment some of us are much
more attentive to audio, some of
us much more attendive to print
or tactile or images or video
and so the more ways that we can
25 represent something, the better
59
1 the chances are that we can all
have access.
>> >>: the second collection of
5 networks is really strategic,
our ability to express what we
know. I often say that if
singing on key had been a
prerequisite for high school
10 graduation, a lot of us would be
in different professions right
now. Certainly I would be.
Because I would have not gotten
that all-important high will
15 school diploma and would have
had to go off in a different
direction, but for whatever
reason, it wasn't selected as
being one of the prerequisites
20 for high school graduation, so
here we are and thankful. On
the other hand, each of us has a
different set of abilities and
so we need to be able to allow
25 students to what they know in
60
1 the strongest way possible.
When I talk to K-12 educators
and certainly when I was in the
classroom myself in middle
5 school, junior high I often knew
more about what my students
couldn't do than what they could
do and I discovered that that
was actually a bad way of
10 approaching it. I needed to
know what they could do really
well so that I could help them
capitalize on those strengths
and move forward and finally
15 engagement. So engagement
really is connected, and the
ability to present information
assumes in a manner that really
fits in their engagement style
20 and the example I often use is
think of a bell curve and on one
end of the bell curve you have
students with somewhere along
the autistic spectrum with
25 Asperger's and on the other end
61
1 of the bell curve you have
students with attention deficit.
So we often don't think of those
being totally opposite, but let
5 me throw this out. So think
about novelty. A student with
ADHD is a novelty-seeker. They
are looking for new stuff. And
it's not so much high degree of
10 distract abilities. It's the
newness and in fact it's really
being pulled off to novel
circumstance, novel things,
looking for new, you know,
15 unusual, challenging, because
the level of engagement needs to
be quite high and they're
looking to pull that forum. On
the other end of the spectrum,
20 students with Asperger's are
novelty avoiders. If you could
guarantee for them that tomorrow
would be exactly the same as
today, weather would be the
25 same, they'd see the same
62
1 people, they'd have the same
meals, go to the same
activities, it would be like
dying and going to Heaven.
5 Everything totally predictable,
no novelty. So if you think
about a class of students that
you're instructing, you have
those two students in the class,
10 and all the rest of us who fall
somewhere in between with regard
to novelty. And so wouldn't it
be neat if somehow in our
instructional practice we could
15 have some sort of little slider
that we could adjust novelty for
students and working with a
student with Asperger's, you can
crank the novelty meter way
20 down, but working with students
with attention deficit, you
could ramp up that meter really
high because it's going to help
lock them in. The God example,
25 just quickly anecdote. I have.
63
1 Research on two types of
students reading printed
material. One was a classic
learning disabled youngster, and
5 another was a student with
attention deficit who actually
lost their place in the
narrative flow and so if you
gave each of those students a
10 paragraph and said, read this
and and come back to me and
these were 4th graders, we'll
talk about it, they looked very
similar, because neither one of
15 them could actually extract
meaning from the paragraph.
One, because they couldn't
decipher the words and the other
because they couldn't follow the
20 sequence long though to extract
meaning. So she said, well,
let's try some text to speech
support, having the computer
read aloud the material for the
25 student, put it under the
64
1 student's control, they could
have the entire pass read aloud
or they could just have
unfamiliar words read aloud and
5 she looked at some of the
variables and it turned out that
for the learning disabled
population having the text and
having the student be able to
10 control the text was a
significant variable and
increased the success rate in
comprehension almost by 100. So
almost all of those kids could
15 pick up and extract the meaning
when that. But there was a
subset of students particularly
who were attention deficit where
it really didn't make a whole
20 lot of difference and so she was
looking at the very groups and
one of the variables was the
reading rate, how quickly the
words were being spoken amino
25 acid loud. So she noticed that
65
1 for most of the LD students they
were choosing somewhere between
150 and 180 words a minute which
is about what my speech pattern
5 is now, and she thought what if
I bumped the speak to the kids
with attention deficit? So she
started at 270 words a minute,
went up to 400 words a minute
10 with the kids with ADHD and it
was like she opened a door. The
level of stimulus was
significantly high enough to
engage those kids who were not
15 otherwise engaged, to lock them
in, and she said she was stunned
by the fact that a number of the
kids, particularly the bright
and inattentive ADHD kids, text
20 read at 400 words a minute, they
could tell you exactly what the
paragraph was about. They were
just locked into it and it was
that speed that was also
25 repeeling to the students with
66
1 LD. So here you had two
populations of students, they
were manifesting the same degree
of characteristics and the
5 having to do with novelty,
attention, and locking in
engagement made all the
difference in the world.
10 >> >>: OK, the three guiding
principles of universal design
for learning, to provide
multiple means of representation
of information, really relates
15 to the recognition networks that
I mentioned earlier. Multiple
means of expression relates to
strategic networks, our ability
to organize and express
20 ourselves, and to provide as
many ways as possible for being
able to do that. And multiple
means of engagement, having to
do with affect, finding
25 different ways to engage and
67
1 lock students into the learning
task. There's a URL at the
bottom down here, that's almost
indecipherable about because
5 it's so light. I apologize.
There's a growing body of work
that we refer to as the UDL
guidelines and so if you do
essentially just a Google search
10 for UDL guidelines and I believe
there's a handout in your packet
related to a UDL guidelines
checklist, so there's a series
of these three principles, and
15 then a series of checkpoints on
each of that, and then below
that, there's all the resources
associated with each one of
those checkpoints, so it's a
20 pretty major body of work
related to how do I know it when
I see it, what could I do to
begin to appropriate some of
this into my practice and so it
25 moves it from a theoretical
68
1 framework into practical.
>> >>: so what I'm going to do
right now is do some exploration
5 with you of why we need multiple
means of representation,
expression, and engagement.
>> >>: so I want to give you a
10 little hearing test. And we're
going to -- you know what I
need? I node this computer
connected into audio. But or I
can do it with my -- if I take
15 my lapel MIC and hold it on the
computer, is that going to --
>> >>: only for the camera.
20 >> >>: only for the camera. All
right so I'll be fine. All
right, so here's what I'm going
to do.
25 >> >>: that's working fine.
69
1 >> >>: OK, so here's what we're
going to do. I'm going to play
a tone and we're going to start
at 8,000 HZ. And I want you to
5 raze your hand if you hear the
tone.
>> >>: I'm going to lower my
volume.
10
>> >>: OK. 9,000 had HZ.
10,000 HZ. Right, nick. Oh,
good I can still hear them.
15 >> >>: 11,000? Raise those
hands high. I want to see it.
>> >>: because I'm going to --
start looking around. 12,000.
20
>> >>: I'm going to skip to 14.
>> >>: oh, I see some people
going. Oh, like this. Like
25 they see hands going up, and I
70
1 don't know. What's going on.
15.
>> >>: I heard it come on and go
5 off. Try this one. 16.
Anybody hear 16? OK. Good.
Let's try 17:
>> >>: oh, all right. So here's
10 what's happening. Does anybody
notice a pattern?
>> >>: yes, getting older.
15 >> >>: yeah, yeah. So it's
reversed, though, right is this
so those of us who are you know,
over 40. We here fine at the
lower registers, but as you go
20 up, in fact developmentally, you
lose the ability to hear those
upper register sounds and in
most cases you have to be
somewhere close to your 30s to
25 have 15,000 HZ and up. Remember
71
1 there was a Chris van osberg
story where he was given a bell
and the parents come and he
rings the bell on Christmas day
5 as a child and the parents go,
oh, too bad the bell is broken
because they can't hear the
sound?
10 >> >>: there's a growing
movement in some small towns in
Europe where they have
youngsters, particularly
adolescents, doing skateboards
15 outside their shops and driving
away some of the older patrons,
so they've taken to posting a
little speaker outside the door
and playing a tone at about
20 19,000 to 20,000 HZ, which most
of the older folks cannot here
hear at all and is totally
annoying to the adolescents and
essentially drives them away
25 from that spot. It also means
72
1 there are no dogs in the area
either for the same reason, that
high frequency drives them a
little crazy. So for me this is
5 just a lovely kind of fun and
concrete example of why we need
to present different levels of
information in different formats
and that we're going to have
10 differentiation. The brains of
30-year-olds are really not much
like mine in some ways and very
much like mine in other ways and
yet there are areas of
15 differentiation so it's
important to understand that
some of this is histologically,
some of this is volitional,
we're really choosing to align
20 ourselves to different things.
>> >>: how do we need multiple
means of action and expression?
So I'm going to share with you a
25 story, but also a project. So
73
1 David will probably talk a
little bit about this tomorrow
in a different context. David
teaches a course at Harvard
5 called T560, which is the title
is something like mind, media
and instructional design, it
started out about five or six
years ago with a small group of
10 students and now is in a really
nice kind of presentation hall
and usually has about 100
students every spring semester.
And he draws from the business
15 school and the head school and
MIT and other Harvard
departments because what he's
really looking at is -- he's
looking at how -- what we know
20 about neuroscience relates to
our ability to express ourselves
and how we can put together
learning materials and learning
environments that really promote
25 the broadest possible
74
1 opportunities for all students.
So here's the way the class is
structured. It's a semester
class. There are two major
5 projects. Both projects have to
involve, or students are
encouraged to use multiple media
types. In fact, they're limited
to I believe 1400 words if
10 they're writing. So think for a
moment about what graduate
students at Harvard and MIT or
the Harvard business school are
really good at, it's writing,
15 and so by saying to them, you
can only use 1400 words in your
project, it essentially strips
them of the key toll that
they've used to be -- are used
20 to using in academic situations
and he said in any other media,
images, audio, video, you may
use unlimited. But you're
limited to 1400 words.
25
75
1 >> >>: so I want to share with
you a project that was submitted
a couple of years ago. Oh, and
the task for this particular
5 project was this: Design a
curriculum unit that is
specifically focused on a
particular type of learner. And
this curricular unit was
10 designed for students with
autism. So this up here, so
this is profound artistry in
autism, project 2, visual
literacy, lessons in
15 architecture. I'm going to go
to project 2.
>> >>: so this is teaching
visual literacy. Obviously
20 there's a lot of text here. OK,
so I'm going to go to the
learning goal. Understand how a
3D architectural structure
correlates to a two dimensional
25 ground plan so I'm going to go
76
1 through the lesson. And here's
the lesson. And this is the
entire presentation. Lesson 1,
learning goal understand how a
5 3D architectural structure
correlates to a 2D ground plan.
The only other instruction I
don't know if you can see it,
right up here, there's a little
10 spinning yellow thing that
indicates you might want to
click here. I'm going to
clicket click there. OK, so now
we have 3 dimensional, 2
15 dimensional ground plan. And
then there is assessment
exercises down below. I'm going
to go to lesson 2. Learning
goal in lesson two is understand
20 how an architectural ground plan
comprises repeated, simple
geometries. So here's the
geometry. And notice the only
option here is when I offer over
25 things it's highlighted so it's
77
1 encourages me to click.
>> >>: so the little circles
move out for the APSES.
5
>> >>: I discovered after
watching this that I could never
look at a cathedral the same way
again. I gun to look at it as a
10 geometric master plan. And had
to marvel its complexity but
also its simplicity. Through
there's all interior views of
SAN. SPIRITO and shows me the
15 view itself.
>> >>: so this was submitted in
response to the assignment, and
David chose this one to share
20 with the class and say, this is
a pretty strong submission. And
you might want to take a look at
that and one of the students in
the back of the class said are
25 we going to be graded on
78
1 presentation? And David,
instead of responding, threw it
back to the class and said, what
does the class think? And so is
5 they said, well, obviously this
person is very talented with
technology and art and
developing things in a manner
that a lot of us are not going
10 to be able to compete with. So
this really seems a little
unfair. If this person gets a
high grade, and we can't all do
the same thing but we're graded
15 because we don't have the same
innate abilities. So the
discussion went on in the class
until the author and the
designer of this particular
20 project stood up and said, he
said, I've been really patient
with you all. But I want to
share with you the fact that I
am significantly dyslexic. I
25 have been graded on my worst
79
1 abilities all the way through
school. He's now a graduate
student in design and technology
at MIT, working on a doctorate,
5 and he said so you're going to
say to me that for the first
time when I have an opportunity
of really showing you what I
know and how to do it, you're
10 going to tell me that I can't be
graded on that? And it was a
really remarkable moment in the
class. Because it really
brought home to all of the
15 students how their success,
their degree of success was
really dependent in many ways
upon their ability to use a
single media type, which is in
20 their case print that they could
write and now they're being
introduced to a whole other
world, with someone who actually
moved with ease and grace
25 through other media types and
80
1 yet struggled with the media
that they found the most
comfortable. So the class voted
that he should get an A-plus.
5
>> >>: here for me, this was a
great example of a circumstance
where had you limited this
student to expressing what they
10 knew about one, autism and this
is really a masterful lesson
plan, two, design, three, in how
to present information in
effective, efficient and very
15 active ways, you would have
never seen any of this magic.
And yet, by allowing these
students multiple ways of
expressing what they know, we
20 get to see this pretty clearly.
>> >>: OK, I want to shift over
to engagement. This was a story
that appeared a few years ago
25 having to do tw students and
81
1 engagement and I wanted to
share. It's a few slides long,
but worth kind of going in this
direction. OK so Adam got a
5 great education in high school.
I learned how to meet girls,
what drugs to take where the
best shows were. Failed most of
his sophomore and junior years,
10 earned a 460 combined score on
his SAT's. I'm not sure how you
do that. That to me takes some
real talent. I'm determined to
fail here. Following high
15 school, played in various bands.
Jamie DYK tried out for the
laker girls and made it pretty
far before realizing that ...
20 >> >>: Wayne Lee considers
himself lucky to have a wife who
bought him grand theft auto:
Vise city for Valentine's day
...
25
82
1 >> >>: no, I work for NASA.
This is the Mars rover team from
NASA's jet propulsion
laboratory. This is a
5 remarkable story. If you ever
get a chance to read the
biographies of some of these
kids. And I call them kids
because compared to me. Anyway.
10 So rocket scientists indeed:
>> >>: each of these students
were students that struggled
their first time around and
15 their second time around and
their third time around and for
whatever reason, just stuck to
it. There was a degree of
persistence an for many of them,
20 that persistence spanned
multiple years, not just a
couple years time, but ten years
to really get through it and get
they are master's degree and
25 another way to get the
83
1 doctorate, but everything was
moving forward.
>> >>:
5
>> >>: I love this slide and I
love the picture that goes with
it, because it's clear that
people do get to do this kind of
10 work. So the message here, I
think, with this little vignette
is look for those little signs
of engagement and we try and
find ways to ex hort students to
15 keep trying. I always tell my
colleagues that the word
retention has a different
meaning in higher education than
it does in K-12, right? In K-12
20 retention means you stay back.
In post secondary retention
means you're sticking with it.
OK, those are two different
interpretations of the same
25 word. And so the Mars rover
84
1 team for me is a great example
of persistence and people
sticking with it. So just a
couple of statistics to think
5 about. Lee, who's the this is
Wayne Lee. Lee almost didn't go
into engineering because the I
willages he saw of NASA's
mission control in 1960s, it was
10 a lot of nerdy looking white guy
w's crew cuts. On DYK's first
day a female colleague told her
she should learn to be one of
the guys and never wear a dress.
15 Good scientists tend to have a
healthy disrespect for
authority. DYK wore a dress the
next day. As for Lee, he still
doesn't own a suit or know how
20 to tie a tie.
>> >>: so I'm going to share
with you just some examples of
some of the work that we've been
25 doing and talk a little bit
85
1 about getting beyond access and
into the world of learning and
achievement and this was a
project that we did jointly with
5 Google a year and a half or two
years ago and we're beginning to
expand some of this work.
>> >>: when I think about
10 universal design for learning in
particular, three principles of
representation, expression and
engagement. I also think about
them in the context of four
15 components of the curriculum
Lum. So if I talk about
curriculum. I'm talking about
four things. One is goal. What
is the goal? What are we trying
20 to achieve in this instructional
setting or in this class or in
this project? What is the goal?
That's really, really important.
It's also important to be able
25 to distinguish the means from
86
1 achieving the goal from the goal
itself and where we tend to run
aground at times is we confuse
the goal with the means of
5 achieving it. So my favorite
example came in the Boston city
schools education standards for
first graders, they had a goal
that stated the student will
10 write his or her name in the top
right-hand corner of the paper.
So if you think about that for a
minute, well, that's God if the
student can write. That's good
15 if they can spell. It's
actually good if they have
vision. Because otherwise
they're not going to know where
the top right-hand corner of the
20 paper is. It's great if they
have arms. You begin to see
that a goal written in that
manner actually creates a
Barrier for many students. And
25 they rewrote that goal to read,
87
1 a student will identify his or
her work in a consistent manner.
Yippee, OK? Now we're into a
whole different era. That's an
5 achievable goal regardless of
the means. The message is
starting to come out of the
Department of Education and
particularly dunkian's group is
10 tight goals, loose meanings. So
they're really focusing on
standards that are tight, clear,
and unambiguous for many
students, but multiple means of
15 getting to it. So this is
really important to talk about.
So curriculum first aspect of
curriculum is goals. The second
really has to do, and the order
20 is not particularly important.
The second aspect of the
curriculum is what materials are
you using to try and help
students meet those goals, and
25 that's where kind of multiple
88
1 representations comments in.
The third has to do with
methodology. What methods are
you using as part of the process
5 of incorporating those materials
in and getting the students to
meet the goals, and finally how
do you know that the students
have met the goals? What
10 assessments are being applied to
the big battle right now around
the reauthorization of the
elementary and secondary
education act is that the
15 current administration is still
pushing large-scale assessment.
Which means you assess the
students after they've gone
through the process of
20 instruction and from my
perspective that's great if you
want to know about
accountability at the school
level. It really offers very
25 little help for the styl
89
1 students themselves because
they're beyond the point of
instruction. You either have to
go through the entire sequence
5 and it doesn't work with the
educators who work with them.
I'm a big proponent of
informative assessment
10 A. Let's assess the students
as they move through the process
because it gives the students
the opportunity to correct and
it gives the instrucker a way
15 of. Now, in some ways some
people think people go a little
too far so I'll share with you a
vignette from Harvard law
school. Harvard law school
20 typically has a large class
size, stadium seating,
incorporation of laptops and
portable technology into law
school classes that's been going
25 on for a long time but there's
90
1 one shift that occurred two
years ago that challenged
everybody's per speption about
how people should learn. So
5 typically you have someone who
is lecturing, like I am, but if
I were doing this at Harvard law
you might also have couple of
graduate assistants that are
10 kind of off at the side and if
there were -- because the
content is incredibly technical,
you have attorneys who are
lecturing who have been doing
15 this stuff for 20 years, trying
to push information to students
who are new to the field to the
terminology and everything else.
The students started text
20 messaging the TA's while the
professor was talking. And
saying things like could you ask
Dr. So-and-so to repeat this
because I wasn't really sure you
25 know, so this is live, real
91
1 time, you're done with 90
students in a stadium and you've
got 15 of them text messaging
your TA's saying could you go
5 back over that again and for the
first few times it trove
everybody crazy. The initial
response was no more laptops in
the class, finger in the dike
10 stuff, right? Let's stop this,
anyplace it in the bud, I can't
be interrupt inned middle.
Well, that didn't last very
long. And so now the majority
15 of the classes actually
incorporate the ability of
texting between the TA and the
student for clarification of
information during the lecture.
20 And I got to thinking, you know,
I would find that particularly
unsettling. On the other hand,
what better way for someone
who's teaching to get immediate
25 feedback as to whether or not
92
1 what they're trying to get
across is in fact working. So
quick summary on.
5 >> >>: So when I talk
about curriculum, those four
things I want you to keep in
mind. Goals that that's the
entire kind of curriculum
10 sequence and when we talk about
universal design for learning,
we talk about thinking of ways
of incorporating the principles
into those four areas. You
15 know, are there ways to do it
within goals? Are there
certainly ways to materials and
methods and are there ways to do
it with within assessment. The
20 big issue right now with
assessment is it's called
construct relevancy. The
question is, are you measuring
what you think you're measuring?
25 That's the construct. And is it
93
1 relevant to it and the classic
point of collision is when
you're testing students who have
struggles with reading on word
5 problems, what are you getting
when you get a poor level of
achievement? And in many cases,
what you're going is you're
getting a measure that the
10 student can't read. We know
that. So we need to figure out
a better strategy for doing it
and a lot of the collision right
now around arguments for
15 incorporating access or
universal design principles is
does it validate or invalidate
the construct relevancy of the
test if you have aspects of the
20 test read aloud to the student.
If reading is not what's being
tested, does it really matter?
OK, and I'm not going to respond
to that other than you probably
25 have an idea of where my opinion
94
1 is.
>> >>: OK, so we did this
project with Google. This is
5 wholly accessible. There's text
help tool bar. I don't think
mine is working at the moment,
but text can be read aloud. You
can highlight, you can look up
10 words, you can get background
information, but we wanted to
get to something a little
deeper. I'm going to go into
the sonnet. And notice that
15 over here on the side, I don't
know if you can see, right over
here, there's support available.
So I'm going to start with
maximum support, which
20 essentially says, stop and think
prompts are multiple choice
highlighted critical features
hints and available immediate
feedback on responses. This
25 really has to do with the goal.
95
1 And one of the things that occur
in learning environments that is
in many ways unique and this
goes back to the notion of
5 school being art. Is what's the
purpose. Why are we introducing
this information to these
students at this time? Because
that gets you to what your goal
10 is. And in this case we're
going to be talking about a
Shakespearean sonnet and this is
the most famous of the 154
sonnets. I'm going to take you
15 in here. Notice there's a lot
of stuff here and the reason
that all these things are kind
of augmented is because I asked
for the most support possible as
20 I'm reading through this
information. So I'm just going
to go through and I'm going to
highlight. If I click on a word
shall, I bring up a glossary and
25 it says and this all can be read
96
1 aloud to me, that shall is an
old fashioned way of saying
will. So even the basic kind of
semantics and tack takal level
5 of getting information. And
then over here, there's another
image and if I hover over it, it
says this is a literary device.
Shall I compare thee to a
10 summer's day, thou art more
lovely and more temperate. OK,
anybody want to take a guess on
what literary device this is?
Shall I compare thee to a
15 summer's day.
>> >>: There's a
comparison.
20 >> >>: There's a
comparison, great, and what type
of comparison? I'm going to
push you a little bit on this.
25 >> >>: Analogy.
97
1 Metaphor? Good. I'm looking
for one other word, too.
>> >>: Sim Lee. Good so
5 we've got analogy, metaphor,
comparison, simile. We don't
know which exactly one of those.
Let's go in and find out. It's
a simile. Figure of speech that
10 makes comparison between two
unlike things and uses the word
like, as, than or resembles, but
notice those things don't appear
poo in those two lines.
15
>> >>: Shall I compare
thee to a summer's day. Here
Shakespeare writes that his
beloved is lovelier and more
20 consistent than a summer day.
The word than is I am plied. So
now we're into the realm of
implied semantic identification
and this softs sophisticated
25 stuff. So we've got all this
98
1 area where it turns out that
every line in this sonnet is a
literary device and so by being
able to look at the sonnet,
5 being able to bring up what the
literary device is, I'm being
provided with adds isional
background information. But
notice there are some buttons
10 over on the side. So this is a
list of resources. So I if I
want to know more about this, I
can delve into the inentire
range of resources that's
15 available particularly related
to sonnet 18, definitions,
interpretations, critical
writings, et cetera, more than I
probably ever wanted to know but
20 it's there. And then there's a
stop and think.
>> >>: And this is where
I wanted to take you and this
25 says, this sonnet is about
99
1 characterization. And so one of
the ways of understanding or
assessing whether you are
getting what Shakespeare is
5 actually trying to indicate with
you is interpret the
characterization with clues
about. And I can go down here
and say, OK I've got three
10 choices. Now, remember, this is
the highest level of support.
So if I were to do this stop and
think with the least level of
support, it's not going to
15 suggest to me that I should look
at particular things. It's
going to ask me something and
not provide those supports. So
this is what's known as a highly
20 scaffolded environment. Now
it's wide open but from these
three. So the first is beloved
is just like a summer's day.
The second is the beloved is
25 more beautiful and more pleasant
100
1 than a summer's day or the third
is the beloved is beautiful and
quick-tempered.
5 >> >>: OK, and now I'm
not sure, so I could go and ask
for some help from these goofy
guys and these are coaches. So
I'm going to click on Monty.
10
>> >>: OK so he's saying
I use my own experience about
the summer day and look at the
second line. Now, the other
15 coaches may give a different
interpretation. So let's see.
Q. OK, so each of the coaches
is kind of prompting you to look
20 at something slightly different.
In addition to which before I
make a choice, there's a button
here that says show. If I click
on this, the text is highlighted
25 and what it's doing is it's
101
1 forcing me to look at that
particular aspect before I make
my selection.
5 >> >>: I need to understand what
these words mean and then I can
make a choice. So if I can go
back over here, I'm going to
hide that, say No. 2.
10
>> >>: And it says great.
Shakespeare describes the
beloved's beauty. What I'm
doing is self-assessing here.
15 How am I doing. Am I processing
this information relatively
accurately. Those appear
throughout the sonnet. And this
again is at maximum level of
20 support because the purpose here
is to make sure that when
reading this, that a person has
an understanding of form, that
they have an understanding of
25 the literary devices that
102
1 Shakespeare is applying here.
And that finally, they really
can understand that there's an
underlying message that this is
5 a love poem from an author to
his beloved and how is this
different from a piece of
narrative. So what we try to
embed in here were first of all
10 to make this as accessible as it
could be. So that you couldn't
read, you could have it read
aloud to you. That there were
multiple ways of presenting this
15 information. But going beyond
that, the purpose of presenting
Shakespearean sonnet, as with a
lot of other content is not to
make it accessible. It's to
20 actually -- the goal is to help
you understand what Shakespeare
is doing at multiple levels.
Device, structure, literary
device, flow, word choice,
25 background information, and what
103
1 is this sonnet about? It's a
love poem.
>> >>: So when we built UDL
5 editions, we went after a number
of examples and I'll just kind
of quickly share this with you.
We have a a story about coyotes,
but we also have a whole section
10 about coyotes. We also did all
of jack London's call of the
wild with similar aspects built
into it. We did the tell tale
heart, we did the Gettysburg
15 address, and: The purpose of
providing these materials out
there was to use them as
examples of what we think is a
good use of technology of
20 resources on the web, and how
instructional materials can be
embedded directly into the
content of using the
capabilities of media. One of
25 the things that those of you are
104
1 familiar with K-12 textbooks is
that the classic textbook has
two editions, it has one known
as the testimony E which is the
5 teacher edition, and it has the
SE which is the student edition.
All the information about the
goals of learning are in the
teacher edition and we looked at
10 that and said, well, that's
stupid, why not make explicit
with the goals of learning are
and take those two books and do
this, mash they will them up and
15 let the students know what the
purpose is, why they're reading
this content at this particular
time. Otherwise it's guesswork.
So this was kind of an extension
20 of that, and saying you know,
what's the purpose, what are the
goals for reading this, here are
some methods, here are some
alternate materials and oh, by
25 the way we're building in some
105
1 assessments and supports so that
you can measure how you you're
doing against what the ought
authorize author intended.
5
>> >>: A couple of quick things:
Learning in the brain differs
according to the task. OK, that
dependent on the task some of us
10 are equipped to handled it, some
of us aren't. The it differs
according to prior learning and
it differs according to the
individual.
15
>> >>: And remember I mentioned
earlier that the brain is a bit
dictatorial, so from a
developmental perspective,
20 there's a delay in information
processing, particularly for
those of us who are highly
visual and it also works for
auditory processing, as well.
25 So this is a visual reference,
106
1 that information captured by the
retina takes about 100
milliseconds to reach the brain.
In some situations that is not
5 sufficient to ensure your
survival. In other words, you
need as fast processing as you
possibly can to compensate for
this lag. I often don't think
10 about 100 milliseconds as being
a lag, but in this case, it is.
So that what the brain has
learned to do, it has learned to
interpret the circumstance
15 regardless of what the actual
physical or sensory stimulation
is. And make a decision maced
upon what it knows prior
knowledge. If you're like me,
20 those of you who are sitting out
there going no, that doesn't
happen. So I'm going to share
this with you.
25 >> >>: And what's going to
107
1 happen now is your brain is
going to make and act on
prediction as opposed to what is
really in front of it and I'm
5 going to use what this is known
as the KOFFKA ring and I'll just
let it play.
>> >>: So what's happening is
10 the donut is here together, it's
the same shape, right, the
minute it shifts, the shape
changes. Everybody see that?
There is no change in shape.
15 The shade stays exactly the
same. What is happening is your
brain is taking over at this
point and saying, I know this
balance of shading and color and
20 when things shift in this
direction, this is what happens.
What it essentially is doing, it
is overriding the truth in front
of you and telling you, you may
25 think that it's this way, but
108
1 it's not and I'm going to prove
it to you.
>> >>: So the donut is in the
5 middle. Now it shifts. Then
you kind of go whoa, what
happened? Know it looks like a
totally different shade. But in
reality it's the same.
10
>> >>: So here's what's
happening here. Particularly
with relation to visual field
and sensory interpretation and
15 the neuroanatomy of this all, is
that when you are looking
visually, the amount of area
that you can focus on is
approximately the sides size of
20 your hand. That's it.
Everything beyond that is
peripheral vision, and your
brain is really attuned to
looking out for change. Brains
25 are kind of change grabbers.
109
1 They're looking for
fluctuations, alteration, things
that are unpredictable in the
environment, it particularly
5 with visual processing and if
you're presented with something
that the brain already knows,
it's going to make a dictatorial
decision on your behalf. It
10 also does this with some
auditory information. It's
important to know. Because it
really is based on prior
experience. So I like the fact
15 that the brain has a little bit
of a dictatorial.
>> >>: The brain constitutes
reality based on what it
20 perceives reflected by the
mirror of past experience and
this is the one that I always,
when I first learned this it
caught me way off guard.
25 Neurons running from our brains
110
1 to our senses outnumber those
running from our senses to our
brains by ten to 1. I logically
would think that it would go the
5 other way. That sensory
information because that's our
primary way of processing the
world around us, whether it's
touch or smell or hearing or
10 site, sight. You'd think that
there would be many more neurons
running into the brain than
running out, but keep in mind
that from a kind of long-term
15 evolutionary perspective, the
brain has made some smart
decisions that allowed us to
develop and continues to do that
but in order to do that it takes
20 away some decisionmaking.
>> >>: And my favorite line,
perception is manipulated by
expectation. And this really
25 has a lot to do with experiences
111
1 starting at a very young age and
some of this is really
controlled by the autonomic
nervous system, but some of this
5 is controlled by the culture, by
your early experiencing, what
you've grown up with, all of
that shapes who we are as
individuals.
10
>> >>: So just I want to leave
you, we're going to take a break
in a minute because you've been
sitting way too long with a
15 conceptual shift. Diversity in
a classroom is a norm. We need
to anticipate this. I remember
when I first started thinking
about making sure that materials
20 were accessible for students, I
was focused on the individual
student and it was an ad hoc
retrofitting of whatever existed
in the classroom and that was
25 occurring either in the K-12
112
1 setsings or post secondary
settings and all of a sudden I
realized I was doing a lot of
professional involvement and the
5 country and I could go into a
school district a high school
somewhere that was useing an
American History textbook and
discovered that that book was
10 simultaneously being digitized
from print into a digital format
by 300 schools around the
country and I said, well, this
is not a really good idea in the
15 sense of I want to get educators
out of the business of
retrofitting publisher content
and if that has to happen, there
has to be some sort of central
20 repository for doing that we
need to anticipate, rather than
waiting for these students to
show up, we need to anticipate
that diversity is what we've got
25 and so we need to make our
113
1 learning environments flexible,
we need to provide multiples,
the representations, expression,
engagement and within the
5 context of goals, method,
materials and assessment and
then on to an individual
student. So that really was a
shift. Just another reiteration
10 of the principles, and we'll
be -- I'll be spending more time
this afternoon just talking
about how do we begin to address
the challenge with, that makes
15 it difficult to incorporate all
of these things. And for me
it's always applauding
approximations. I've never been
in an environment that's totally
20 UDL where I can say whoa, this
is terrific, but I have been in
an environment that there are
approximations and each one of
them make it a much more both
25 responsive and respectful
114
1 environment for students. I'm
going to -- I think I'll skip
through UDL guidelines quickly
because I want to do a break and
5 then, yeah, I'll wait -- OK I'm
going to stop there. Let's take
a 15-minute stretch break and
then we'll come back.
Curriculum. Koffka. Flick
10 school welcome back. If
everyone could take their seats,
please: I have a quick
announcement about the blog and
the Internet access. A few
15 people had indicated that they
couldn't get on the blog if they
were using the codes that they
got from the registration desk.
That problem should be solved at
20 this point. So hopefully if you
have any further questions about
that, it's not working for any
reason, you can come see me.
I'll be sitting right over here,
25 and otherwise, I've already had
115
1 a few people posting some
comments in the water cooler
area, so please continue to do
so. I have set it up so it's
5 moderated so if you do post
something, it won't appear right
away. I have to verify that
it's acceptable, but anyone at
the conference who's posting
10 things according to our
guidelines, it should be no
problem, you'll be accepted
right away, and also I wanted to
make it known that skip's
15 presentation is also on the
blog, if any wants to download
that and follow along. It's
available on the day one page.
20 >> >>: That's the first one.
This one is not.
>> >>:
25 >> >>: Great. Everybody hear me
116
1 OK? Back in the room? OK. So
what editions' like to I'd like
to do is shift gears a little
bit and talk to you about
5 instructional materials and
particularly around strengths
and weaknesses of different
types of media and I would like
this part of the session to be a
10 little more interactive so there
will be points when I'll stop
and ask you some questions and
we can kind of muse on some of
these items and ideas together.
15 So I'm just going to do a quick
remediation on neural networks,
kind of recap and recover what
we covered earlier this morning
and then I want to take a look
20 at print images and audio, and
what are some of the challenges
both their virtues and Barriers
associated with each of those
media types and hopefully this
25 will be useful for those of you
117
1 who are in instructional
practice, in thinking about
strategies for presenting
information and also encourage
5 your students to exhibit what
they know. So this is one of my
favorite images. This is a mag
if I fied and colored image of a
rat brain, but it's actually an
10 extracted neural network with
millions of cebses.
Connections. One of the nice
way about our brains process
information is that they take in
15 information simultaneously. It
all happens in parallel. So
it's not sequential in the sense
that one bit of information has
to build on another, although
20 that does occur and so as you're
sitting here, your entire system
is processing auditory
information, tactile
information, you know, smells,
25 tastes, touch, and it's an
118
1 incredibly efficient system.
Within neural network systems,
meaning is constructed what's
known as HETERARCHICALLY. As I
5 mentioned before, processing is
distributed and it's also
distributed in parallel. All
happening simultaneously. I'm
just going to skip over the
10 recognition. We did the Koffka
ring and the purpose of my
showing this to you was really
to kind of illustrate how there
are two types of processing of
15 information. One that's
referred to in the
neuroanatomical and neuropsych
literature. One is called
bottom up, which is sensory
20 information coming in, so touch,
smell, taste, hearing, vision,
and the other is top down, where
your brown is saying, oh, I know
what that is, you know, here's
25 what it is, move on and that's
119
1 essentially what happens with
the Koffka ring. There are a
number of examples of these
types of visual allusions and
5 auditory illusions, one of my
the other classic one is an
auditory illusion of a drum beat
that actually stays the same but
if you listen to a recurring
10 pattern of a rhythm and it lasts
longer than about 30 seconds,
your brain speeds it up. And
it's one of those again, oh, no,
that can't be happening, yet in
15 fact it does.
>> >>: So we talked about
recognition, and the process of
generalization, which is where
20 the top-down decisionmaking for
the brain comes, that perception
memory and learning are all
processes of generalizing and
all of you generalize from some
25 things to others and that's how
120
1 the brain becomes somewhat
dictatorial. So recognition
networks. Take this from a
different perspective and think
5 about this as an interesting
kind of intellectual challenge
but one that actually relates a
lot to how we process
information. So one of the
10 challenges is, thinking about
how we arrive at a uniform and
agreed-upon set of definitions
for particular items or objects
and in this case I'm going to
15 use a bird which is pretty
simple and straightforward and
in fact, most preschool students
can tell you what is a bird and
what is not a bird. And so this
20 is really getting to
categorization processes. So
I'm going to ask, do all birds
fly?
25 >> >>: No.
121
1 >> >>: OK. Do all birds have
feathers?
>> >>: Yes.
5
>> >>: Do all birds have two
legs?
>> >>: Yes.
10
>> >>: Do all birds have beaks?
Yes.
>> >>: So we've got some
15 agreement with everything. We
say no on the flight but yes on
the other two. But then I'm
going to use what is the actual
definition of a bird that's used
20 in the scientific community and
here's the definition. They are
endothermic vertebrates, so
warm-blooded.
25 >> >>: Their skin is covered
122
1 with feathers. They are
four-chamber hearts. Their
bones are light Waite and
usually hollow. Their forelimbs
5 are modified as wings and they
lay eggs.
>> >>: OK so these are the
characteristics of a bird that
10 are used scientifically. So the
only thing that really matched
with what our initial pass was
that I kind of tead up those
characteristics was the feathers
15 and beaks. Didn't say anything
about limbs. Actually in the
scientific community forelimbs.
We didn't say anything about
bones or light weight or how
20 many chambers in their hearts.
Andelity every preschool
youngster can tell you what is a
bird for the most part and what
is not a bird. And it really
25 goes back to a complex
123
1 incorporation of characteristics
that we build on from a very
early age to begin to clearly
identify this as an example, and
5 this is as a nonexample.
>> >>: We talked about
representation expression and
engagement and I related those
10 earlier this morning to four
aspects of the brain,
particularly recognition
systems. So more ways we
represent information the better
15 we are, particularly hoping that
students get it. Multiple means
of expression, roughly
associated with the frontal
lobes. The ability to initiate
20 meaningful, purposeful behaviors
and actions and finally multiple
means of engagement and that
relates really to the limbic
system. It oversits the some of
25 the neuroanatomical aspects of
124
1 the brain to the neocortex, and
largest concentration of neurons
actually exists between the
limbic system and the frontal
5 lobes, which connects action
with responsiveness to what's
important in your environment.
>> >>: And which is generally
10 assumed to be a nice
survival-oriented bundle of
neurons to be able to
distinguish between something
that's about to eat you and
15 something that isn't, and if
something is about to eat you,
you need to initiate an action
or behavior in order to get out
of the way and so there's a lot
20 of neurons that are connected
between what's important and
movement.
>> >>: OK.
25
125
1 >> >>: I'm going to switch over
to print for a minute and I'm
going to open this up at this
point because I want you to all
5 to think about what you're doing
and p had this context, think
about print and text as being
somewhat similar. So symbolic
representation of language.
10 What are the benefits of using
print or text-based resources,
particularly in instructional
settings? And we've got some
folks with microphones around so
15 emand I'm just looking for
whatever comes to mind. A lot
of us in here are print people,
who we use print. Charlie
there's one behind you.
20
>> >>: It's stable.
>> >>: Stable in the sense --
25 >> >>: You can express something
126
1 this print and you can carry
across-country and those words
can be read by many people in
many places over a period of
5 time.
>> >>: Great, and that's
actually the legal definition of
the distinction between liable
10 and slander.
>> >>: You can slander somebody
and the actual, you know, your
actual fines are minimal, but if
15 you put it in print it's libel
because of that persisting
nature that it, you know, it can
persist from one situation to
the next, so potentially if it's
20 a negative commentary, it's that
much more damaging. Over here?
>> >>: You can use it in
multiple ways, you can use
25 basically all your sensory
127
1 inputs, because it is it isn't
just about reading it. You can
also manipulate it, even though
it's stable, so you can make
5 notes, you examine use it for
other purposes, so it's got
multiple aspects to it.
>> >>: It's also portable.
10 Print or text. And we'll
combine those two in a moment.
It's pretty easy to carry from
one place to another. Any other
benefits?
15
>> >>: If you build proficiency
in creating and reading it, it's
much faster than most other
media.
20
>> >>: So let me restate that.
If you build proficiency in
print-based materials it's more
efficient than a lot of other
25 media. Yes, agreed. And you
128
1 have one?
>> >>: I think I've connected
being visual representation of
5 marriage. So for someone like
me who can't hear it's visual
right in front of you. You
don't have to hear it.
10 >> >>: Right, it's there, and
you can call it up later so it's
both a media and you can call it
up later, as well. So yeah,
great, thank you.
15
>> >>: So let me throw out what
the researchers say, and I think
what you'll discover it's going
to cover a lot of the things
20 that you already presented. But
from a kind of semantic
perspective of looking at how we
pull the language apart, print
offers a simultaneous
25 presentation of patterns. And
129
1 those patterns can be visual in
the sense that certain words go
together, there's a flow of
visual patterns and that gets to
5 the efficiency of print as a
medium. There are phonological
patterns. We can react to
certain things, either
auditorially in some cases or.
10 there's semantic patterns,
the way that words go together.
And in fact, a lot of skilled
readers tend to read ahead
because you're anticipating and
15 predicting what's coming next
and can make the flow of reading
pretty quickly.
>> >>: So anybody want to take a
20 shock at reading this paragraph?
Somebody can do it, come on. Go
ahead. Back here. We need a
microphone.
25 >> >>: Whoa. Good job.
130
1 >> >>: OK, so this is kind of
reinforcing that sense of visual
pattern, that those of us who
are skilled readers actually can
5 look at this and actually have
no difficulty reading this,
because we're just translating
it as we're reading. If you're
an emerging reader, this is the
10 nightmare you know, that you
can't get to this stage. This
really is a skilled reader. So
it's pattern recognition,
particularly with text is
15 important as a medium for
transmitting information.
>> >>: We've got visual
patterns, we've also got
20 phonological awareness and this
relates to younger students.
Phonological awareness, so it
sounds similar, major component
of skill in beginning readers
25 ...
131
1 >> >>: OK, I'm going to -- this
is a pet scan. And what it's
really showing is the burning of
glucose in the brain. I'm not
5 going to spend a whole lot of
time on it, other than just to
point out a couple of things.
When glucose is being burned in
the brain, there are neurons
10 that are fired. Glucose is
really a sugar compound and it's
used for energy generation, and
what pet scans do is they allow
us to see the burning of glucose
15 in the brain with an alert,
aware individual in response to
specific stimuli and it gives us
a sense of what neurons are
firing with what degree of
20 intensity in the brain and so
the one that's kind of
predictable is listening to
words, which is this one right
over here. This is a brain
25 that's facing -- we're looking
132
1 at the left hemisphere, so those
of you speech and language
pathologists and folks remember
western Wernicke's area. This
5 is. Now for the first time when
these images were first made
available late 80s or early 90s,
so within the last 25 years,
we're able to kind of reconcile
10 notion that we had earlier with
what is actually happening and
but what is interesting is how
much neurons are firing outside
of the areas where normally
15 you'd think there would be a
heavy concentration. So if
we're viewing words passively,
you get a very high glucose burn
in the rear part of the
20 occipital cortex, but also
what's happening is neurons are
firing throughout so they're
firing a lot of up in the
frontal cortex and as you can
25 see 3 dimensional, also down
133
1 into the limbic system. And the
reason when this information
first became available, the
reason this was really
5 enthralling and terrifying was
for the first time we had a
sense of what was happening in
the brain as neurons were
firing. In response to a
10 particular task, but it also
meant that there really wasn't a
reading area of the brain. A
lot of the researchers were
looking at this and saying we
15 know how the brain works, we can
go a long way towards helping
students learn better, because
if we can isolate a reading area
maybe we can do something if
20 it's not functioning chemically
or. And what we discovered is
there really isn't a reading
area in the brain, there are
thousands of reading areas in
25 the brain because neurons fire
134
1 throughout.
>> >>: OK, so simultaneous
presentation of patterns. PHOTI
5 in English can spell fish. And
the reason being you can use the
PH from phony and the O from
women and the TI in action as
come up with the word fish. The
10 problem is not all phonological
patterns are accurate. So
something to keep in mind.
>> >>: OK. Barriers of print.
15 So what happens if some patterns
are hard to recognize? Visual
patterns are a significant
challenge if you do not have
functional assistance.
20 Phonological patterns if you are
hard of hearing or deaf or for
English being a second language
because your phonological
awareness is focused on a whole
25 different level or a different
135
1 set of patterns. And then
semantic patterns with dyslexia.
>> >>: So these are be
5 challenges that ADHD low
cognition, English as a second
language. So these are
potential Barriers to using
print as a primary media for
10 transmission of information.
>> >>: OK, digital media offers
some benefits. One of the
things that often happens with
15 those of us is that universal
design for learning and digital
media get kind of intertwined in
a way that also implies some
degree of dependency. And the
20 way I kind of express this is I
think there's a lot of ways of
incorporating universal design
for learning into intrucksal
practice without using
25 technology. It's just that some
136
1 of the aspects of digital media
technology make it much more
efficient and much more easy to
actually do this. So one of the
5 classic examples is oh, how text
can be read in alternate formats
almost instantaneously if the
text is digital to begin with.
You can naggify, you can do
10 custom colors, you can also
transform it pretty
automatically into Braille and
you get output using text to
speech. All of that is possible
15 using a standard print piece of
paper. You just need a lot of
people and a lot of time to make
that happen. So using digital
media in the context of
20 enhancing print is pretty
powerful.
>> >>: The other thing about --
let me see I'm going to stop
25 here and go on to imbedded
137
1 strategy.
>> >>: ... OK. So what are
images good for? And this goes
5 back to the same question. I'm
going to transition now away
from print into images. So I'm
going to open this up and see
what what your all opinions are.
10 When would you use or envision
using images or in your
experience what have images been
really helpful for? We have a
response right here so bring the
15 microphone over?
>> >>: Imagery is universal.
It's often used for example one
obvious example is road signs.
20 You can go from country to
country and drive a vehicle and
usually with either road signs
or when you're dealing with any
type of danger situation or
25 chemicals, that are universal
138
1 examples of danger, as well.
>> >>: Great, great. Yeah, they
really do transcend cultures in
5 a really interesting way.
>> >>: Any other impressions,
thoughts, related to images?
10 >> >>: They often relay --
information more quickly.
Succinct.
>> >>: Yes, great. Yup, one
15 other? Charlie, don't run away.
>> >>: They also can convey a
complex pattern or singling and
simplify something such as a
20 cellular mechanism or something
to that effect.
>> >>: Right, right, everybody
hear that? So complex pattern,
25 cellular mechanism, that's a
139
1 great example.
>> >>: Anybody else? Yeah, in
the back.
5
>> >>: For those who have
difficulty processing language,
imagery can be a more successful
way of communicating.
10
>> >>: Yes, absolutely. So
let's take a look and see what
some of the research says or at
least what's out there.
15 Representing concrete objects
and the spaces between them.
And I'll show you a couple of
examples of that. This is
actually some of you mentioned,
20 like you know being able to look
at cells or something like that,
that images can be much more
telling and what it would take
to describe that same
25 combination of images in text
140
1 usually gets people lost pretty
quickly. Representing the
relationships between objects,
illustrating or capturing their
5 relationships. So how they're
alike, how they're different.
Representing context, capturing
objects in actual context,
maintaining figure and ground.
10 An capturing simultaneousate,
parts and whole relationships.
So this is kind of a classic
example. This is an image from
a manual on putting together a
15 gas grill and if you could --
this is one of those nightmares
of construction that those of us
whose parents have mistakenly
have bought items for children
20 and haven't put them together on
Christmas Eve. This falls into
that category. So this is
multiple relationships amongst
objects that that if you could
25 imagine trying to put something
141
1 like this together in print or
text only, it would take reams
and reams and you'd be lost by
probably the third paragraph.
5 So this is another indication of
just showing relationship
between objects. That there's a
clarity here that these images
really can perfect these
10 relationships much more
efficiently than certainly any
other type.
>> >>: And sometimes they're
15 less useful than others, because
you may want to have alerts
posted, and you need to know
when to stop using images and
when to move into text-based.
20
>> >>: This is -- these are the
parking symbols for Logan
airport central parking. Now, I
don't know how many of you have
25 ever parked in Logan. But it's
142
1 like Dante's 9th circle. You
kind of -- you pull your car
into central parking and there
are three or four garages and
5 they all look the same and
there's level 4 east, south,
west, and it's just unbelievable
and always when you're parking
in Logan and you're coming back
10 in from a red eye from somewhere
you've totally forgotten. My
favorite experience was coming
in in a snowstorm and I thought
I'd parked on Level 3 in the
15 middle of the tower so I go to
Level 3 in the middle of the
tower and my car isn't there.
It's Level 3 in one of the other
two towers and I thought I'll be
20 smart I'll just hit the panic
button on my car and if the.
But of course all I could hear
was this faint beep, beep, beep,
and I could not tell whether it
25 was up or down. So I get back
143
1 on the elevator, go down, hit
the panic button again and now
it's even fainter, so I know
it's up. Anyway, using this
5 system of setting off my alarm I
actually found my car 20 minutes
later and it was on level 4, not
Level 3.
10 >> >>: But images here, this is
what this is really trying to
reinforce is a sense of location
and mnemonics and
differentiation. And as you
15 mentioned, that sense that this
is kind of is cross cultural to
some extent.
>> >>: So representing concrete
20 objects, spaces between them,
representing the relationships
between objects, illustrating or
capturing those relationships.
Representing context, capturing
25 objects in actual context,
144
1 maintaining figure and ground
and capturing parts and wholes
simultaneously. And think about
images in an instructional
5 context. The purpose being you
want to transmit some
information using images.
>> >>: What are the challenges
10 related to Barriers of images is
it gets you into top down
constraints. This another
another optical illusion showing
that the square that's
15 identified here is the same
shade as this square over here,
so that one and this one are the
same. But your brain is saying,
no, they're really different,
20 but it's another one of those
top-down I am positions that
relates to shading and color
where your brain is overriding
what your sensory system is
25 doing and this tends to happen a
145
1 lot with images. So we come to
it with a predisposition, at
least a neural anatomical
predisposition to see certain
5 things and to not see others.
And you get also things are
imposed upon you simply by
experience. On first pass it
would be very easy to say this
10 would be Clinton and gore but
it's really Clinton and Clinton,
and all we've done is simply
changed the hair style. But
it's relatively easy to trick
15 yourself into thinking you're
seeing two different individuals
and some of you are going what?
Really? Yes.
20 >> >>: So what challenges images
present to learners? The first
is sensory. If you have limited
vision or your vision is
compromised in some way,
25 obviously then images are going
146
1 to create impairment. The other
one is perceptual and that has
to do with interpretive, how
you're able to accurately
5 interpret an image, particularly
when in context. And finally
cognitive, the degree to
understand what you're being
presented with and that goes
10 back to that diagram of the
grill that as you walk through
the grill set diagram,
everything is clear until you
get to the area that says don't
15 do this. And then all of a
sudden what happens is your
uncertainty takes over and
you're not sure what they're
asking you not to do. And so
20 you get uncertain and you end up
oftentimes doing exactly what
the image tells you not to do
because you mis interpreted the
image.
25
147
1 >> >>: OK, ways of representing
information that can help.
Particularly with images,
providing text equivalents for
5 images is part of accessibility
expectations for a variety of
standards, so certainly on the
worldwide web, having some sort
of ALT text, which is a
10 short-text of an image is really
preferred and in many cases
require practice, but in some
situations having, and this is
what is known as a long
15 description. So having a long
description of an image gets
again to purpose. And I'll just
share with you, so share with
you a discussion that arose
20 around the national
instructional materials
accessibility standard. So
curriculum publishers agreed to
proceed high quality digital
25 source files including images to
148
1 a central repository and out of
the repository organizations
like book share .ORG and others
would take this content and make
5 blind versions. And when it
came time, everybody agreed that
having images was really
important, any image that was
included in a textbook or
10 related materials should be
provided to students because
some students were going to be
looking at this content on a
computer screen. Learning
15 disabled students, for example.
And then the next question came
was, well, text equiv will lens
are essential for students who
are blind, because obviously
20 they can't see the image, they
need to have some sort of text
description, and they proved
incredibly useful for students
who are learning disabled or
25 have attentional issues, because
149
1 what the text equivalent does is
it really helps focus what the
purpose of this image on this
page is for. And so a lot of
5 the folks who were in the
alternate format production
world say well we'll create the
text equivalents for that,
because this is a disability
10 thing, and the publishers'
reaction was interesting, a
couple of publishers said wait a
minute, we choose images to
embed in our instructional
15 materials for their pedagogical
content so we think this is an
editorial task and so now what
happens is a number of
publishers are actually
20 providing text equivalents for
images even though they're not
required to do in a because
they're the ones that are
selecting the images in the
25 first place and making them a
150
1 part of the process.
>> >>: So providing text
equivalents is important. This
5 another use of images of some
interesting approaches to
helping students structure their
writing and this is from an
article called, to write, draw.
10 And it's a way of scaffolding
student writing by using a
triangle approach. And this
came, I was reading an article
inside higher Ed and talking
15 about how the to mentor students
because oftentimes students
simply don't understand the
structure associated with
academic writing, and so what
20 WEIR was doing here is saying
this structure is relatively
straightforward, it's an
inverted pyramid, you start with
a thesis statement, you look at
25 a vector in aspects of support
151
1 that support that thesis
statement and you come to a
conclusion and if these
components are not imbedded or
5 if you capital tease out these
components, you need to go back
and using a diagram of this
nature, something like this, to
analyze or reanalyze what you've
10 written. So I thought this was
a nice example of the use of an
image to support going the other
way. Image to support text, as
well as text to support image.
15
>> >>: The other aspect of
images has to do with
engagement. And the difference
that color can make,
20 particularly, and this gets into
the evocative category of how
connected emotionally one feels
to a particular image or not.
So if you take the color out of
25 an image, it becomes far less of
152
1 an image. And so this image is
much more compelling using color
obviously than it is when just
black and white. And that was
5 another example of what happened
with newspapers a number of
years ago. Anybody remember
like I do, when all newspapers
were black and white and then
10 all of a sudden they went color
and you started to see color
images on newspapers and it was
almost jarring, because we'd
gotten used to the black and
15 white.
>> >>: Another example, that if
things are just black and white,
they're far less compelling than
20 color.
>> >>: They're also pretty
important for evoking emotion
and this is the other air area
25 where images can do things like
153
1 music and sound in a way that is
very different from what print
was capable of doing. This is
an image from the trail of tears
5 Cherokee nation moving, being
forcibly moved out to the west.
And you can see by the placement
and perspective, particularly
the woman up front who's crying,
10 and that there's a real emphasis
on kind of grabbing your heart
strings and showing you that
this is an unpleasant set of
circumstances and so another
15 means of using imagery to evoke
a trigger emotion but also
provide a lot of detail that if
you begin to delve into the
detail, all the detail supports
20 that kind of pathos that that
first image presents.
>> : OK, just transfer over a
minute to the virtues of lecture
25 and by lecture I'm thinking of
154
1 audio in general. Just the way
we use audio in an instructional
setting. So what are the
virtues of audio? A lot of us,
5 me included, spend a lot of time
talking to others. What do you
think the benefits are of doing
that? Anybody want to throw out
is ...
10
>> >>: You can listen to it
while driving.
>> >>: Ah, great. Great.
15 Listen to while driving.
Another one here? It can be
very personal and engaging.
>> >>: Personal and engaging,
20 yes.
>> >>: Emotion and stress can be
conveyed in the way something is
expressed.
25
155
1 >> >>: Great, great.
>> >>: Has anybody ever had the
experience with email where you
5 send an email to someone and
they interpreted it exactly
opposite from the way you
intended, because there was no
ability to stress and emphasize?
10 I've had that happen a number of
times.
>> >>: Well responding to the
email example, I came from the
15 IT world and I've gotten in
trouble many a times because of
how exclamations or colors were
interpreted. But as you were
talking about in terms of
20 evoking emotion, audio also is a
way of making sure that whatever
message you're trying to convey
in terms of the actual terms,
not emotion, is usually
25 universally expressed. It might
156
1 not be universery interpreted,
but at least you have an
opportunity to express your
ideas to a multitude of people
5 at the same time. So that's one
of the advantages, I think.
>> >>: Any other thoughts about
audio?
10
>> >>: I would just like to say,
I see audio as virtue like a
passionate way of getting
information and I always laugh
15 when I hear a speaker or
someone, you know, suddenly, is
there any questions or something
and your brain has to jump back
into the engagement part.
20 Doesn't happen a lot, but you
are you're expected to just
watch TV and.
>> >>: Some people simply
25 process differently or process
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1 better by hearing or by hearing
and reading together.
>> >>: Yup.
5
>> >>: There's also body
language and facial expressions.
>> >>: Yes, right, and again it
10 gets back to that notion of
stress. Good. Any other
comments?
>> >>: OK. So let me -- oh,
15 we've got another one? Yes, go
ahead.
>> >>: EU6S just going to say
that we're really expanding the
20 definition of audio to say that
there are multiple forms of
communication that could be
embedded which that and so we
have to interrogate the standard
25 definition of the terms that
158
1 we're using. Because it seems
most of this is about
multiplicity or various
intelligences and various ways
5 of accessing the information.
>> >>: That's correct, and also
to try to identify, try in some
ways to tease out when audio is
10 a Barrier and for whom and when
it's really a strong method for
getting the message across.
>> >>: So what the you know,
15 what the experts who are
researching some of this say
that the virtues of lecture is
the power and flexibility of the
human voice and its
20 accompaniments. It's relatively
easy to do in a conversation
because of inflection or
emphasis. Also, within a
lecture situation, there's this
25 kind of feedback and wisdom of
159
1 the crowd that develops. That
whether it be positive or
negative or investigate where
the questions will start to move
5 in a similar direction.
Amplification contagion, those
things occur in audio lecture
situations.
10 >> >>: However, there are some
challenges to audio. I'll just
throw these out. It's a uniform
means of representing ideas and
information, and it involves --
15 it's a pretty heavy memory load
and the reason it's a heavy
memory load is it's sequential
and transient. So that once the
information is out, it's gone
20 unless it's being simultaneously
captioned or recorded, and so
the way we manage that transency
is we look to other means of
making an audio stream permanent
25 so that we can go back and pick
160
1 it up. There's an executive
load and by executive load I
mean it's relating to executive
function. Organizing, staying
5 focused, both from the speaker's
perspective and the listener's
perspective. Is the speaker on
task, does it make sense. And
from a listener's perspective,
10 how long can I continue to
listen to this guy. There's an
implicit structure. I remember
when talking to somebody about a
first class at public speaking
15 and somebody saying, well, you
first get up and tell them what
you're going to say and then you
say it and then you tell them
what you said. Kind of that
20 three-step prong approach to
implicit structure of
presentation and there's also
background knowledge because the
speaker may using vocabulary and
25 there's no way to either reify
161
1 or contextize that vocabulary
because there isn't time. Nick
mentioned it's fairly passive
that there's a lack of
5 interaction, a lack of
construction meaning if it's a
lecture, and I mentioned
impermanent and linear. And
that the challenges really have
10 to do with uniformity of the
ways that one can engage an
audience using audio.
Recruiting interest is
important.
15
>> >>: So these are types of
things that kind of arise. So
I'll just share with you some of
the pros say is first understand
20 your audience, so it's really
nice to know whom' addressing
and that what you have to say is
really relevant to them.
Because if you're ever in a
25 circumstance and about to talk
162
1 to somebody and realize that
what you have to say and what
they're interested in are two
different things you know you're
5 in trouble. 20 minutes by
itself except if it's
interspersed with other media.
This is really talking about a
person's attention is really
10 only good for 20 minutes.
Organization should have some
power and punch. There's an
expectation of entertainment, as
well instruction, or
15 exploration. And that there are
alternatives available. Audio
amplification, such as what
we're using today. Multimedia.
Concept maps, structural
20 scaffolds. What I've sometimes
done with PowerPoint
presentation is use a little
thermometer at the bottom of the
PowerPoint slides that shows you
25 how far you are in the slide
163
1 set. Because that way people
can look and go oh, I can't bear
this any longer, he's only a
part of the way through, or
5 thank god, he's almost done. So
little things like that can be
quite useful.
>> >>: Visual and audio
10 recording of information. We
are David Rose teaches at
Harvard, in his classroom there
are some challenges and benefits
to this room. It's part of the
15 Ed school and it's a theater
seating room. Seats about 110,
and when he lectures and talks
or has a class, there's audio a
digital audio stream that's
20 recorded and then there are two
video cameras that record him
and about usually about an hour
after the class is over, the
entire class is online and all
25 the audio has been transformed
164
1 into a text transcript using the
technology. So it's up and
available there. And that's
actually useful for many
5 students. Not just for students
who are hard of hearing, but
students who want to revisit,
you know, what happened in the
classroom. So finding ways of
10 representing and increasingly
that type of technology is
becoming more commonplace.
>> >>: Providing guided notes
15 and in some cases guided notes
can be very highly structure.
They can be notes with some key
pieces missing. And finally
timer pacing indicator like that
20 thermometer bar that I
mentioned. Or providing some
indication on a slide set or
some aspect of presentation
where you say, OK, we're on item
25 12 of 50 or something.
165
1 >> >>: For expression,
particularly with lecture, and
I'll talk more about this in a
the session this afternoon. But
5 large-group Q and A sessions can
be useful, follow-up
discussions. Assigning note
takers, having note-takers in
class as part of an ongoing
10 process, and this again has to
do with instructional practice.
Having online discussion forums
like for this conference that
people are already taking
15 advantage of. Multiple ways of
sharing information. So it's
not just listening.
>> >>: Questions are really
20 powerful. Personal anecdotes
are powerful. Connecting with
people based on shared
experience is a really important
way and also, the other part of
25 it I think is affect. If you're
166
1 passionate about a electric tire
lecture that you're trying to
inculcate or move towards it's
much more powerful than just
5 saying data or statistics say
this is the way to do it.
>> >>: So this is one of those
classic on speech making.
10 Power. Punch, one theme, wait,
loop back, talk about what
you've already said.
>> >>: Just a couple of comments
15 on PowerPoint. I use power
points all the time. I use them
as an anchor and trying to
avoid, unless the situation
really requires it, I'm trying
20 to avoid reading any slides but
I wanted to read this one to you
so I'm going to violate violate
my own rule.
25 >> >>: So that's the positive
167
1 side of it. And this is from
Clifford NASS.
>> >>: But, ...
5
>> >>: So you have the plus and
minus in both regards.
>> >>: So finally, death by
10 PowerPoint and I violate all of
these simultaneously. Never
begin or end with slides, don't
read word slides. Tell and
show, rather than show and tell.
15 Don't turn the lights off. Use
blanks like silences of ways of
interacting. One image per
concept. Graphics for good
news, tables for bad. I love
20 that one. And I think back
about watching you know, all
those movies that talk about
stock market crashes and that's
exactly what they do.
25
168
1 >> >>: So I'm going to stop
here. And just thank you all
for hanging in with me this
morning. And I think it's a
5 good time to take a stretch
because I've been blabbering at
you for a long time. Just
wanted to see if there were any
questions before we take a lunch
10 break. See you don't want to
risk a row bation by your peers.
A.
>> >>: I don't know if this
15 question is a no-no, but are
these PowerPoint slides
available for us to look at?
>> >>: Yes, in fact this set,
20 Susan doesn't have but I'll see
that she gets that. So we'll
post these on the blog so you
have them available, yeah, yeah.
Any other questions?
25
169
1 >> >>: Thank you very much. Go
have lunch. Approbation.
Approbation. Approbates.
Approbate. Approbate.
5 Approbates. OK, lunch is on the
third floor. There are food
places all through the building.
One floor down, two floors down,
and three floors down. Each of
10 the floors does food places.
Each end. All different kinds
of things. There are
restaurants, there are fast
food. Ben & Jerry's, right.
15 New world tortilla, there's a
vegetarian bar. Just explore.
There's a list inside the
elevator. We will meet at 1 in
the workshops. And all of the
20 rooms are listed on the schedule
in your folder. Charlie's
signaling:
>> >>: People paid for lunch. I
25 didn't know that. If you don't
170
1 like what's out here for free,
you can buy lunch anyplace in
the building. Right outside.
Rhetorician. Rhetorician.
5 Naltrexone. Naltrexone.
Naltrexone. Naltrexone.
Cortex. Cortex. Thrall,
thralls, thralled. Flor.
Flors. Flora. Florium.
10 Floribunda. Test test test test
Punia. Pun yeah. Pulitzer
Priza. Pulitzer prize. Punia.
Punia. Hoity-toity.
Edelman.Edelman. NIMAS. Nimas.
15 Anymore. Anymore. Nipple.
Nipples. Nippled. Pulitzer
Prize. UDL@UVM. Universal
design for learning.@. Amino
acid amino acid. Acronyms.
20 Acronyms. Acronym. Ann off
ovulatory.
>> >>: Good afternoon.
25 >> >>: Like to welcome you to
171
1 the closing for the first day of
better learning by design and
I'm Ellen McShane, director of
academic support programs here
5 at the University of Vermont 57B
I'm a member of the UDL staff
and a member of the design team.
A little bit about which
individuals are on the UDL staff
10 and so with me today is Zach.
I'm going to have him introduce
himself.
>> >>: I also work sort of as a
15 tech support specialist on the
team. It's been a very nice
privilege of mine to work with
everyone and get to know the UDL
principles and get to know more
20 about accessibility. It's
really cool especially since I
just graduated in December of
2009 and then I get to meet with
all these faculty and professors
25 which is kind of a will cool
172
1 thing for me to do, especially
since I just graduated but yeah,
Ellen and I wanted to sort of
ask you guys how you thought the
5 first day of sort of processing
went. This is our first time
holding this conference and we
hope to build sustainability in
the long run so if there's
10 anything that anyone would like
to share with us right now as to
how they thought the flow of the
day went, I guess that would be
reassuring for us to know that
15 it went smoothly, put a lot of
work into it. Any comments or a
slogan that anyone can think of
for the first day of activities
at the universal design for
20 learning conference? Be brave.
It's OK. We were the sentiment.
Regardless of what you're
familiar with or what know,
hearing others in your
25 profession come here and speak
173
1 on this particular topic of UDL
and their approach, I think that
on this first day what was
really interesting was that it
5 was full of different
perspectives or different ways
of applying what you know. So
unfortunately I'm going to have
it leave here today which I'm
10 going to regret, but I'm curious
as to what would happen in the
next two days. It's all
centralized throughout the whole
conference. It's under the
15 comment called column walled the
water cooler ... Test test test
test test test test test test is
it showing on there? Test test
test test test test test test
20 test before you go on there are
some questions. Zach, can we
wait for the microphone?
>> >>: Test test test test the
25 question is how long will this
174
1 information stay on the blog.
>> >>: As a learning group. In
terms of the blog, I think it's
5 a really neat idea and we're
doing so many other things, that
it feels like a stretch to get
there and really pay attention
to what's going on there. It
10 would have been helpful to know,
to bring a laptop if you had one
...: Any other questions about
the blog? I'll just say really
quickly. One really nice thing
15 about the blog is it's kind of
the conference stuck? Time. It
has a different time frame than
regular time.
25
