Image: Reggio Children |
Have
you heard yourself or a colleague say, “I wish our visitors could tell us what
they are thinking and learning”? That musing might continue with, “Are they
trying strategies we never imagined? How are they figuring out why something happened?
We’d have an idea of how they reason, how we might extend their exploration,
and if they got a glimpse into their thinking.
Museum
visitors and learners can give us an idea of what they are thinking and
learning. They do, all the time, if we are interested, paying attention, and prepared
to help make learning visible. Small gestures and facial expressions;
conversations in which someone explains what she did and why and what he
thought would happen; structures and gizmos built; choices made and materials
used and “misused” share clues about learning.
Making Sense of Experience
“Making
learning visible” emerged from decades of work among educators in the Municipal
Schools in Reggio (IT) and was chosen as the title of a book written
collaboratively by Project Zero at Harvard University and Reggio Children. A powerful and intriguing idea, this phrase has, not surprisingly, attracted
great interest. Migrating from the schools of
Reggio Emilia to schools and museums in the U.S. and other countries, it has generated
multiple meanings and inspired various applications.
In
the Reggio schools context, making
learning visible reflects a strong interest in understanding and communicating
children’s learning, thinking, and discoveries. An important focus of this work
is understanding children as individual and group learners in school settings. In
extended projects and explorations, children use multiple languages–drawing, movement, materials, and words–to represent,
communicate, and express their ideas in varied media and symbol systems. Documentation,
a cycle of inquiry and a shared process among educators, parents and children,
has evolved as a robust tool for capturing, sharing, and studying children’s
thinking and learning. As a research tool, documentation gives value to and makes apparent and
accessible the nature of children’s and adults’ learning processes.
The
collaborative work of Project Zero and Reggio Children has served as a bridge
to U.S. schools and museums. With time, this idea has been adapted to various museum
contexts such as school-based programs, exhibits, and maker spaces, and to approaches
like thinking routines. The Exploratorium’s Tinkering Studio
uses “visible thinking” routines from Harvard’s Project Zero to emphasize
certain aspects of the tinkering and thinking processes. Inspired by Reggio
pedagogy and guided by research agendas and learning frameworks, interest in
making learning visible and audible is present in museums including Providence Children’s Museum, Columbus Art Museum, and Portland Children’s Museum (OR).
Museums
know that understanding learning and thinking in museum contexts is important
for delivering and growing learning value. Consequently they look for ways to
adapt processes that make learning (and thinking and experience) visible for
all learners, not only children. While
an attractive phrase, making learning
visible, is a complex concept, one that requires time and effort to understand and practice.
Not cartoon thought bubbles filling with text that explain a visitor’s thinking,
it does, however, offer great potential for capturing meaningful clues about
learning processes and how museum learners make sense of their experiences.
Different museums naturally
have different definitions of what this phrase means as well as different ideas
about its application. Museums, for instance, can and do solicit visitor
feedback; they post signs that effectively say, “Learning is happening here.”
These and similar abbreviated approaches overlook the nature of learning, its
complexity, and the conditions that support learners in developing ideas, expressing hunches, understanding
materials, and working around obstacles. These methods stop far short of shaping
experiences and environments that make room for thinking and learning, extend
exploration, encourage engagement and conversation among learners, and offer different
media and methods for exposing thinking and learning.
In Museums
Given
the nature of learning and museum environments, both opportunities and
challenges to make learning visible are at play and sometimes at odds. In the
visitor-centered, social settings that characterize museums, learners follow
their interests, pursue questions, and engage in conversation with others. They
use their senses and multiple symbol systems to gather and organize information.
As active agents in their own learning, they make connections among objects,
materials, stories, phenomena, and art that museums present. They pause, muse,
and make sense of these experiences in ways that are significant to them.
Museum
teams of designers, educators, developers, and evaluators are charged with creating
engaging learning experiences and environments in galleries, programs, labs, and
studios. Following their interest in sharing subject matter, developing skills,
and delivering messages, they select learning strategies, choose materials and
objects, invite exploration, and plan discovery to support these intentions.
Throughout an extensive experience planning process and beyond, museums conduct
evaluations, assess, and carry out research; these are processes and practices with
interests in common with documentation.
Conversely,
museums encounter challenges in creating the conditions that help make learning
visible. Exhibits are often planned to be self-guided, determined by a
visitor’s agenda, personal pace, or time constraints. The difference between
one visit and another is striking because of a visitor’s age, interest, and
reason for visiting. The nature of learning itself–a personal process requiring
time and occurring over time–also poses obstacles for museums. Visits are
relatively brief, especially considering the other activities also taking place
during a museum visit. Dwell times at an exhibit or artwork are relatively
short. Single visits are more common than multiple visits. Visitors leave the
museum at the end of the visit, perhaps returning and perhaps not.
A Language of Thinking and Learning
While
every museum is challenged to find ways to demonstrate its learning value, it
also has a remarkable advantage in making learning visible. At the very heart
of what it does, a museum makes substantial investments in talent, time,
resources, and expertise to create engaging learning experiences and
environments for learners of all ages. A great asset, this in fact contains two
other opportunities for making learning visible.
The
experience development process itself, from concept to remediation, supports
thinking, learning, exploration, reflection, and documentation. In experience
planning, developers, designers, curators, educators, interpreters, and
evaluators are learners themselves working together to develop learning
experiences for other learners–visitors. Furthermore, opportunities for
learning in museums are not limited to self-guided exhibits and one-time programs.
Museums also offer camps with multiple sessions, guided tours, professional
development institutes, community engagement projects, and maker spaces. Ripe
for learning about learning they invite, support, and extend participants’
engagement with materials and media facilitated by prepared staff.
In
any experience planning, a team draws on its understanding of learning and the
conditions that support it. In bringing greater visibility to learning, a team views
itself in a learning role, recognizing that its learning is inextricably tied
to visitors’ learning. Teams consider concepts learners could explore, learning processes they might use, and where exploration might lead. They anticipate thinking skills
learners might use, revisit these hunches later, and compare them with what
they think actually happened. In existing environments and during prototyping,
they observe learners, looking for evidence of what they do and think in their conversation and use of materials.
Team
members are explorers themselves, as individuals and as a group. Together they visualize
the learning process and frame questions to tell them something about learners
they didn’t know as well as about their own thinking and learning. They engage collectively
around where they see evidence of
learning in an exhibit, program, or
studio, and reflect on thought processes to explore what they learn from
visitors and how they know. Photos, sketches, a wonder wall, and videos assist in visualizing learning. Throughout the process a
team keeps track of what it thought and did, constructs what it thinks is
happening in the team, and continually updates its understanding of relevant
concepts and processes.
This work suggests where
to go next and new tools. Over time, a focus on
cognitive processes–their own and visitors’–sharpens their understanding of
thinking and learning. A language of thinking and learning develops as does a fluency with these processes.
Practice, Context, Visibility
Inevitably,
as a team examines and deconstructs existing practices to make learning
visible, it challenges familiar practices. By pushing its own thinking and
searching for ways to capture and express its learning insights, it shapes new practices.
An
important set of practices for making learning visible involves making time and
space for thinking and learning in an exhibit, studio, workshop, or camp. Designing
for encounters that extend exploration,
increase dwell time, support making connections, or add steps expands opportunities
for learners to engage, focus, and notice their thinking. Encouraging higher
levels of engagement among visitors through conversation and cooperation
invites and registers thinking. Incorporating learning provocations such as
objects, text, or photos into an activity helps slow learners, gives them time to
focus, and alerts them to their learning.
Thinking
and visibility take many forms. Materials and media must be similarly varied and
responsive to elicit thinking, capture actions, record thoughts, and facilitate
learners sharing with others. Materials that are receptive to learners’
intentions and manipulations show imprints of use and traces of thinking and
learning in words, diagrams, sounds, constructions, mind maps, and messages. Diverse
materials and media: writing and drawing
materials, tools for recording conversations, taking photos and making videos, and
digital
technologies extend the range of
possibilities for representing emergent thoughts.
Integrating
materials and media into experiences themselves is critical for capturing thinking during an activity or experience. Thinking and learning arrive
not solely at the end of a process or project, but throughout, from concept to remediation
for a team, and from entry to exit and beyond for visitors. How did she think
her way to the end of that problem? What mental path is he taking? What do their
comments suggest about the challenges of that construction? Visitors learn from
and are stimulated by other’s thinking explorations. Staff interactions with
visitors also generate insights, gestures like pointing, smiles or hesitations
observed; narratives overheard; and activities filmed.
Valuable but Difficult to See
Insights
emerging from these explorations are unlikely to be precisely measured learning
outcomes or specific results in
subject areas.
Very much like thinking and learning,
giving visibility to these processes is complex. Work takes place at many levels and over
time. A trade-off between certainty about specific learning
outcomes and complexity about learning is
inevitable.
Teams,
individually and collectively, arrive at new questions, subsequent
observations, or recognition of new learning strategies. What surprised us about the experience of the
learners? What furthered our thinking? What connections can we make to broader
issues of learning and thinking in a museum setting? What is the significance we
attribute to the questions, problems and ideas within a certain event? Even a small event, short thinking sequence, or learning moment
is treated seriously and valued.
For
learners in exhibits, studios, workshops, and programs the process and product
of learning is something that is valuable but difficult to see–yet. It is
emergent, newly present for looking at more closely and reflecting. The value
is in expressing the meaning making rather than arriving at a precise lesson
learned. Exhibit exploration, tinkering, and conversation offer new perspectives
on building knowledge and learning skills.
True,
there are no auto-fill thought bubbles, no prescribed steps, and no amazing materials
that magically reveal the thinking that is occurring. In fact, making thinking and learning visible
is hard, incremental, continuous work. Every museum is challenged to find ways of
demonstrating its learning value. By making explicit, visible, and shareable our thinking and learning, we make it much easier to think and learn.
Thanks for this post, Jeanne: Its publication coincided with a conversation we were having at Opal School about the topic! Much of the documentation happening at Portland Children's Museum occurs within the context of Opal School. You - and your readers - might be interested in these two posts that have been published in the last week: https://opalschool.org/secrets-wire-play-reflection-relationships-risk/ and https://opalschool.org/finding-path-productive-disagreement-reflecting-response-uncertainty-confusion/.
ReplyDeleteWarm regards,
Matt
Thank you, Matt. These posts will be interesting to read. There aren't as many examples of what this work looks like as I would wish so it's great to see this work in progress. Opal School and Portland Children's Museum are making the most of a rare opportunity to work together on ways to bring greater visibility to thinking and learning in learning settings in the U.S.
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