Tag Archives: Odysseyware

Odysseyware Educator Impact Award Winner!

Hooray for me! I’m one of six winners for the 2019 Odysseyware Educator Impact Award. The good folk at OW flew me out to Philadelphia for the award ceremony, which was very fun and fancy. My acceptance speech is below.

Thank you to the good people at OW for this honor and celebration. I’ve used OW for ten years now, and I’ve been a teacher for ten years now, so in my mind, the growth and improvements of OW are tightly woven with my own growth and improvements as a teacher, and a person. 

So, thanks for the award, but more importantly, thank you for being a true working partner. A partner that participates in discussions with me about the nature of education and learning; a partner that listens to and implements suggestions; and a partner that gives suggestions, in part by continually providing me new and better tools to achieve our common goal, helping individual students learn and flourish.

Now my award was given for the category of mastery learning. And as a literature teacher, it shouldn’t be surprising that my philosophy on learning is perhaps best described, in a poem.

To Look At Any Thing   John Moffitt

To look at any thing,

If you would know that thing,

You must look at it long:

To look at this green and say,

“I have seen spring in these

Woods,” will not do – you must

Be the thing you see:

You must be the dark snakes of

Stems and ferny plumes of leaves,

You must enter in

To the small silences between

The leaves,

You must take your time

And touch the very peace

They issue from.

Mr Moffitt is not talking about being able to recognize a term or concept well enough to pick it out from three or four answer choices, but to really know something. 

And to really know something entails slowing down and looking at it long. Asking, how does this relate to other knowledge in my head? How do I know this is true apart from the lesson telling me so? And most importantly, how does this knowledge help me? Why is it important?

As Mr. Moffitt’s points sunk in over the years, and as OW’s customization tools became increasingly sophisticated and easy to use, I realized the ball was in my court. I could now easily design lessons to encourage the student to slow down and look at things long, to take his time and touch the very peace the information issued from. I could add content to give him new insights into the purpose of the lessons, including how the knowledge and skills attained will improve his life. 

And, in closing, that’s a question worth answering here; how will education improve our student’s life? Well, on a fundamental level, he will understand nature; animate nature, biology; and inanimate nature, physics and chemistry. He will understand man, man as he was, history; as he organizes himself politically, government; and man as he could be or should be, literature. He will understand quantitative methods of measuring the world and predicting its actions, mathematics.

In short, our student, once educated, will understand the underlying principles of his entire world, so that he will be able to operate in the world successfully and comfortably, and manipulate the world to his needs and desires. Isn’t that worth mastering?

Glenn Gould and Course Customization

Glenn+Gould+gould02Canadian Pianist Glenn Gould surely ranks as “great” because he is so passionately loved by much of the serious music listening community while so passionately hated by the rest. (I’m on the passionately love side for what it is worth.) He is also, as far as I know, the first classical pianist to write extensively on the recording process.

In his article titled “The Prospects of Recording” from 1966 Gould speaks of a “new kind of listener.” One who is “more participant in the musical experience.” He supposes the listener will become even more participant in the future and envisions a new kind of product from the recording industry. He imagines a packaging of a work, say Beethoven’s 5th Symphony, that includes many different performances and the ability for the listener to cut and splice the parts of each performance  together such that in the end he has his own performance of the 5th with all his favorite interpretations in one piece. (For instance, you may enjoy Bernstein’s exposition, but  Solti’s development, and Barenboim’s recapitulation.)

I forget when I first read Gould’s article, but I do remember that CDs were relatively new and most of my music was on cassette tapes. Over the decades, as far as I can tell, Gould’s vision has not materialized even though I’m quite sure the technology to achieve it has been available for some time. Sadly (because I would love to have it), I now think it will probably never happen. Why not?

Quite simply, I think people just aren’t that interested. They are not interested in being such an active participant in their musical experience. They just don’t love the music to the point that they wish to pay that kind of minute attention to its production. After all, that is spending a lot of highly focused time with Beethoven’s 5th Symphony.

Where I teach we use a curriculum software package, Odysseyware, that has wonderful customization features. The teacher can easily click and drag lessons from other courses or units to build a better course, and more importantly, the teacher can write his own lessons within the platform and easily format them so that they flow with the rest of the course. This second feature I’ve used repeatedly such that now in my 5th year, over half of the lessons my students experience (roughly 600) are written by me specially for them.

The benefits to this kind of system are obvious. The teacher is much more participant in the educational process. He can better make the course fit the needs of his students. His personality is stamped on the course, making it a unique experience for the student that the teacher can stand behind 100% because it is the manifestation of the teacher’s vision of what the educational experience should be.

And yet, I’m repeatedly told that I’m the exception when it comes to taking advantage of this technological feature, other teachers using course customization tools rarely if at all.  Why so? At the risk of becoming extremely unpopular with other teachers, I think the reason is the same reason Gould’s music customization idea never took hold. That kind of active participation, that kind of responsibility for the educational experience, that kind of passion for the end product being a part of your soul, just isn’t wanted enough.