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The National Weather Service Began as a Crowdsourcing Experiment

https://sciencespies.com/nature/the-national-weather-service-began-as-a-crowdsourcing-experiment/

The National Weather Service Began as a Crowdsourcing Experiment

Illustration by Lucille Clerc

For centuries, humans complained about the weather. In 1848, the Smithsonian Institution decided to do something about it. Weather conditions had been considered to be either God’s will or explainable only by homespun nostrums like “Clear moon, frost soon” or by observing, say, the behavior of ants, which don’t like rain. The Farmer’s Almanac promised readers more accurate forecasts when it debuted in 1818, but even those predictions were determined by a “secret formula.” And still are.

Joseph Henry, the first Secretary of the Smithsonian, tried something new: crowdsourcing. The Institution handed out weather monitoring equipment such as thermometers, barometers and rain gauges to 150 volunteer observers across the country. Each day their localized reports arrived by telegraph, and the Smithsonian generated a national weather map that it displayed on the National Mall. The map became a popular attraction. Tourists who viewed it, Henry noted, “appear to be specially interested in knowing the condition of weather to which their friends at home are subjected at the time.”

An amusing novelty, but no consolation for those pioneers crossing North America, the continent with some of the most violent weather on earth. Only two years before, 42 members of the Donner Party perished in an early Sierra Nevada snowfall they had no way of foreseeing.

In time the number of Smithsonian volunteers grew to more than 600. Technology improved, and slowly auditors found ways of determining what rudimentary climate data collected about the skies over Denver might soon mean to the skies over Chicago and New York as weather moved east. Reports about temperature, humidity, wind and cloud formations flooded in. Still, data didn’t always reach the right place at the right time. For example, on the Great Lakes, 97 ships were lost in one four-day gale in 1869.

Secretary of Agriculture Howard Gore, left, and Charles Marvin, chief of the U.S. Weather Bureau, view a map of weather stations, c. 1924. The bureau was the forerunner of the NWS.

Library of Congress

In the year following that tragedy, President Ulysses S. Grant signed a resolution into law creating the Division of Telegrams and Reports for the Benefit of Commerce. The Smithsonian’s weather observation network was turned over to the Army, which began issuing official forecasts capable of seeing, if hazily, 24 hours ahead. The threat from sudden weather disasters diminished. Ship-borne commerce vastly improved; doing business in America increasingly meant knowing the weather ahead. The division would evolve into the National Weather Service, part of the National Oceanic and Atmospheric Administration in the Commerce Department.

The first U.S. weather balloons took flight in 1909, improving the study of temperature, humidity and air pressure. Another breakthrough came in the 1920s when the balloons were equipped with radio transmitters, and real-time observation of the stratosphere became possible. For the first time, researchers observed not only the width of a weather system but also its height. During World War II, radar operators noticed patterns of interference on their screens aligned with heavy weather—and the science of radar meteorology took off, and is still in use today.

So confident were some mid-20th-century weather mavens that they speculated the heavens could be manipulated by chemically altering the atmosphere. Bespoke weather, they believed, would bring rain to farmlands, snow to ski resorts. That quixotic dream didn’t pan out, however, and Americans today are delighted to settle for smartphone weather apps, powered by NWS computer and satellite data, that give accurate information they can access instantly to stay safe. The average three-day hurricane landfall forecast can now pinpoint a much more specific swath of at-risk coastline—100 miles in 2020, compared with 300 miles in 1990—reducing the stress and cost of false alarms. Over the same period, the average tornado warning time has risen from 5 minutes to 8 to 10 minutes.

Will climate change erode our confidence in everyday weather prediction? Not in the short term, says Beth Carpenter, a meteorologist and co-founder of Thermodynamic Solutions, an Indianapolis-based firm. “Climate change itself won’t affect weather modeling because the time scales are vastly different. We are forecasting on a much smaller time scale, usually only out to three months at a time for seasonal forecasts at the longest range. Climate periods are defined as average conditions over 30 years.”

North America’s weather is no less violent than it was when the Donner Party, oblivious, set sail in their prairie schooners before succumbing, victims of what Joseph Henry would call “the problem of American storms.” But the NWS, now with 4,000 workers, will keep finding safer ways for us to live with them. That’s a sunny forecast no matter where you are.

Some ingenious methods for getting a fix on atmospheric conditions and even the earth’s crust

By Shi En Kim

Reading a rain gauge in the 1920s. The ancients kept track of rainfall, but 17th-century Englishman Richard Towneley was known for his systematic measurements, noting “how little trouble there is to this task.” Library of Congress

A snow gauge, in the Northwest in 1917. A quantity of snow collected over a given time span was melted. The water volume indicated the depth of the snow cover. Library of Congress

An early meteorograph, a device that combines and charts numerous variables at once, such as temperature, precipitation and barometric pressure. Library of Congress

A helium- or hydrogen-filled pilot balloon, circa 1943, rose at a predictable rate; it measured wind speed and direction, as well as cloud altitude. Library of Congress

Meteorologists employed a spotlight and theodolite, like scope surveyors use, to measure the height of cloud cover. The value was derived by triangulating the light source, the reflection on the ceiling and a fixed object nearby. Library of Congress

In this early 20th-century seismograph, a pendulum weight suspended at the end of the horizontal bar responded proportionately to an earthquake and marked the rotating disc. Library of Congress

Inventions

rain

Scientists

Smithsonian Institution

Technology

Weather

#Nature

[wallpaperpainting]

Why You Must Experience John Singer Sargent At Least Once In Your Lifetime | john singer sargent

A accidental elevator appointment amid two men at a chic Boston auberge in 1916 resulted in a accord that was active to the conception of some of the best acclaimed artworks of aboriginal avant-garde America. One man was the affluent, internationally acclaimed white portraitist John Singer Sargent, and the added a adolescent banal atramentous elevator attendant, Thomas McKeller, whose handsome looks and able-bodied anatomy bent the artist’s attention. Over the abutting decade, until Sargent’s afterlife in 1925, McKeller was the primary archetypal for the artist’s projects in the United States, including the awe-inspiring murals and bas-reliefs he created for the bank at the Building of Fine Arts, Boston (completed in 1925). Showing vignettes from Greco-Roman mythology, the emblematic murals were advised to highlight the museum’s albatross to advance and bottle the arts. In them, Sargent adapted McKeller into a cardinal of characters—both macho and female, and consistently white-skinned. Only one painting of McKeller by Sargent shows the model’s absolute bark tone: an affectionate nude account that the artisan never about exhibited, Thomas McKeller (1917–21), in which McKeller angrily bears his chest, his legs apart. Read one way, the assignment ability affirm to Sargent’s admiration for, or conceivably ascendancy over, his accessible subject. Yet at the aforementioned time, it can be apparent as empowering, a attenuate representation of the archetypal as he absolutely looked.

The exhibition “Boston’s Apollo: Thomas McKeller and John Singer Sargent” at the Isabella Stewart Gardner Museum—scheduled to be on appearance through September 14, admitting the building is currently closed—explores how this asperous accord amid artisan and archetypal was structured by differences of race, class, age, and possibly sexuality. (Many advisers accept appropriate that Sargent, a constant bachelor, was gay. McKeller eventually married, in 1934.) In accession to Sargent’s corrective account of McKeller, the appearance includes a ahead unexhibited portfolio of the artist’s basic assets for the MFA bank murals, which he gave to Isabella Stewart Gardner, his acquaintance and benefactor, in 1921. These charcoal studies, apparent by the exhibition’s curator, Nathaniel Silver, in 2017, appearance McKeller in a cardinal of poses, battling abstracts alignment from the bowman Achilles to the singing clothing of Romantic Art. Unlike the final murals, these assets sensuously portray McKeller’s anatomy afterwards concealing his ancestral identity.

The assets and account are accompanied by archival accord and a abundant timeline charting capacity of Gardner’s, Sargent’s, and McKeller’s biographies alongside circumstantial amusing and cultural accouterment in Boston, from the Jim Crow era until the access of the Civil Rights Act in 1964, two years afterwards McKeller’s death. Mapping out the worlds in which McKeller, Sargent,

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Cage responded to these works with a chant-like poem about the White Paintings that was added to a gallery wall during the exhibition. Effluent from the concept of nothingness so central to Zen, the poem begins “To Whom / No subject / No image / No taste / No object / No beauty . . . .”

More than two decades later, beginning in the 1970s, Rauschenberg firmly linked Erased de Kooning Drawing to the White Paintings, saying that he had been working with “the monochrome no-image” and wanted to find a way to draw as part of the series.14 He also described having conceived of Erased de Kooning Drawing as a problem to be solved: “I had been working for some time at erasing, with the idea that I wanted to create a work of art by that method.”15 In a sense, the impulse explored in Erased de Kooning Drawing does indeed begin with the White Paintings that Rauschenberg made at Black Mountain in summer 1951. With the White Paintings, he tested the boundaries of painting by exhibiting seemingly blank, all-white canvases, some of which had been painted not by Rauschenberg but rather by Twombly. For reviewers of Rauschenberg’s Stable Gallery exhibition in May 1953, there was no question that these works took aim directly at the definition of art.

Since the early 1950s Rauschenberg had been interested in testing the boundaries of what qualified as a work of art, a line of inquiry initiated by Marcel Duchamp (1887–1968) in the early decades of the twentieth century. In the 1950s Rauschenberg became familiar with Duchamp’s work and Dada practices, and he was certainly aware of Duchamp’s readymades, such as Bicycle Wheel(1913) and Fountain (1917), which overturned the fundamental premise that an artist must have a hand in the physical making of an artwork.18 Rauschenberg was clearly intrigued by Duchamp’s challenge to prevailing notions of artistic originality and authenticity, and developed his own interest in identifying, interrogating, and breaching the boundaries of art. The Duchampian impulse is central to Rauschenberg’s narrative for the work, which charts his quest to produce a drawing without drawing at all (knowing that the end result would be essentially an empty page) and still have it be considered art.

On another level, Erased de Kooning Drawing can also be read as evidence of an action or a recording of an event, and, as such, is aligned with the precepts of action painting or gestural abstraction that dominated the New York art scene in the early 1950s. This approach was famously codified by critic Harold Rosenberg in his seminal article “The American Action Painters,” which was published in ARTnews in December 1952 and became a hot topic of conversation in New York art circles the following year.19 Rosenberg identified a revolution in recent approaches to painting that conceptualized works of art as the result of a process that was begun in complete uncertainty and unfolded over time. As he famously noted: “What was to go on in the canvas was not a picture but an event.”20 To be sure, Erased de Kooning Drawing reverses the physical, additive process of action painting, but it hinges entirely on the concept of an artwork as a performative act.21 In fact, the work is so event-based as to have required the development of the explanatory background story as a sort of pendant that testifies to the actions of its creation, completed in the privacy of the artist’s studio.

Rauschenberg’s decision to erase his own drawings was likewise shaped by a number of personal factors. Having just returned from abroad and immersed himself in the New York art scene, he found himself in a cauldron of ideas about action, process, concept, and nothingness, navigating an artistic landscape that was being redefined through influences such as Cage’s intellectual Zen advances, Rosenberg’s painting as an action, the Janis Gallery Dada show, and the Stable Gallery exhibition of his very own White Paintings. 

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The ten shows opening on Broadway in April include six plays and four musicals. Several are familiar titles presented in unfamiliar ways: Glenda Jackson as King Lear; an avant-garde, diverse Oklahoma; two much-anticipated movie adaptations — Tootsie and Beetlejuice. But the show that garnered the most votes in a Broadway Spring poll  is Hadestown, which marks the Broadway debut of Anaïs Mitchell, who created it first as a concept album by Anais Mitchell and took fire Off-Broadway. Another artist making his Broadway debut is downtown darling and MacArthur “Genius” Taylor Mac, who has written Gary, a startling comedy billed as a sequel to Shakespeare’s bloodiest tragedy.

Star power is lighting up the Great White Way: Broadway favorites like Nathan Lane, John Lithgow and Laurie Metcalf, screen stars Annette Bening and Adam Driver, British theater royalty like Glenda Jackson and Jonny Lee Miller. And let’s not forget the playwrights, directors and composers, some of whom are better known than any performer. Like Shakespeare.

Glenda Jackson, King Lear

John Douglas Thompson

Annette Benning, All My Sons

Pedro Pascal, King Lear

Rebecca Naomi Jones, Oklahoma

Alex Brightman, Beetlejuice

Director Alex Timbers

Andre De Shields, Hadestown

Playwright Arthur Miller

Benjamin Walker, All My Sons

Eva Noblezada, Hadestown

Composer David Yazbek, Tootsie

Bertie Carvel, Ink

Director George C. Wolf

John Lithgow, Hillary and Clinton

Jonny Lee Miller, Ink

Julie Halston, Tootsie

Julie White, Gary

Kelvin Moon Loh, Beetlejuice

Nathan Lane, Gary

Keri Russell, Burn This

Kristine Nielsen, GAry

Rob McClure, Beetlejuice

Lilli Cooper, Tootsie

Patrick Page, Hadestown

Reeve Carney, Hadestown

Santino Fontana, Tootsie

Laurie Metcalf, Hillary and Clinton

Adam Driver, Burn This

Ruth Wilson, King Lear

Sophia Anne Caruso, Beetlejuice

Playwright Taylor Mac

Tracy Letts, All My Sons

Anais Mitchell, songwriter, book writer

William Shakespeare

But even in a month when so many shows crowd the calendar to open by the deadline for Tony Awards eligibility, there is exciting theater opening outside Broadway as well — some of it way outside. Ars Nova launches its new programming at Greenwich House Theater with a new devised work by the Mad Ones.  Ivo van Hove directs an opera at BAM. There is innovative immersive theater in a downtown park (for free!) and in a Chelsea brownstone.

Below is a selective list of Broadway, Off-Broadway, and other New York theater offerings opening in March, 2019, organized chronologically by opening date, with each title linked to a relevant website. Color key of theaters: Broadway: Red. Off Broadway: Black, Blue, or Purple. Off Off Broadway: Green. Theater festival: Orange. Puppetry: Brown. Immersive: Magenta.

To look at the Spring season as a whole, check out my Off Broadway Spring 2019 preview guide and my Broadway 2018-2019 season guide

April 1

Oasis (Third Rail Projects at Winter Garden)

For ten minutes twice a day, five performers unexpectedly find themselves swept into a mirage, unite and create their own sanctuary.  After a two-week series of these daily lunchtime vignettes at Winter Garden at Brookfield Place (near the World Trade Center site), the full-length, culminating performance will take place in the evening on Friday, April 12. These performances are free. (This is not an April Fool’s Day joke)

  April 2

Do You Feel Anger? (Vineyard)

In this play by Mara Nelson-Greenberg , Sophia is hired as an empathy coach at a debt collection agency

April 3

The Cradle Will Rock (CSC)

new production of Marc Blitzstein’s 1937 play in music, which is most famous for having been shut down by the authorities before opening night. In Steeltown, USA, laborer Larry Foreman struggles to unionize fellow steel workers against mounting attacks from a greedy industrialist

April 4

King Lear

Cort Closing: Jul 07, 2019 Author: William Shakespeare Director: Sam Gold Cast: Glenda Jackson, Jayne Houdyshell, Elizabeth Marvel, Aisling O’Sullivan,John Douglas Thompson, Ruth Wilson, Sean Carvajal, Russell Harvard, Matthew Maher

April 5

Diary of One Who Disappeared (BAM)

In 1917, Czech composer Leoš Janáček became obsessed with a married woman 40 years his junior. In the throes of despair, he penned more than 700 love letters and a haunting 22-part song cycle called Diary of One Who Disappeared, about a village boy who falls in love with a Romany girl. Director Ivo van Hove, in collaboration with Flemish opera company Muziektheater Transparant, brings his trademark physicality and stripped-down aesthetic to bear on Janáček’s opera.

April 7

the St. Ann’s Warehouse production

Oklahoma!

Circle in the Square Closing: Sep 01, 2019 Authors: Book and lyrics by Oscar Hammerstein II; Music by Richard Rodgers Director: Daniel Fish Cast:

The sixth revival of the groundbreaking Rodgers and Hammerstein musical  about love and conflict in the territory just after the turn of the century. This one one the hip production transferring from St. Ann’s Warehouse in Brooklyn, where the golden haze is a bit dark and the corn not as high. (My review of the show at St. Ann’s)

  April 8

Mrs. Murray’s Menagerie (Ars Nova at Greenwich House)

The latest devised theater piece by the Mad Ones: The creators of a 1970s children’s television program have commissioned a focus group to probe the parents of the show’s target audience. Over stale coffee and donuts, a group of strangers navigates the murky waters of American belief and perception.

  April 15

17 Border Crossings (NYTW)

With a chair, table, and bar of lights,  Thaddeus Phillips conjures barricaded Venezuelan bridges, a rusty Croatian ferry, perilous international flights,  etc. — all based on his actual adventures.

April 16

Burn This

Hudson Theater Author: Lanford Wilson Director: Michael Mayer Cast: Adam Driver, Keri Russell, Brandon Uranowitz A revival of Wilson’s 1987 play about four New Yorkers who are brought together after the accidental death of their friend, a young dancer.

Socrates (Public)

A new drama about the Greek philosopher written by Tim Blake Nelson and directed by Doug Hughes. Michael Stuhlbarg portrays Socrates.

April 17

the National Theatre production

  Hadestown

Walter Kerr

Author: Anais Mitchell Director: Rachel Chavkin Cast: Singer-songwriter Anaïs Mitchell’s musical, widely acclaimed at New York Theatre Workshop (my review), follows two intertwining love stories — that of young dreamers Orpheus and Eurydice, and that of king Hades and his wife Persephone — as it invites audiences on an epic journey to the underworld and back.

April 18

Hillary and Clinton

John Golden Theater Author: Lucas Hnath Director:Joe Mantello Cast: Laurie Metcalf, John Lithgow. Behind closed doors in the state of New Hampshire during the early days of 2008, a former first lady named Hillary (Metcalf) is in a desperate bid to save her troubled campaign for President of the United States. Her husband, Bill (Lithgow), sees things one way; her campaign manager, Mark, sees things another

    April 21

  Gary: A Sequel to Titus Andronicus

Booth Writer: Taylor Mac Director: George C. Wolfe Cast: Nathan Lane, Kristine Nielsen, Julie White Marking the Broadway debut of acclaimed theater artist Taylor Mac (A 24-Decade History of Popular Music, Hir.), “Gary” is set just after the blood-soaked conclusion of William Shakespeare’s first tragedy, Titus Andronicus. Civil war has ended and the country is in the hands of madmen. Casualties are everywhere;  Lane and Nielsen portray servants charged with cleaning up the corpses

April 22

All My Sons

Roundabout’s American Airlines Theater Author: Arthur Miller Director: Jack O’Brian Cast: Annette Bening, Tracy Letts A revival of Miller’s first hit. In the aftermath of WWII, the Keller family struggles to stay intact and to fight for their future when a long-hidden secret threatens to emerge, forcing them to reckon with greed and post-war disenchantment.

  The Pain of My Belligerence (Playwrights Horizons)

Halley Feiffer’s play about an eight year relationship between journalist Cat and devilishly charming Guy, which charts a rapidly changing America.

April 23

  Tootsie

Marquis Theater Music and lyrics: David Yazbek Director: Scott Ellis Cast: Santino Fontana, John Behlman, Julie Halston, Lilli Cooper A musical adaptation of the 1982 film about an out-of-work actor who assumes the role of a woman on a soap opera, and pretends to be a female actress.

April 24

Ink

MTC’s Samuel Friedman Writer: James Graham Director: Rupert Goold The rise of a brash, young Rupert Murdoch and the U.K.’s most influential newspaper starring Bertie Carvel (Matilda) as Murdoch and Jonny Lee Miller as his rogue editor.

  April 25

Beetlejuice

Winter Garden Theater Book by Scott Brown and Anthony King Music and lyrics by Eddie Perfect Director: Alex Timbers

Based on the Tim Burton movie, which ells the story of Lydia Deetz, a teenager obsessed with the whole “being dead thing.” Lucky for Lydia, her new house is haunted by a recently deceased couple and a degenerate demon who happens to have a thing for stripes.

Paul Swan is Dead and Gone (Civilians)

In a Chelsea brownstone, playwright Claire Kiechel resurrects the famous salons held by her great-great uncle Paul Swan, a dancer who was once billed as the most beautiful man in the world. She reimagines his salon as an “electrically charged theatrical space where the forces of life, death and art do battle.”

April 30

The Plough and the Stars (Irish Rep)

The final play of the Rep’s O’Casey Cycle, plays written by Irish playwright Sean O’Casey in the 1920s. “Pretty young newlywed Nora Clitheroe is the talk of her tenement as she tirelessly works to lift her family out of their impoverished circumstances. She tries to keep her husband Jack from the revolutionary fervor sweeping through Dublin. But Jack becomes a Commandant in the Irish Citizen Army, and when the Easter Rising of 1916 begins, he leaves a pregnant Nora to help lead the fight…”

  April 2019 New York Theater Openings The ten shows opening on Broadway in April include six plays and four musicals. Several are familiar titles presented in unfamiliar ways: Glenda Jackson as King Lear; an avant-garde, diverse Oklahoma; two much-anticipated movie adaptations -- Tootsie and Beetlejuice.

[careergrowthblog]

Saffron Walden County High School: An exemplary school. The Learning Rainforest made real.

Last week I spent a day visiting Saffron Walden County High School in the North-West corner of Essex.  This was the result of a conversation with Head and CEO, Caroline Derbyshire who suggested that I should consider writing a ‘Learning Rainforest in Action’ follow-up book.  Having read the original book, Caroline felt that SWCHS embodied many of the ideas in it – so I went along to see for myself.

It wasn’t the first time I had been to SWCHS – I’ve had the pleasure of visiting several times in the last 10 years, including the visit that resulted in writing one of my all-time most-read blogs ‘Making Feedback Count: “Close the Gap”   which features the feedback system the school was developing at the time.  A key element of that visit was a superb CPD session with a carousel of departmental workshops coordinated by Polly Lankester who is now Associate Headteacher.

On my latest visit I had the privilege of observing 21 different lessons on a day-long tour supported by various members of the leadership team.  It was wonderful.  I can safely say that SWCHS is one of the best schools I’ve ever seen, in any sector.

It would be tempting to attribute this to the advantages the school enjoys:  it’s an extremely nice part of the country to live in; teachers want to live in the area, they stay and invest in the community; it’s near Cambridge so there’s a pool of fresh talent from the PGCE courses there; the school has had a benefactor who funded building an exceptional concert hall facility, Saffron Hall, run as a professional arts venue on site.  The school’s size and locality enables it to recruit a very large Sixth Form of 600 students (impressively, the school has only recently started taking about moving from  GCSE 4s to 5s as the entry requirements: strive for 5 is the mantra! ; It’s a very comprehensive Sixth From compared to many schools and their ALPS 2 suggests they’re doing a great job!).

But these advantages don’t come close to explaining the quality of the experience students are getting there.  Dare I say, the reasons align with the elements of my Learning Rainforest analogy:

Establishing the conditions:  I’d say that the school provides optimum working conditions for staff.  It feels like a wonderful place to work. The physical environment is fabulous but there’s a palpable spirit of professional trust, extensive investment in CPD and the best in-school coffee shop you’ll ever see! Certainly in a state school.  Stability in staffing is very high – but this has been crafted, worked at – it doesn’t just happen.  Recruiting and retaining great teachers isn’t taken for granted and a lot of effort goes into supporting the teaching school and other alliances.  They also offer a superb curriculum with a clever blend of breadth and depth, using Year 9 as a bridging year leading into a wide range of options.

Building Knowledge:  The quality of teaching is brilliant.  It’s rare to see such sustained quality over a day visiting lessons; each teacher brimming with subject expertise; each presenting a sense of drive and purpose, matching very high expectations of students with expert lesson structures engaging all students in a rigorous, inspiring learning process.

The school’s emphasis on research-engagement has yielded superb practice linked to retrieval practice, modelling and feedback.  At a lunchtime meeting with curriculum leaders, I was struck by the thoughtful evaluation of their practice and the way they’re seeking to continually develop their curriculum and pedagogy to embrace the learning from research, reading and their own enquiry work.

Exploring the possibilities:  The school provides exceptional extra-curricular opportunities through trips and visits, visiting artists and so on – but the possibilities are largely evidenced in lessons.  I saw some of the best drama lessons I’ve ever seen, probably the best KS3 technology work I’ve ever seen and multiple examples of A level teaching where students were firmly in the driving seat.  The sixth form is big because its quality attracts students to join – there’s a virtuous spiral of success fuelling success.

All of this emerges from a deliberate blend of systems and culture. There’s a rigour to everything with intelligent systems – including the assessment regime I described in an earlier post: The Ideal Assessment Tracking Regime? The school has high expectations of staff, for sure. But the culture allows the systems to deliver. It’s the kind of school you want to be in to teach, to lead, to express yourself.   Of course, it’s not perfect. They have some achievement issues to address; some further gaps to close.  Not everything lines up perfectly at once and, despite their successes, they’re fully aware of where further improvements lie.  That’s the sign of a great school: always ambitious for further success.

To bring all this alive, here are some nuggets from the lessons I observed:

English Y7:   Students were engaging with a range of new words such as indolently, impertinently .. used in sentences. The task was to infer their meaning from the context. There was a superb follow-up Q&A where the teacher explored their answers and consolidated the correct meanings.

Physics Y12:  A classic demo lesson and whole-class experiment:  measuring bullet velocity with an air-rifle and air track, applying conservation of momentum. I used to do this one myself over 30 years ago – I love how stable the physics curriculum is!

Computing. Y9:  In a bookwork lesson,  away from computers, students were working on code for a PIN number verification routine, explaining and checking each other’s solutions. The peer supported problem-solving going on around the class was impressive.

Drama Y9: An exceptional lesson featuring a devised piece rehearsal:  three groups formed circles rotating to bring each student to the front in turn, with everyone else mimicking the central speaker –  a range of accents, characters, personal stories. This was followed by a machine/rap ‘families’ choral piece and other elements with students working towards an imminent performance.  I was so impressed by the discipline, expectations, trust, rigour… and the time given to repetition and practice.  Notably, the drama teacher was about to head off to a 2-day residential theatre trip with her A level students to see three shows in London.

Maths Y9:  Applying area in problem solving using algebra.  A well-pitched balance of stretch and practice; modelled and checked in the detail.  Great maths teaching.

History GCSE:  Planning for source question on suffragettes:  There was a big focus on securing the relevant knowledge and on retrieval practice: knowing the facts.  A3 sheets of annotated pie charts were used cleverly as a device to identity the relative effects of different factors.  I also loved the macro timeline reinforcement….students had impressive recall across the Power and People theme: 1170 to present; Magna Carta to Brixton Riots.

  Art Y11:  Students were making superb clay heads or teapots… extended pieces using a range of new 3D skills, working towards their mock exam.  Supporting portfolios were excellent and the ambition, high expectations, support for creative exploration and the intensity in the process/work rate were hugely impressive.  The ‘close the gap’ feedback system was still going strong.

Graphics Y11:  Interestingly, a recent switch to the Art and Design spec moving from old-style DT design portfolios to art portfolios was making it more much more creative. Students were exploring shapes with a link to natural forms to inform a design brief for an outdoor structure.  I remarked on the quality of an exemplar project displayed on the wall.  It belonged to the student next to me who was beaming.. it was stunning.

PE: Y7 basketball : An expert blend of group practice, whole class instruction with student modelling, then more practice –with all students involved! One student’s enthusiastic demo of a dribble technique was lovely – in answer to the question ‘why do we need to use that method?’, he showed how it could go wrong if you didn’t use it. Metacognition in PE – brilliant.

Drama Y7…This lesson showed how a curriculum platform is built enabling the Y9 lesson seen earlier to be so good.   Here, one group was in the centre with everyone acting as audience offering critique. Again the lesson was characterised by challenge, structure, expectation with tons of feedback; a blend of disciplined creative thinking.

Psychology Y13 : An essay planning  lesson; highly synoptic, with the teacher guiding discussion, bringing together different points, modelling how to make links.  The was excellent probing questioning (my favourite thing in teaching)  linking knowledge to essay technique i.e. linking specific studies to the particular question.  It was notable how students had the option to use laptops for notes in a high-trust grown-up manner.

History Y13: Russia: A  small group activity to prepare a set of annotated images of Soviet art to share as a revision tool – the question being the extent to which the images represented reality.  There was  impressive harnessing of student agency, discussing ideas, making notes, sharing.. collaborating with links to the bigger question about the success of establishing a socialist society 1917-41. Again, I was impressed with what students knew and how the task supported them in probing deeper.

Percussion Workshop:  Part of the day included observing the visiting So Percussion ensemble who were there to run a workshop with a  group of 20+ Year 9s  for three days. In the workshop students were involved in a rule-based composition activity taking turns for a practical hands-on marimba lesson, the plan being for them to contribute to a public concert on the Friday.

Geology Y13:  So great to see Geology A level going strong! Here the class were going somewhat off-piste, using desks to model a geological event– making a fissure and linking this to the pressure/forces and the flow of magma.  Great stuff!

English Y13:  A fascinating discussion of gender, with students forming a schema around polarities, organising ideas on standard gender characteristics as students volunteered them.  This fed into a process contrasting and applying these identities to central characters in The Duchess of Malfi: a superb blend of teacher instruction and group discussion.

Business Y13: The topic was critical path analysis.  Students were using the idea of making tea to explore how far you can go to specify step by step processes. As elsewhere, the teacher-student rapport was wonderful.

English Y11:  Lord of the Flies. Revisiting the text for the first time after studying it in Year 10, students were looking at how to deploy quotations, reviewing prior knowledge and undertaking a keyword check:  eg microcosm, allegory… – a great example of allowing all students to think, explore their own recall and understanding and then check.

Textiles Y8:  A double lesson forming part of a week on/week off rotation with food tech and wider rotation with resistant materials.  For a relatively short dose of textiles, the expectations and outcomes were fabulous.  Very well structured booklets drive the curriculum with ‘close the gap’ improvements shown.  In the lesson all students were at sewing machines making batik cushions and the mini-portfolios made for homework were superb.  I don’t think I’ve ever seen KS3 DT homework this good.

Spanish Y10. This lesson exemplified so many aspects of what I regard as great MFL teaching.  The activities got everyone speaking; the key structures were being repeated, reinforced, practised. All class instructions were given in Spanish, with lots of teacher talk in Spanish. The focus was on revision of the language to develop opinion and included the retrieval practice game: Quiz, Quiz, Trade… cleverly allowing all students to be involved simultaneously in practising and checking each other’s understanding.  Magnífico!

French Y10:  Another great MFL lesson featuring a tic-tac-toe game to rehearse pronunciation.  Again instructions were predominantly in French for a task that supported the rehearsal of vocabulary; the teacher intervened to reinforce key pronunciation. Attention to detail!  Students had an impressive knowledge organiser booklet with all the key phrases organised lesson by lesson; they explained how they learn phrases by a combination of practice and testing themselves.

Y9 Physics:  Great teacher demo of Newton’s laws involving with trolleys for people to stand on moving in opposite direction;  good emphasis on making sure students distinguish weight vs mass.  This was followed-up with remote control car on a surface moving in opposite directions. Here we had a term one NQT doing a great job balancing developing skills of behaviour management with developing the teaching of the subject. And it says a lot about SWCHS that they have such confidence in their NQTs and the support they get to allow visitors in to see their lessons.

Y8 Geography:  Students were looking at GDP/capita  vs life expectancy.  The graph plotting is challenging providing an important reminder of the attainment range in the school; students operate within a palpable ‘teach to the top’ ethos that permeates the school. In classic Rosenshine style, there was lots of supervised guided practice as the teacher circulated.

I hope the details shared here go someway to illustrate the Learning Rainforest: superb conditions, deep knowledge, exciting possibilities.  Culture and systems. Rigour. Teaching to the top.  Teaching for memory and recall.  And Joy, Awe and Wonder in plentiful supply.  SWCHS is a truly wonderful school that many could learn from.  I hope they’re prepared for the visit requests! Thanks to Caroline, Polly, Cathy, Matt, Angela and Graham for your hospitality.  I know how proud you and your colleagues are of the school and everything you’ve achieved.  And thanks especially to all the SWCHS teachers who welcomed me into your classrooms so openly.  Excellence like this doesn’t happen by magic. You’ve all created something very special.

Rainforest Image:  Taken from SWCHS corridor art display. 

Saffron Walden County High School: An exemplary school. The Learning Rainforest made real. published first on https://medium.com/@KDUUniversityCollege

[athletesdietmenu-blog]

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[itsmultifandommadness]

1917 alignment charts

[itsmultifandommadness]

yet another 1917 alignment charts

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[jenna-louise-jamie]

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[jenna-louise-jamie]

[jenna-louise-jamie]

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[jenna-louise-jamie]

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