#when it will end. Text form communications are ongoing background interactions with no clear start or end. no structure. etc.

[siodium]

REVIEW: BURIED STARS ☆

came across this korean mystery vn and i knew i had to get it bc someone commented that it had a similar feel to danganronpa/zero escape O: seems like i have a type

i usually don’t prefer to get digital copies of games but there was really no choice... i heard the physical copy is sold out in korea and resales are going for 200 USD ain’t nobody got money for that

i don’t think anyone i know is gonna purchase this game and play for themselves and i can’t share the game either bc it’s a digital copy sooo i’m gonna write a review~ please enjoy!!

basically the plot goes as such: the survival reality tv show Buried Stars was about to commence the finals of its current season with the remaining five contestants when the building suddenly collapses. most of the audience and staff members were safely evacuated except for seven ppl (the five contestants and two staff members) who are trapped in the wreckage with just their smartwatches that connects them to the outside world via calls (problematic bc they can only call a restricted number of ppl and the signal inside is shit) and phater (bootleg twitter). after trying to make some calls, everyone was then told that the rescue team would take around six hours to break into the collapsed building to get them out.

ok so they just have to wait it out... in an unstable building that can come down at any moment. cool.

then!!! they find the producer’s dead body, seemingly a victim to the falling debris!! they’re down to six survivors now.

despite the circumstances, voting is still ongoing and some rando on phater claims that the contestant in the last place will die as if the atmosphere wasn’t bad enough.

this is your smartwatch interface!! most of the functions are pretty useless with regards to the actual gameplay but it’s just fun to play around with them i guess

for e.g. you can change the background and ringtone but they don’t affect anything

there’s this feature that keeps track of changes that occur when you pick certain conversation topics during communication rounds and it’s really useful for replays!! too bad it doesn’t keep track of sanity changes in mc

this is the mc!! even though he looks like he would be a tsundere punk he’s actually very soft?? kinda like saihara but with a bit more spine

AND THIS IS MY BEST BOI GYU-HYUK

i lowkey ship them bc of their interactions alsjdkasjs jUST LOOK AT THIS

i was expecting there to be a lot of mysteries but given the circumstances i guess it makes sense to not have that many... there’s no murder mystery if it happened in an accident site and looked like an accident you see

a lot of conversation topics focus on the character’s backstory and stuff so you get to learn more about the characters while waiting for rescue (one of the goals of this game is actually to collect characters’ profiles!)

bonding through a shared traumatic experience sounds reasonable

did i mention that the cutscenes are fully voiced (either in korean or japanese depending on your preference)?? i played it in korean for my first gameplay for ~Optimal Experience~ but i switched to japanese in subsequent plays bc i wanted to be able to understand what the characters were saying without reading the text

the only thing that throws me off is that characters are given japanese names in the japanese dub but the in-game text still uses their korean names??? why

my boi gyu-hyuk is voiced by takuya eguchi and hyesung is voiced by shimono hiro (i actually doubted my ears at first bc hyesung sounds angry 24/7 and i only know shimono’s derpy zenitsu and troll ouma voices sweats;;) wOW 👍👍👍

the first ending is the same for everyone even if you picked the best options

they call it a “normal end” but tbh it’s a bad end bc everyone dies and nothing is resolved

after you clear the game for the first time you will get to replay from the start but your options will change so you can proceed towards other routes!! yay

oh yeah in case anyone is wondering this game is rated T and bodies are shown in the form of a silhouette with non-explicit close-ups during investigation so if you can’t handle graphic stuff it’s not too bad

warning: from here on there will be spoilers for the true ending and other endings!! stop scrolling if you have even the slightest intention to play the game

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collected all the endings after 30ish hours of gameplay!! i wanted to strive for 100% completion in achievements but i’m not sure how to get some stuff... might go back and try other options in the future

in the true route you receive help from this random phater user plughole aND I JUST LOVE THE INTERACTIONS BETWEEN HIM AND DO-YOON LMAO

idk if anyone tried to guess who the real culprit is but it turned out to be

my boi gyu-hyuk......

he had his reasons (not trying to say he did no wrong) and it’s just unfortunate that things turned out this way

while playing, i thought to myself... if there was one person i would glue do-yoon to throughout the entire game it would be gyu-hyuk... bc i was certain he wouldn’t hurt do-yoon

i was right tho... even in some routes where do-yoon catches him in the act, gyu-hyuk didn’t try to silence him

CRYING

i don’t know much about korean law but he has THREE murder charges on him whicH SOUNDS LIKE DEATH SENTENCE

i’m sad bc there’s no way to save my boi even in his best ending

plughole visits you in the hospital in the true ending!! he is also a troll irl it seems

he was kinda sus in the beginning but i really hoped that he was a Good Guy to keep do-yoon sane in the wreckage

and i’m glad he was

do-yoon looks super baby in his hospital clothes

he was not kidding when he said that his actions were bc of his sister (who is a hardcore fan of do-yoon) lmao

aaa the girls are doing great after their treatment!! they visit do-yoon too!!

yeah i also want to know why do-yoon is the only one still hospitalised with all those bandages when everyone else is fine but i guess maybe he got injured when he protected gyu-hyuk from falling debris at the start of the game

...

if you don’t find out the true culprit of the murders gyu-hyuk goes free and he visits you every day in the hospital aND SAYS STUFF LIKE THIS

ugh it hurts me

...

there’s also a joke ending (when you pick the “i’m the attacker” option lmao) which i appreciate a lot!! something to lighten the tense mood is what i crave for in games like this

somehow i feel like it’s even scarier than the usual atmosphere bc of how ooc everyone acts

BUT YOU WANT TO KNOW WHAT’S REALLY SCARY?

there’s a horror route that you can enter by using the “laboratory” conversation topic on everyone and expressing how much it creeps you out

and the entire game shifts in genre to actual horror (like with paranormal activities)

IT WAS REALLY SCARY AND THERE WERE HANDS EVERYWHERE AND EVERYONE WAS ACTING WEIRD ASLJELKASJ i had my eyes closed half the time and i regret playing on my monitor

i didn’t take many screenshots bc as i mentioned my eyes were not looking at the screen for most part but i hope that you can kinda understand where i’m coming from with these two screenshots

...

the game is actually split into two major routes (A and B) which differ in who gets saved and who dies

you can only start on the B route after you get the true ending which is in the A route

unfortunately there is no route where everyone (even if you exclude the producer bc she dies before do-yoon regains consciousness at the start of the game) survives TT

if hyesung and seil survive then gyu-hyuk kills himself and leaves a note but do-yoon tears it up so we don’t know what he wrote

overall a solid mystery vn with beautiful graphics and enough routes to keep you occupied for many hours!! i highly recommend following a walkthrough bc it’s not an easy game if you want to collect all the possible endings and achievements

cuz there are minor changes to the epilogue depending on how close you are with the characters

i actually don’t play a lot of VNs but i feel like all VNs need the route map thingy in AI: the somnium files

my only gripe about this game is prob the derpy translations which usually isn’t a big issue (imo at least) but for a game priced this high?? i expected better

anyway that’s all from me!! thanks for reading til the end hahah i wanted to write a srs review but i just ended up simping for gyu-hyuk

[artinbuildings]

Get to Know: Tamar Ettun

Read Barry Schwabsky's interview with Tamar Ettun, excerpted from Ettun's catalog in conjunction with her recent show at Fridman Gallery, EAT A PINK OWL.

Barry Schwabsky Interview of Tamar Ettun August 2017

Exerpted from:

Catalog: EAT A PINK OWL: Tamar Ettun Essays: Wendy Vowel and Barry Schwabsky Photography: Matt Grubb Aditional photography Charlie Rubin (pp. 6, 7, 12) and Anastasiia Chorna Shama (p. 15) Design: Naroa Lizar

Fridman Gallery Founder/Director: Iliya Fridman Associate Director: Lindsay Jarvis Design Director: Naroa Lizar Associate: Andrea Klabanova

Barry Schwabsky: As someone who was born in Jerusalem and educated both there and in the U.S. and now living in Brooklyn, to what extent do you find artistic practice independent of nationality, religious background, and other identities?

Tamar Ettun: With the Mauve Bird project, it's about figuring out a common ground that is not about what separates people, which could be identity. When I was living in Israel, having just stopped being Orthodox, a big part of the work was about this transition. I did these walks from Jerusalem to Tel Aviv, and dealing with these cultural, religious questions was the work.

[S]: Is that because the two cities somehow represented for you a secular city and a religious city?

[E]: Yes, I grew up in Jerusalem, which is a very religious city, and Tel Aviv, was where art was happening. The art school was also in Jerusalem, but in order to be educated and see galleries and museums, I had to go to Tel Aviv. It felt like the language was very different: not literal language, but the cultural decoding. In ancient times, Jews from all over the world would walk up to the temple in Jerusalem three times a year, so I did the opposite, I walked in the opposite direction, like an inverted pilgrimage. The walk was about 60 kilometers, I did it once a month on Shabbat for three and a half years.

[S]: I see.

[E]: After I moved here, and started working with The Moving Company which is very diverse, mostly immigrants from a different places in the world, I was looking for a shared form of communication; talking and connecting was through emotions and colors. Giving room to express individual cultural experiences, while thinking of a common ground, and a community that can be inclusive. Maybe it sounds very naive.

[S]: Or maybe we need more naivete. What exactly is The Moving Company, and how did it, come about?

[E]: The Moving Company started four years ago, when I was at a residency at the Abrons Art Center: in addition to getting a studio as a sculptor, I could use the rehearsal spaces. I'd been wanting to research movement in a deeper way for a long time, so I reached out to people I knew and asked who would want to play with me once a week and think about movement and stillness.

A few people responded and it started as a study group, whoever was committed. After we'd worked together for almost a year, a performance organically emerged. Since then, it became more official, and now the work has a few sides. One is our kind of study of the body, movement and emotions. Another is the social project that we started this year, working with teens in Crown Heights, that added a new layer that is really meaningful. The last one is the performances I direct, which come up from the material we work on as a group. Some of the Movers are professional dancers, choreographers, artists, singers, actors – it's all very organic, but everyone is genuinely committed to researching these ideas, and the work is shaped by their body history, muscle memory, their unique movement imprint.

[S]: So when you started that four years ago, had you already been working as an artist with movement and performance, or was it something that was, more or less, new to your practice?

[E]: I have been working with movement since I started working as an artist in different ways. When I was at Yale, I collaborated with Emily Coates, who was my professor at the dance department, and is one of Yvonne Rainer's dancers, on a sculpture performance piece for the Performa Biennial. She did the dance and I did the sculpture. Before that, I was making videos for a long time, but making live performances was a change, yes.

[S]: It sounds like your work has been cross- disciplinary from the beginning. You are not a sculptor who branched out into movement.

[E]: Yes.

[S]: But it's interesting to me that with The Moving Company, the idea of having a presentable, performable result is only one dimension of the endeavor, and that there are a lot of other aspects of it that the audience, the art public, doesn't necessarily see.

[E]: Right. Everything feeds the end performance, but there's a lot of focus on the process. I guess in the same way a sculptor would spend weeks in a library and research different materials and then come up with a piece, that effort isn't visible in the physical thing that is in front of your eyes. The research and the process with The Moving Company informs the final piece, and I believe you can sense it as an audience. Especially because the choreography comes from within, from the Movers, and is not imposed. The ongoing meetings inform the movement. This year we met with a neuroscientist who talked about empathy, and we have been meeting with a lot of different people. Some of them are present in a more direct way. Like the teens we've been working with. At the end, we had writers interviewing them asking them questions regarding aggression, and made a zine. These stories are part of the performance - the performers came up to the audience and told them secretly, whispered in their ears. So even though you don't know about the teens' contribution, it is layered into the work and is present in a very literal way.

[S]: I like the fact that the secret is not revealed, but you know that it is there.

[E]: Yes, you remember in Yellow, we researched Desire, and collected texts and poems that we whispered to the audience (and you gave us a few!), this time it was the teens' personal stories.

[S]: Could the pieces that you do with The Moving Company be potentially represented in different spaces and different situations with different performers, or are they specific to a given situation? And if they are redoable, would the new performers be trying to redo what the original performers did or would they be giving new input? In other words, is it an open form or a more or less finished form?

[E]: Yes, it is definitely possible to remake the pieces with other performers. Last year, we did Yellow in Bryant Park, and then we did it in Uppsala, Sweden. Two Movers came with me and we worked with five additional Swedish dancers. I make objects that limit the body's movement, and there is a map which is the structure of time and space of where people are going, how they will interact and when they meet – a formal composition of colors and shapes.

[S]: I see.

[E]: The way the Movers interpret their own movement with the object is unique. In Sweden, before rehearsals, we did a workshop talking about Desire and introducing the new Movers to the vocabulary of The Moving Company. It's not technical – move your right leg to the left for 15 seconds – but a series of physical states: this year we have been talking about readiness to attack, something that looks calm on the outside, but has the potential to snap.

[S]: So do the performers have a very wide latitude to interpret those ideas or do you direct them towards a certain interpretation?

[E]: I see the Movers as collaborators. They are free in their interpretations, and I guide the way they fit together. Sometimes I have specific images I want to create, and then we workshop them together.

[S]: What about the colors you have been using as keys to the particular pieces. For example, this time it's pink. The moment I think of pink I think of a gender stereotype: blue for boys, pink for girls. Is that part of the content of the work or is it something that the work, uh, overtrumps?

[E]: Pink used to be a boys' color before WWII, and blue was a girls' color, which was considered more delicate and pretty. During the War, pink triangle badges were used to identify gay men. When the war ended, women embraced pink, but it's not completely clear why. Perhaps because the men who returned from the War were crushed and traumatized, and women needed to find an energetic color that allowed them to take a more active role in society, and the queer association with the pink triangles opened that door. Throughout the years, it became more and more culturally associated with submission. In this work, I think about aggression as having two sides: as a natural urge, it has assertiveness and power, but at the same time, it can be violent and harmful.

[S]: I didn't know about that switch in gender coding for pink and blue!

[E]: As I was working on Pink this year, it was interesting to discover how far apart shades of pink could be read. In Blue or Yellow, the shades still felt very much connected. Pink feels volatile, manipulative, unpredictable. Pale pink, rose gold and bright magenta have very different reads to them, and are still under the same name.

[S]: I see. But all colors are like that, the name seems to confer unity on the various shades, but in fact, different blues are very different. William Gass wrote a book about that, for instance—On Being Blue. So, there's a difference between the experience of the color and the name.

[E]: Definitely, there are subtleties for all colors. I think pink is more extreme than other colors, but yeah, maybe, that's my personal opinion.

[S]: Well, having worked on it so much, you probably have much more experience with the color's effects than I do, so I am sure you are right.

[E]: Which connects to the idea of submissiveness, and gender, through biology.

[S]: The colors you've done previously are yellow and blue, now pink, and orange is still to come, right?

[E]: Orange and Joy will start in November.

[S]: Joy, that's a good one to end on. In the title of the series, Mauve Bird with Yellow Teeth Red Feather Green Feet and a Rose Belly, some of the colors are actually in the title, then there are other colors, like mauve, that don't have particular works connected with them. Why is that?

[E]: I guess mauve could be included in Pink. The title is from a poem by Maria Laina, a Greek poet. I took the last line of the poem "is not a Mauve bird", because she has all these colors within her. But I thought the bird could call herself Mauve if she chooses to.

[S]: What's the relation between a gallery presentation of your work, and the performative presentation of it? How do they relate to each other?

[E]: Another thing I discovered, as I was researching Pink, was the Baker-Miller Pink that has a physical calming effect on the body. It's the only color that has been discovered to have such sensation. Tests shows that it lowers violence; they paint prisons in that color, and they say that after 15 minutes the heart rate lowers. It was interesting to find out there is a biological effect that comes from the color pink, but only from one specific shade of pink, not all pinks.

[S]: I'll have to look up that shade, that's fascinating.

[E]: Yeah, Weight Watchers' logo uses that shade of pink because it was discovered to suppress appetite.

[S]: Interesting.

[E]: The works in the gallery are part of my practice as a solo artist. The performance work with The Moving Company is usually done in public spaces to mixed audiences, and that is a very important part of the work. On the sculptures I work alone, sometimes I cast the Movers, and the ideas behind them come from the same research and movement exercises done with The Moving Company. It's a different manifestation of the same concepts. The performance work has a lot more compromises, as I am working with a lot of other people, and the hope is to have them included in the making of the work. When I make sculptures, my collaborators are the materials. Now I am making seven sculptures and I am thinking of the seven Movers with whom I've been working this year.

[S]: I see. In a sense, portraits?

[E]: Loosely. They don't look like them, but they embody their essence. Only two of the sculptures have a face, and they don't look at each other. Each character is in her own world, but their placement, their materials, and the shared pink, suggest they are a group. This is very similar to how the performers work: each Mover has a task and an object, and is physically trapped while attempting to fulfill her task. There are moments when they interact, but mostly, it's solo, multiple solos.

[S]: So it sounds like the two sides of the work are independent, but there's a communication between them.

[E]: Yes.

[S]: And can you imagine ever opening up that division, having performance aspects in a gallery show, or do you feel there is a kind of necessity behind this distinction for you.

[E]: I am starting with this show – there will be an ongoing performative element, where I am going to wrap one of the pieces with more thread throughout the show and do some subtle interventions. The Moving Company is going to do the Pink performance outside the gallery. In the past, the audience could go inside these giant inflatables and feel more connected to the performances, because the inflatables are not precious and have a direct physical relationship to the body. Performance and sculpture keep flowing back and forth.

[S]: Right.

[E]: When I create a performance, which is meant to be viewed by a diverse audience in public spaces, it's very different, and the way that I make objects in a gallery setting takes a different kind of setup.

[S]: Yes. It's interesting how self-selected, an art gallery's audience is, compared to other venues. I think the art world would like to congratulate itself for its openness and diversity and so on, but more diversity can be found elsewhere.

[E]: As an artist you are required to answer different questions about the creation of the work. Working with teens this year and having to defend the work on a weekly basis was very interesting. They weren't necessarily interested in art. The hope is that the teens who stay to watch the performances will read the work as personally as someone educated in the art world and knows all the references, that there will be both levels which are valid and meaningful.

[S]: Is it harder to address people who know a lot about art, or those who know less about art?

[E]: That's a tough question. The hope, of course is to address both audiences. I grew up very far away from the art world in Orthodox Jerusalem. I did not have a lot of access, but there were a few public art pieces that were incredibly meaningful to me as a kid: a James Turrell at the Israel Museum, Niki De Saint Phalle's golem and a big red Calder piece. I had no idea who they were and what role they played in the art world, but they changed my life. When I grew up, I've been very lucky go through a lot of art education, and receive scholarships that enabled me to study at the very best art institutions. I feel privileged to be able to have access to this world. At some point I realized that the work becomes self-referential, and it became important for me to connect to someone who didn't have all this education, and wasn't able to go to these schools.

[S]: I think that color communicates with people most directly, most viscerally. Maybe that accounts for your interest in highlighting that in recent years.

[E]: Yeah, and I think it goes back to your first question about identity, and a kind of broader sense of community.

Learn more about Tamar Ettun on her website!

To stay up to date on Time Equities Art-in-Buildings Projects, subscribe to the blog, visit our facebook, and connect with us on twitter and instagram!

[michderm-ed-blog]

Assessment Purposes Notes Continued

Within this post I have outlined some notes pertaining to my assessment and evaluation course.  

The task was to research assessment in Ontario. Identify some key words and concepts to learn more about throughout the course and comment on initial understanding of assessment and evaluation.

Learning For All page 1-32

Quotes

“All students learn best when instruction, resources, and the learning environment are well suited to their particular strengths, interests, needs, and stage of readiness” (page 8).

Three core priorities for education in Ontario:

-High levels of student achievement

-Reduced gaps in student achievement

-Increased public confidence in publicly funded education

Our Shared Beliefs

-All students can succeed.

-Each student has his or her own unique patterns of learning.

-Successful instructional practices are founded on evidence-based research, tempered by experience.

-Universal design and differentiated instruction are effective and interconnected means of meeting the learning or productivity needs of any group of students.

-Classroom teachers are the key educators for a student’s literacy and numeracy development.

-Classroom teachers need the support of the larger community to create a learning environment that supports all students.

-Fairness is not sameness.

Three Elements Critical to the Process:

-Personalization: learner at the centre, providing assessment and instruction that are tailored to students’ particular learning and motivational needs.

-Precision: links “assessment for learning” to evidence-informed instruction on a daily basis; instruction that is precise to the level of readiness and the learning needs of the individual student.

-Professional Learning: ongoing learning for every educator “in context”

Achievement Gap

-Disparity in achievement between groups of students.

-Factors, such as gender, ethnocultural background, socio-economic status, special education needs, language proficiency, or number of credits accumulated by the end of a particular grade and combinations.

Learning Gap

-Gap between a student’s actual achievement and his or her potential for achievement.

Three Effective Approaches

1) Universal Design for Learning

2) Differentiated Instruction

3) Tiered approach to prevention and intervention

Universal Design for Learning

Core Concepts:

-Universality and equity: draw on the strengths and meet the needs of all students; reflects awareness of the unique nature of each learner and the need to accommodate differences

-Flexibility and inclusiveness: planning sufficiently flexible to provide real learning experiences; materials that are relevant, engaging, and responsive; make use of all the senses; vary in form, level of difficulty, and manner of presentation

-An appropriately designed space: all students have a clear line of sight; all learning materials, including print, electronic, and interactive texts, are within comfortable reach of all students; adequate space for assistive devices or teacher’s assistants

-Simplicity: minimize distracting information; communicating consistent and achievable expectations; collaborating with students to construct learning goals; arranging information sequentially; breaking instructions down into small steps; providing descriptive feedback during the learning

-Safety: safe in both the physical and the emotional sense of the word; caring and safe environment that is engaging, inclusive, and respectful of all students and promotes student achievement and well-being

Checklist

-over all design of programs, use of space, and presentation of information;

-equity and accessibility for all students;

-flexibility and inclusiveness;

-simplicity and safety.

-Multiple means of representation

-Multiple means for action and expression

-Multiple means for engagement

Differentiated Instruction

-Differentiated instruction allows teachers to address specific skills and difficulties.

-To differentiate instruction is to recognize students’ varying levels of background knowledge, readiness to learn, language ability, learning preferences, and interests, and to react responsively

-Differentiated instruction (DI) is based on the idea that because students differ significantly in their strengths, interests, learning styles, and readiness to learn, it is necessary to adapt instruction to suit these differing characteristics.

-The content of learning

-The process of learning

-The products of learning

-The affect/ environment of learning

Differentiated instruction includes:

-providing alternative instructional and assessment activities;

-challenging students at an appropriate level;

-using a variety of groupings to meet student needs.

Zone of Proximal Development

-Within the ZPD, the student may not yet be capable of solving a particular kind of problem on his or her own, but can do so with assistance and is supported to move on to another level of knowledge.

-Scaffolding: provides such support at the right times in the student’s cognitive development

Eight types of intelligence  

-verbal/linguistic;

-logical/mathematical;

-visual/spatial;

-musical/rhythmic,

-bodily/ kinesthetic;

-interpersonal;

-intrapersonal; and

-naturalist

Checklist

-suit diverse learning styles and preferences;

-engage students with diverse interests;

-support students who are at different stages in their readiness to learn and provide scaffolding, emotional support, and opportunity for practice.

-Vary Content

-Unpack big ideas

-Introduce new learning and pose open questions in ZPD

Instructional Strategies to Support UDL and Differentiated Instruction

-cooperative learning,

-project-based approaches,

-problem-based approaches,

-explicit instruction

The Tiered Approach

“Tiered’ approach, which sequentially increases the intensity of instructional interventions” (page 24).

-Address both academic and behavioural needs

Tiered approach can:

-Facilitate early identification of both students who may be at risk and students who may be in need of greater challenges;

-Ensure appropriate and timely intervention to address these students’ needs and significantly reduce the likelihood that they will develop more intractable problems in the future.

Checklist

-continuum of support and a range of strategies

-appropriate adjustment of instruction or goals in response to observations

-timely and appropriate preventive strategies, and of intervention strategies of increasing intensity, as needed

-student response data to aid in decisions

-prompt implementation of next steps

-Use strategies that are guided by the principles of UDL and DI to support the learning of all students

-Use ongoing monitoring of learning

-Monitor student work closely at Tier 1 and rely on observation and assessment data

-timely and appropriate interventions

-problem solve collaboratively

-access available resources outside the classroom

Assessment For Learning

Types of assessment are:

-Assessment for learning

-Assessment as learning

-Assessment of learning

“Assessment for learning contributes significantly to improving student achievement” (page 28).

Enable both the teacher and the learner to determine:

-where the learner is in his or her learning;

-where the learner needs to go; and

-how best to get there.

Diagnostic Assessment

-Conducted before instruction begins and provide teachers with information about students’ readiness to learn, and about their interests and attitudes

-Establishes the starting point for new learning, and helps teachers and students set appropriate learning goals

- Information gathered from various sources: student, previous teachers, parents, formal sources (OSR).  

Formative Assessment

-Conducted frequently and in an ongoing manner during learning and is intended to give teachers and students precise and timely information so that instruction can be adjusted in response to individual students’ strengths and needs

-Information gathered is used for the specific purpose of helping students improve while they are still gaining knowledge and practising skills

-Provide benchmarks to confirm the suitability of instructional strategies and specific interventions for individual students as well as groups of students

Reliability of Assessment:

-identification, clarification, and sharing of learning goals

-student’s understanding of the success criteria

-descriptive feedback that helps students consolidate new learning

-self-assessment that motivates students to work more carefully and recognize their own learning needs

Checklist

-Break and/or combine curriculum expectations to create appropriate learning goals

-Collaborate with students to create success criteria

-Apply assessment strategies that can accurately reflect student progress and achievement.

-Provide students with timely descriptive feedback

-Monitor students’ progress, gather evidence in a variety of forms, illustrate students’ learning and growth through ongoing documentation

-Adjust instruction on the basis of assessment data

-Engage students as partners in the learning process

Major Concepts to Explore

The three approaches to teaching and the types of assessment, especially assessment for learning, are the major concepts to explore further. Expanding my understanding of how to implement these into my teaching and critically analyzing the impact of these teaching approaches in my classroom, will allow me to improve my practice as an educator.

The next post will provide some key information on the document “Foundations of Professional Practice.”