Gaywings and galaxies: all boobies, all the time.

It all started with milkworts, which I was reading up on because I was trying to identify these little beauties, which I'd seen for the first time on a hike during this year’s Victoria Day weekend camping trip:

Gaywings (Polygala paucifolia) blossom by Jomegat via Wikimedia Commons

These are gaywings. (I know, right? But that's a whole other blog post... ) But they're also called fringed polygala, from their Latin name Polygala paucifolia. They’re one of about 500 species of milkwort, a genus traditionally believed to increase milk production in cattle. That’s where the genus name Polygala comes from: poly is Greek for “much” and gala meas “milk”. And that’s about where fringed polygala stops being interesting (you can read more about it here if you're really keen). But I didn't know that gala was Greek for “milk”, so I started thinking about what other words we see it in. There aren’t many, as it turns out (the party-version of “gala” seems to have its etymological roots in Arabic), but it turns up again in the word “galaxy”. Here’s why:

In Greek myth, Zeus, an inveterate womanizer, had many children by a variety of mortal women. Being particularly fond of his son Heracles (later Romanized to Hercules), he wanted to make him immortal. So he snuck the baby onto Hera's breast while she was sleeping. Heracles was apparently a little overzealous in his feeding, and when he bit Hera’s nipple, she woke up and shoved him off, spraying milk across the sky. It took a few attempts on his life, the violent death of his family and 12 labours before Hera finally forgave Heracles, but meanwhile, this stream of breast milk shooting across the heavens formed the galaxias kyklos (literally "milky circle”), inspiring artists for centuries to come.

Jacopo Tintoretto, Die Entstehung der Milchstraße (1575)

 

Peter Paul Rubens, El nacimiento de la Vía Láctea (1636)

Though originally intended to signify only our own local grouping of stars, the term “galaxy” was eventually applied to all such collections (astronomers use an uppercase “Galaxy” when referring to our own, and a lower case “galaxy” to signify galaxies in general). It wasn’t until the late 1300s that Chaucer coined the English expression Milky Way, in reference to the "Galaxye".

So there you have it: Hera falls asleep for one minute and before you know it, a bunch of dudes have named the biggest things in the universe after her breast milk. So I guess the moral of the story is, no matter what, it all comes down to boobies?

Bioluminescence: foxfire, rebel angels and the sexual preferences of fireflies

By Jason Fowler, via Flickr

Yesterday a friend sent me this text message from a camping trip: “Hey, we found some chunks of wood that glowed in the dark. Never seen that before. Any idea what might cause that?”

I had a few ideas. Bioluminescence is pretty common in the ocean, so I’d come across it before. In my diving instructor days, I’d entertain divers at the end of every night dive by dimming our torches and stirring the water up into softly glowing clouds like miniature underwater galaxies.

By Mike (Red Tide at midnight), via Wikimedia Commons

This type of bioluminescence is caused by tiny plankton floating in the water column, mostly dinoflagellates (single-celled algae) and a few planktonic crustaceans.

Dinoflagellates. By Maria Antónia Sampayo, Instituto de Oceanografia,
Faculdade Ciências da Universidade de Lisboa, http://planktonnet.awi.de, via Wikimedia Commons

When disturbed, they switch on their lights as an escape strategy. (See Quantum Immortal’s excellent post on bioluminescence for a great overview of the various reasons organisms use bioluminescence, and the science behind it.)

Larger aquatic animals can bioluminesce, too ⎯ especially deepwater species. As seen in Pixar’s Finding Nemo, deepwater anglerfish have a bioluminescent lure that they use to draw prey close to their mouth. 

Cartoon anglerfish. www.pixarpost.com

Real anglerfish. Monterey Bay Aquarium

The anglerfish doesn’t produce the light itself ⎯ the esca, the blob at the end of the “fishing rod”, contains millions of bioluminescent bacteria that do the work instead.

The hatchetfish, meanwhile, has bioluminescent scales on its belly that act as a cloaking mechanism: it uses counter-illumination, matching the light intensity of the surface of the water hundreds of metres above it, so that when predators view it from below, it nearly disappears into the blue.

Argyropelecus hemigymnus
(permission of prof. Francesco Costa, via Wikimedia Commons) www.professorecosta.com

There are a few examples of bioluminescent animals on land, too ⎯ fireflies being the most well-known, glowworms being another (with "glowworm" being a generic term for a variety of insect species). Like marine species, these insects bioluminesce for various reasons, including to identify other members of their species, as a form of sexual selection (female fireflies prefer males with brighter and more frequent flashes), to warn predators that they are toxic, and to attract prey.

But back to our glowing wood chips:

By Jason Fowler, via Flickr

My gut said the bioluminescence was caused by a fungus, and it turns out that on land, bioluminescence happens exclusively (probably) in insects and fungi. A quick Internet search revealed my hunch to be correct, and I texted my friend back:

“It’s a species of bioluminescent fungus, most likely from the genus Armillaria. Some people call it foxfire or faerie fire.”

Armillaria is the most common genus of bioluminescent fungi in Ontario (and much of Canada). There are 10 species in the genus, but many resemble on another and are often collectively called honey mushrooms.

Honey mushrooms.
By Tomas Čekanavičius, GFDL (www.gnu.org/copyleft/fdl.html), via Wikimedia Commons

Armillaria generally infect dead or decaying trees and stumps by sending out shoelace-like strands of mycelia that infect the roots, then moving up through the trunk. Healthy trees can usually stave off infection, but Armillaria can be very destructive in forests. Unlike other bioluminescent mushrooms, in Armillaria it is only the mycelia, not the fruiting-bodies (mushrooms) that produce light. (Check out this University of Georgia page on foxfire for more information on bioluminescence in Armillaria.)

Fungal bioluminescence is less well understood than its insect counterpart. Since mushrooms don’t move around, signaling a mate is unnecessary ⎯ though it could attract insects, which help to spread spores. But bioluminescence is costly. In a sense, it is the reverse of photosynthesis: while photosynthesis takes energy (light), carbon dioxide and water and turns it into sugar and oxygen, bioluminescence takes sugar and oxygen and turns it into energy (light) and water. It is somewhat analogous to cellular respiration, which converts sugar and oxygen into energy (heat and chemical), water and carbon dioxide. Since bioluminescence uses a completely different pathway than cellular respiration, though, it does not produce carbon dioxide as a waste product, so the comparison with both cellular respiration and photosynthesis can only go so far.

Because they can’t photosynthesize (with at least one exception, again from the marine world), animals do cellular respiration to harness the energy stored in the sugars they eat. They need the energy to power reactions in their cells so they can stay alive. So why would a fungus waste precious sugar on producing light? Bioluminescene must have some pretty strong advantages for fungi, but the jury is still out on exactly what those advantages are.

Fun fact: the generic name for the various molecules responsible for bioluminescence is called “luciferin” (the catalyzing enzyme is “luciferase”). At first I thought that this name revealed something of the social attitudes of the time towards organisms diabolical enough to produce their own light, but the chemistry of bioluminescence seems to have been understood too recently for scientists to choose molecular names based on Christian views of good and evil. In pre-Christian days, the Latin noun lucifer referred to the morning star (Venus), or as an adjective meant “bringer of light”, which makes the name of this class of molecules a lot more à propos, and a lot more poetic.

(Looking back into Abrahamic mythology, Jewish tradition identifies the fallen lucifer as a Babylonian king, while certain Christian traditions evolved to identify him as the rebel angel who fell from heaven and became Satan, the personification of evil.

William Blake's illustration of Lucifer for the Divine Comedy, via Wikimedia Commons

Not surprisingly, pre-Abrahamic mythology also referred to the morning star as a god who tried to occupy the throne of the supreme god and, when unable to do so, descended to rule the underworld.) Meanwhile, all this light-bringing business brings to mind the Greek Titan Prometheus. Of course, I’m not the first person to see the parallels here.

But I digress. Greek mythology aside, there are several classes of luciferins, basically one for each different type of bioluminescent organism. The luciferin responsible for light production in mushrooms is illudin. Illudin is also responsible for those mushrooms being toxic. Interestingly, it appears to have some anti-tumour properties and is currently being experimented with as a potential cancer treatment. Not bad for a few chunks of wood rotting on the forest floor.

Le programme AIM en enseignement du FLS

Depuis le mois dernier, je fais de la suppléance dans des écoles divers dans la commission scolaire locale. J’ai enseigné le français cadre pour la première fois il y a quelques semaines, pour des élèves de 6e/7e  — donc dans leur troisième ou quatrième année d’instruction en FLS. J’étais vraiment déçu de découvrir que leur niveau oral était si pitoyable — ils ne comprenaient même pas la question « Quel est ton nom » ou « Comment t’appelles-tu? ». Il me semble que le français est trop rarement parlé lors de l’enseignement dans cette classe — et dans beaucoup d’autres que j’ai vu depuis. C’est suivant cette expérience que j’ai découvert le programme AIM (Accelerated Integrated Method) lors de mon cours sur l’enseignement du FLS. Après avoir vu les vidéos sur le programme, j’ai hâte d’y expérimenter.

Le programme AIM est un programme d'apprentissage qui utilise des actions et des gestes qui correspondent aux mots et expressions courantes. Le programme incorpore également des activités de drame, musique et danse pour stimuler l’acquisition du vocabulaire. Pour en apprendre davantage, visionnez les clips ci-dessous ou visitez le site web.

D’après mes propres expériences comme apprenante de quelques langues étrangères, AIM emploi les principes et stratégies qui me semble les plus efficaces : mettre l’accent sur l’oral, pratiquer dans des situations naturelles et détendus, et développer le vouloir d’apprendre en utilisant la musique, la drame, et les thèmes qui sont pertinents au vies des élèves. Et AIM s'applique à tous les méthodes d'apprentissages: visuel, oral et kinesthésique. Pour voir des exemples des travaux produits par des étudiants lors du programme, cliquez ici.

Certes, AIM n’est pas parfait. Certains enseignants disent que les élèves n’apprennent pas assez de grammaire et que le programme est tellement rigide et prescriptif que les élèves ont du mal à fonctionner en français dans des dialogues naturels. De plus, certains élèves intermédiaires ne veulent pas y participer car ils le voient comme trop enfantin (surtout l’utilisation des gestes).

Malgré ces problèmes, je pense qu’avec un peu d’adaptation thématique, les principes du programme AIM peut être utilisé avec des élèves de tout âges et tout niveaux. Et si AIM est introduit lorsque les élèves sont plus jeunes, les élèves de 6e à 8e n’auront plus besoins des gestes, mais continueraient à être bien servi par les activités kinesthésiques et dramatiques.

En fait, avec toutes nos recherches et connaissances sur les styles et stratégies d’apprentissage, les méthodes que l’on trouve dans AIM ne sont pas vraiment étonnantes ou novateurs. Selon moi, elles doivent être employées par tous les enseignants, donc c’est un peu déprimant qu’un tel programme peu causer une « révolution » dans l’enseignement. En plus, tous les éléments du programme AIM peuvent être employé dans une classe de FLS sans adopté le programme en entier — c’est justement le genre d’approche que j’adopterai pour mes propres classes lorsque je me trouve engager comme enseignante de français.

Quel est le rôle de la classe FLS quant aux initiatives de litéracie dans l'école?

J’ai commencé à réfléchir à cette question lors de mon cours d’enseignement d’FLS. Les approches utilisées dans la litéracie en FLS peuvent renforcer celles qui sont utilisées pour la litéracie en anglais. L’utilisation des mêmes stratégies souligne leur importance et permet aux élèves de les pratiquer dans de nouveaux contextes. Ceci les aide à intégrés les stratégies dans la « boite a outils » qu’ils se développent pour la litéracie en générale. Par exemple, l’utilisation de la morphologie pour décoder les mots se pratique en français également qu’en anglais.

Puisque la compréhension française est généralement moins développée qu’en anglais pour les élèves d’FLS, les stratégies de lecture en français doivent être enseigner et pratiquer plus explicitement (par exemple, pré-lecture, révision des connaissances préalables, résume/synthèse, utilisation des questions pour prédire un texte et pour vérifier la compréhension). Les enseignants d’FLS peuvent facilement aider leurs élèves à faire le lien entre ces stratégies et la compréhension des tous les textes qu’ils peuvent rencontrer dans n’importe quelle langue.

Le transfert des connaissances préalables est une stratégie de litéracie universelle (dans ce cas, de la première langue à la langue seconde). Donc, nous devons supporter l’intégration des nouveaux concepts étudiés en français avec les connaissances préalables en anglais, et l’employer explicitement afin de permettre aux élèves de l’utiliser eux mêmes dans d’autres situations.

La litéracie est plus que lire et écrire. Peu importe la langue, la pratique orale est fondamentale au développement de la litéracie. Un cours d’FLS qui est axé sur la pratique du français oral (à travers des discussions des questions qui demandent la pensée créative et critique) encourage la prise de conscience de la litéracie, et nourrit les habiletés générales en communication.

De plus, la litéracie comprend maintenant les litéracies numérique et médiatique. Les images autant que les mots sont utilisés pour transmettre les idées, et nous devons aider les élèves à se servir des deux – les décoder, comprendre, transmettre, et y réfléchir d’une façon critique. L’utilisation des nouvelles technologies de communication dans les cours d’FLS peut non juste mieux engager les élèves, mais les mieux armer avec les litéracies critiques qu’ils nécessitent pour avancer dans le 21e siècle.

Un défi en FLS est d’engager les élèves dans le curriculum quand ils n’ont pas le niveau de compréhension nécessaire pour accéder les textes étudiés (par exemple, le langage dans un roman de Gabrielle Roy peut être trop difficile pour les élèves au secondaire, même en immersion). Les enseignants doivent alors trouver des textes plus convenables au niveau des élèves. En même temps, ils doivent faire attention de ne pas sous-estimée les capacités des élèves, ce qui est facile à faire avec la barrière de la langue. Les enseignants doivent instruire d’une façon qui affirme l’intelligence et le niveau développementale des élèves, et qui les permet d’exprimer leurs idées et émotions.

Un problème particulier pour les élèves en immersion lorsqu’ils étudient d’autres sujets en français (comme la science et la géographie) est que, malgré leur capacités orales en conversation générale, ils n’ont pas le vocabulaire ni les connaissances des structures du langage académique pour fonctionner au même niveau dans un tel sujet que les élèves dans le même cours instruit en anglais. Les enseignants de ces cours doivent non-justes enseigner leurs sujets, mais aussi les structures linguistiques qui s’y retrouve. Ainsi, en milieu d’immersion, tous les enseignants sont des enseignants de français et de litéracie. En faisant un effort pour présenter les élèves avec des textes de formats divers lors des cours d’FLS, nous pouvons aider les élèves d’immersion à accroitre leurs connaissances et compréhension des structures de différents textes, particulièrement les textes académiques.

Living in a world where "pretty" is irrelevant

A couple of weeks ago, the New Statesman published an article by writer Laurie Penny in which she calls out the pretty-in-pink brand of feminism that has been inundating my social media feeds lately. The message would have us believe that one of the most pressing issues for women today is to avoid falling into the trap of the North American beauty-ideal, and instead encourages us to feel beautiful at any X — where X represents your shape, size, weight, shape of your nose, skin colour, age, whatever.

OF COURSE this is a simplistic reduction of a larger message, and OF COURSE it is a laudable goal for every person (provided you fit within society's narrowly prescribed ideas of what it takes to be attractive in the first place, i.e., relatively young, relatively white, and not too fat). I, like most women and a growing number of men, continue to struggle with my own self-image, so yes, there's work to be done here. However, the sheer abundance of the "beautiful at any X" messages is starting to irritate me. They are a reduction of feminism to a lowest-common denominator (maybe an honest attempt to improve feminism's brand appeal to all the don't-call-me-a-feminist feminists?). The reality, though, is that by making the message about how beautiful you feel, the message is still about beauty, effectively underlining and contributing to the hypervaluation of beauty in our culture rather than diminishing it, which is, presumably, what the message is trying to do. Worse still, by co-opting the airwaves, the beauty message takes attention away from more pressing women's issues. Sexual violence against women, institutional cover up of sexual violence and sympathy for the perpetrators; online trolling, misogyny, and incomprehensible levels of harrassment; and victim-blaming, more victim-blaming and victim-not-believing are just one slice of the big ol' patriarchal pie that women are served every day here in North America (women's struggles in other parts of the world are too big and broad to give a fair sampling of here).

Certainly, cultural beauty ideals can't be completely eliminated from the agenda. They intersect with the sexualization and objectification of women's bodies that contribute to violence against women, so it's not entirely fair to isolate these issues from one another. But still. As Penny notes:

"Rather than fighting for every woman’s right to feel beautiful, I would like to see the return of a kind of feminism that tells women and girls everywhere that maybe it’s all right not to be pretty and perfectly well behaved. That maybe women who are plain, or large, or old, or differently abled, or who simply don’t give a damn what they look like because they’re too busy saving the world or rearranging their sock drawer, have as much right to take up space as anyone else.

I think if we want to take care of the next generation of girls we should reassure them that power, strength and character are more important than beauty and always will be, and that even if they aren’t thin and pretty, they are still worthy of respect. That feeling is the birthright of men everywhere. It’s about time we claimed it for ourselves."

Amen.



P.S. Thanks to the Miss G Project, the next generation of girls in Ontario high schools will soon be able to explore a range of gender-related issues as an official part of the provincial curriculum. Starting in September, gender studies will be offered to all Ontario high school students as an official part of the curriculum. From the course description:

"This course enables students to learn about the dynamic nature of gender roles and norms; sexism and power relations; and the impact of representations of women and men in the media, popular culture, and the arts. Students will analyse a range of gender equity issues, including gender-based violence and workplace equity, in both Canadian and global contexts. Students will develop and apply research skills and will design and implement a social action initiative relating to gender equity."

I can't wait to see this course in action!

L'enseignement du FLS: ressources pédagogiques sur « Habilomédias.ca »

URL: Habolomédias.ca | MediaSmarts.ca
Twitter : @HabiloMedias | @MediaSmarts

« Habilomédias.ca » est le site du Centre canadien d’éducation aux médias et de littératies numérique, un ONG national qui aide les enfants et les adolescents à développer une pensée critique qui leur permette d'utiliser les médias à titre de citoyens numériques actifs et éclairés. HabiloMédias élabore des programmes et des ressources d’éducation aux médias et de littératie numérique. Évidemment, ces ressources ne sont pas axées sur l’enseignement du FLS, mais les plans pédagogiques sont disponibles gratuitement et la majorité sont disponibles dans les deux langues officielles.

Comme il y a tellement de flexibilité dans le curriculum du FLS, c’est une bonne occasion de parler de littératie numérique (ce qui est, en plus, quelque chose qui intéresse généralement les jeunes, donc c’est une bonne façon de les engager dans la classe). Comme il y a des plans pédagogiques pour tous les niveaux, les enseignants peuvent simplement télécharger le plan pour une activité et l’utiliser tel quel avec leur classe. Alternativement, ils peuvent aussi développer un circuit d’activités tirées de plusieurs plans pédagogiques et permettre aux élèves de choisir un certain nombre d’activités à faire lors d’une classe ou une séries de classes (j’ai utilisé cette stratégie avec une classe d’immersion lors de mon dernier stage). Une troisième façon d’utiliser l’information sur le site est d’imprimer les « aperçus » ou les fiches conseils sur un des sujets disponibles (par exemple, la télévision). Lorsque les élèves l’ont lu, ils peuvent avoir un débat à propos d’une question relié aux infos présenté dans l’aperçu (par exemple, « Est-ce que les influences négatives de la télévision sur les enfants sont plus importantes que les influences positives? »).

Voir ci-dessous un plan pédagogique adapté de la leçon « La musique populaire et les vidéoclips : la culture populaire et les médias », développé par Habilomédias.ca

Plan Pedaogique_Les videoclips_Gillis

Notes from the Horwood Conference (Canadian Student Outdoor Education Conference)

I had the great pleasure of attending the first annual Canadian Student Outdoor Education Conference this past weekend. It was fantastic — one of the best conferences I've ever attended. With only 75 delegates, there was a chance to meet almost everyone, and to have meaningful discussions with many. And having a few outdoor ed veterans like James Raffan, Bob Henderson and Bert Horwood (the conference's namesake) present throughout the day was really valuable. In a field often dominated by younger practitioners, it's nice to have more experienced voices on hand to provide balance and perspective.  (Check out the conference program to see what was going on throughout the weekend.)

Inspired by York University's Hannah Glow and her excellent storytelling and zine-making workshop, I collected my thoughts and reflections on the conference into a little zine of notes and illustrations. While a zine doesn't translate well to the digital world, here's the flattened version of the impressions the weekend left me with.

 

 

 

The Hunger Games in phys ed

This is a lesson plan I developed to integrate The Hunger Games into high school phys ed. It has been written with Grade 9-12 Ontario Healthy Active Living in mind, but could be used as a leadership project with the Grade 12 Recreation and Fitness Leadership course. If you use it, let me know how it went!

Hunger Games Training Days lesson plan by

The Hunger Games and the dystopian nature-disconnect

We've spent a lot of time in my literacy class talking about The Hunger Games and how teachers can harness its popularity to make literacy connections across the curriculum. Here are few general thoughts on The Hunger Games to add to the multitude of voices out there.

The Hunger Games as social commentary
The Hunger Games suggests a variety of social issues without going into great depth on any of them. At its heart, it is an action-packed hero’s quest told through the eyes of a strong-but-flawed heroine fighting to survive in a dystopian future. As New Yorker critic David Denby put it, “the reason for its success is simple: it makes teens feel both victimized and important”.

Nevertheless, The Hunger Games is a great starting point for exploring a variety of current environmental and social justice issues. Panem is post-climate change North America, so The Hunger Games’ popularity may partly be due to young peoples’ very real concerns about climate change. And there are parallels with the Occupy movement: Panem’s “99%” live in a state of ongoing environmental strife, food insecurity and resource depletion while the remaining few live in the Capitol, where the nation’s wealth and power are concentrated. Though there may not be a cause-and-effect relationship between The Hunger Games and the Occupy movement, there is certainly an element of art-imitating-life-imitating-art that is worth exploring with students.

The Capitol itself is a leisure dystopia. Living in idle wealth, its residents are obsessed with style and engaged in a never-ending game of physical one-up-manship, going so far as to disfigure themselves to attract notice. Oblivious to the food shortages in the rest of the country, residents eat rich foods and engage in planned bingeing and purging. All this behaviour is only slightly more extreme than our current celebrity culture and standards of beauty, and is a clear metaphor for the world food supply and Western overconsumption (and Hollywood is too close to the Capitol’s geographic location to be a coincidence).

It would be interesting to investigate with students the trend for dystopian settings in young adult fiction over the last few years. Dystopian fiction has typically become more popular in times of social crisis. For example, the triumvirate of twentieth century dystopian fiction (A Brave New World, Farenheit 451 and 1984) was written during the World War II/Cold War years.

The dystopian nature-disconnect
Most fictional dystopias are set in highly urban environments or ravaged wastelands, and even those that are set in relatively healthy landscapes isolate their characters from contact with the natural world, as in Bradbury’s Farenheit 451, where the countryside is the domain of the exiles. The Hunger Games is no different: the land has been wasted, resources have been depleted, citizens are prohibited from wandering freely in the forest and gates surround the districts to separate humans from their natural environment. Wild landscapes and the animals that inhabit them are perceived as dangerous.

Why is this such a common element in dystopian fiction? I think it’s because the primal connection humans have with the land is fundamentally incompatible with dystopian power structures. Beyond providing sustenance, nature has a healing and revitalizing power and is intrinsically linked to human freedom and happiness. Seen through the lens of the Western dualistic nature/culture paradigm, a dystopian superpower cannot not effectively control its subjects if the people have healthy relationships with the land, which is by definition wild and uncontrollable. Excluding nature’s light and beauty excludes hope, which enables control. Separating people from the place in which they live is necessary in dystopian worlds, because a return to nature would lead to rebellion and independence. The staging of the final battle in Star Wars: Return of the Jedi (in which the Rebel Alliance finally succeeds in overthrowing the Galactic Empire) on the lush forest moon of Endor can be seen as an example of this. In The Hunger Games, this is played out through the heroine, Katniss Everdeen.

Katniss has a deep connection to the land, which has been fundamental to her survival throughout her life. As a young girl, the sight of a single dandelion changed Katniss’ life, inspiring her to hunt and forage to keep her family from starving and to provide healing medicines. Because these acts are illegal  all resources belong to the state, and wandering in the woods is forbidden  Katniss’ relationship with the land defines her as a rebel before the story even begins. Beyond the resources the woods provide, Katniss also finds existential freedom and relief there. This bond with the natural world and the vitality it gives her is in stark contrast to the dreary hopelessness of the other residents of her community, who remain caged within the district fences, and to the shallow, overconsumptive urbanity of the Capitol residents, who do not realize they are imprisoned by their luxury.

Once she enters the Hunger Games arena, it is Katniss’ skill as a forager, hunter and herbalist that enable her to survive. But beyond these superficial skills, I think it’s Katniss’ lifelong immersion in nature that gives her the self-assurance and freedom of mind needed to defy the Capitol and ultimately spark a rebellion against its repressive regime. It would be interesting to do a comparative study of other dystopian novels to explore the links across the genre between nature, rebellion and freedom.

Related to Katniss’ connection with the land, The Hunger Games offers another type of literacy beyond the millions of books its fans have read. As an expert expert hunter and forager, Katniss knows how to read signs in nature as efficiently as readers of books can decode symbols on a page. It is this reading of the land that gives her access to the physical world and enables her survival, and gives educators an opportunity to forge a curricular connection with environmental stewardship and traditional Native ways of knowing. Done with care, the popularity of The Hunger Games could be harnessed as a tool to develop interest in and validation of indigenous culture amongst both Aboriginal and non-Aboriginal youth.

Stay tuned for a lesson plan incorporating The Hunger Games into the phys ed curriculum!

Guess Who? The Periodic Table!

Guess Who? The Periodic Table! by ncgillis

I developed this game as part of a “creativity in science teaching” assignment. Educational games are excellent ways of providing differentiated instruction in the classroom. At their best, they can hold a students’ attention far longer than a teacher can, allow for differentiated learning through visual, kinesthetic and interpersonal stimulation, increase motivation for learning through playful competition, and encourage oral communication, collaboration and peer teaching between players. Most importantly, they make learning fun.

Game Play
Guess Who? The Periodic Table! is played in the same way as the original Hasbro game Guess Who? The periodic table game cards are designed to be printed and used with the game trays provided with the original game.

At its core, Guess Who? is a modified game of “20 Questions” (see player rules provided with the game cards for details). Note that with either game card, students may ask any questions about an element’s properties (lustrous, flammable, metal, gas, etc.) but may not ask questions about an element’s location on the periodic table, as this would make the game too easy.

Game Card 1: The First 24 Elements
As the title suggests, this card includes only the first 24 elements, and is designed to encourage familiarity with the symbols for and physical and chemical properties of these elements (e.g., density, texture, combustibility, etc.), as mandated by the Ontario Grade 9 Science curriculum.

Students may need to refer to their notes or textbooks to help them formulate appropriate questions about the physical and chemical properties of the elements. Doing so will reinforce learning from lessons, labs and other activities and should be encouraged.

Game Card 2: The Elements and STSE
This game card expands student thinking about the elements beyond their properties to their historical, cultural, economic and environmental significance, and includes some of the lesser-known elements. Most of the information on this game card extends learning beyond the Ontario Grade 9 Science curriculum.

Variation
Though Guess Who? is designed as a two-player game, teachers may print a class set of game cards and provide one to each student, without the game trays. Students could then play in pairs or small groups, stroking out elements as they are eliminated through questioning. Laminated game cards could be reused: students could write on them with dry erase markers, wax crayons or grease pencils.

Skills encouraged
The original Guess Who? is a simple but effective game that encourages a variety of skills that are important to the Ontario science curriculum:

• logical thinking
• deductive reasoning
• observation and visual discrimination
• grouping
• question formulation
• listening and oral communication

In addition to promoting these skills, Guess Who? The Periodic Table! also encourages students to:

• use vocabulary associated with the chemical elements and the periodic table (alkali metals, halogens, noble gases, etc.)
• recognize elemental symbols (Fe, Cl, N, Na, etc.)
• become familiar with the positions of elements and groups on the table
• compare and contrast physical properties of different elements

Use in the classroom
Guess Who? The Periodic Table! can be used in the classroom in a variety of ways:

• as part of a series of hands-on activity centres that allow students to explore scientific concepts and learning with partners or in small groups
• as a group or partner activity to familiarize students with or consolidate learning of the periodic table and the properties of the first 20 elements (students will be able to self-assess their additional learning needs based on how easily they can formulate questions that get them closer to winning the game)
• as a class activity to review learning about the chemical and physical properties of elements and the organization of the periodic table in Grade 9 Science
• a class-wide diagnostic tool at the beginning of the Grade 10 Science chemistry unit to assess how well students remember what they learned in Grade 9
• as a culminating activity, students could develop their own versions of Guess Who? incorporating physical and chemical properties of the elements. Student success at developing this variation would allow for assessment of overall learning about the properties of elements covered in class
• as a tool to inspire greater depth and breadth of learning through independent study in gifted or advanced learners

The Ontario Science Curriculum and Guess Who? The Periodic Table
Guess Who? The Periodic Table! encourages thinking in each of the four categories of knowledge and skills identified in the achievement chart for the Ontario science curriculum:

• Knowledge and understanding (through familiarity with chemical elements and the periodic table)
• Thinking and investigation (through questioning and observing)
• Communication (through oral communication, use of vocabulary and terminology)
• Application (by making connections between science, technology, society, and the environment)

Contact me if you would like the complete Ontario Grade 9 Science curriculum fit.

Literacy connections
Guess Who? The Periodic Table can increase student proficiency at reading symbols used in chemistry, particularly the symbols for the elements themselves, as well as various laboratory and cultural symbols (toxicity, radioactivity, gas, etc.).

“The Elements and STSE” game card encourages scientific literacy through connections with etymology and mythology, and can be a way of piquing student interest in various elements and driving them to do further reading on various topics.

Extensions
For students looking for additional challenges, “The Elements and STSE” game card can be used to encourage further study on a variety of topics, including:

• etymology of element names
• history of a particular element’s discovery
• scientist who first isolated or discovered a particular element
• contributions of female chemists
• economic importance of various elements
• environmental risks associated with various elements (bioacummulation in ecosystems, groundwater contamination, impacts of mining)
• toxicity and health risks of various elements

Students can also use the game cards as a model to create their own version of Guess Who? for other science units (e.g., cell organelles, ecosystems, living organisms, etc.).

The periodic table included with the game cards and instructions is Ptable.com's Dynamic Periodic Table. The Royal Society of Chemistry's Visual Elements Periodic Table is also an excellent resource.

If you use this activity with your students, let me know in the comments how it went!

Bridging the gap: Interdisciplinarity in high school sciences and humanities teaching

*This is a paper I wrote for my biology class last month. I considered revising it to make it more blog friendly, but at this point in my career I'm more interested in what practicing teachers think of teaching an integrated curriculum than in giving advice on how to do it, so I've decided to publish it as is. Comments always appreciated!

Introduction
“We can educate a large proportion of our better minds so that they are not ignorant of imaginative experience, both in the arts and in science, nor ignorant neither of the endowments of applied science, of the remediable suffering of most of their fellow humans, and of the responsibilities which, once they are seen, cannot be denied.”
— C.P. Snow, 1959

More than 50 years after C.P. Snow's seminal “two cultures” lecture, in which he exposed the division between the humanities and sciences (Snow, 1959), the polarization between these broad domains continues. More recently, E. O. Wilson (1998) noted that intellectuals trained in the social sciences and humanities have difficulty understanding the how the natural sciences are relevant to social behaviour and policy, while natural scientists do not have the background knowledge to engage with social scientists. Even closely connected domains like environmental policy, ethics, social science and biology each have their own practitioners, language and modes of analysis (Wilson). The result, wrote Wilson, is confusion.

The failure of the disciplinary approach is particularly apparent when one examines multi-systemic issues like climate change. For decades, environmental scientists have been communicating about climate change with little effect on individual behaviour (Groffman et al., 2010). Part of the problem is that, traditionally, ecologists’ efforts to reach non-scientific audiences have been based solely on providing information without taking into account the ways in which people reach judgments (Groffman et al.). Yet decisions about environmental behaviour cannot be separated from the social networks that influence people, such as their values and political context (Groffman et al.). To motivate, enable and empower the public to act on climate change, scientists need to apply insights about these broader social issues and how people learn about science — which requires an understanding of ongoing research in the social sciences, not just environmental science. (Groffman et al.).

There are hopeful signs that the humanities-science gap is being bridged, at least at the university level. For example, ecologists are now calling for communications training for university science students, and interdisciplinary degree programs have been proposed to develop professionals with a strong understanding of the relationship between science and society (Groffman et al., 2010). This training would enable graduates to communicate effectively with the public and the media.
Here in Ontario, one such program is the Environmental Visual Communications program offered jointly by Fleming College and the Royal Ontario Museum.Positioned at the convergence of science and art, the program blends visual communication (photography, videography and design) with strategic communication, marketing principles and science knowledge to communicate environmental messages for public education and engagement about conservation and stewardship (Fleming College, 2012).

Further afield, the University of British Columbia held a workshop in September of 2008 entitled “Integrating Science and the Humanities” to explore the promise and challenges of integration between the natural sciences and the humanities (University of British Columbia, 2008).
This type of interdisciplinary collaboration is essential if we are to address systemic, society-wide problems. Though promising, however, it should be happening earlier, at the secondary and elementary levels. This paper will focus on interdisciplinarity and curricular integration at the secondary level.

What’s wrong with the current model?
Wilson (1998) noted, “all tangible phenomena, from the birth of stars to the workings of social institutions, are based on material processes that are ultimately reducible, however long and tortuous the sequences, to the laws of physics.” Or, as Randall Monroe notes in the XKCD comic above, to the laws of mathematics. Either way, synthesis and integration are crucial to understanding the connections between the various disciplines.

In the current cellular model of teaching found in most high schools, disciplines are taught one at a time and independently of each other. Teachers are subject matter experts who can offer depth and breadth of content within their disciplines. This structure allows for deep exploration of the ways of thinking and specific skills particular to each field (Fogarty, 2009).

However, this model encourages students to compartmentalize their learning; humanities, sciences and arts are taught with little attempt to connect one discipline to the next, and students are left to make connections on their own (Fogarty, 2009).

Furthermore, overlapping concepts, skills and attitudes are not identified in the cellular model. While concepts and skills that appear across a variety of disciplines are clearly key areas for learning — so a case can be made for learning them multiple times in different disciplinary contexts — this repetition of learning creates more work for students, reduces the transfer of learning to novel situations, and can be tedious (Fogarty, 2009).

The isolation of the current curricular structure is is exacerbated by the system of prerequisites for university and college acceptance, which requires post-secondary-bound students to begin orienting towards their chosen domain in grade 11. The grade 11 course load of an Ontario student hoping to attend a high-ranking university for a highly competitive honours science program could very likely include:       

• Mathematical Functions
• Physics          
• Chemistry
• Biology
• Earth Sciences
• English

This leaves only two credits with which to explore interests in the humanities.

By Grade 12, this same student could be taking:

• Physics
• Chemistry
• Biology
• Advanced Functions
• Calculus
• English

Again, there would be room for only two additional courses.

By grade 11, students can have eliminated the humanities (with the exception of English) from their educational careers entirely — before they have had an opportunity to explore and appreciate the connections between the disciplines.

This is problematic when one considers the concept of learning and understanding through semantic frames. A semantic frame is the collection of facts and related concepts unconsciously associated with and that are evoked by a particular word — every word is associated with a semantic frame, and every individual has a unique set of semantic frames based on their own experiences (Lakoff, 2010). Because frames are communicated through language and visual imagery, one must have experience with the language of a particular discipline in order to build a semantic frame for it and to make sense of it (Lakoff).

Understanding issues that involve multiple systems requires frames for each system. In the case of climate change, this includes economics, energy, food, health, trade and security (Lakoff, 2010). Yet as a result of our cellular curriculum, most people don’t have the overall background system of frames needed for deep understanding (Lakoff). Education should give people a variety of frames through which to understand the world. Shunting students into either/or domains limits their capacity to make sense of the world outside of their own discipline.

How does integration improve things?
Interdisciplinarity creates a stronger overall background system of frames by examining multiple modes of thinking and developing a broad range of experiences. An interdisciplinary curriculum provides students with opportunities to investigate complex issues related to real-life experiences and with real-world applications (Fogarty, 2009). These connections to the real world are motivating for students, and deepen their engagement with the curriculum (Drake and Reid, 2010).

For example, Weissman (2004) describes a project where students, upon completing a unit on gravity, motion and states of matter, work with an artist to create clay and marble sculptures. When the sculptures are fired, the marbles will melt; the challenge for students is to sculpt the clay into forms that draw the melted marble into aesthetically pleasing patterns. Projects such as this allow students to engage with curricular content in real, practical ways. As a result, learning is more meaningful and personally relevant (Fogarty, 2009).

Integration can also draw students into disciplines they didn’t think they were interested in, and become a gateway to deeper learning (Fogarty, 2009). For example, a student with a keen interest in visual arts may choose to create a comic book biography about a scientist — say, Nikola Tesla — as a science project. As a result of the student’s personal commitment to the product (a comic book), the student will engage with the scientists’ history — Tesla’s achievements, challenges and time period — in a much more profound way than if they had been required to write an essay or memorize facts for a test. In addition, however, the student also deepens their understanding not only of the mechanics of graphic novelization, but of the potential power of personal narratives and visual storytelling in any discipline.

The above examples of interdisciplinary projects also deepen learning by engaging different types of intelligences (visual-spatial, verbal-linguistic, musical, mathematical, etc.) (Fogarty, 2009).
As the climate change example has shown, the environment isn’t just about the environment: it is deeply connected with many other issues and disciplines (Lakoff, 2010). An interdisciplinary approach is critical to fully understanding these other disciplines, and to synthesizing them into an understanding of climate change. A more connected, integrated curriculum that is organized into complex experiences that immerse students in multiple ways of learning and knowing enables students to think in global, systems terms.

How can teachers begin integrating the curriculum?
Because everybody sees different meanings in the world and different relationships between ideas, curriculum integration looks different for every teacher (Fogarty, 2009). As a result, there are a variety of approaches.

One tactic is to collaborate with other teachers to develop parallel sequencing of topics from different courses so that they coincide with one another (Fogarty, 2009). The cellular nature of the high school system makes integrated curriculum across courses more of a challenge at this level than at the elementary level, but it is possible. Courses can be sequenced so that teaching of related topics happens in parallel, allowing the lessons and activities of each class to support and enhance one another (Fogarty). For example, the study of optics in Grade 10 Science could be sequenced to coincide with an exploration of pinhole cameras in Grade 10 Visual Arts. Sequencing may be most effective in grades 9 and 10, when students’ class schedules are more predictable due to the higher proportion of required courses taken during these years.

Drake and Reid (2010) outline a backwards design approach as an effective way to plan an integrated curriculum within a single course. In this model, teachers scan the curriculum to determine what learning is most important (Drake and Reid). The more a specific learning or theme recurs, the more it is worthy, worldly, and widely influential (Fogarty, 2009). Teachers then choose an issue or theme through which to examine the key learnings. The unit culminates with a rich assessment task that involves multiple subjects, and daily lessons are structured around essential questions that lead to the culminating task.

Creating rich culminating tasks that integrate previously learned knowledge from a variety of disciplines provides subject richness, helps students deepen their understanding of what they already know, and allows for higher-order thinking, problem solving and decision making (Drake and Reid, 2010). A culminating task for Grade 11 Science, for example, could integrate information from any of Grade 9 or 10 Science, Math, Geography, History, English, and Physical and Health Education, since most students will already have completed all of these courses.

Conclusion
Though creating an integrated curriculum requires a fundamental change in practice (Drake and Reid, 2010), the increasing complexity of our world demands it. Integrated education will lead to more trust, collaboration and valuation of alternative methods between academic domains. These changes will be essential to the development of solutions to society’s biggest challenges.

The ever-growing accessibility of information makes interdisciplinary learning more important than ever for individuals, too. The world is in need of synthesizers — people who can sift through information, think critically about it, and make wise choices. By developing individuals who can think around a wide variety of issues and topics, starting at any point and moving in any direction (Wilson, 1998), interdisciplinary education may be the best way to prepare students for for the future.

References

Drake, S. and Reid, R. (2010). Integrated curriculum: Increasing relevance while maintaining accountability. What Works? Research into Practice, Research Monograph #28.

Fleming College. (2012). Environmental Visual Communication. Retrieved December 10, 2012, from http://flemingcollege.ca/programs/environmental-visual-communication

Fogarty, R. (2009). How to integrate the curricula. Thousand Oaks, CA: Corwin.

Groffman, P. M., Stylinski, C., Nisbet, M., et al. (2010). Restarting the conversation: challenges at the interface between ecology and society. Frontiers in Ecology and the Environment, 8 (6), 284-291.

Lakoff, G. (2010). Why it matters how we frame the environment. Environmental Communication: A Journal of Nature and Culture, 4:1, 70-81.

Monroe, R. XKCD: Purity. Retrieved on December 10, 2012, from http://xkcd.com/435/

Snow, C. P. (2001 [1959]). The Two Cultures. London: Cambridge University Press
University of British Columbia. (2008). Integrating science and the humanities. Retrieved December 10, 2012, from http://www.sci-hum.pwias.ubc.ca/

Weissman, D. (2004). You can’t get much better than that. In Rabkin, N. & Redmond, R. (Eds.), Putting the arts in the picture: reframing education in the 21st Century. Columbia College Chicago.

Wilson, E. O. (1998). Consilience: The unity of knowledge. New York: Knopf.