This groundbreaking book explores why and how to encourage physical and sensory engagement with works of art.
 
An essential resource for museum professionals, teachers, and students, the award winning Teaching in the Art Museum (Getty Publications, 2011) set a new standard in the field of gallery education. This follow-up book blends theory and practice to help educators—from teachers and docents to curators and parents—create meaningful interpretive activities for children and adults.
 
Written by a team of veteran museum educators, Activity-Based Teaching in the Art Museum offers diverse perspectives on embodiment, emotions, empathy, and mindfulness to inspire imaginative, spontaneous interactions that are firmly grounded in history and theory. The authors begin by surveying the emergence of activity-based teaching in the 1960s and 1970s and move on to articulate a theory of play as the cornerstone of their innovative methodology. The volume is replete with sidebars describing activities facilitated with museum visitors of all ages.

Table of Contents
Introduction
 
Part I History
 
1 The Modern History of Presence and Meaning
A philosophical shift from a language-based understanding of the world to direct, physical interaction with it.
 
2 A New Age in Museum Education: The 1960s and 1970s
A brief history of some of the innovative museum education programs developed in the United States in the late 1960s and 1970s. The sudden and widespread adoption of nondiscursive gallery activities during this period, especially but not exclusively in programs designed for younger students and school groups, expressed the spirit of the times.
 
Part II Theory
 
3 Starts and Stops
Two attempts by American museum educators to articulate a theory for their new, nondiscursive programs: the first deriving from the early work of Project Zero, the Harvard Graduate School of Education program founded by the philosopher Nelson Goodman to study arts learning as a cognitive activity; the second stemming from the work of Viola Spolin, the acclaimed theater educator and coach whose teaching methods, embodied in a series of “theater games,” were detailed in her well-known book Improvisation for the Theater (1963).
 
4 A Theory of Play in the Museum
A theory of play that posits activities in the museum as forms of play that take place in spaces (or “playgrounds”) temporarily designated as such by educators and their adult visitors or students. Play is defined essentially as movement—both physical and imaginary (metaphorical)—toward and away from, around, and inside and outside the works of art that are foregrounded within those spaces. Gallery activities conceived in this way respond to the possibilities that the objects themselves offer for the visitor to explore and engage with them. The particular movements characterizing an activity are crucially conditioned by the object in question; they constitute a process of discovery and learning conceptually distinct from, but supportive of, traditional dialogue-based modes of museum education, which they supplement rather than supplant.
 
Part III Aspects of Play
 
5 Embodiment, Affordances
The idea of embodiment adopted here recognizes that both mind and body are joined in their interactions with things. Investigating works of art thus involves apprehending them physically as well as intellectually—in the sense of responding to the ways in which a particular work allows and even solicits the viewer’s physical grasp of it.
 
6 Skills
Ways in which objects present themselves to us, as viewers, and what we might do in response as they fit with the bodily skills we have developed over the course of our lives. Such skills might be as simple as getting dressed, washing, or eating; or as specialized as doing one’s hair, dancing, playing an instrument, or acting—all of which may allow us to “grasp” and even feel that we inhabit particular works of art.
 
7 Movement
Embodied looking is always looking from somewhere. We apprehend objects as we physically move around and in front of them; they reveal themselves differently as we approach them from different viewpoints. Viewers orient themselves spatially to both the surfaces of objects and to the things and spaces depicte4d in or suggested by representational works of art. Activity-based teaching gets visitors and students to move among the objects—away from them, close to them, and even into them.
 
8 The Senses
Both adult visitors and younger students come to the museum expecting to use their eyes, yet “visual” art appeals to several of the senses at once, though rarely to the same degree. Sculpture, for example, almost always appeals to touch (whether or not that is actually possible or allowed) as well as sight. A painting depicting a scene in which people appear to be talking may induce viewers to not only look but also “listen” to what the figures might be saying.
 
9 Drawing in the Museum
Looking at art with a pencil in hand amplifies viewers’ ability to imaginatively touch and feel their way across and around an artwork. Contour drawing by its nature requires participants to imagine that they are touching the contours of an object beneath the tips of their pencils. Other types of drawing allow viewers to feel their way around objects through observation and movement.
 
10 Emotion
Visitors’ emotional responses to art represent a complex process with many components, from physiological to cognitive, and a particular work of art may elicit a wide range of emotional reactions. This chapter describes specific ways in which museum educators can go well beyond merely asking visitors how a work of art makes them feel.
 
11 Empathy and Intersubjectivity
One aspect of viewers’ emotional responses to art that is often taken for granted, if not neglected altogether: the empathetic connections that human beings make to images of other people. This chapter advocates an approach that prompts viewers to physically engage with the representations of people they see.
 
12 Mindful Looking
Mindfulness involves awareness and attention, both as a conscious practice and as an attitude that gallery teachers can encourage in museum visitors. This is not solely a matter of cultivating the mind, however; it is also a matter of cultivating the body, since mindfulness is only possible when mind and body are in a state of harmonious, relaxed attentiveness. Mindfulness practice in the art museum actively directs the viewer’s focus on the object itself and insists on returning to it over and over; yet it also balances activity with conscious stillness.
 
Afterword
 
Acknowledgments
 
 
 

Digital tools have long been a transformative part of academia, enhancing the classroom and changing the way we teach. Yet there is a way that academia may be able to benefit more from the digital revolution: by adopting the project management techniques used by software developers.

Agile work strategies are a staple of the software development world, developed out of the need to be flexible and responsive to fast-paced change at times when “business as usual” could not work. These techniques call for breaking projects into phases and short-term goals, managing assignments collectively, and tracking progress openly.

Agile Faculty is a comprehensive roadmap for scholars who want to incorporate Agile practices into all aspects of their academic careers, be it research, service, or teaching. Rebecca Pope-Ruark covers the basic principles of Scrum, one of the most widely used models, and then through individual chapters shows how to apply that framework to everything from individual research to running faculty committees to overseeing student class work. Practical and forward-thinking, Agile Faculty will help readers not only manage their time and projects but also foster productivity, balance, and personal and professional growth.

In the United States, the entanglement of sports and education has persisted for over a century. Multimillion-dollar high school football stadiums, college coaches whose salaries are many times those of their institutions’ presidents, psychological and educational tolls on student-athletes, and high-profile academic scandals are just symptoms of a system that has come under increasing fire. Institutions large and small face persistent quandaries: which do they value more, academic integrity or athletic success? Which takes precedence: prioritizing elite teams and athletes, or making it possible for all students to participate in sports? How do we create opportunities for academic—not just athletic—development for players?

In Alternative Models of Sports Development in America, B. David Ridpath—a leading sports development researcher who has studied both the US system and the European club model—offers clear steps toward creating a new status quo. He lays out four possible alternative models that draw various elements from academic, athletic, and European approaches. His proposals will help increase access of all young people to the benefits of sports and exercise, allow athletes to also thrive as students, and improve competitiveness. The result is a book that will resonate with sports development professionals, academic administrators, and parents.

In an increasingly wider range of disciplines college students are expected to write arguments throughout their undergraduate studies. While most instructors know good writing when they see it, they are not always able to articulate the finer details of how language is used to compose the strong arguments they expect from their students. Analysis and Argument in First-Year Writing and Beyond provides a common language to talk about and teach argument writing.

The authors harness over ten years of research on analyzing, scaffolding, and assessing argumentative writing in university classrooms to offer research-based tools for first-year writing and disciplinary instructors to make their expectations explicit to students. To articulate the linguistic resources of argumentation, the authors rely on genre-based pedagogy, informed by systemic functional linguistics (SFL). By leveraging their expertise , the authors offer practical tools for scaffolding writing in key genres across broader fields, such as writing studies, business administration, and information systems.

Each chapter focuses on a single tool, explaining it with mentor texts, sample texts, and visualizations, and provides guided classroom activities that teachers can adapt to fit their own contexts. With these tools, instructors and students will better understand how to: 

• distinguish between descriptive and argumentative writing;
• write argumentative claims; 
• apply an analytical framework in a written text; 
• maintain a consistent position in an argumentative text while incorporating outside sources; 
• argue for one position in favor of viable alternatives.

Distilled from Arkansas: A Narrative History, the definitive work on the subject since its original publication in 2002, Arkansas: A Concise History is a succinct one-volume history of the state from the prehistory period to the present. Featuring four historians, each bringing his or her expertise to a range of topics, this volume introduces readers to the major issues that have confronted the state and traces the evolution of those issues across time.

After a brief review of Arkansas’s natural history, readers will learn about the state’s native populations before exploring the colonial and plantation eras, early statehood, Arkansas’s entry into and role in the Civil War, and significant moments in national and global history, including Reconstruction, the Gilded Age, the Progressive Era, the Elaine race massacre, the Great Depression, both world wars, and the Civil Rights Movement. Linking these events together, Arkansas: A Concise History offers both an understanding of the state’s history and a perspective on that history’s implications for the political, economic, and social realities of today.

Adopted by the State of Arkansas for 2008 Once again, the State of Arkansas has adopted An Arkansas History for Young People as an official textbook for middle-level and/or junior-high-school Arkansas-history classes. This fourth edition incorporates new research done after extensive consultations with middle-level and junior-high teachers from across the state, curriculum coordinators, literacy coaches, university professors, and students themselves. It includes a multitude of new features and is now full color throughout. This edition has been completely redesigned and now features a modern format and new graphics suitable for many levels of student readers. The completely revised fourth edition includes new unit, chapter, and section divisions as well as five brand-new chapters: an introductory chapter with information on the symbols, flag, and songs of Arkansas; chapter 2, which covers the geography of Arkansas; chapter 3, on state and local government; chapter four, on economics and tourism; and a “modern” chapter on the Arkansas of today and the future, which completes the learning adventure. This edition also has two “special features”: one on the Central High School crisis of 1957 and another on the William J. Clinton Presidential Library. It also has new and interesting features for students like the “Guide to Reading” (at the beginning of each chapter, there is a list of important terms, people, places and events for the student to keep in mind as he or she reads [corresponding to blue vocabulary words in the text, which are define in the margin]), “County Quest,” “I Am an Arkansan,” “Did You Know?” “Only in Arkansas,” “A Day in the Life,” “Chapter Reflection” questions and activities, over forty-five new content maps, and a comprehensive new map atlas.

What can the art of play teach us about the art of play? Showcasing the paintings of more than one hundred Philadelphia public elementary school children, folklorist Anna Beresin’s innovative book,  The Art of Play, presents images and stories that illustrate what children do at recess, and how it makes them feel.

Beresin provides a nuanced, child-centered discussion of the intersections of play, art, and learning. She describes a widespread institutionalized fear of play and expressive art, and the transformative power of simple materials like chalk and paint. Featuring more than 150 paintings and a dozen surreal photographs of masked children enjoying recess, The Art of Play weaves together the diverse voices of kids and working artists with play scholarship.

This book emerged from Recess Access, a service-learning project that donated chalk, ropes, balls, and hoops to nine schools in different sections of Philadelphia. A portion of the proceeds of The Art of Play will support recess advocacy.

Artificial Intelligence, Real Teaching provides an accessible overview of AI and its uses so English language teachers across the globe can feel confident joining conversations about AI and integrating it into their practice. Grounded in current understanding of second language acquisition theory, translanguaging, and the science of learning, as well as the first-hand AI-integration experiences of the authors, this book offers teachers time-saving and personalized backend strategies for curriculum development, lesson planning, scaffolding, and assessment. Through inclusive front-end strategies for use with students in class and “make it your own” exercises, readers are encouraged to adapt AI enhancements to their particular teaching contexts and to reflect on the benefits and challenges of ethical AI integration. In short, this book serves as a teacher’s AI toolkit, offering English language teachers detailed resources to continue engaging with AI. Artificial Intelligence, Real Teaching sets the stage for teachers to innovate their practices with productive AI enhancements while continuing to center human interaction in language education amid the changing landscape of an AI-rich world.

Although fraught with politics and other perils, teacher evaluation can contribute in important, positive ways to faculty development at both the individual and the departmental levels. Yet the logistics of creating a valid assessment are complicated. Inconsistent methods, rater bias, and overreliance on student evaluation forms have proven problematic. The essays in Assessing the Teaching of Writing demonstrate constructive ways of evaluating teacher performance, taking into consideration the immense number of variables involved.

Contributors to the volume examine a range of fundamental issues, including the political context of declining state funds in education; growing public critique of the professoriate and demands for accountability resulting from federal policy initiatives like No Child Left Behind; the increasing sophistication of assessment methods and technologies; and the continuing interest in the scholarship of teaching. The first section addresses concerns and advances in assessment methodologies, and the second takes a closer look at unique individual sites and models of assessment. Chapters collectively argue for viewing teacher assessment as a rhetorical practice.

Fostering new ways of thinking about teacher evaluation, Assessing the Teaching of Writing will be of great interest not only to writing program administrators but also to those concerned with faculty development and teacher assessment outside the writing program. 

In Assignments across the Curriculum, Dan Melzer analyzes the rhetorical features and genres of writing assignments through the writing-to-learn and writing-in-the-disciplines perspectives. Presenting the results of his study of 2,101 writing assignments from undergraduate courses in the natural sciences, social sciences, business, and humanities in 100 postsecondary institutions in the United States, Assignments across the Curriculum is unique in its cross-institutional breadth and its focus on writing assignments.

The results provide a panoramic view of college writing in the United States. Melzer's framework begins with the rhetorical situations of the assignments—the purposes and audiences—and broadens to include the assignments' genres and discourse community contexts. Among his conclusions is that courses connected to a writing-across-the-curriculum (WAC) initiative ask students to write more often, in a greater variety of genres, and for a greater variety of purposes and audiences than non-WAC courses do, making a compelling case for the influence of the WAC movement.

Melzer's work also reveals patterns in the rhetorical situations, genres, and discourse communities of college writing in the United States. These larger patterns are of interest to WAC practitioners working with faculty across disciplines, to writing center coordinators and tutors working with students who bring assignments from a variety of fields, to composition program administrators, to first-year writing instructors interested in preparing students for college writing, and to high school teachers attempting to bridge the gap between high school and college writing.

Robert Mulcahy’s chronicle of his decade leading Rutgers University athletics is an intriguing story about fulfilling a vision.  The goal was to expand pride in intercollegiate athletics.  Redirecting a program with clearer direction and strategic purpose brought encouraging results.  Advocating for finer coaching and improved facilities, he and Rutgers achieved national honors in Division I sports.  Unprecedented alumni interest and support for athletics swelled across the Rutgers community.
His words and actions were prominent during a nationally-reported incident involving student athletes.  When the Rutgers Women’s Basketball team players were slandered by racist remarks from a popular radio talk show host, Mulcahy met it head on.  With the coach and players, he set an inspiring example for defending character and values.
Though Mr. Mulcahy left Rutgers in 2009, his memoir reflects continued devotion to intercollegiate athletics and student athletes.  His insights for addressing several leading issues confronting Division I sports today offer guidelines for present and future athletic directors to follow.