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Found 17 Collections

 

Taking a Closer Look: The Photographs of Gordon Parks

This collection uses the strategy, "What Makes You Say That?" to take a closer look at a photograph by Gordon Parks.

Stephanie Norby
4
 

Key Moments in WWII: What makes you say that?

Using the Project Zero Visible Thinking routine "What makes you say that?," students will investigate two photographs, taken from different angles, of Japanese Foreign Minister Mamoru Shigemitsu and General Yoshijiro Umezu aboard the USS Missouri as they signed the surrender that would officially end WWII.

Tags: world war 2; world war ii; general macarthur; carl mydans; primary source; ww2; japanese instrument of surrender; potsdam declaration; inquiry strategy

Tess Porter
4
 

Achelous and Hercules: What makes you say that?

Using the Project Zero Visible Thinking routine "What makes you say that?," students will examine the 1947 mural "Achelous and Hercules," by Thomas Hart Benton. This artwork explores the relationship between man and water in post-war agricultural America through the retelling of an Ancient Greek myth. Collection includes a video analysis by a museum director and an interactive exploring areas of interest in the artwork.

Tags: greece; agriculture; agricultural; missouri river; marshall plan; truman; cultural connections; midwest

Tess Porter
4
 

What Makes You Say That? -- Looking at Bird Beaks

Watch these videos of birds. Use the "What Makes You Say That?" visible thinking routine, one of the visible thinking routines developed by Project Zero. This routine helps students describe what they see or know and asks them to build explanations. This is an introductory activity for a unit on birds or adaptation. The activity's strategy is intended to be used with the whole class to have a conversation about the topic.

First, watch the video on gannets -- without sound -- using the prompts "What do you see? What do you see that makes you say that?" Discuss responses. Then watch the video with sound and compare.

Second, watch one or more of the short videos documenting a Black-backed Woodpecker, Bee Hummingbird, New Zealand Falcon, Laughing Kookaburra, Rose-breasted Grosbeak, Oystercatcher, American Goldfinch, Osprey and Orange-crowned Warbler. Focus students' attention on the beak, asking them to describe how birds use their beaks and citing evidence to support their claims.
Stephanie Norby
12
 

American Indians

Paintings and photographs that represent the Lakota, Inuit, Kwakiutl, Pueblo, and Iroquois tribes. This aligns with Virginia SOL USI.3b. Teachers may have students look critically at each image. Students can then create a claim or hypothesis of what tribe they think it represents, along with supporting details. Teachers should use the "what makes you say that" strategy (described on the first image). This is a great check for understanding or formative assessment of student learning.

Michelle Moses
6
 

What Makes You Say That?: Interpretation with Justification Routine with a Historical Photograph

This collection uses the Harvard Project Zero Visible Thinking routine, highlighting interpretation with justification. The strategy is paired with a photograph from the National Portrait Gallery. Once you have examined the photograph and answered the questions, view the original resource and the short video with a curator to check and see if your interpretation was correct. How does viewing the photograph with the museum label change your interpretation?

Suggestions for teachers regarding visual clues for this image are in the "Notes to Other Users" section.
Ashley Naranjo
3
 

What Makes You Say That?: Interpretation with Justification Routine with a Poster

This collection uses the Harvard Project Zero Visible Thinking routine, highlighting interpretation with justification. The strategy is paired with a poster from the Cooper Hewitt, Smithsonian Design Museum. Once you have examined the poster and answered the questions, view the original resource and the related blog post to check and see how your interpretation compares with the expert. How does viewing the poster with the museum label change your interpretation?

Suggestions for teachers regarding visual clues for this image are in the "Notes to Other Users" section.
Ashley Naranjo
3
 

What Makes You Say That?: Interpretation with Justification Routine with an Artwork

This collection uses the Harvard Project Zero Visible Thinking routine, highlighting interpretation with justification. The strategy is paired with an artwork from the Smithsonian American Art Museum. Once you have examined the artwork and answered the questions, view an archived webinar with a museum educator to compare your interpretation. How does viewing the artwork with the museum label change your interpretation? How did what you noticed in the artwork compare with what the educators shared?

Suggestions for teachers regarding visual clues for this image are in the "Notes to Other Users" section.
Ashley Naranjo
4
 

Images of Immigration and Identity from the National Portrait Gallery, the New York Times, and the Smithsonian American Art Museum

Students can use the "What makes you say that?" and the "3 Ys" thinking routines to explore two modern portraits about identity and immigration from the National Portrait Gallery. The first thinking strategy asks students to look at a work of art for several minutes before answering two questions: "What's going on?" and "What do you see that makes you say that?" (See https://learninglab.si.edu/resources/view/1056334/search for more information.)

To further and deepen the discussion, I've included a link to a September 2016 New York Times Op-Doc entitled "4.1 Miles," about a coast guard captain on a small Greek island who is suddenly charged with saving thousands of refugees from drowning at sea. (If it doesn't show up easily, you can view the original video on Times Video at https://www.nytimes.com/video/opinion/100000004674545/41-miles.html.) I've also included two sculptures from the Smithsonian American Art Museum.

You may wish to use the "3 Y's" thinking routine here as well, which asks students to consider the following questions:

1. Why might this [topic, question] matter to me?

2. Why might it matter to people around me [family, friends, city, nation]?

3. Why might it matter to the world?

(See https://learninglab.si.edu/resources/view/1321155/search for more information.)


Philippa Rappoport
10
 

Soap Making - Chemistry and How to

Using What Makes You Say That and other visible thinking tools, this collection looks at the detail chemistry behind soap, and how to make soap safely at home by critically analyzing resources available in the mainstream media. This collection also tries to point out the societal norms depicted in some of the materials.


Kitty Dang
22
 

What Makes You Say That? Interpretation with Justification with an Artwork and a Poem

This collection uses the Harvard Project Zero Visible Thinking routine, highlighting interpretation with justification. The strategy is paired with an artwork from the National Museum of American History archives center. Once you have examined the artwork and answered the questions, view the original resource and the subsequent poem to check and see how your interpretation compares. How does the poem's narrative match the artwork? How does it differ?

Suggestions for teachers regarding visual clues for this image are in the "Notes to Other Users" section.

Tags: Civil War, Women's Roles in Civil War, Barbara Frietchie (Fritchie), John Greenleaf Whittier
Ashley Naranjo
7
 

What makes you say that?: Marian Anderson in Concert at the Lincoln Memorial

This collection uses the Harvard Project Zero Visible Thinking routine for interpretation with justification. This routine helps students describe what they see or know and asks them to build explanations. The strategy is paired with photographs and an artwork from the National Museum of American History and the Smithsonian American Art Museum. Using guided questions, students will look at a single event through multiple media formats.

Tags: William H. Johnson, Robert Scurlock, Marian Anderson, Easter 1939 concert, Lincoln Memorial
Ashley Naranjo
5
 

What makes you say that?: Marian Anderson in Concert at the Lincoln Memorial

This collection uses the Harvard Project Zero Visible Thinking routine for interpretation with justification. This routine helps students describe what they see or know and asks them to build explanations. The strategy is paired with photographs and an artwork from the National Museum of American History and the Smithsonian American Art Museum. Using guided questions, students will look at a single event through multiple media formats.

Tags: William H. Johnson, Robert Scurlock, Marian Anderson, Easter 1939 concert, Lincoln Memorial
Melinda Welch
5
 

What makes you say that?: Marian Anderson in Concert at the Lincoln Memorial by Ashley Naranjo

This collection uses the Harvard Project Zero Visible Thinking routine for interpretation with justification. This routine helps students describe what they see or know and asks them to build explanations. The strategy is paired with photographs and an artwork from the National Museum of American History and the Smithsonian American Art Museum. Using guided questions, students will look at a single event through multiple media formats.

Tags: William H. Johnson, Robert Scurlock, Marian Anderson, Easter 1939 concert, Lincoln Memorial
Susan Stokley
4
 

Foreigners in Japan, 1860-1861

Using the Project Zero Visible Thinking routine "What makes you say that?", students will examine Japanese artworks depicting Americans and other "westerners" in Japan to analyze Japanese views towards foreigners in the period after the signing of the Kanagawa Treaty (1854). The Kanagawa Treaty, the first treaty between the United States and Japan, ended a period of Japanese isolationism that had lasted for 220 years. Collection includes 21 woodblock prints from the years 1860-1861.

Tags: commodore perry; matthew perry; treaty of amity and commerce; townsend harris; national seclusion; sakoku; millard filmore; edo period; treaty of amity and peace; harris treaty; inquiry strategy; foreigner; global perspectives

Tess Porter
24
 

Exploring Mickalene Thomas's Portrait of Mnonja

In this activity, students will explore Mickalene Thomas's process, artistic influences, and art historical context. Students will examine Thomas's Portrait of Mnonja (2010, Smithsonian American Art Museum) in depth, and use three supporting resources to build context.

1. Have students look at Mickalene Thomas's Portrait of Mnonja. Give them 2-3 minutes to do a quick sketch of the painting.

2. Next, ask them to note the part of the painting their eye went to first on their sketch with a star.

3. Next, ask students to draw a line through their sketch to show the path their eye used to travel through the painting. Use arrows to indicate direction.

4. In pairs or as a class, ask students to share where their eye went first, and why they think it went there. Was it the color? Light? Lines? The placement in the composition?

5. Next, students should write a list of 8-10 words and phrases describing the painting. Ask for volunteers to share out.

6. As a group, discuss students' impressions of the painting. Ask for visual evidence to back up claims. (e.g. A student says, "she looks powerful." You ask, "what do you see that makes you say she's powerful?")

7. To further the conversation, share some background information about the painting: the title, the date, and the artist. Explain a little about Mickalene Thomas's process: posing live models in sets with props and furniture, taking photographs, then painting from the photographs.

8. Next, break students into small groups. Each group should receive a printout of ONE of the three supporting resources in this collection. Ask them to compare and contrast their image with Portrait of Mnonja.

9. After 4-5 minutes, ask each group to share out the main idea from what they discussed. The teacher should add additional information as it is useful.

a. Mickalene Thomas set photograph: Shows the artist's process, how she uses real models and sets. Note patterns and 1970s motifs.

b. Romare Bearden collage: Thomas has cited Bearden as one of her artistic influences. Students should note similarities in color, pattern, and flatness.

c. John Collier painting: An example from the early 1900s of the "reclining woman" in art history. Students should discuss the passiveness/agency of each of these women, and how a male artist's depiction of a woman differs from a female artist's in this case. Thomas was well versed in art history and was consciously making reference to precedents like this.

10. Writing Activity: In small groups, have students write a dialogue between Mnonja and someone else. It could be the artist, the viewer, or someone from one of the supporting resources.

Phoebe Hillemann
4
 

Questions developed for 7th grade Hammurabi’s code

The Code of Hammurabi is a well-preserved Babylonianlaw codeof ancient Mesopotamia, dating back to about 1754 BC (Middle Chronology). It is one of the oldest deciphered writings of significant length in the world. The sixth Babylonian king, Hammurabi, enacted the code, and partial copies exist on a seven and a half foot stone steleand various clay tablets. The code consists of 282 laws, with scaled punishments, adjusting "an eye for an eye, a tooth for a tooth" as graded depending on social status, of slave versus free man. The code was discovered by modern archaeologistsin 1901, and its editio princeps translation published in 1902 by Jean-Vincent Scheil. This nearly complete example of the code is carved into a basalt stele in the shape of a huge index finger 2.25 m (7.4 ft) tall. The code is inscribed in the Akkadian language, using cuneiform scriptcarved into the stele.

Something You should Know About Hammurabi's Code

In the 18th century B.C., the Babylonian King Hammurabi fashioned a compendium of 282 laws that set standards of conduct and justice for his empire in ancient Mesopotamia. Etched on an imposing seven-and-a-half-foot diorite pillar, or stele, the commands covered everything from property rights and criminal behaviour to slavery and divorce, and promised brutal punishments for all who disobeyed. These famous pre-Biblical laws helped shape Babylonian life in Hammurabi's time, but their influence would echo throughout the ancient world for over a millennia. Below, find out more about the fascinating history behind one of antiquity's most important legal codes.

It's not the earliest known code of laws.

Hammurabi's dictates are often cited as the oldest written laws on record, but they were predated by at least two other ancient codes of conduct from the Middle East. The earliest, created by the Sumerian ruler Ur-Nammu of the city of Ur, dates all the way back to the 21st century B.C., and evidence also shows that the Sumerian Code of Lipit-Ishtar of Isin was drawn up nearly two centuries before Hammurabi came to power. These earlier codes both bear a striking resemblance to Hammurabi's commands in their style and content, suggesting they may have influenced one another or perhaps even derived from a similar source.

The Code included many bizarre and gruesome forms of punishment.

Hammurabi's Code is one of the most famous examples of the ancient precept of "lex talionis," or law of retribution, a form of retaliatory justice commonly associated with the saying "an eye for an eye." Under this system, if a man broke the bone of one his equals, his own bone would be broken in return. Capital crimes, meanwhile, were often met with their own unique and grisly death penalties. If a son and mother were caught committing incest, they were burned to death; if a pair of scheming lovers conspired to murder their spouses, both were impaled. Even a relatively minor crime could earn the offender a horrific fate. For example, if a son hit his father, the Code demanded the boy's hands be "hewn off."

The laws varied according to social class and gender.

Hammurabi's Code took a brutal approach to justice, but the severity of criminal penalties often depended on the identity of both the lawbreaker and the victim. While one law commanded, "If a man knock out the teeth of his equal, his teeth shall be knocked out," committing the same crime against a member of a lower class was punished with only a fine. Other rank-based penalties were even more significant. If a man killed a pregnant "maid-servant," he was punished with a monetary fine, but if he killed a "free-born" pregnant woman, his own daughter would be killed as retribution. The Code also listed different punishments for men and women with regard to marital infidelity. Men were allowed to have extramarital relationships with maid-servants and slaves, but philandering women were to be bound and tossed into the Euphrates along with their lovers.

The Code established a minimum wage for workers.

Hammurabi's Code was surprisingly ahead of its time when it came to laws addressing subjects like divorce, property rights and the prohibition of incest, but perhaps most progressive of all was a stipulation mandating an ancient form of minimum wage. Several edicts in the Code referenced specific occupations and dictated how much the workers were to be paid. Field laborers and herdsmen were guaranteed a wage of "eight gur of corn per year," and ox drivers and sailors received six gur. Doctors, meanwhile, were entitled to 5 shekels for healing a freeborn man of a broken bone or other injury, but only three shekels for a freed slave and two shekels for a slave.

The Code includes one of the earliest examples of the presumption of innocence.

While it's notorious for its catalogue of barbaric punishments, Hammurabi's Code also set several valuable legal precedents that have survived to this day. The compendium is among the earliest legal documents to put forth a doctrine of "innocent until proven guilty." In fact, the Code places the burden of proof on the accuser in extreme fashion when it says, "If any one bring an accusation of any crime before the elders, and does not prove what he has charged, he shall, if it be a capital offense charged, be put to death." The Code also includes a modern take on judicial procedures.

Historians are still unsure of the role the Code played in Babylonian culture.

Hammurabi's Code offers a valuable glimpse into what daily life in ancient Babylonia might have been like, but just how the laws functioned in society is still up for debate. The statutes could have been a list of amendments to an even earlier and more expansive set of general laws, but they might also have acted as a set of judicial precedents compiled from real world cases. Some historians have even argued the Code was not a working legal document at all, but rather a piece of royal propaganda created to enshrine Hammurabi as a great and just ruler.

The Code endured even after Babylon was conquered.

Hammurabi's empire went into decline after his death in 1750 B.C. before unraveling entirely in 1595 B.C., when a Hittite army sacked Babylon and claimed its riches. Nevertheless, Hammurabi's Code proved so influential that it endured as a legal guide in the region for several centuries, even as rule over Mesopotamia repeatedly switched hands. Copying the Code also appears to have been a popular assignment for scribes-in-training. In fact, fragments of the laws have been found on clay tablets dating to as late as the 5th century B.C.—more than 1,000 years after Hammurabi's reign.

The laws weren't rediscovered until the 20th century.

Hammurabi's edicts were a fixture of the ancient world, but the laws were later lost to history and weren't rediscovered until 1901, when a team of French archeologists unearthed the famous diorite stele at the ancient city of Susa, Iran, once the seat of the Elamite Empire. Historians believe the Elamite King Shutruk-Nahhunte plundered the four-ton slab during a 12th century B.C. raid on the Babylonian city of Sippar and then brought it to Susa as a treasure of war. Shutruk-Nahhunte is thought to have erased several columns from the monument to make space for his own inscription, but no text was ever added. Today, the pillar is kept on display at the Louvre Museum in Paris.


Dharmendra kumar
2