UNIVERSAL DESIGN FOR LEARNING ACROSS NEURAL NETWORKS Representation feo Provide options for perception | Provide options for physical Engagement Provide options for recuting Provide options orlanguage, | Provide options for expression ‘mathematical expressions, nd | and communication symbos Prowde options for sustaining lefortand persistence re S or = Bring considerable prior |» Formulate pans for learning nowledgetonewleaming |+ Deve effective strategies + Activate prioelnowledge to | andtactcs to optimize deny, organize, prone, | learning ‘and assimlate new 1 Monitor their progress Information| Recognize thei own ‘+ Recognize the tools and strengths and weaknesses rescurcesthatwouldhelo | leemers them find, structure and |e Abandon plans and remember new information | strategies that ace know how to transform new | inefectve information into meaningful ‘and veful knowledge Provide options for Provide options for executive | Provide options for sll comprehension function | regulation ‘TO DEVELOP EXPERT LEARNERS Purposeful / Motivated "+ Areeagerfor new learning andare motivated by the ‘mastery of learning itself + Aregoal-irected in their learning ‘+ Know how to set challenging leatong goals for themselves “+ Kao howto sustain the fefort andesilence that ‘eachngthose gos wil require '© Monitor and regulate ‘emotional reactions that \wouldbe impediments or stactions to theie “succesful leaning DON GLASS. arts | education | research 2012 emaerrr a seuljeping Burusee7 40} uBisag jesueaiur)UDL Guidelines ~ Educator Worksheet - v. 2 con CASTwoneuaroyar weds Surpuy SOWA ‘vonedsoqut [emi 01 SouDpuay, eye aBenun ssouamae ontunvoyd “ounkys pL TAS (sqrpumaop 21u0n9)9 pouodiy pea worsnoa;AmayRIG — YBa MoM anu sy GoM F'9) HOUNMAY THE AITO aqua ays zomime smn A2oyssounyonns 1x91 Ruypoaap pros ‘uonuBooen ps0 vomto0as pos sfuypeos un Ayomtcr sn paurapy (Gs1) aSpoqwomny mono aarsua “Ammnqeoon 24iS09)8 ‘aon, (G51) a8poynour woru09 oy Fuurou Burayop pue Buyssonaxd. wonzayusyods uno; sarod fox SAB 30 toured ssoupt ‘Surpuesszopen renee ssoupumi LOIS MOT sessounyeaga won 039 suptiuang wonmo3991 sopqend wopms yo sordamexy ed beredwesdey"LsvoSuzpnoud ojqnosy, 9 Koy SUM a|gNOAL, ‘uogeuuogu uayods 303 K50WU! 1004, yur majar Suryoos Saar. ‘wonteze@s0 100g ‘Buuoywour[95 3004 8p g $890/0U1 sounypne Busssappe Surpoasjoosd vuoneztv30 ujuuyd oudoy Bumon Sno0ja8 stua,goid worssaudx WEA suoxuasoudyo30 (peas AYROUL suoutedun ypaads ‘Bampods sod ‘Bumumpury 2004 swajgaud woneurpso09 ato- purty ‘sup[ god wopputps099 soyoUr S80 some BENS wd boetdueydev"isvo (cons xpougres soup ym) Busoda09 ye BuO ‘Suisenydeed Auyzzewuns we 3u0ns sys Bujqossoum waqqand Suons (Guasop sung Auyquuasse Pappa) Aaponysue UA ANE oqceadepeopqng Sr pore ANBIH wonuoiuoyestusoue9 AupIRSISO sys woyssaudxo way Buypuersin sajuassadasypods Bumpuesing opens xt SpSuons aySone.1s‘apouunus sind) 2aH]98 9401 PION. sisanius SAN sso w09 2pom ena yon annesoge103 Ww ei sug seuysorgdet 8 90a sue oop sonia oo-sputt sys popt-todo 7s puro svsorpayos 90a sd pared“ dey1svo ‘uysps 04.0 pau, axndnssippunose opp 1 Aau9pu, yom swopusdepur npn among yea dn sont) ooyps Jo apse sto|gasa ‘Fusoutiogt “uM, yea suped wr Suppo MOU door wi Su 0 SPOUH ‘ssooans Jo wonpadxo oT] ep yH092940 paemoasic sossounyeo,4 2AIDINV soye30q27T09 POD, sjonqpeay aanansysu0s yom 2uryeus pure Buz9y}0 1 poop ayesps poe Bune A450 yon mapa A, ‘sysoumur yoafqns doacy 0 se dsp Sper BO som et ‘nego "mm sistas aan2ayyCoa, Sara) aeommmyaaWaay = —SSCS*«UED A ays —smepms, | —suopms, | —simepmis_ | BrEnIonctaN | 105) ‘piepunys saafang OO +2pe1) vedo emt oygoxa Seer 6819) oe pedal ddy"isvoena »ATSEDGE: Unt Dap br earg RRTEEDGE os sevencnnsennsnrserensesirstitnninrnsnetet ‘vis intagration Connections Arts Integration and Universal Design for Learning Explore the powerful alignment between arts integration and three principles that guide Universal Design for Learning (UDL) Article Universal Design for Learning oe ‘ho gal of Universal Design for Learning (UL) isto prove equ copartuniy forall students 2 ==) lear. Tha mest fr Uniersal Design for Learing has been te beet thstany shen (6. = ‘trent ith caabites, Engh ngunge lamers) access lo earning has ban unequeh Some blow hat unequal access has rested fram a relioncs on teaching stages that use nly rfl fone of induction (eg cts, lasing fem txbooks). With fe grin ery f det classrooms anda deeper understanding of haw starts earn, educators have been king a fresh ook at making teaching and leaning accesible lltudants {lok enge) ‘Universal Design, wth eos Inthe design of accessible physical paces, has been apple KEMig. 1» accommodate a bras "ye Center for Apple Special Technology (CAST) cscusses UD in rms of miles eraner maar +, Multiple means of Representation versal destoned “Teachers present ifomaten ncferent ways, using alernatve means othe deer of eurcula equ 8 enoe infermaon. of etions for accessing 2, Mitipl means of Aetlon and Expression sing. end engaging wit) Teachers proude avery of ways for studerts to scnely consiuct and derensrae thelr Jeaming materia Like undersnng rivorsal design in |, Mitiple means of Engagement aroitecture, ith its Teachers invoke eidnts nearing stues that optnizeInhldua chica and autonomy, are sta, ramps, and utente, andas.a resi are tsi and engsning. elevators, these “Theresa povertlafgent beeen ats integration and these trea UDL principles, Thea Semmens rss provide a miude of ways fo represent formation, mulipla ways for sents oconstuct and ee eee ‘demonstrate tele devloing understandings, srd mutipio ways to cape ines and engage Nena ‘enhance opportunites for aan very stent” Multiple Means of Representation ‘Tha ars nthe any forms (dance, com, musi, sul as, Bray as nd med Informstion. 1s), fer sternave means fr reeesating ‘Art iclgration fers a variety of ways foreach lo present content hrcugh mull laring rates, urs snd Eneatetio—and ae 2 resi each a we ange of esmars. Fr example, n he visual ar, teachers use fe, shape, clr, tex, "forma represent conten. In musi, Wachere Use iyten, melody, and sound pater to represent cot nd in dance, content representa through boll mofon wih veryng fms of ene in space aime, In cama, eacers use bo language and Diysical egresson as mans of representing conn. ‘Multiple Means of Aetion and Expression setter etcxghsruwieesgatn bahrain ttacrsten tte dgrectoaning-banaspe 1‘As integraon ergages sudan In th creat process which ffs universal ‘thay faring. Suen) iragine, ean, and perce; 2) ex ‘Spermert and develp era 2) erst; 4) elt sees, and reuse, and 8) share ‘hairproduls wih oes. Trcugh f= reste process, sidenis bul and express ‘hai ndertanding ofan aa of study andthe artform, using he we exe lenguoges and formets at Beater. Each aterm has a myriad fades fo "sonnei erin ni: 7 Te creave process is acoso albames fs xls and canbe alered snd asap oi an indiual stents nos, Stuer can antarthe process a erent oces and mave whine ferent rates and infant sequences. Whi he rate process ll, itis notunsrctred. Suen plan and carry out sigs to rach a pat Terght i xn process students monitor Hr ogress and mak adisenis long fe way lo blle reach go For earls, fo creat a colge that demonataes fe fring perspectes about an ot istry, sudents deel plan of acon. Waring win fe ible creative process, some sents wl esearch rst, some ‘ilbein to cron by clog and senna, sing, and paper, whi others might bag by sketching te aver Composion, The sequence for creating doas nthe to be the sane ar exary sudo, Aliogh salen have @ common goal, heir recess for rching tho goals indus _Actonay, Serta for parlgaton nthe crete process ar broad andincuve. For ear n theater eteryone can ave 2 part. For soe hat may mean verbal paricipatin, suchas spesting ene, ors arto a youp. Ces may be imohed in nar-ebal ‘nay trough sige action or ir, Further adepton to india needs are posse bocouss tears hae a strong adion of Crossing boundaries a play can hve elon, a dance can have words, ausical composition canbe presried wah vu rt. Arts Irtgratonprvies a place for evry students paricpaion and every students inched in an authori tsk, “ts infegraon ako inves eden In anging rfcon an sl-osassmrt, Because he prods students crests ae conerele \dvistle—a dance sequence, a musical camposion, a poem oolge, «cama improsaton—its possible for studers (and teachers bo) o earring hei progress ae rfc on what is worn wl and what needs inprovrant Multiple Means of Engagement [Nts integra snatrly ongoing, Opportunies fer nhl choos, autonomy, an sel-epuaon abound. Students oe engaged in colaborave larrng perience wh peor ln wich hay shar an bul on each cne'deas, consider options, ake decisions, cemeremies hanoray, and earn to werk gether i achieve a shared gol Coping has and sates ere enBedded in he process, For example when students are gen @ problem sche, such a fo deronsate their understanding of 2 moment in Nstory rough 8 ‘arr, fey ust craw on whal ey know (bod about drama and istry), plan which dam sraegis il be most effect forthe rroment they are depicng, work wher peers cary oct plans, assess an reise ther ra as fey rehearse, work gather to perform ther drama, and rts on how Wel ist the ctor quit. Since sues hae nad mato creale el cranes, ‘hereis also a natal presure and energy Bal feeds ther angogorert. AL the conclusion, stents elec nd sel-asiess ther wok, (hor per! wor, and eanaide tot ns saps coneluston ‘At inlegraton and UDL ara natural partes. Te sof teachers mule means for prong information oa wide range of learners, mule means fra uefa rake seee of and express her understanding, and multiple mesns fr ending al studens in prepay, colebeaie, auhenfc, and enegiing earring experiences. -ReDITS. writers Lyne 8. Siverstein Setior Program Corsutant otgchemdy creeper ron barton tah cmets teiers-nlgrtacarig baat 20ARTSEDGE: uners Dest eng ‘ThodotnF Kemnedy Cams forthe Pertomsing As Edltors & Producers ‘any Duma ‘ecb, Teaches ar Schaal Programs soJohn F Keane Cartarfor te Pomina AAs Anke Works Cited stot ohrndycnte pessoa betta by ioe br dig eig- baa