Saturday, June 22, 2013

Chapter 53: The Charlotte Danielson Rubric for the Highly Effective Pick-Up Artist

Chapter Fifty-Three: The Charlotte Danielson Rubric for the Highly Effective Pick-Up Artist

Lest you read Chapter 31 and think that only one of the Charlotte Danielson rubrics is laughable ....

Chapter 31: The Charlotte Danielson Rubric for the Highly Effective HUSBAND

... here's another of her "rubrics" for objectifying human interaction, this one as ludicrous and laughable as any other.  There are 22 of them so I'll be busy for a while but keep two things in mind always.  First, these "rubrics" are being used by bureaucrats to pretend that observing teachers in the classroom is "objective", "qualifiable" and can be transformed into "data".  Second, rumor has it that Charlotte Danielson herself is actually a puppet and that if you look closely at her videos, you can see the strings moving her arms and lips.  I don't know about you, but I swear I can see those strings - and every once in a while the tips of the puppet master's fingers at the top of the screen.

The Danielson "Framework for Teaching" contains 4 "domains":

     1:  Planning and Preparation
     2.  Classroom Environment
     3.  Instruction
     4.  Professional Responsibilities

Each of these domains contains a number of "components" for a total of 22 but see for yourself:

Danielson Puppet's "Framework for Teaching"

Note made on Jan. 13, 2015: When I wrote this chapter more than a year ago, this was a link to the  Danielson framework.  Now when you click on it you get the message:

404 - File or directory not found.

The resource you are looking for might have been removed, had its name changed, or is temporarily unavailable.

But I'll leave it there so you can see for yourself.  Maybe they're on the run.  Now you can see the Danielson domains at Danielson Framework.

Chapter 31 of this memoir (see above) spoofed competency 2d: "Managing Student (Husband) Behavior".  Competency 3b, as you can see, is called "Using Questioning and Discussion Techniques".  Gone is Bloom's Taxonomy, a far more useful tool for the teacher.  Bloom was not a puppet, however, and so although his taxonomy is more useful, Bloom himself was far less useful to the current education reformers.   Legend has it that when they attached the strings to Bloom's arms and lips, he said things like, "The best laid schemes of mice and school reformers often go awry," and, "One monkey with one typewriter could teach better than all the school reformers put together."  Need I add that the reformers quickly cut the strings.

So here it is - Competency 3b - c. Danielson Rubric 2011 - adapted for New York State Levels of Performance.

See the 4 domains at Danielson Group

See the expanded versions used for professional development at Danielson Rubric Appendix

See a handout that I received at a professional development at Danielson rubric for Questioning and Discussion Techniques

Looking at the expanded version from the appendix, I'll point out first some of the unique and innovative dimensions of this new rubric under "elements of competency 3b" (page 31 of the Danielson Appendix)

     1.  "Questions of high quality cause students to think and reflect...."
     2.  "Effective teachers promote learning through discussion."
     3.  "Teacher uses a range of techniques to ensure that all students contribute ...."

Thankfully, in the future teachers will now attempt to get students to think.  I'm sure glad they thought of that.  Who would have thought!  Thankfully, too, teachers will finally be introduced to the concept of "discussion".  That will take care of a lot of dead time in the classroom, those lingering  minutes and hours of complete silence in the wake of a teacher comment.  And I'm so glad that teachers will now be versed in the idea of using a "range of techniques" for questioning and won't have to use those yellow, dog-eared flashcards they've been using year in and year out for every lesson in every unit.

Anyway, now that the teacher-student discussion can be objectively and qualitatively scrutinized, analyzed and evaluated, why stop there?  Questions and discussions are important in a wide range of human interaction, none less demanding and important than those difficult encounters that take place in dog parks, health spas and singles bars.  I mean, of course, the line of inqury utilized daily and nightly in picking up a date.  If we can pinpoint what makes a good teacher-student discussion, surely we can determine what makes a good pick-up artist - I mean, potential spouse.

Back in the Danielson laborotory, ....

[Legal disclaimer: Although all of the stories about schools in this book are true, the scene described here is another purely imaginative, i.e., fictional account. I’ve never met Charlotte Danielson and had never heard of her before she was foisted on us and became my de jure educational guru in September, 2011.]

SCENE: The Danielson Research Laboratory, i.e., her local singles bar
SUBJECT(S):  Charlotte, various bar patrons
AIM: Picking up a date
OBJECTIVE: One Nighter (as opposed to long-term relationship- see Domain -5f)
STANDARDS: CO 4.8: targeted prey's interest is aroused through clever Come-Ons
                          ET 1.2: targeted prey expreses amusement
                          PU 3.3: targeted prey is actually Picked Up
Do Now #1:  Dress for night on the town
Do Now #2:  Review addendum in Framework for Picking-Up: State Approved Come-Ons

       Charlotte is sitting in her home office.   Her 73-year-old pick-up date, "Gary", is snoring in the next room.  She is going over the low-inference, non-judgmental notes she made during the activity just consummated though it is difficult at times to decipher her own handwriting through the cocktail (and other) stains:

         1.  Fixes make-up in compact outside laboratory (bar) entrance  –  19:17:44
         2.  Enters laboratory (bar)  –  19:37:04
        3.  Sits at center of bar, orders Angry Fijian  – 19:40:23
        4.  "Wow!  That's strong!"  [crossed out – inferential]
        5.  Finishes drink, looks around, orders another Angry Fijian  -  19:44:31 - 19:45:12
        6.  Attempts initial state approved come-on: "Hey, I like your tie clip."  – 20:03:05
        7.  28-ish targeted prey gets up and moves to end of bar  -  20:03:09
        8.  Orders double Angry Fijian  -  20:03:10
        9.   Slithers up behind gentleman at end of bar with drink in hand  -  20:07:19
       10.  Presses chest against gentleman's shoulder  -   20:08:44
       11.  Evokes excited response, "Hey, lady, what are you doing?  –  20:08:55
       12.  State approved come-on #51 ("I was wondering what you're up to, big boy.") utilized  -  20:09:02
       13.  Initiates personal conversation about how gentleman's wife won't "give me any" - 20:13:57
       14.  Invites targeted prey back to "my place"  -  21:27:21
       15.  Waits as targeted prey throws up in street  -  21:38:54
       16.  Arrives at "my place" with targeted prey leaning on shoulder  -  21:44:18
       17.  Helps targeted prey to sofa where he promptly falls into a deep sleep  -  21:45: 22

“Hmm,” she thinks to herself, “a few of these terms are slightly judgmental.” NOTE TO SELF, she writes: change “gentleman” to “dude”; consider changing "slithers" to "creeps stealthily".
Since these notes are meant strictly as a tool for discussion and reflection rather than for evaluation and she is uncertain about the level of satisfaction she is feeling, Charlotte pulls out the actual rubric in order to determine if the objectives were accomplished and the standards met.

Competency 3b: "Using Questioning and Discussion Techniques"

Competency 3b

Pick-up artist’s pick-up lines are of low cognitive challenge, single correct responses, and recited in rapid succession.

Interaction between pick-up artist and targeted prey is predominantly recitation style, with pick-up artist begging for a “yes”. 

A few targeted prey dominate the response to the obvious and crude come-ons.

Pick-up artist’s pick-up lines lead prey through a single path of inquiry, with answers seemingly determined in advance. 

 Alternatively the pick-up artist attempts to frame some lines designed to promote targeted prey giving in quickly, but only a few targeted prey are involved.

Pick-up artist attempts to engage all targeted prey in discussion of reality t.v.  and to encourage them to respond to one another with possibilities of a threesome, with uneven results.

While the pick-up artist may use some low-level lines, he or she poses pick-up lines to targeted prey designed to veil targeted prey suspicion.

Pick-up artist creates a genuine belief in fake sincerity of pick-up line, providing adequate time for targeted prey to respond and stepping into the bathroom when appropriate.

Pick-up artist successfully engages most targeted prey in the fantasy, employing a range of strategies to ensure that most pick-up lines are considered in best light.
Highly Effective

Pick-up artist uses a variety or series of personal anecdotes and sob stories to challenge targeted prey’s susceptibility with high-level suggestions of possible gains and to promote suggestion of high level and immediate gratification.

Targeted prey formulate many responses to pick-up lines, suggest alternate sites and positions and make unsolicited advances.

Targeted prey themselves ensure that all vices are heard in discussion.

   Pick-up lines are rapid –fire, with single correct answer ("Hell no!" or "Beat it, loser!")

Pick-up lines do not invite targeted prey to fantasize in sufficient detail

All come-ons are between pick-up artist and single targeted prey; other prey are not invited to respond to pick-up lines as part of a multi-partner encounter

A few targeted prey dominate the come-on / response
   Pick-up artist frames some pick-up lines to prompt legions of  targeted prey to give it up but only  a few targeted prey respond

Pick-up artist invites targeted prey to respond directly to one another’s suggestions for multiple partner scenarios but only several engage

Pick-up artist calls on many targeted prey with a variety of physical attributes but only the least attractive respond
   The pick-up artist uses open ended strategies such as the suggestive wink or sly smirk inviting targeted prey back to the apartment; targeted prey respond with multiple suggestions

Pick-up artists makes effective us of wait time, giving targeted prey the illusion of choice and control

Pick-up artists recycles targeted prey’s words, making targeted prey believe that the pick-up artist was actually listening

Pick-up artist gives everyone at the bar the chance to respond, even those sobbing into lonely beer steins

Most patrons suggest various rendezvous sites
 In addition to the characteristics of “Effective”

Targeted prey hit on pick-up artist before pick-up artist delivers initial come-on

Targeted prey pretend that the pick-up artist is sincere by engaging in extended small talk

Targeted prey elicit new pick-up lines from the pick-up artist as well as more visually stimulating responses from other targeted prey at the end of the bar

Possible Examples
Accountable talk such as "Get Lost!" and "Loser" is heard upon pick-up artist's entrance and before the door has even closed.

Pick-up artist uses vulgar, off-the-cuff come-on such as, “Hey, baby those lips look just right for sucking,” instead of one of the state approved alliterative come-on lines tested in double blind studies such as, "Those lascivious lips look luscious."  Crude improvisation yields responses such as “Take off, squib!” or "Who let your sorry ass in the door?"

Pick-up artist spills drink on targeted prey, eliciting response, “You fucking moron!” and is thrown out of bar by short, wimpy bartender

Pick-up artist attempts same come-on with each targeted prey, “I got what you need,  honey,” eliciting a string of expletives from one end of the bar to the other

Pick-up artist hits on unwisely chosen targeted babe / dude clearly out of his / her league, whose boyfriend / girfriend  is in the bathroom, resulting in severe beating and 911 call for ambulance

Pick-up artist trips while dancing solo, falls into beer pong competition, and has hair washed in restroom toilet
Pick-up artist recites rapid-fire come-ons such as, “Wanna see my wheels? I got a great crib; My last girlfriend couldn’t get enough,” without waiting for response

Pick-up artist addresses entire bar, “Who here thinks they can handle me?” but only one douchebag / skank responds; pick-up artists notches “score” anyway and picks him/her up but “date” dissolves before taxi can be hailed

Pick-up artist manages to talk someone into a cab; targeted prey leaps out at first light when pick-up artist asks them to cover half the fare

 Pick-up artist urges bartender to lend support but even, “Hey, this guy is something,” from the bartender yields only apathetic yawns and disgusted guffaws along the bar

Pick-up artist refers to addendum of state approved come-ons, rehearses in front of restroom mirror, picks up no one but neither does anyone run out into the street
 Pick-up artist asks, “What might have happened if Studio 54 had not closed down?”  Open ended responses concerning bouncers, hookers, dealers and man on stilts ensue 

Pick-up artist uses the plural form in spewing come-ons into the room, such as, “Which of y’all wanna have a good time with this?” while grabbing crotch

Pick-up artist asks, “Michael, can you comment on Mary’s suggestion for a ménage a trois, deepening the analysis of  the discussion by suggesting ménage a quatre

The pick-up artist makes a come-on resulting in each targeted prey at the bar responding by physically mounting the bar to demonstrate favorite, unique position, but with attention directed more toward others in the room than towards the pick-up artist
Before pick-up artist can complete initial come-on, several of most attractive targeted prey slide up from behind, placing hands in strategically stimulating and intimate areas

Targeted prey line up at end of bar and begin removing clothing in hurried fashion in anticipation of come-on directed at them

Bartender pulls out numbered slips so that targeted prey can take a number and get in line

CNN crew shows up as result of quickly traveling word of mouth in time to film final 2 or 3 tabletop performances 

Pulitzer committee announces a new award named after pick-up artist with publication and analysis from well-known lotharios, seductresses, pimps, 'hos, and jet set trash worldwide

Objectively, Charlotte has to admit that she was ineffective according to standard CO 4.8 because Gary was too inebriated to fully appreciate the beauty and delicacy of the state approved come-ons utilized in the experiment and showed no objective signs of amusement.  She rates herself developing, nevertheless, in standard ET 1.2 because Gary smiled at the state approved come-on, "Can I bag your groceries, baby," though there were no groceries to be bagged or perhaps effective for arousing the response, "Hey lady, what are you doing?" in a relatively lively tone of voice considering the muddled state of the juiced targeted prey's senses.  But at least she was able to call herself highly effective according to PU 3.3 because Gary was actually picked up, though he fell asleep immediately upon arriving at the sofa.

"Now," Charlotte wonders, "what does "ineffective" plus "developing" plus "high effective" equal?"

She gets on the phone to the Danielson Group.  "Do we have those objective formulas ready yet for tabulating the results of all 22 components on a given observation of overall behavior?"

"They're still working on it, Charlotte.  Every time they insert the 13th variable and then apply the constants, the computer crashes.  But they're confident that they'll soon be able to deal with 15 of the variables as soon as they tweak a few of the constants."

"But we've got to have this thing up and running by September 1.  And it's got to look as though the formulas are 100% objective."

"Well, they tell me that they've almost got the objectivity constant calculated.  The objectivity constant.  Who could argue with that?'

Charlotte doesn't reply.

"When they get that figured out, it'll all fall into place.  They just have to figure out the square root of one more imaginary number."

"Keep me informed."

 Charlotte hangs up the phone, and decides in a very impersonal, objective manner that the "highly effective" rating outweighs the other two and gives herself an "effective" for this experiment.

"Its' a good thing," Charlotte thinks to herself, "that I'm not rating myself according to component 2d, managing behavior.  I'd certainly have to rate myself as ineffective since Gary probably isn't going to remember my name when he wakes up."

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