TLC Autism* Teaching Skills - Part 3 WTjd100707ghi1o4.doc
WORD TRANSCRIPT & Commentary
See Video at: http://youtu.be/2Wp4_uf6KhU
TLC AUTISM* Channel Presents *The Language & Culture of Autism Video Interview Series AWARENESS OF SELF + SPEECH - Part 3 (An Ethnographic Investigation - A Case Study) 10/05/2007
Tape 2/3, CLIPS a-b TRT: 00:18:56 c. 2007, 2024 S. A. Jones, [email protected]
Subject, who is on the Autism Spectrum, spoke three words for the first time at age nine. Still unable to speak for meaning, they began typing at age 12.
SUMMARY: Math lesson continues with non-verbal, motor-challenged pupil with good examples of sensory, pointing exercises & joint attention. Teacher also explains need to do/speak v. just think of an answer.
TRT: 00:12:51 10/07/2007, Tape 1/4, Clips g, h & i. c. 2007, 20124 by S.A. Jones [email protected]
‘A.’s’ home, home-school/office area, day. S. A. Jones filming/interviewing. ‘A.’ is doing school work with ‘B.’
KEY: ~'S'=Sarah. ~'A'=Woman being interviewed. ~'B'=Woman’s child.
B: LOUD BREATHING. [ OVERLAP ]
A: I think it’s hard. …Five. ‘Cause it’s easy to see like five. [ OVERLAP ]
B: MAKES SOUND. [ OVERLAP ]
A: ‘Cause it’s 1-2-3-4-5. So I’m gonna start with five. Now you have to see—tell me how many do we need to pick—to make ten again?
NOTE: GOOD EXAMPLE OF FACILITATING JOINT ATTENTION TO TASK. SEE MORE EXAMPLES OF 'JOINT ATTENTION' NOTED IN "TEACHING SKILLS PART 1 & 2". 'JOINT ATTENTION' IS THE ABILITY FOR TWO PEOPLE TO FOCUS ON A SINGLE OBJECT, ACTIVITY, OR SOCIAL ENGAGEMENT, SUCH AS A PARENT READING A BOOK OUT LOUD TO A CHILD. [ ***NEED TO FIND/IMBED LINK TO '60 MINUTES' STORY ON iPADS WITH NON-VERBAL AUTISTICS & ADD COMMENTARY ABOUT WHY iPADS AND PIXELATED SCREENS ARE SO HELPFUL FOR FOSTERING 'JOINT ATTENTION' WITH TYPICAL/NON-VERBAL AUTISTIC ENGAGEMENT. ]
A: 1-2-3-4-5. We gonna need five more to make ten. Good! [ CLAPS ] [ 00:31 ] Good. Now we’re—Now that we’ve established that, right? Now we have to do recerd [???] —look for five around here. …O.K. But you know—There’s other ways of making five, too. Which ones you want—You want to do another five, like a different way of doing five?
B: SILENTLY, THEN WITH SOUND, ‘CLAPS’ HANDS.
A: [ CONT. ] Because look: three— [ 01:03 ] and two—also makes five. So we could pick either one of these to try to build a –to build ten. [ OVERLAP ]
B: MAKES SOUND. [ OVERLAP ]
A: --So which one you want to do? …Which one you want to pick? Because all of these could be build up to become five, too. O.K. 1-2-3-4-5, eyes. I din—You’re looking at Sarah. Don’t look at Sarah. [ 01:31 ] Sarah is invisible.
B: PANTS.
A: Don’t look at Sarah. Because you trying to show-off. And then you looking at Sarah and you not, be concentrating. Just pretend she’s not there. ‘M'-'K'. This is a thing. You got five. We’re trying to build ten. And we need five more. So which one you want to start off to build five more? I see y—Now you looking. Now, push with your hands. [ 02:01 ] …Good! Pointer. Now which one? Three? Oh you want to make it hard. Yeah?! You want to make it hard. I see. You gonna do that?
B: MAKES SOUND.
A: Good. I sounded like your other teacher then. You see how she talked? [ 02:30 ] Is that—Do you like that? I sound like the speech therapist. Honestly, I don’t like her voice.
B: PANTS, STARTS TO GET UP. ‘A.’ PULLS HER BACK DOWN. ‘B.’ CLAPS. [ OVERLAP ]
A: Like, ‘How are you?’—[ HIGH PITCHED. ] ‘Hi, 'N.'. How are you?’
B: CLAPS. [ OVERLAP ]
A: I know you like it, but honestly, when she does that— [ OVERLAP ]
B: CLAPS LOUDLY. [ OVERLAP ]
A: [ CONT. ] --It’s like a knife going in through my ear and into my brain and it’s bleeding inside. But I know you like her voice, so that’s why I did her voice. O.K. Now this is all hard, because all—you picked three. [ 03:01 ]
B: ROCKS, MAKES SOUND.
A: And we need two more pieces. Now, O.K.—Shake it off. And then back. [ OVERLAP ]
B: CLAPS HANDS. [ OVERLAP ]
‘A.’ PULLS ‘B.’ CLOSER.
A: Shake it off. And then back. O.K. We’re back to here. You picked three. Now if this takes longer, it’s because you picked the hard one.
DOG ENTERS, TRIES TO CLIMB UP ON ‘B.’s’ LAP.
A: I think he’s not here, too. That’s part of your imagination. So we gonna leave imaginary things behind. Like Fifi’s imaginary and Sarah looking at you is imaginary. [ 03:32 ] Now you pick the—Look. We’re not finished yet. Because we still need two more—Look, two more pieces to make ten. So what’re you gonna do now? [ OVERLAP ]
B: MAKES SOUND, PANTS.
A: What can we pick here to complete it to make ten?
B: PANTS, CLAPS HANDS. [ 04:05 ]
A: How many would complete to make ten? [ OVERLAP ]
B: MAKES SOUND, PANTS.
A: I’m giving you a choice of three possible— [ OVERLAP ]
B: PANTS. MAKES SOUND. SILENTLY CLAPS. [ OVERLAP ]
NOTE: 'A.' IS DOING A SENSORY EXERCISE, BELOW, WITH 'B.' THE METHOD INVOLVES COUNTING TO FIVE WHILE FOCUSING ON CONTROLLING ONE SENSE/BODY PART. [ ***NEED TO FIND/CITE OTHER VIDEOS WHERE THEY DO THIS EXERCISE, & WHERE 'A.' EXPLAINS MORE ABOUT ITS PURPOSE.*** ]
A: --three possible puzzle pieces. …O.K. 1-2-3-4-5, eyes. 1-2-3-4-5, eyes. 1-2-3-4, eyes. There’s a one. There’s a two. And there’s a three. [ 04:32 ] Which one of these do you need to complete the puzzle?
B: PANTS.
A: You’re using your mouth? If you can’t use your mouth—
B: MAKES SOUND.
A: Use your hand to pick. This is the hand we’re using. -- And this is—
‘A.’ USES HER RIGHT HAND TO HOLD ‘B.’s’ RIGHT HAND.
B: MAKES SOUND.
A: --is the one. Here, give me your pointer. Give me the pointer. Give me the pointer. You know which one I want. That’s the one.
B: PANTS, SMILES, CLAPS.
A: Yeah. O.K. [ 05:03 ] Pick one. I said, like, you see like, your speech therapist, ‘Pick one.’ I don’t know how you could stand her voice, to tell you the truth. I really don’t. O.K. L—maybe you like it better than mine. [ OVERLAP ]
NOTE: 'A.' DOES POINTING THERAPY, BELOW, WITH 'B.' DURING MATH LESSON:
B: MAKES SOUND, PANTS. [ OVERLAP ]
A: O.K. 1-2-3-4-5, eyes. Which one you picking? …Mmm… [ OVERLAP ]
B: PANTS. [ OVERLAP ]
A: …mmm… Aye-ahh. [ 05:39 ] …O.K. Almost. You almost shot for it, but guess what? You didn’t go nowhere t—near these puzzle pieces. You ended up over here. I know, it’s hard. It’s like –You know like what they call –Like you miss your mark? ‘N you know, if you miss your mark, it’s what?— ‘Hunuh! Wow.’ [ 06:05 ]
S: Hm.
A: Does you hear the extra emphasis? ‘Cause you like that emphasis. …I got it. Now I sound like your speech therapist. Don’t even—I know you like her voice better than mine. I’m going to talk like your speech therapist. [ OVERLAP ]
B: PANTS. [ OVERLAP ]
A: 'A-' sounds horrible. Ah—I don’t understand it. You know that word like I told you ‘overkill’? [ 06:37 ] Well, when she makes her voice go up and down, it’s overkill. That means it’s not natural. That em, it’s a little too sharp for me. I know you like it, but it’s a little too sharp for me. If she was my speech therapist, I probably would have killed her already. Um, but I guess she’s not my speech therapist, she’s yours, so what can you do? You like it. [ 07:05 ] What is that song? ‘Different strokes for different folks.’ [ OVERLAP ]
B: MAKES SOUND.
A: Yeah. You know what that means. Different –You know what that means? ‘Different strokes for different folks?’ That means, like, [ OVERLAP ]
B: MAKES SOUND. [ OVERLAP ]
A: [ CONT. ] --some things that you like, I don’t like. And some things I like, you like. Like you like um, 'A-’s' crazy voice, and I don’t like 'A-’s' crazy voice.
B: MAKES LOUD, LONG SOUNDS. [ OVERLAP ]
A: Yeah. [ 07:33 ] O.K. I’m—I’ll tell her that you were defending her honor. I’m not being mean. I’m just saying—I’m not being mean, I’m just, I just, --I’m not being mean, I’m just saying I don’t like her voice. That’s all. [ 07:50 ] Um… O.K. We gonna go for another one.
CAMERA MAKES JERKY MOVEMENTS. [ 08:03 ]
B: CLAPS HANDS. [ OVERLAP ]
A: Which one should we go for? Actually I, I think you should pick which one to go for. O.K. I see your eyes going. Now push with your hand on, on one. Push with your hand.
B: CLAPS HANDS.
A: Now I know you want me to pick, take it. But you see what, I don’t know which one you want me to take, so – [ OVERLAP ]
B: PANTS. [ OVERLAP ]
A: …I’m just guessing now. [ 08:33 ] So… O.K. Four? O.K. Not four. Seven? Mm, not seven. Six? …O.K. [ PUTS SIX BACK DOWN.] Eight? O.K. I see yeah, you want eight? [ OVERLAP ]
B: MAKES SOUND. [ 09:02 ]
A: That’s it. O.K. I got that.
CAMERA IS SHAKY.
A: [ CONT. ] Alright. So how many are you gonna pick? How many we need to make ten? One, two. Yep. Yep. You got that because you know what? Five and you know, three equals—Five and three—No wonder you picked the first one. Five and three make eight. So it’s—as it’s [ 09:32 ] like making two leftover. Wow. You really picked ‘n planned it that way. That’s good. S-s-so you know I know that because you picked that because you already saw the pattern that I kind of feel I know what you going for. But you know what? You gotta pick. Sorry.
B: MAKES SOUND, ROCKS, PANTS.
A: Three? Four? Or two? [ 10:04 ] I heard you breathe, but it wasn’t audible enough. So you gotta go again. How to many to go into--which one to get into it to make ten? You got eight, and that’s three: 1-2-3. And this is four. And this is two.
B: MAKES SOUND.
A: You have to try to make a push, for something. I –O.K. I’m not [ 10:32 ] O.K.— [ OVERLAP ]
B: PANTS. [ OVERLAP ]
A: See.
B: PANTS. [ OVERLAP ]
CAMERA IS SHAKY.
A: I know, but you have to pick one. Thinking about doing something isn’t the same as doing. And the doing part is the hardest part. Thinking is easy. We could sit forever and think. I could sit in a nursing home and have people feed me pudding and change my diapers, [ 11:03 ] thinking. [ OVERLAP ]
B: CLAPS HANDS. MAKES VOCAL SOUND. PANTS.-- [ OVERLAP ]
A: --It’s the doing part that changes everything. O.K. You got your pointer. [ OVERLAP ]
B: CLAPS. [OVERLAP ]
NOTE: 'A.' VALIDATES 'B's' EFFORTS, BELOW, BUT ALSO URGES HER TO GO FURTHER.
A: Now try to fire like an arrow. I know. Like sometimes you miss like a bow and arrow would miss, but that’s why we have to push again. I see you looking at it, but now you have to push with your hands, really quick. [ 11:30 ]
B: MAKES VOCAL SOUND.
A: Push with your hand. That –O.K., that was the wrong pointer. You see you getting confused. ‘Cause I always say you use one hand. This one; your right hand.
‘A.’ HOLDS ‘B.’s’ RIGHT HAND AND GIVES IT A LITTLE SHAKE, FOR EMPHASIS.
A: I know like you’re trying to pick, like, this is to make it easy—
‘A.’ MOVES ‘B.’s’ RIGHT HAND IN SMALL FORWARD CIRCLES.
A: [ CONT. ] This is the hand I want you to use all the time. Forget about that hand because if you trying to do it with both hands, you going to go all over the place. All over the place. I see you looking at it. [ 11:57 ] Is that the one? …O.K. I think that’s the one. Two. But you know what? I would—I just want you to do it, like in a way, where—right here.
B: PANTS. [ OVERLAP ]
NOTE: 'A.' TAKES 'B.' THROUGH MOTIONS, WHILE EXPLAINING THE PURPOSE:
A: Try to reach for it. It’s not enough. You have to reach for it. …’Cause you could look at what you [ 12:31 ] want. You could think about what you want. But then you have to do what you want. And that’s the hardest part. And that part isyou have to –this is the [ RIGHT ] hand I want you to use. Forget the other hand. This hand don’t exist. This is the hand. So try to make your hand and eye work together like-like firing a weapon, but–- [ UNINTELLIGIBLE ]
TLC Autism* Teaching Skills - Part 2 WTjd100707def1o4.doc
WORD TRANSCRIPT & COMMENTARY
*THE LANGUAGE AND CULTURE OF AUTISM - A case study. An ethnographic investigation.
10/07/2007, Tape 1/4, CLIPS d, e, & f. TRT: 00:28:24 c. 2007, 2024 by S. A. Jones
See Video at: http://youtu.be/sVTaf7qEvCA
Subject, who is on the Autism Spectrum, spoke three words for the first time at age nine. Still unable to speak for meaning, they began typing at age 12.
SUMMARY: Subject is teaching math + engagement + pointing to a non-verbal, low-motor-skill pupil. Good examples of combining academics with sensory exercises and joint attention.
‘A.’s’ home, home-school/office area, day. ‘A.’ w/ child; S. A. Jones filming/interviewing. ‘A.’ is doing school work with ‘B.’ 'B.' has Rett's Syndrome. She is is non-verbal and has extreme motor challenges.
KEY: ~'S'=Sarah. ~'A'=Woman being interviewed. ~'B'=Woman’s child
A: …the one-quarter. [ OVERLAP ]
B: LOUD BREATHING. [ OVERLAP ]
A: …O.K. That was good.
‘A.’ USES HER LEFT HAND TO HOLD ‘B.’s’ RIGHT HAND.
A: [ CONT. ] Just aim your pointer, and aim your pointer at the purple. [ OVERLAP ]
B: MAKES SOUND. HANDS COME TOGETHER, CLAPPING.
A: Try to aim it, at your purple because, like, [ OVERLAP ]
B: CLAPS. [ OVERLAP ]
A: I knew you were pointing to the one-quarter, but it—with people, like if you’re not aiming right at it, it could mean, it could just mean anything. But you making this like too simple because what you doing now is you’re making—you’re picking out all the one-- [ 00:30 ] You know, like, we did all the one-thirds. You’re still picking like all the one-quarters. But there’s other ways of cutting it, you know? Because now I feel like I know which one you gonna pick next. But you know this could be –you could make this go different ways. It doesn’t have to be all like— [ OVERLAP ]
B: MAKES SOUND. [ OVERLAP ]
A: [ CONT. ] one-quarter, one-quarter, one-quarter, you know? I mean, like, you could do –like even this would fit. Look, look, look:
‘A.’ SHOWS ALTERNATIVE PIECES TO ‘B.’ GOOD EXAMPLE OF JOINT ATTENTION. --SEE WORD TRANSCRIPT FOR "TEACHING SKILLS, PART 1" FOR A DEFINITION OF "JOINT ATTENTION" AND ALSO ANOTHER GOOD EXAMPLE OF IT HAPPENING.
A: [ CONT. ] You see how that’s one-quarter, one-quarter? [ 01:01 ] Look at this: [ PUTS ‘HALF’ PIECE IN. ] This fits. It don’t have to be all one-quarter. You see like one-half. And this is, like if you put it together it’s still like one-half. But, if you split the one-half, it becomes one-quarter, so you could actually put one-half here, and it would still fit. It doesn’t have to be like, like how you were gonna go like just because this one with the first one was [ 01:30 ] picked was one-quarter that we only gonna pick one-quarter pieces. You know, I—and then we could also go on from there. Now these look almost the same but they are also, like they are in the same family of colors but they are not the same family. Which one you want? Try—there’s another pattern of going through this. I know you—
CAMERA IS JERKY.
A: [ CONT. ] You could go either way. So I’m going to put some here for you to pick. …
‘A.’ HOLDS UP PIECES WITH HER RIGHT HAND AND USES HER LEFT ELBOW TO NUDGE ‘B.’s’ RIGHT ARM. [ 02:05 ]
A: [ CONT. ] Eyes.
B: PANTS. [ OVERLAP ]
A: Eyes. Eyes.
B: PANTS.
A: You could pick a different one.
B: MAKES SOUND.
A: O.K. I’m not gonna bother your eyes until you do your –you’re playing with your hands. After you follow with your eyes, make your hand follow. [ MOVES PIECES, HORIZONTALLY ] Make your hand follow [ 02:33 ] the—the one you looked at.
NOTE: GOOD DIRECTIONS, ABOVE, HELPING STUDENT TO GET THE ORDER CORRECT: RESTING HANDS, USING EYES TO FIND OBJECT, ESTIMATING, THEN WITHOUT EYES, USING HAND TO RETRIEVE OBJECT. -- "TEACHING SKILLS, PART 1" ALSO ADDRESSES NEED TO CONTROL SENSORY (VISION) DURING A LESSON, THEN ESTIMATE, 'SHUT-OFF' EYES, AND FOCUS ON HAND(S) REACHING FOR OBJECT.
CAMERA JERKS, ZOOMS OUT.
A: [ CONT. ] Make your hand follow it. An—And not the other hand. Forget the other hand. I’m gonna hold this here, like this. And we gonna use only this hand. This one.
‘A.’ USES HER RIGHT HAND TO TOUCH ‘B.’s’ RIGHT ARM WHILE ‘A.’ HOLDS THE PIECES WITH HER LEFT HAND IN FRONT OF ‘B.’
A: You—You gonna point with your face? O.K. One-eighth. What happened? Now we have a dilemma. Because you know what happened when you pick one-eighth? [ 03:06 ] This one: you can’t put it—that one in no more.
NOTE: GOOD OBSERVATION AND RE-ENFORCEMENT: INSTRUCTOR ACKNOWLEDGES THAT STUDENT IS ATTEMPTING TO COMPLY WITH REQUEST TO 'CHOOSE' OBJECT, THEN HELPS HER CORRECT AND USE HER HAND INSTEAD.
‘A.’ HOLDS UP ONE-HALF PIECE.
A: [ CONT. ] Because— it won’t fit. Because it can’t—the half, you see? Look. See? It won’t fit. So now, we’re left with only— [ OVERLAP ]
B: MAKES SOUNDS. [ OVERLAP ]
A: --two other aspects to go. Like one of these … O.K. You gonna try pointing with your hand instead of your face this time? [ 03:33 ] I know you can use whatever you want. Like, try to control just one part of your face. [ OVERLAP ]
B: PANTS. [ OVERLAP ]
A: Well, I mean one part of, one part of –one part. You have the hand. You got your pointer [ FINGER ] out.
‘A.’ USES HER RIGHT HAND TO HOLD ‘B.’s’ RIGHT HAND. ‘B.’ EXTENDS INDEX FINGER ON LEFT HAND, WHICH IS UNTOUCHED.
A: [ CONT. ] This is only the one hand you’re gonna use. This is the only one that exists. O.K. Now pick which one color you want. I know your looking with your eyes, now push [ 04:02 ] with your [ RIGHT ] hand. Push it.
B: PANTS. MAKES TWO SOUNDS IN QUICK SUCCESSION AND SMILES.
A: Yeah! Push it, push it, push it. Push it. O.K. Take a deep breath. Take a deep breath. Got it. Now take a deep breath and push. Take it with you. O.K. You did it with the other hand. One-quarter. Was that the one you wanted? Was that the one you wanted?
‘A.’ WAVES ONE-QUARTER PIECE IN FRONT OF ‘B.’s’ FACE. PUTS IT DOWN AND TOUCHES ‘B.’s’ FACE WITH RIGHT INDEX FINGER.
A: Was that the one you wanted. Was that one-quarter the one you wanted? [ 04:38 ] Eyes, 1-2-3-4-5. 1-2-3-4-5. 1-2-3-4-5. O.K. [ SHAKES HER HEAD ] …O.K. Which—Which one, again.
NOTE: PURPOSE OF COUNTING EXERCISE IS TO GET STUDENT TO FOCUS ON VISION ONLY FOR THE COUNT OF FIVE. FOR MORE EXPLANATION, SEE "POINTING EXERCISE" VIDEO. [ NEED TO FIND/CITE OTHER VIDEOS THAT EXPLAIN MORE ABOUT THIS COUNTING SENSORY EXERCISE. ]
B: CLAPS HANDS.
A: I know, I know. But you have to be more clear. Just pick that one part, right here. Just one. Just this one. Just use this one.
‘A.’ USES HER RIGHT HAND TO HOLD ‘B.’s’ RIGHT HAND.
B: MAKES SOUND.
A: Which one you going for? I see y--it now. Make your hand follow the eyes. [ 05:06 ] If you looking at one thing make, make this follow which one you going for, O.K.?
‘A.’ USES HER RIGHT HAND TO MAKE ‘B.’s’ RIGHT HAND GO UP AND DOWN.
A: I sss—That was it? That’s the one you’re going for now?
B: PANTS.
A: Say ‘yes’ or ‘no’.
B: PANTS.
A: Take a deep breath. ‘Yes’ or ‘no’?
B: PANTS.
A: You could push it out clearer than that. [ 05:33 ]
B: PANTS.
A: O.K. I’m gonna take that as a ‘yes’. O.K. I’m just trying to make you make yourself more clear-er, because even though I understand you, not everybody else is going to. You have to, like, put –there’s a word. I have to look it up in the dictionary after, but, like, where eliminating a doubt of, of, of, of where you wanted to go, you know? [ 06:05 ] Where it may look like you are, when you go left or right and it’s not so clear. So you—it’s just making a more—like the importance of making it more clear. You know, this eliminates misunderstanding. Now I see you looking at one-quarter, is that the one you want.
B: SMILES, ROCKS, CLAPS HANDS, TURNS FACE TOWARD ‘A.’
A: Yes. O.K. That’s the one you want. That was really good. Because… look! [ 06:35 ] You got it all together.
B: SMILES, CLASPS HANDS, PANTS.
A: So basically, one-quarter and one-quarter and one-quarter, and one-eighth and one-eighth—Like two-eighths and three-quarters all make one big old pizza pie.
‘A.’ CLAPS HANDS. ‘B.’ SMILES.
A: We’re not finished yet. But the good news is, is that we’re almost done. [ 07:03 ] O.K. Which one you wanna pick now? …Which one you wanna pick now? First? …Good. You j—it’s close. Close. You almost did it. Y—That was the red one.
B: CLAPS HANDS.
A: Yeah. Good.
B: CLAPS HANDS. MAKES SOUND.
A: That’s the big one. [ OVERLAP ]
B: CLAPS HANDS.
A: I know. It’s hard to make it… [ 07:31 ] …go exactly right direction. I do that all the time. Like when I was coming home, I missed my turn and then I missed the other turn. We just, you know—It’s just that little—
B: STANDS UP FROM COUCH. WALKS. MAKES SOUND.
A: O.K. We’re almost done, Doh. You have to come on back. Almost done. I know. I have to—I gonna take it off to—but we almost done.
‘A.’ WALKS OVER TO ‘B.’ AND GUIDES HER BACK TO THE COUCH.
A: We’re almost finished. [ 08:03 ] And you know how I don’t like—You know how I don’t like, like— [ OVERLAP ]
B: MAKES SOUND. [ OVERLAP ]
A: …leaving things undone. Besides, we just have to do it, somewhat more. I know… It’s kind of like you only got –Which one you want to go next? Even though we put pretty much—we put this out already.
B: MAKES SOUND.
NOTE: GOOD EXAMPLE, BELOW, OF THE INSTRUCTOR GIVING ACKNOWLEDGEMENT AND CLEAR INSTRUCTIONS FOR THE STUDENT TO BE PHYSICALLY ENGAGED IN LESSON:
A: Which color do you want to go next? I see your eyes pointing, but you gotta m–now make [ 08:35 ] --push your hand. This is the hand I want you to use.
‘A.’ USES HER RIGHT HAND TO HOLD AND MOVE ‘B.’s’ RIGHT HAND.
A: This is the hand I want you to use. And, I want you just to use this hand. [ OVERLAP ]
B: PANTS. [ OVERLAP ]
A: O.K. Now look with your eyes and then push with your hand.
B: MAKES LOUD, LONG SOUND.
A: Yeah. Unfortunately, that’s not clear enough. …Oh, good. [ 09:03 ] One- eighth. O.K. That’s good. So you got one-half and one-eighth. Which one you want next? [ OVERLAP ]
B: MAKES BREATHY SOUND. [ OVERLAP ]
A: Good. You got your pointer [ FINGER ]. Now push on your pointer. You got your pointer. Now push. Push, push, pu—O.K. But hold your breat—uh. I think you’re going to have to do it again, because I don’t know which one you picked. [ 09:31 ] You have to do it again. ‘Cause I don’t know which one you picked, you have to do it again. Ny—Eyes. 1-2-3-4-5, eyes. 1-2-3-4-5, eyes.
‘A.’ USES HER RIGHT HAND TO MOVE ‘B.’s’ RIGHT HAND WHILE TELLING ‘B.’ TO COUNT/USE HER EYES.
A: [ CONT. ] 1-2-3-4-5, eyes. Now, point. Push, push on the one. I know. Look with your eyes. Use your eyes first. Now push with your finger. You got your pointer. But now you have to direct your pointer. Now you gotta direct the pointer.
‘A.’ USES HER RIGHT HAND TO MAKE ‘B.’s’ RIGHT ARM GO IN A CIRCLE, AND ‘B.’s’ RIGHT HAND GO THROUGH POINTING/CHOOSING MOTIONS.
A: [ CONT. ] You’ll get that after. Direct on the pointer. [ 10:00 ] I’m gon— I’m gonna let go and you push. Now you could go either one-quarter or one-eighth. One-quarter or one-eighth, but you have to yourself. One-quarter or one-eighth. One more. One more. One more because I—I-- One-quarter or one-eighth. [ OVERLAP ]
B: BREATHES LOUDLY. [ OVERLAP ]
A: Now you go. You could do it. Push. O.K. One-quarter? Good. Good! One- quarter. [ 10:30 ] Alright. We will put it right here. Good. One-quarter. Now, you know you could actually grab that one. Try to grab the last one. I know we— I know we already did axis. It’s easy now. Pick up—see if you can hold it. The—Grab the—I know it’s gonna hard to eh, to control this. Is—The control, the control is hard. But it’s only one left. So this one—try to pick—see if you could uh, hold it eh, [ 11:02 ] O.K. Disengage. I know. I’m helping you disengage.
‘B.’ LEANS FORWARD AND LEADS WITH HER CHIN.
A: O.K. That’s the last one. O.K.
B: MAKES SOUND, “Ah!”
A: I know.
B: MAKES SOUND. TOUCHES YELLOW PIECE WITH CHIN?
A: You got it. There. One-‘a’. Now eyes, look. Eyes. Eyes. 1-2-3-4-5, eyes. 1-2-3-4-5, eyes. 1-2-3-4-5, eyes. Yeah. 1-2-3-4-5, eyes. [ 11:29 ] OOOH! …OOOH! …Good. Now you see there? One-half of our pizza pie was cut in half. And half of a half is one-quarter. And then one-eighth and one-eighth, so that’s two-eighths ‘cause there’s two of them. And only one-quarter. And then the rest is one-half. [ 11:59 ] And all of those make up one pizza pie. So now when we go out for pizza you’ll know like when— how many –like how when it’s cut in half or when it’s cut in one-quarter or when it’s cut in like one-eighths. [ OVERLAP ]
B: PANTS. [ OVERLAP ]
A: ‘Cause they cut, they cut the pizza just like that. In one-eighths. O.K. You going to put this one away? Or are you going to keep playing—in different pattern? Or you want to try a different pattern? [ 12:30 ] I did that. …See? Look at that. See how it goes in one-quarter. Dolphin, look! Look. It all fits into it. Eyes. Eyes. 1-2-3-4-5, eyes. Eyes. 1-2-3-4, eyes. [ 12:59 ] There. Look at how it all fits into one-quarter. Yeah, I know, you’re looking with your side-eyes. I know. You don’t have to look all direc— You got it good. And see how this all fits into—this like –this—look. One-quarter and one-quarter. Look it that. Look how different measurements. Yep. I know you’re seeing side-long. [ 13:33 ]…Don’t hurt that. This is like what we already did before. That first one, see? It’s the same.
B: SIGHS.
A: Look. I messed it up. Wanna try again? A diff—Want to try again? …Want to try again? [ 14:01 ] Look. Like different ones. Look. Those are different colors but …
B: MAKES SOUND.
A: …they’re the same size. And it’s one-eighth. Where—Which one you wanna pick next? I know. You— I see you doing your like, look-pointing with your eyes. Now make your hand—make um,
‘B.’ GETS UP FROM COUCH.
A: --hand follow your [ 14:32 ] eyes.
‘A.’ PULLS ‘B.’ BACK DOWN ONTO THE COUCH.
A: Make your hand follow your eyes. And this is the hand I want you to use to follow your eyes.
‘A.’ USES BOTH OF HER HANDS TO HOLD ‘B.’s’ RIGHT HAND.
B: PANTS, LEANS FORWARD, CLAPS HANDS.
A: Yeah. I know you want me to go on, but you gotta pick one. I know I’m annoying you. But, but follow, follow.
‘A.’ NUDGES ‘B.’
A: I like the pretty colors. See? Look.
‘A.’ CLACKS TWO PIECES TOGETHER TO MAKE CLAPPING SOUNDS.
B: CLAPS HANDS. [ 15:07 ]
A: I know you know this already. Look. One-eighth, one—this is the pizza, see? That’s how they cut after the pizza’s done. That’s how it looks like. [ OVERLAP ]
B: MAKES SOUND. [ OVERLAP ]
A: When it’s first cut the first fou— slices. The first slice is like this. Then the pizza man cuts it. It’s like, ‘chop’. Then he cuts in half, this way, like again. And then after that he cuts here and here, and then these are how all the pizza— [ 15:33 ] All the pizzas are cut, like one-eighth— [ OVERLAP ]
B: MAKES SOUND. ROCKS. CLAPS HANDS. [ OVERLAP ]
A: --pieces. Yeah. I know you got it. …What I’m trying to make you do is, you know how I tell you we have to go—like what we doing and thinking are two different things. And thinking is like only half of it. [ 16:00 ] And the doing— [ OVERLAP ]
NOTE: NEED TO FIND/CITE OTHER VIDEOS WHERE 'A.' DISCUSSES IMPORTANCE OF PHYSICALLY EXPRESSING THOUGHTS [ FOR EG. BY ACTUALLY POINTING --V. JUST 'THINKING' ABOUT POINTING OR DOING ], SO THAT NEURO-TYPICAL PEOPLE CAN UNDERSTAND WHAT THE AUTISTIC PERSON WANTS TO EXPRESS. IN THIS INSTANCE, ‘A.’ IS TEACHING FRACTIONS USING A PIZZA PUZZLE:
B: MAKES SOUND. [ OVERLAP ]
A: --is the other half of it. And at the second half of it, is always the hardest part. [ OVERLAP ]
B: CLAPS HANDS. [ OVERLAP ]
A: But it’s not really complete ‘til it’s done. Like so. So just thinking about it doesn’t make it so, quite yet, see? I don’t know what makes that. You know what I mean. You do know what I mean. Because when you—you use your feet to go— [ OVERLAP ]
B: CLAPS AND MOVES HANDS. [ OVERLAP ]
A: --somewhere—You want to go to the bathroom, [ 16:30 ] you don’t just transport yourself like Star W—like, like Star Trek, and blink, or, I—you know, and end up there. You have to use your feet to go to the bathroo—to go there. So that’s—It’s like a process. Thinking about doing it is not enough. You got to push into the doing part. And you could do this, because if you could use your feet, you could use your hands. And if you can use your hands, then you could use your mouth, unless you have some other— [ 17:00 ] [ OVERLAP ]
NOTE: EXAMPLES ABOUT WALKING [ ABOVE ] AND ABOUT 'B.' BEING ABLE TO SELECT AND FEED HERSELF FRENCH FRIES [ SEE AT ABOUT 00:25:00 ON THIS VIDEO/TRANSCRIPT ] EMPHASIZE THAT SKILLS ARE TRANSFERABLE; THAT SOMETHING THAT CAN BE DONE INTENTIONALLY IN ONE ASPECT, CAN ALSO BE DONE IN ANOTHER. 'B.' CAN MAKE HERSELF WALK. 'B.' CAN DIRECT HER HAND TO PICK UP A FRENCH FRY AND PUT IT IN HER MOUTH. NOW 'A.' WANTS 'B.' TO USE THE SAME KIND OF SELECTIVE INTENTIONAL EFFORT TO MAKE HERSELF DO OTHER MOVEMENTS --IN THIS INSTANCE USING HER HAND TO POINT TO AND/OR PICK UP A PUZZLE PIECE.
B: MAKES SOUND. [ OVERLAP ]
A: --condition I don’t know about. Like paralyses.
‘A.’ PUTS AWAY ‘PIZZA’ PUZZLE.
B: CLAPS HANDS.
A: Did you want this away? I was thinking maybe another one. You still want to play it?
‘A.’ TAKES ‘PIZZA’ PUZZLE BACK OUT.
B: MAKES SOUND.
A: You still want to do the pieces?
DOG BARKS OFF CAMERA.
A: Like how many pieces in that one-half? Look, see?
B: CLAPS HANDS. [ 17:38 ]
A: Yeah. But I’ll put it here just in case you still want to do it. I got your pants, yer pants er, here is skirt.
‘A.’ TAKES ‘B.’s’ SKIRT OFF. ‘B.’ IS STILL WEARING A SHIRT AND DIAPERS.
A: I know it’s pretty. Grandma bought it. But it gets in the way of your legs. We going do another one.
‘A.’ GETS UP, GETS ANOTHER PUZZLE, RETURNS TO THE COUCH. [ 18:05 ]
A: You know you like this one.
B: MAKES SOUND. BRINGS TOGETHER HANDS. [ OVERLAP ]
A: It—Yeah, you know you like this one.
B: PANTS, CLAPS HANDS.
‘A.’ SHAKES HEAD, SEVERAL TIMES.
A: O.K. I’m get— …yeah.
B: PANTS. RE-SEATS HERSELF, CLOSER TO ‘A.’
‘A.’ BEGINS TO SET UP NEW PUZZLE.
A: I know. Yeah! Good. Good signaling we need to get like we are getting started. [ 18:33 ] We gonna put this one away.
B: PANTS.
A: Oh. Well you take these. I’m going to go see what he wants [ THE DOG? ]. I’m getting all your pieces out. [ 19:00 ] I’ll be right back.
‘A.’ GETS UP, LEAVES COUCH.
A: [ CONT. ] You look it over, ‘cause you gonna pick—Look it over, and then come over and pick which ones you gonna start out with.
B: CLAPS HANDS.
‘B.’ CONTINUES TO SIT ON COUCH. ‘B.’ APPEARS TO GLANCE AND PUZZLE PIECES. CAMERA ZOOMS IN ON PUZZLE PIECES. [ 19:36 ]
‘B.’ STANDS UP, WALKS TO WINDOW AREA, PACES. [ 20:00 ] ‘B.’ APPROACHES DOOR TO ROOM, WHICH IS CLOSED. ‘A.’ OPENS DOOR, ENTERS ROOM. [ 20:37 ]
A: Oopsy-daisy. …O.K. We going to close the window [ CURTAINS ] because we going to be all distracted. …Could you pick one? Did you pick which one to start?
‘A.’ SITS BACK DOWN ON COUCH. ‘B.’ WALKS AWAY, THEN BACK TO ‘A.’
A: Look. [ 20:59 ] Dolphin, look. This one is ‘one’. And you could see how it’s spelled, too. One…
B: PANTS. STANDS AND WATCHES ‘A.’
A: Look at two… three… four… five…
‘B.’ SITS BACK DOWN ON COUCH, NEXT TO ‘A.’
A: [ CONT. ] …six. …O.K. So you want to get started. [ RESPONDING TO ‘B.’ SITTING DOWN, NEXT TO HER. ] Good. ‘K. we got company. [ 21:31 ]
CAMERA PANS DOWN TO DOG WHO HAS ENTERED THE ROOM. ‘A.’ GOES TO DOOR. ‘B.’ GETS UP AND FOLLOWS HER.
A: You gonna help us? …No.
‘A.’ CLOSES DOOR –DOG STILL IN ROOM- TAKES ‘B.’ BACK TO COUCH.
B: MAKES SOUND.
CAMERA CAREENS, FOCUSES ON DOG FROM ABOVE, THEN PANS BACK TO COUCH.
A: Don’t pay attention to her [ THE DOG ].
B: MAKES LOUD SOUND.
A: Or I’ll make her leave because we were already started. Which one you wanted to pick? [ 22:00 ] First you will pick the number ten, ‘cause this— [ OVERLAP ]
B: MAKES SOUNDS. [ OVERLAP ]
‘A.’ TAKES A LONG RED PIECE AND EXAMINES IT.
A: --this stuff, like, this is how many there are in here. There’s like, ten. All of these. See 1-2-3-4-5-6-7-8-9-10. Ten. And you see how it’s spelled ‘ten’. Ten… [ OVERLAP ]
B: MAKES SOUNDS. [ OVERLAP ]
A: Hopefully nobody changed the rules on that. Ten means ten pieces. [ 22:30 ] Ah, I’m gonna pick… one. I’m going to pick ‘nine’. [ COUNTS: ] 1-2-3-4-5-6-7-8-9. And this is confusing ‘cause if you turn it this way it looks like a ‘six’. But you know why it’s not a six? Because if it was a ‘six’ it would be 1-2-3-4-5-6, and that wouldn’t make sense, see? So basic—that’s why [ 23:05 ] uh, one way we know that it’s not ---??---.
B: PANTS. [ OVERLAP ]
A: Nine. Got it. So… how much more do we need to make ten? …And I know you know.
B: MAKES SOUND. SMILES.
A: But you got to look for it on the table.
B: PANTS. LEANS FORWARD.
A: Dolphin I told you, the doing part is [ 23:36 ] an important part. …See, do we need a one? Or do you need a two? Or do we need a three, to make ten? Which one do we need to make ten?
B: ‘SILENTLY’ CLAPS HANDS. TURNS AWAY, LEFT.
A: Which one? Eyes. Eyes. [ 24:00 ] Point with—First you have to point with your eyes real quick. And then you can point with your hand. You can look away and point with your hand after. …Yeah, nine, so how much more we need? O.K. Now you know. I see you looking. But you know what? I can’t tell which direction you’re looking at. Like if you’re even looking straight-on, or sideways. You have to push with your hands on, on one that you need. [ OVERLAP ]
B: MAKES SOUND.
A: Yeah. You got your pointer. You got your pointer. [ 24:30 ] O.K. Now push it. Push it. I know. I’ll help you. Is it one, two, or three?
‘B.’ USES HER RIGHT HAND TO TRY TO TOUCH A PIECE THAT ‘A.’ IS HOLDING IN FRONT OF HER.
A: O.K. You almost had it. Now—
B: MAKES SOUND.
A: It’s O.K. You push it. If you could grab a French fry you could— [ OVERLAP ]
B: CLAPS HANDS. [ OVERLAP ]
A: Graaab it. O.K. Take a deep breath. [ BREATHES DEEPLY TWICE. ] And you only use one hand. [ 25:00 ] I know you already know which one you want. We—you, again, again, just to remind, we got nine— [ OVERLAP ]
B: MAKES SOUND.
A: And we trying to get ten. So we need one of these puzzle pieces to make ten. Now I see you looking at the answer, but you have—now push with your hand. Tour—I—
B: HICCUPS.
A: —I—O.K. push with your hand. I know. You got hiccups now. Use your pointer.
B: HICCUPS.
A: O.K. [ 25:31 ] Now is that the one you want? …Clap your hands if that’s the one you want. …If not, it’s going back. You got—you trying to say it?
B: HICCUPS. ROCKS. MAKES SOUND. PANTS. [ OVERLAP ]
A: You got the hiccups. So that’s gonna even make everything harder. I’m taking this one. Is that the one? Or do you want a two, or do you want a three?
B: HICCUPS.
A: ‘Cause I—O.K., I can’t tell. [ 26:00 ]
B: PANTS.
A: O.K. you got your pointer. …Which one?
B: PANTS. MAKES SOUND. LEANS AWAY, OVER TO LEFT.
A: O.K. You see. You know what? You hit the three by accident. I know. I know. It-it’s hard because you, you, you—when you jerk away everything moves and everything. I know, you know. I know you can’t do it all at once. That’s why you have to do it, like, fast. Like, if you gonna look away, then you have to slap it— [ PUZZLE PIECE CLATTERS ] --I know. O.K. Not that. You didn’t have to slam it that [ 26:30 ] hard. O.K.? If—I know like, if you want to have to look ahead away, but try to do it like, fast. I know I do that too. [ OVERLAP ]
B: MAKES SOUND.
A: --Because on the keyboard I hit the wrong one. Like I hit the one right next to it. …So, how to do both. I know, this is getting tired. I know you already picked one but you got out, I know you already picked of these. But you have to try to make it more clear. [ 26:59 ] Like, you know what it mean? Like, like, you gotta do it with your body.
B: MAKES DISTRESSED SOUND.
A: I know, I know. But you know what? When you, when you do it, then you get more happy doing it, you know? Like when you always proud of yourself. When know, you always happy, you always hate me in the beginning— [ OVERLAP ]
B: MAKES SOUND.
A: -- but then you’re always happy after you do things. Like remember when you were very—hated me because I made you get your own French fries? But after a while you could get your own French fries.
B: ‘SILENTLY’ CLAPS HANDS.
A: [ CONT. ] See? Remember how happy you were then, when you got your own French fries? The only way to do it is when you have to own yourself. [ 27:38 ] I did—not all the time— [ OVERLAP ]
B: MAKES SOUND. [ OVERLAP ]
A: --but a little of yourself at a time. So I’m going to try—this is the [ RIGHT ] hand that you use. That one [ LEFT ] doesn’t exist. O.K.? This is the hand I want to use. Now, eyes first. Lands first. And then push with your hand.
‘B.’ TAKES A PUZZLE PIECE.
A: O.K. Alright. I’m gonna say that’s a ‘one’. [ 28:00 ] O.K.? ‘Cause you got it in your hand. That’s it! Good. Thank you for letting it go.
B: MAKES SOUND.
A: You picked ‘one’. And guess what? You’re right because one and nine makes ten. Now we’ll pick another one.
B-ROLL: [ 01:40 ] ‘A.’s’ DESK INCLUDING COMPUTER AND YELLOW ‘MOUSE.’ [ 02:15 ] OUTLINE OF ‘B.’ & ‘A.’ AS SHE ENTERS ROOM, GETS ITEM.
A: Pizza fractions. …You know these.
B: CLAPS HANDS. [ 02:38 ] (Hand clapping seems to be a way for ‘B.’ to communicate affirming, agreeing, and/or ‘saying/expressing’ the word ‘yes’.)
A: I know. You want to check e-mails. …Dolphin, look:
[ ‘A.’ SITS AT DESK WITH COMPUTER. ]
A: [ READING FROM COMPUTER SCREEN: ] “Canine demonstration on Wednesday, October 10th. [ OVERLAP ]
B: MAKES SOUND, OFF-SCREEN. [ OVERLAP ]
A: [ CONT. ] “…11:00 A.M. to 11:45.” Yeah. We’re gonna see the dogs do the canine demonstration, see? “Next reminder for this event will be sent two days, two minutes.” It’s on Willoughby Park. It’s in [ SOUND OFF SCREEN BY CAMERA ] Sicily, 11100 North West 44th Street." [ 03:08 ] Sound right. That’s where we are meeting everybody. We’re not meeting any there first. That’s the radical unschooling Broward. That’s the canine demonstration. We’re gonna show the police dogs. I think that we should get our dogs some jobs too, Dolphin. [ OVERLAP ]
[ ‘B.’ IS PANTING OFF-SCREEN, WHILE ‘A.’ TALKS. ]
A: --What? [ 03:34 ]
LOUD SOUND OFF SCREEN; SOUNDS LIKE TWO ‘TAPS’.
A: We’ll get you a job, too. Not just the dogs.
‘A.’ APPEARS TO READ SILENTLY, ON COMPUTER SCREEN. HER RIGHT HAND REMAINS ON A ‘MOUSE.’
A: Hm. [ 04:02 ] Dolphin. Listen to this: [ READING ALOUD: ] “There is no common meaning of words. That is just a play on words, or pun in itself.”
‘A.’ TAKES ‘B.’ ONTO HER LAP WHILE CONTINUING TO READ ALOUD.
A: “As many autistics have shown, there is no normal when it comes to behavior despite parents wanting their autistic offspring— ” [ OVERLAP ]
B: MAKES LOUD SOUND: Aahh! [ OVERLAP ]
A: [ CONT. READING ALOUD: ] “—to behave as normal as possible. When the ‘Lexi-cobra’ [?] forgives seven meanings, and within those five [ 04:33 ] are their sub-meanings, that ‘Lexi-cobra’ [?] refer, defining those words as he or she wants them to mean, there is no way to eliminate three bias in any part of human existence. Everything in life is completely biased, even the messages on this list, and no one is above bias, even when it comes to the meaning of words. Take the word ‘love,’ for example. [ 05:01 ] I bet there’s—as—just as many meanings as humans, and to state that there is a common meaning for the word ‘love,’ is to impose one’s person’s meaning on eight billion people even if less than 16% speak English. Everyone states that he or she means in the any word, even in the word ‘neutral.’ That is a word that few, if any persons, want to talk about these days [ 05:30 ] as few have the guts to state what they see as completely neutral [ ‘B.’ GETS OFF OF ‘A.’s’ LAP. ] position to any issue and discuss their neutral position on a forum.” --I, uh, --Would you define yourself as neutral, Dolphin? “Even autism has no common meaning. To—To many parents of autistic children it is classified in their minds as a devastating illness, but to Estee Wolfhound in Toronto, a parent of [ 06:01 ] a autistic ch—boy, autism is seen as a joy. There again it shows [ ‘A.’ BEGINS TO ROCK BACK AND FORTH. ] that they are no common meanings at all for any words.”
CAMERA PANS ACROSS ROOM TO ‘B.’ SITTING ON THE COUCH WHILE ‘A.’ CONTINUES TO SPEAK, OFF-CAMERA, THEN BACK TO ‘A.’
A: You see that would really stress me out, Dolphin. I will believe that will be—Imean if there is no common meaning for a word, then, I mean then, then why even use words at all, ever? I mean for anything? Um, and anyone who decrees a com— [ OVERLAP ]
B: MAKES LOUD SOUND, OFF-SCREEN. [ OVERLAP ]
A: [ CONT. ] --mon meaning [ 06:33 ] is imposing his ‘n her meaning of / onthe words themselves. –I know. I completely agree with you. [ READING ALOUD AGAIN: ] “Another word that has millions of meanings, both in the notation and connotation is the word ‘fun.’ What is fun to one person, can be seen as pure hell to another.” But then, it wouldn’t be fun. [ OVERLAP ]
DOG BARKS, OFF SCREEN.
A: [ CONT. ] I mean ‘fun’ would base—I don’t agree with that, Dolphin, because ‘fun’ would be meaning one thing, where it’s [ 07:01 ] pleasant experience for me. Even if it’s not a pleasant experience for someone else, it would still be fun for— Like, I don’t know where—I mean that –I can’t really say that. I mean, it just—O.K. Pure hell to another, well then it wouldn’t be fun now. Then—
CAMERA ZOOMS IN ON COMPUTER SCREEN THAT ‘A.’ IS READING FROM. HARD TO READ IN QUICK-TIME MOVIE FORMAT.
A: [ CONT. ] it wouldn’t be fun for them. [ OVERLAP ]
B. MAKES SOUNDS OFF SCREEN AS ‘A.’ CONTINUES TO TALK.
A: Then, I mean, for fun, whast they mean fun? I mean, as though mean it’s apleasant experience.
B: MAKES MORE SOUNDS OFF SCREEN.
A: I really can’t take apart [ 07:31 ] this take on words meaning, Dolphin. Idon’t know what—it—what you think of this. [ READS ALOUD ] “Take the case recently of three teen-age girls who allegedly had the fun burning the ears and other forms illegal assault on a girl near Dartmouth North.” And this, um: “To the girl who was subject to this abuse it was no fun at all.” –O.K. Yeah, that—But, yeah, that’s no fun at all, but mm… O.K. I could understand then somewhat of he was saying but not all the way. [ 08:08 ]
CAMERA IMAGE SHAKES, CAREENS, SHOWS ‘S.’, GOES BLACK, THEN BACK TO ‘A.’ THEN CAMERA BACK TO ‘S.’ & CAREENING, ETC.
A: [ CONT. ] I mean… I mean fun still means one common meaning—It’s just not—it experienced differently. A different—
A TOWEL WIPES THE CAMERA LENS AS ‘A.’ SPEAKS. IT IS LOUD, MAKING IT HARD TO HEAR WHAT ‘A.’ SAYS. [ 08:24 ]
A: --people, but it still has different kind of meanings. But I don’t agree with them on that aspect at all. I don’t know what you think. -- [ READS ALOUD ] “It’s all a matter of personal respect for personal differences, even in the meaning of words.” --I—Well, I mean if a word doesn’t mean anything, any common thing, then why –what’s the point of using it? Let’s just like all become non-verbal all over again if words don’t mean any—don’t, don’t have any common meaning. You know? Why even use them? You know? If water means fire— [ OVERLAP ]
B: MAKES SOUND OFF SCREEN. [ 08:58 ]
A: [ CONT. ] --at some point then why then use water to define to, to, to –I mean I use the word ‘water’ to describe ‘water,’ not to describe ‘fire.’ If ‘water’ could mean ‘fire’ then I wouldn’t even use it. Words, I mean, —do you agree with me or what do you think? Or do you understand what he’s trying to say? …An opinion.
CAMERA PANS TO, FOLLOWS ‘B.’ WALKING, CLAPPING. [ OVERLAP ]
A: --Your opinion. Not mine. …You have to think. You have your head. You have to use—You have to, like, --What do you think of that? [ 09:32 ] You have to have an opinion of something.
B: GRUNTS, OFF SCREEN.
A: You know you do.
B: PACES, PANTS.
A: Ah, this I blew under [?]. This, this doesn’t make sense. [ READS ALOUD ] “Indeed if a person has problems with his parent kee-ahz [?] there seems to be a lot [ 10:01 ] of empathy, but if a person has problems with his brain der, er, der often is nothing but backlash over a bowl of salt [?] often attended by loathing. Why is the brain treated with such disrespect as far as an organ?” –I know what he means. Like mental illness. [ READS ALOUD ] “Why don’t humans provide the deepest form of empathy towards those with brain or neurological problems instead of constantly telling them that they are wrong or to get it straight?” –O.K. That does make sense. …Hm. [ 10:39 ] O.K. This, as for example, this is getting really long and drawn out, but he’s autistic, so that’s probably why. [ READS ALOUD ] “For example, when a person has a lot of problems with mathematics—” –‘Cause I don’t see how they relate to each other, but you could go –but I’ll go on anyhow; [ READS ALOUD ] “--why don’t those around provide the empathy needed for this problem? Not [?] that they constantly telling the person at least in school, ‘Come on, now. If others can get it, you can get it. Just use your common sense.’” [ 11:11 ]
‘A.’ JERKS HER HEAD SIDE TO SIDE, THEN CONTINUES. CAMERA PANS TO ‘B.’ AS ‘A.’ READS ALOUD, OFF SCREEN.
A: “—an’ you’ll find an answer. Such a herical [heretical ?] approach to any issue of one person pretending to be better than the other only adds more woes to the person with the brain problem.” --But I don’t really know if you could really categorize not getting mathematics as a brain problem, in which case, you know, where does it end?
B: BREATHS LOUDLY.
CAMERA PANS BACK TO ‘A.’
A: …O.K. He just goes on with more and more examples. …O.K. … [ 11:48 ] Ah, dah, dah, dah, dah. Yeah, it’s just giving more examples. I’m not going to get into it, really more. [ READS ALOUD? ] “As the, the title of the book by Edward D’Bono said it, ‘I am right, you are wrong.’ That is the current dilemma of human nature in the global perspective [ CAMERA ZOOMS IN ON WORDS ON COMPUTER SCREEN AS ‘A.’ CONTINUES TO READ ALOUD ] as inthe realm—” [ 12:07 ]
A: [ CONT. ] “--of person-to-person communication, autistic or otherwise.” --In that I could agree. [ OVERLAP ]
B: MAKES SOUND OFF SCREEN.
A: [ OFF SCREEN ] That’s how it always is, Dolphin. [ ON SCREEN, READS ALOUD FROM COMPUTER: ] “Oral [?] conference.” [ OVERLAP ] DOG BARKS OFF SCREEN. ‘B.’ PANTS OFF SCREEN WHILE ‘A.’ SPEAKS.
A: O.K. Yeah. They calling us for the conference. [ 12:35 ] But she, you know, she spelled ‘conference’ – ‘conferengs,’ with a ‘G’ [?] Always wondered what that was. She wants to know where in Florida we live and so she could do our name tags. …Where in Florida? Well, we could say south Florida; Fort Lauderdale area; Davie, Florida; Hollywood, Florida… Site, we could pick, just pick one. [ 13:10 ] Either of those would be correct. But I don’t think she’djust wants a big old list.
‘A.’ STIMS WITH FINGERS ON LEFT HAND.
A: [ CONT. ] …Uhn. That’s it. I’m gonna pick up some and then we gonna be some, like, we gonna do some, um, like, work. Um, we won’t have to do itlike work, ‘cause you won’t get paid. If you don’t get paid it’s not really like [ 13:38 ] work. I mean that’s how it’s called. And you’re not volunteering, that’s a different word. From be like, like it’s fun, but it’s not like play.
‘A’. GOES OVER TO COUCH, SITS NEXT TO ‘B.’, AND PULLS IN ‘PIZZA FRACTION’ DEVICE ON SMALL TABLE INTO HER LAP AND TAKES IT APART.
NOTE: REST OF TAPE IS 'A.' DOING A MATH LESSON WITH 'B.' -GOOD EXAMPLE OF COMBINING AN ACADEMIC SUBJECT WITH DEVELOPING A STUDENT'S MOTOR SKILLS, KEEPING THEM FULLY PRESENT AND ENGAGED.
A: [ CONT. ] Because if you’re learning in school, they call it work, like ‘homework.’ They call it work. That’s… that’s what they did in school. They made learning not fun. [ 14:05 ] Or like it has to be old [?], and that’s why it became work. And this is like, a pizza, and you gonna put it all together. And you pick which one first. Which one you want to pick first.
CAMERA IS SHAKY.
A: Like… even like all these. [ 14:34 ] Look at these. And we’ll put it here.
B: MAKES SOUND.
A: Yeah, I know. You are sticky still. We’ll mix these up. Yep. …O.K. We get.
B: MAKES SOUND AS ‘A.’ USES WIPE ON ‘B.’s’ HANDS & FACE. [ 15:05 ]
A: O.K. Check out… it. Check it out. Now… check. Check it out. Check. That’s not the right… Check – it – out. O.K. We got ‘it’ out. [ OVERLAP ]
B: MAKES SOUND.
‘A.’ ARRANGES ALL OF THE WOOD ‘PIZZA’ PIECES ON THE LITTLE TABLE.
A: That’s still not right. Check it out. Check-it-out. Check it. Check it out. That’s it. Almost [ 15:34 ] got it done. I think—I don’t have my rhythm today too much. I get my rhythm. Check it out. O.K. Check it out. Look. Dolphin. Pick one. I know you just ate. But pick one to start with. Our, if you want, I can go first. And you go after.
B: PANTS, RUBS FACE WITH LEFT HAND. [ 16:01 ]
‘A.’ USES HER LEFT HAND TO NUDGE ‘B.’s’ RIGHT ARM.
A: Yeah, you know I’m bugging you. I’m gonna do it first, and then, I’m just going to ignore you then. I’m taking this one, that says ‘one third’. And it fits right in here. Dolphin, look. One third.
‘A.’ PUTS LEFT ARM BEHIND ‘B.’, USES RIGHT HAND TO NUDGE ‘B.’s’ RIGHT ARM. ‘B.’ SMILES. ‘A.’ LAUGHS.
A: Which one you think is gonna fit next? You pick one now. I went first. You pick one now. [ 16:31 ]
B: MAKES SOUND.
A: You pick one now. I know. You’re like not pickin’—You’re not paying attention ‘cause Sarah’s got a camera all in our f—‘n everything. But in which case I imagine you like to show off. [ OVERLAP ]
A: O.K. Which one? …Eyes. Switch to eyes. 1-2-3-4-5, eyes. [ 17:01 ] 1-2-3- 4-5, eyes. 1-2-3-4-5, eyes!
DOG BARKS OFF SCREEN.
A: Mm. I’m gonna go without you and then you can’t see nothing. Just look what I got:
‘A’ WAVES A YELLOW PIECE OF ‘PIZZA’ RIGHT TO LEFT IN FRONT OF ‘B.’ AND TAKES ‘B.’s’ RIGHT HAND AND PLACES IT ON THE YELLOW PIECE.
‘B.’ PANTS.
A: [ CONT. ] That’s the next one. You know why I got that one? ‘Cause it says ‘one-third.’
‘B.’ LOOKS AT YELLOW PIECE AND STAYS VISUALLY ENGAGED WITH ‘PIZZA’ FOR A FEW MORE SECONDS. THEN ‘B.’ VISUALLY DISENGAGES OFF AND ON, AS IF LISTENING, THEN LOOKING, THEN LISTENING.
A: [ CONT. ] Just like this one says ‘one-third.’ Now I’m [ 17:31 ] gonna make them all into one-third pieces. One, two, and now I just need one more. And I’m gonna grab another one. Ess, you know it’s a different color. But it’s the same shape. Look. It’s the same shape. One-third, – one-third. It always has the same shape. Right there. Like a pizza, but this is like a small pizza. So you tried it—even if it’s different colors. [ 18:01 ] ‘Cause sometimes the colors mean in it something, but in this case it doesn’t mean different shapes. It’s like they’re all one-third, even if they’re different colors. And there, I got. This is the pizza cut up in one-third pieces. Which is like 1-2-3, but these would be two-thirds right there. One-third and that would be another one-third. That will make it two-thirds. And then if you put this one, that’s like three-thirds. So that’s three-thirds of one. That will make one whole pizza. Now. [ 18:33 ] We got to go on, now.
B: MAKES SOUND.
A: Now. Which way you want to go? Because we—dere’s so many different ways of cutting the pizza pie now. Which color you wanna pick? Orange? Or red?
‘A.’ HOLDS UP PIECES FOR ‘B.’ TO LOOK AT, WHICH ‘B.’ DOES.
A: [ CONT. ] Or green? And look. You know what? Look at these. This is, this is, look. These look like it would be the same, [ 19:03 ] because it’s the same color, but it’s not. Look.
GOOD EXAMPLE OF JOINT VISUAL ATTENTION TO ‘PIZZA’ PIECES. "JOINT ATTENTION" IS WHEN TWO PEOPLE ARE ENGAGED AND FOCUSING ON THE SAME OBJECT.
B: MAKES LOUD SOUND.
A: Look. That’s not the same. You would think like they would fit because were like the same color but they’re were not. Because this one is like what it says is ‘one-fourth.’ And this one is like ‘one-eighth.’ Which one would you like?
‘A.’ USES HER RIGHT HAND TO TAP AND HOLD ‘B.’s’ RIGHT HAND, WHICH IS BEING CLASPED BY ‘B.’s’ LEFT HAND.
NOTE: 'B.' HAS EXTREME MOTOR CHALLENGES, SO THIS IS ESPECIALLY USEFUL TO SEE, HOW 'A.' KEEPS HER ENGAGED WITH A LESSON THAT INVOLVES POINTING AND CHOOSING. --SEE BELOW:
A: I will just help you disengage. Which one would you like? [ 19:30 ] I know. I know you can’t pick. O.K. …I see you looking. But try to make your eyes follow—try—I mean, try to make your hand follow your eyes. I nook/look [?]. You got it? Try to make your eye, like, yeah. Like after. I saw you look first, but then after you look, like when you see when, when you look it –at it –like right after, then hit it, you know? [ OVERLAP ]
NOTE: SOME AUTISTICS HAVE DIFFICULTY LOOKING AND TOUCHING AT THE SAME TIME. INSTEAD, THEY LOOK, ESTIMATE, DISENGAGE VISUALLY, AND THEN TOUCH, INCLUDING WITH TYPING.
B: MAKES SOUND. [ OVERLAP ]
A: Like, yeah. [ 20:01 ] Yeah, yeah! Good. That’s the one you picking? [ OVERLAP ]
B: MAKES SOUND. [ OVERLAP ]
A: Good. Good. I got it. The one-quar-ter. That’s one-quarter. Got it. You have to—Like after you look then-then-then, like switch to yah hand. Make yah hand ‘look’. Like, see with your hands after. O.K. Now which one you want now? …There’re different kinds. Actually, there’s even this, like the big one; the big red one.
B: CLAPS HANDS. [ 20:31 ]
A: You want to big red one? Or the little red one? Look. This is the same thing, too. Look. This one is—oh no it isn’t the same color. There’s some deviation of this color. It looked like the same color at first, but it’s just in the same family of colors. Which one you picking?
‘B.’ LEANS FORWARD, INDICATING WITH HER HEAD, PERHAPS THE PURPLE PIECE?
A: I-I didn’t know which one you picked. Uh, one-eighth or one quarter? [ 20:51 ] Can you do it again, just one more time? You saw first. Now with your hand. …Now make your hand follow. Which one?
‘A.’ MANUALLY STIMULATES/ASSISTS USING HER RIGHT HAND ON ‘B.’s’ RIGHT HAND.
A: I know you picked one of those, but I didn’t know which one. Was it the one-eighth? Orange? Or was it—
TAPE STOPS ABRUPTLY, MID-SENTENCE. IT CONTINUES IN "LESSON PART 2"
