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Jill Bergeron

Citizen Science Projects - National Geographic Society - 0 views

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    National Geographic's education resources for science and social studies classes- all grade levels.
Jill Bergeron

Project Based Learning - Real World Math - 2 views

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    PBL ideas for math classes.
Jill Bergeron

How to Build a T-Stool - 0 views

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    This stool is used by occupational therapists to help build core strength and engage their sensory systems.
Jill Bergeron

Focus on Audience for Better PBL Results | Edutopia - 0 views

  • The Innovations class is deliberately open-ended, which means students have to propose their own project ideas and the standards they plan to meet.
  • "The mentor can't be their dad or their dad's buddy," Wettrick says. "It has to be an expert in an arena, and it has to be somebody who makes a commitment to help them."
  • Students benefit from honest critique along with positive attention for their projects, Wettrick says. "They don't need to hear, 'Good job!' They're better off when an expert tells them, 'That's not bad, but have you considered this, or you might want to look at that.'
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  • Wettrick encourages teachers to make their good ideas public so that others in education can learn from their examples. "It's not bragging," he says. "It's sharing best practices."
  • The Buck Institute for Education has produced a feedback form (6) to help audience members think through their role.
  • What do you want students to gain from the audience interaction?
  • Who's the audience for the "real-world" version?
  • How can technology connect students with larger audiences?
Jill Bergeron

YouTube Audio Library Features Tons of Free Music to Use in Classroom Multimedia Projec... - 0 views

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    "Students can access and download tunes from YouTube audio library and use it as a background in their video projects. YouTube has even made it easier for them to search for and find  the music they want from its library."
Jill Bergeron

Make on Pinterest - 0 views

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    Tons of maker projects here.
Jill Bergeron

Project-Based Learning Google Apps Smash - 0 views

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    Resources for PBL
Jill Bergeron

OCSTEMInitiative - YouTube - 0 views

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    Videos on facilitating making and tinkering plus project spotlights.
Gayle Cole

Digital History | Promises and Perils of Digital History - 0 views

  • Gertrude Himmelfarb offered what she called a “neo-Luddite” dissent about “the new technology’s impact on learning and scholarship.” “Like postmodernism,” she complained, “the Internet does not distinguish between the true and the false, the important and the trivial, the enduring and the ephemeral. . . . Every source appearing on the screen has the same weight and credibility as every other; no authority is ‘privileged’ over any other.”
  • “A dismal new era of higher education has dawned,” he wrote in a paper called “Digital Diploma Mills: The Automation of Higher Education.” “In future years we will look upon the wired remains of our once great democratic higher education system and wonder how we let it happen.”3
  • In the past two decades, new media and new technologies have challenged historians to rethink the ways that they research, write, present, and teach about the past. Almost every historian regards a computer as basic equipment; colleagues view those who write their books and articles without the assistance of word processing software as objects of curiosity.
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  • Just ten years ago, we would not have imagined the need for “a guide to gathering, preserving, and presenting the past on the web.” Indeed, few of us knew the web existed. Even the editors of Wired ignored it in their inaugural issue.4 Ten years ago, we would have been objects of curiosity, if not derision, if we had proposed such a project.
  • The first advantage of digital media for historians is storage capacity—digital media can condense unparalleled amounts of data into small spaces.
  • The most profound effect, however, may be on tomorrow’s historians. The rapidly dropping price of data storage has led computer scientists like Michael Lesk (a cyber-enthusiast to be sure) to claim that in the future, “there will be enough disk space and tape storage in the world to store everything people write, say, perform, or photograph.” In other words, why delete anything from the current historical record if it costs so little save it? How might our history writing be different if all historical evidence were available?
  • a second and even more important advantage—accessibility.
  • Our web server at the Center for History and New Media (CHNM) gets about three-quarters of a million hits a day, but on September 11, 2002 (when people looking to commemorate the attacks of the previous year descended in droves on the September 11 Digital Archive that we organized in collaboration with the American Social History Project), we handled eight million hits—a more than ten-fold increase with no additional costs
  • But the flexibility of digital data lies not just in the ability to encompass different media. It also resides in the ability of the same data to assume multiple guises instantaneously. Although language translation software is still primitive, we are moving toward a time when words in one tongue can be automatically translated into another—perhaps not perfectly but effectively enough.
  • Flexibility transforms the experience of consuming history, but digital media—because of their openness and diversity—also alters the conditions and circumstances of producing history. The computer networks that have come together in the World Wide Web are not only more open to a global audience of history readers than any other previous medium, they are also more open to history authors. A 2004 study found that almost half of the Internet users in the United States have created online content by building websites, creating blogs, and posting and sharing files.
  • quantitative advantages—we can do more, reach more people, store more data, give readers more varied sources; we can get more historical materials into classrooms, give students more access to formerly cloistered documents, hear from more perspectives.
  • amlet on the Holodeck, her book on the future of narrative in cyberspace
  • o consider these “expressive” qualities we need to think, for example, about the manipulability of digital media—the possibility of manipulating historical data with electronic tools as a way of finding things that were not previously evident. At the moment, the most powerful of those tools for historians is the simplest—the ability to search through vast quantities of text for particular strings of words. The word search capabilities of JSTOR, the online database of 460 scholarly periodicals, makes possible a kind of intellectual history that cannot be done as readily in print sources.
  • Digital media also differ from many other older media in their interactivity—a product of the web being, unlike broadcast television, a two-way medium, in which every point of consumption can also be a point of production. This interactivity enables multiple forms of historical dialogue—among professionals, between professionals and nonprofessionals, between teachers and students, among students, among people reminiscing about the past—that were possible before but which are not only simpler but potentially richer and more intensive in the digital medium. Many history websites offer opportunities for dialogue and feedback. The level of response has varied widely, but the experience so far suggests how we might transform historical practice—the web becomes a place for new forms of collaboration, new modes of debate, and new modes of collecting evidence about the past. At least potentially, digital media transform the traditional, one-way reader/writer, producer/consumer relationship. Public historians, in particular, have long sought for ways to “share authority” with their audiences; the web offers an ideal medium for that sharing and collaboration.16
  • inally, we note the hypertextuality, or nonlinearity, of digital media—the ease of moving through narratives or data in undirected and multiple ways.
  • the problems of quality and authenticity emerge
  • Moreover, in general, the web is more likely to be right than wrong.
  • Consider, for example, the famous “photograph” of Lee Harvey Oswald and Jack Ruby playing rock music together in a Dallas basement. Such fake photographs have a long history; Stalin’s photo retouchers, for example, spent considerable time airbrushing Trotsky out of the historical record. But the transformation of the original Bob Jackson photo of Ruby shooting Oswald into “In-A-Gadda-Da-Oswald” did not require a skilled craftsman. George Mahlberg created it with Photoshop in forty minutes and it quickly spread across the World Wide Web, popping up in multiple contexts that erase the credit of the “original” counterfeiter.20
  • Is there some way to police the boundaries of historical quality and authenticity on the web? Could we stop a thousand historical flowers—amateur, professional, commercial, crackpot—from blooming on the web? Would we want to? Of course, issues of quality, authenticity, and authority pre-date the Internet. But digital media undercut an existing structure of trust and authority and we, as historians and citizens, have yet to establish a new structure of historical legitimation and authority. When you move your history online, you are entering a less structured and controlled environment than the history monograph, the scholarly journal, the history museum, or the history classroom. That can have both positive and unsettling implications.
  • Digital enthusiasts assume that the online environment is intrinsically more “interactive” than one-way, passive media like television. But digital technology could, in fact, foster a new couch potatoÐlike passivity. Efforts to create nuanced interactive history projects sometimes become quixotic when the producers confront the fact that computers are good at yes and no and right and wrong, whereas historians prefer words like “maybe,” “perhaps,” and “it is more complicated than that.” Thus the most common form of historical interactivity on the web is the multiple-choice test. But the high-budget version is little better. Take, for example, the History Channel’s website Modern Marvel’s Boys’ Toys, which is a combination of watching the cable channel and playing a video game. The true interactivity here comes when you click on the “shop” button. As legal scholar Lawrence Lessig has written pessimistically: “There are two futures in front of us, the one we are taking and the one we could have. The one we are taking is easy to describe. Take the Net, mix it with the fanciest TV, add a simple way to buy things, and that’s pretty much it.” At the same time, some wonder whether we really want to foster “interactivity” at all, arguing that it fails to provide the critical experience of understanding, of getting inside the thoughts and experiences of others. The literary critic Harold Bloom, for example, argues that whereas linear fiction allows us to experience more by granting us access to the lives and thoughts of those different from ourselves, interactivity only permits us to experience more of ourselves.25
  • Another concern stems more from the production than the consumption side. Will amateur and academic historians be able to compete with well-funded commercial operators—like the History Channel—for attention on the Net?
Jill Bergeron

Teach21 Project Based Learning - 0 views

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    This is West Virginia's database of resources for PBL. Lessons can be sorted by grade-level and subject.
Jill Bergeron

A World of Project Ideas (You Can Steal) | Edutopia - 0 views

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    PBL prompts to modify for your classes.
Jill Bergeron

Project-Based Learning | Edutopia - 0 views

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    PBL resources from Edutopia!
Jill Bergeron

The Skills Students Need to Survive and Thrive | Getting Smart - 0 views

  • The Skills All Students Need
  • Communication. Demonstrate strong writing, speaking, and listening skills. These skills are game changers for employees with strong technical skills, since their work often impacts members of other teams, technical and non-technical, across the company. Critical thinking. Assess a situation and determine whether or not to ask for help, seek additional information, or forge ahead. Recognize when to “pull the cord” and stop the bus. Ownership. When taking on a project, own it from start to finish. Be reliable and know what needs to be done to complete the task, project, or initiative, whether alone or as a member of a team. Leadership. Act as leader, with or without the title. Recognize that leadership lies in how you behave and how you conduct yourself as much as it does in the title that you hold. Creative problem solving. Enjoy solving problems and doing so in creative ways, especially when resources may be constrained, time short, and expectations high. Self-directed learning. Own professional learning and stay up-to-date on new trends in the field. Participate in ongoing learning through online and in-person options, and be willing to share what you’ve learned with colleagues. Curiosity. Get stumped, but never get overwhelmed. When stuck, turn to personal and professional learning networks to problem solve. Failure is a part of the learning process. Collaboration. Contribute to larger projects and meet game-changing goals. View collaboration as a key part of the job, especially when it comes to achieving outcomes. High threshold for uncertainty. Be comfortable with the uncertainty that often accompanies problem solving, innovative and creative work. Uncertainty is what drives leaders to seek answers and solve problems. Recognize that setbacks and dead-ends are part of the process.
Jill Bergeron

Self-Assessments » TELL Project - 0 views

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    "Part of the strength of the TELL Project is its built-in ability for teachers to self-determine how well they currently meet the criteria defined in the Teacher Effectiveness for Language Learning Framework, relative to the growth they would like to make. To assist teachers in this aspect of reflective practice, TELL makes available self-assessment documents that allows an educator to pause and consider their current practice to identify possible areas of professional growth."
Jill Bergeron

How to Run an AWESOME After-school Maker Club | Renovated Learning - 0 views

  • I find that students really benefit from being given guidelines and then making something within those guidelines.
  • Find a way to have students reflect on what they’ve created and document it.
  • I recently created a design process worksheet that I’ve started using with my students.  They write a few brief sentences or draw some sketches for each step of the design process.
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  • Designate a sharing day or time when everyone gets to talk with the group about their projects.  Set up a Skype or Google Hangout with another school and have your students share their projects with them (hello joint design challenges!).
  •  Plan a school-wide Maker Fair where students can showcase projects they’ve created.
  • Come up with a name for your club together.  Design t-shirts.
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    Practical ideas on how to launch a maker club and keep students engaged.
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