Some loved them, some hated them, and few were indifferent.
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Everything You've Ever Been Told About How You Learn Is A Lie | Australian Popular Science - 151 views
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"You know everyone learns differently. Do you think you learn better through words or pictures? Did you know you learn different subjects with different sides of the brain? Welp, they were wrong. Many of the theories of "brain-based" education, a method of instruction supposedly based on neuroscience, have been largely debunked by rigorous science."
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Thanks for sharing .This is well done! I teach a Psychology course designed to develop students' critical thinking about such "myths." Here is a list of others: Lilienfeld, S. O., Lynn, S. J., Ruscio, J., and Beyerstein, B. L (2010). 50 Great Myths of Popular Psychology: Shattering Widespread Misconceptions about Human Behavior. Malden, MA: Wiley-Blackwell.
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shared by Matt Claxon on 09 Feb 15
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Moving beyond technology in designing online learning - 70 views
www.tonybates.ca/...y-in-designing-online-learning
effective teaching screencast designing online learning
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At the time (and for many years afterwards) researchers such as Richard Clark (1983) argued that ‘proper’, scientific research showed no significant difference between the use of different media. In particular, there were no differences between classroom teaching and other media such as television or radio or satellite. Even today, we are getting similar findings regarding online learning (e.g. Means et al., 2010).
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different media can be used to assist learners to learn in different ways and achieve different outcomes. In a sense, researchers such as Clark were right: the teaching methods matter, but different media can more easily support different ways of teaching than others
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Thus requiring the television program to be judged by the same assessment methods as for the classroom lecture unfairly measures the potential value of the TV program. In this example, it may be better to use both methods: didactic teaching to teach understanding, then a documentary approach to apply that understanding. (Note that a television program could do both, but the classroom lecture could not.)
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The use of different media also allows for more individualization and personalization of the learning, better suiting learners with different learning styles and needs.
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This of course is what we do with technology in education. We try either to incorporate new technology into old formats, as with clickers and lecture capture, or we try to create the classroom in virtual space, as we do with learning management systems. What we are still developing but not yet clearly recognizing are formats, symbols systems and organizational structures that exploit the unique characteristics of the Internet as a medium.
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Given the need to create and interpret meaning when using media, trying to use computers to replace or substitute for humans in the education process is likely to be a major mistake, at least until computers have much greater facility to recognize, understand and apply semantics, value systems, and organizational factors,
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it is equally a mistake to rely only on the symbol systems, cultural values and organizational structures of classroom teaching as the means of judging the effectiveness or appropriateness of the Internet as an educational medium.
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"Where's the Writer" TETYC March 2014 - 43 views
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We contend that student writers will see greater value in peer response if they develop tools that allow them to participate more actively in the feedback process. With teaching suggestions like those above, writers can learn how to re-flect on their experiences with peer response. They can also learn to identify their needs as writers and how to ask questions that will solicit the feedback they need.
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We like to limit each mock session to no more than seven minutes of back and forth between respondent and writer.
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This becomes a teachable moment. When the respondent asks for assistance from the class, this break in the session becomes an opportunity for the class to assist the writer and the respondent. The writer appears stuck, not knowing what to ask. And the respondent appears perplexed, too.
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we follow Carl Anderson’s suggestion to teach students how to ask questions about their writing through role-playing.
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organize the questions within categories such as tone, content, evidence-based support, style, and logistics
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raft three to five questions they have about the assignment to ask of their peers as they prepare to write or revise their assignment. When appropriate, we can direct our students to the course text, where there are
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“What would it take for you to be in-vested as writers in peer response?” Students’ typical responses include the following:>“I need to know what to ask.” >“I don’t know what to ask about my writing, except for things like punctua-tion and grammar.”>“Does the person reading my work really know what the assignment is? Bet-ter than I do?”>“I’m not really sure if I’m supposed to talk or ask questions when someone is giving me feedback about my work, so I don’t really do anything. They write stuff on my paper. Sometimes I read it if I can, but I don’t really know what to do with it.”
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it is important to offer activities to ensure that both respondents and writers are able to articulate a clear purpose of what they are trying to accomplish. These activities, guided by the pedagogies used to prepare writing center consultants
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devote more attention to the respondent than to the writer, we may unwit-tingly be encouraging writers to be bystanders, rather than active participants, in the response process.
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highlight the value of both giving and getting feedback:In 56 pages near the end of this book, we’ve explained all the good methods we know for getting feedback from classmates on your writing. . . . The ability to give responses to your classmates’ writing and to get their responses to your own writing may be the most important thing you learn from this book. (B
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we question whether textbooks provide emergent writers with enough tools or explicit models to engage actively in peer response conversations.
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While such questions are helpful to emerging writers, who depend on modeling, they lack explanation about what makes them “helpful” questions. As a result, emerging writers may perceive them as a prescriptive set of questions that must be answered (or worse, a set of questions to be “given over” to a respondent), rather than what they are intended to be: questions that could advance the writer’s thoughts and agenda.
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You will need to train students to ask good questions, which will help reviewers target their attention.Questions like “How can I make this draft better?” “What grade do you think this will get?” and “What did you think?” are not helpful, as they are vague and don’t reflect anything about the writer’s own thoughts. Questions like “Am I getting off topic in the introduction when I talk about walking my sister to the corner on her first day of school?” or “Does my tone on page 3 seem harsh? I’m trying to be fair to the people who disagree with the decision I’m describing” help readers understand the writer’s purpose and will set up good conversations. (Harrington 14, emphasis added
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uestions” when soliciting feedback (like the advice we found in many textbooks), she also provides explicit examples for doing so
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he most explicit advice for writers about ask-ing questions and, in effect, setting up good conversations is buried in an instruc-tor’s manual for The Allyn & Bacon Guide to Writing. In thi
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“Getting Response” chapter later in the book, they will benefit from the textbook authors’ instructions that they should in fact use questions that will help them solicit their feedback
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point writers to a specific set of questions that they should ask of their respondents. Such instructions take a notable step toward shifting the locus of control from the respondent to helping writers engage their peers in conversation.
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we argue that Faigley offers respondents specific examples that empower them to actively engage the process and give feedback. We contend that emergent writers need a similar level of instruction if they are to be agents in response.
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Peter Elbow and Pat Belanoff ’s first edition of A Community of Writers published in 1995, in which eleven “Sharing and Responding” techniques, d
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lthough we do not discount the importance of teaching respondents how to give feedback, we argue that writers must also be taught how to request the feedback they desire.
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shared by Martin Leicht on 11 Jan 21
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Distracted Minds: Why You Should Teach Like a Poet - 4 views
www.chronicle.com/...y-you-should-teach-like-a-poet
education higher ed students engagement focus build zoom learning
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When you follow the same routines at home, folding the laundry or doing the dishes, your mind goes on automatic pilot.
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same generic suite of teaching activities: listen to a lecture, take notes, ask some questions, talk in groups.
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Through the creative turns of language they use to describe the world and our experiences, the familiar becomes unfamiliar again, and we discover in the everyday world fresh food for insight and reflection.
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We want them to pay attention to course content, to be astonished by what they find there, and to report back to us and the world what they have discovered.
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Find an everyday object that connects to your discipline, or a photograph or image that accompanies an article or book in your field.
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in which practitioners slowly read the sacred scriptures of Judaism aloud to one another, pausing and discussing and questioning at every turn.
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asked what they had learned from the experience, and especially what they had noticed about the text that they hadn’t perceived before
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For 13 consecutive weeks, she asked students to leave the campus and make a visit to the nearby Worcester Art Museum in order to spend time in front of the same work of art.
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As they learned to train their attention on a work of art, their attention brought them insights. They saw more clearly, developed new ideas, and wrote creatively about what they observed.