Over the last twenty years, technology
has reorganized how we live, how we communicate, and how we learn.
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The challenge and promise of learning organisations - The Learner's Way - 2 views
thelearnersway.net/...mise-of-learning-organisations
challenge organisations education collaboration teaching
shared by Nigel Coutts on 07 Oct 18
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There is a great deal that I like about this description of humanity at its best from Ryan & Deci. It is both a goal to be achieved and an indicator of conditions which are required for us to fulfil our potential. While the focus of this statement is on the actions of the individual we can see how society might act to deny individuals the opportunities to lead such an inspired and agentic life. I like to imagine what a school might be like if every individual who plays a part in its functioning strove to extend themselves, master new skills and apply their talents responsibly. Maybe schools would be like the 'learning organisations' described by Peter Senge.
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elearnspace. Connectivism: A Learning Theory for the Digital Age - 17 views
www.elearnspace.org/...connectivism.htm
connectivism MEMOIRE learning elearning theory collaboration technology community
shared by Christophe Gigon on 09 Dec 08
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I aggree that as teachers we need to realize that technology has changed instruction and the way that our students learn and the way that we learn and instruct.
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Technology has always changed the way we live. How did we respond to changes in the past? One thought is that some institutions, some businesses disappeared, while others, who took advantage of the new tech, appeared to replace the old. It will happen again and we as educators need to lead the way.
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With technology our students brains are wired differently and they can multi-task and learn in multiple virtual environments all at once. This should make us think about how we present lessons, structure learning and keep kids engaged.
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Rubbish. The idea that digital native are adept at multitasking is wrong. They may be doing many things but the quality and depth is reduced. There is a significant body of research to support this. Development of grit and determination are key attributes of successful people. Set and demand high standards. No one plays sport or an instrument because it is easy rather because they can clearly see a link between hard work and pleasure.
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Many learners will move into a variety of different, possibly unrelated fields over the course of their lifetime.
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Connectivism is the integration of principles explored by chaos, network, and complexity and self-organization theories.
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Learning and knowledge rests in diversity of opinions. Learning is a process of connecting specialized nodes or information sources. Learning may reside in non-human appliances. Capacity to know more is more critical than what is currently known Nurturing and maintaining connections is needed to facilitate continual learning. Ability to see connections between fields, ideas, and concepts is a core skill. Currency (accurate, up-to-date knowledge) is the intent of all connectivist learning activities. Decision-making is itself a learning process. Choosing what to learn and the meaning of incoming information is seen through the lens of a shifting reality. While there is a right answer now, it may be wrong tomorrow due to alterations in the information climate affecting the decision.
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Classrooms which emulate the “fuzziness”
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John Seely Brown presents an interesting notion that the internet leverages the small efforts of many with the large efforts of few.
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The pipe is more important than the content within the pipe. Our ability to learn what we need for tomorrow is more important than what we know today.
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To combat the shrinking half-life of knowledge, organizations have been forced to develop new methods of deploying instruction.”
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a persisting change in human performance or performance potential…[which] must come about as a result of the learner’s experience and interaction with the world”
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Learning theories are concerned with the actual process of learning, not with the value of what is being learned.
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Chaos is the breakdown of predictability, evidenced in complicated arrangements that initially defy order.
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If the underlying conditions used to make decisions change, the decision itself is no longer as correct as it was at the time it was made.
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principle that people, groups, systems, nodes, entities can be connected to create an integrated whole.
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Learning is a process that occurs within nebulous environments of shifting core elements – not entirely under the control of the individual
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Behaviorism, cognitivism, and constructivism do not attempt to address the challenges of organizational knowledge and transference.
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The health of the learning ecology of the organization depends on effective nurturing of information flow.
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This cycle of knowledge development (personal to network to organization) allows learners to remain current in their field through the connections they have formed.
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This amplification of learning, knowledge and understanding through the extension of a personal network is the epitome of connectivism.
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An organizations ability to foster, nurture, and synthesize the impacts of varying views of information is critical to knowledge economy surviva
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As knowledge continues to grow and evolve, access to what is needed is more important than what the learner currently possesses.
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Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experie... - 7 views
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"Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
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The testimonies of the composers concerned bear on questions about (a) the role of the conscious and the unconscious in music creativity, (b) how the compositional process gets started, and (c) how the compositional process moves forward
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It is hoped that the themes that emerge by setting twentieth and twenty-first century professional composers' accounts of certain compositional experiences or phases of their creative processes against one another will provide a philosophical framework for teaching composition.
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Furthermore, the knowledge of how professional composers compose offers the potential of finding the missing link in music education; that is, the writing of music by students within the school curriculum
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Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
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raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
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It is hoped that the direct access to these composers' thoughts about the subjective experience of composing Western art music in the second half of the twentieth and the beginning of the twenty-first century may also promote the image of a fragmented culture whose ghettoization in music education is a serious impediment to the development of a comprehensive aesthetic education.
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n other words, there is a striking unanimity among composers that the role of the unconscious is vital in order to start and/or to complete a work to their own satisfaction.
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I need . . . to become involved, to come into a state where I do something without knowing why I do i
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This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
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Nonetheless, these self-observations about the complementary roles of the unconscious and conscious aspects of musical creativity do not cover the wide range of claims in psychological research on creativity
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I strongly believe that, if we cannot explain this process, then we must acknowledge it as a mystery.25 Mysteries are not solved by encouraging us not to declare them to be mysteries
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When Ligeti was commissioned to write a companion piece for Brahms' Horn Trio, he declared, "When the sound of an instrument or a group of instruments or the human voice finds an echo in me, in the musical idea within me, then I can sit down and compose. [O]therwise I canno
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Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
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ome composers need to have something for it to react against.38 Xenakis, however, asserted that "all truly creative people escape this foolish side of work, the exaltation of sentiments. They are to be discarded like the fat surrounding meat before it is cooked."
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In other words, to compose does not mean to merely carry out an initial idea. The composer reserves the right to change his or her mind after the conception of an idea.
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n sum, self-imposed restrictions or "boundary conditions"55 seem to provide composers with a kind of pretext to choose from an otherwise chaotic multitude of compositional possibilities that, however, gradually disappears and gets absorbed into the process of composition which is characterized by the composers' aesthetic perceptions and choices.
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Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
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Thereby the past is seen as being comprised by a static system of rules and techniques that needs to be innovated and emancipated during the composers' search for their own musical identity.
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I strongly suggest that we play down basics like who influenced whom, and instead study the way the influence is transformed; in other words: how the artist made it his own.
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Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
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Furthermore, for some composers the musical influence can emerge from the development of computer technology.
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In sum, the compositional process proceeds in a kind of personal and social tension. In many cases, composers are faced with the tensive conflict between staying with tradition and breaking new ground at each step in the process. Thus, one might conclude that the creative process springs from a systematic viewpoint determined by a number of choices in which certain beliefs, ideas, and influences—by no means isolated from the rest of the composer's life—play a dominant role in the search for new possibilities of expression.
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If a general educational approach is to emerge from the alloy of composers' experiences of their music creativity, it rests on the realization that the creative process involves a diversity of idiosyncratic conscious and unconscious traits.
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After all, the creative process is an elusive cultural activity with no recipes for making it happen.
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n this light, the common thread of composers' idiosyncratic concerns and practices that captures the overall aura of their music creativity pertains to (a) the intangibility of the unconscious throughout the compositional process,68 (b) the development of musical individuality,69 and (c) the desire to transgress existing rules and codes, due to their personal and social conflict between tradition and innovation.70
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In turn, by making student composers in different classroom settings grasp the essence of influential professional composers' creative concerns, even if they do not intend to become professional composers, we can help them immerse in learning experiences that respect the mysteries of their intuitions, liberate their own practices of critical thinking in music, and dare to create innovative music that expresses against-the-prevailing-grain musical beliefs and ideas.
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Therefore, it is critical that the music teacher be seen as the facilitator of students' compositional processes helping students explore and continuously discover their own creative personalities and, thus, empowering their personal involvement with music. Any creative work needs individual attention and encouragement for each vision and personal experience are different.
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Music teachers need to possess the generosity to refuse to deny student composers the freedom to reflect their own insights back to them and, in turn, influence the teachers' musical reality
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Indeed, it is important that music teachers try to establish students gradually as original, independent personalities who try to internalize sounds and, thus, unite themselves with their environment in a continuous creative process.
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Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
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n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
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While music creativity has been a component of music education research for decades, some of the themes arising from professional composers' experiences of their creativity, such as the significance of the unconscious, the apprehension towards discovering ones' own musical language, or the personal and social tension between tradition and innovation, among others, have not been adequately recognized in the literature of music education
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By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
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which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
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. On the other hand, only few music educators appear to draw their composer students' attention to the importance of the personal and social conflict between staying within a tradition or code, even if it is the Western popular music tradition, and breaking new ground at each step in the creative process and, possibly, shaping new traditions or codes.
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Culture is a precious human undertaking, and the host of musics, arts, languages, religions, myths, and rituals that comprise it need to be carefully transmitted to the young and transformed in the process."85
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Nevertheless, further research is needed in which women's voices can be heard that may offer an emancipatory perspective for the instruction of composition in education which will "challenge the political domination of men."
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Social contract - Wikipedia - 20 views
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Grotius posited that individual human beings had natural rights; Hobbes asserted that humans consent to abdicate their rights in favor of the absolute authority of government
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The Lockean concept of the social contract was invoked in the United States Declaration of Independence.
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Social contract arguments typically posit that individuals have consented, either explicitly or tacitly, to surrender some of their freedoms and submit to the authority of the ruler or magistrate
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What does it mean to submit tacitly? Does the US Declaration of Independence require tacit submission?
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Not the Declaration of Independence because that did not establish a social contract, but yes the Constitution and the system of law, The submission is tacit because each generation does not revise the social contract that is spelled out in the Constitution and the corpus of laws. Therefore, each generation that wants to live in the US must accept the existing social contract.
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According to Hobbes, whenever we benefit from the conditions of security and the goods that are only possible through the social contract, we have consented to the social contract, which includes obedience to the sovereign, even though we did not give explicit consent.
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Les Miserables by Victor Hugo - Complete eBook - 118 views
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Biography in Context - Document - 16 views
ic.galegroup.com/...AcademicJournalsDetailsWindow
civil war lincoln war emerson human condition self reliance
shared by Tracey Cole on 05 Feb 14
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The outbreak of the war changed Emerson, who had disdained political parties, mistrusted philanthropic efforts, and once called himself "a seeing eye, not a helping hand." He labeled the war "a new glass to see all our old things through." It was "instructor," "searcher" "magnetizer" and "reconciler." Emerson the individualist and idealist may have bristled at the churning power of the machinery of war, but Emerson the patriot and realist welcomed the struggle for the birth of a new social order. "The War," Emerson realized, "is serving many good purposes .... War shatters everything flimsy and shifty, sets aside all false issues, and breaks through all that is not real as itself."
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New Eastern Europe - The Lingering of the Past - 12 views
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The idea that Eastern Europe was, or is, a passive recipient of influences coming from the West is not the way life works; there is always an encounter, often an uncomfortable one. In one of Father Józef Tischner’s essays there's a beautiful passage in which he says that the encounter is a moment that initiates a particular drama, the course of which cannot be foreseen. I think that what happened in 1989 was not the filling of an empty space but rather that kind of encounter.
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One of the things that made Solidarność so remarkable was that "Solidarity" was not just a slogan or a philosophy: the movement involved an empirical overcoming of long-standing divides between right and left, Catholics and Marxists; workers and intellectuals.
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What the various totalitarian experiments tell us quite clearly is that most people most of the time are formed by the circumstances in which they find themselves. That does not mean that individual personality variables do not exist, or that there will not always be exceptions. There will always be extraordinary people like Władysław Bartoszewski, who seems to have emerged from childhood with an uncanny moral lucidity. But as a general rule: if you put people in bad circumstances, you will not, on a large scale, get good outcomes.
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I wanted to write about historical periods prior to1989. But I was, of course, personally experiencing the post-Communist period: as I was sitting in the archives reading about the 1930s, I was also living in the 1990s. So I had this dual experience of discovering the past along with the present.
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The Taste of Ashes is about how the past lingers and about what the afterlife of totalitarianism has been.
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One of the first, most naïve questions I wanted to understand was: Why was there no “happily ever after”?
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I thought that coming to Eastern Europe would be like arriving at a non-stop party, that everybody would be celebrating his or her liberation. Of course, it was nothing like that. The 1990s were in some ways not very happy times at all. There was a sense that now people were suffering and being exploited in entirely different ways from the ways in which they had suffered and been exploited under communism. And there was a sense of the past as tormenting.
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In some ways this book is my attempt to explain why the fall of communism in Eastern Europe was not a fairy tale's happy ending.
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I think this kind of attempt to find a safe place for ourselves in the world will always fail. There is something rootless about the human condition.
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The idea that Eastern Europe after communism was an empty space to be filled with things borrowed from the West is not convincing.
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Doctoral degrees: The disposable academic | The Economist - 27 views
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There is an oversupply of PhDs. Although a doctorate is designed as training for a job in academia, the number of PhD positions is unrelated to the number of job openings. Meanwhile, business leaders complain about shortages of high-level skills, suggesting PhDs are not teaching the right things. The fiercest critics compare research doctorates to Ponzi or pyramid schemes.
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A graduate assistant at Yale might earn $20,000 a year for nine months of teaching. The average pay of full professors in America was $109,000 in 2009
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America produced more than 100,000 doctoral degrees between 2005 and 2009. In the same period there were just 16,000 new professorships.
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PhD students and contract staff known as “postdocs”, described by one student as “the ugly underbelly of academia”, do much of the research these days.
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About one-third of Austria’s PhD graduates take jobs unrelated to their degrees. In Germany 13% of all PhD graduates end up in lowly occupations. In the Netherlands the proportion is 21%.
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In America only 57% of doctoral students will have a PhD ten years after their first date of enrolment. In the humanities, where most students pay for their own PhDs, the figure is 49%.
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in 1966 only 23% of science and engineering PhDs in America were awarded to students born outside the country. By 2006 that proportion had increased to 48%. Foreign students tend to tolerate poorer working conditions, and the supply of cheap, brilliant, foreign labour also keeps wages down.
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The earnings premium for a PhD is 26%. But the premium for a master’s degree, which can be accomplished in as little as one year, is almost as high, at 23%
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PhDs in maths and computing, social sciences and languages earn no more than those with master’s degrees
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In one study of British PhD graduates, about a third admitted that they were doing their doctorate partly to go on being a student, or put off job hunting.
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The more bright students stay at universities, the better it is for academics. Postgraduate students bring in grants and beef up their supervisors’ publication records.
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Writing lab reports, giving academic presentations and conducting six-month literature reviews can be surprisingly unhelpful in a world where technical knowledge has to be assimilated quickly and presented simply to a wide audience.
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Many of those who embark on a PhD are the smartest in their class and will have been the best at everything they have done. They will have amassed awards and prizes. As this year’s new crop of graduate students bounce into their research, few will be willing to accept that the system they are entering could be designed for the benefit of others, that even hard work and brilliance may well not be enough to succeed, and that they would be better off doing something else.
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Emergent Learning Model « The Heutagogic Archives - 41 views
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Self-Organised Learning Environments (SOLE)
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The Open Context Model of Learning is a way of thinking about the relationships of learning such that a (teacher) develops both a subject understanding as well as an ability in the (learner) to take forward their learning in that subject.
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What I hoped to do below with the ELM is to show how all learning can be complementary and, given that everyone wants to learn, how we can design learner-responsive resources, institutions and networks.
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What formal learning, or education, has really become specialised in is maintaining itself as a set of institutions and buildings.
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Formal learning is the process of administering and quality assuring the accreditation of learning and the qualifications
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So what ELM aims to do is to replace the notion of learning as being a process of accreditation, that occurs within an institutionally constrained and hierarchical system, with a series of processes that better matches how people actually learn, following interests, collaborating and finding resources.
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we should start with the social processes of everyday life, and design a system that enables learning to naturally emerge
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a) education; is a process organized by institutions who offer qualifications based on set texts to be used by learning groups in classes to meet accreditation criteria. Teachers provide resources and broker these educational processes. b) learning; is a process of problem-solving carried out by people individually or collaboratively by finding resources and discussing the emerging issues with trusted intermediaries.