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Matt Renwick

The Genius Who Plays For A Living | Popular Science - 35 views

www.popsci.com/...ys-playful-genius-erik-demaine

genius plays science

shared by Matt Renwick on 04 Mar 13 - No Cached
  • Hirsh-Pasek found that the second group—the ones engaged in what she calls guided play—came up with the most creative solutions. The same idea applies to scientists, she says: They do their best work when they’re free to play around with a known set of problems.
  • “Scientists actually are the few people who as adults get to have this protected time when they can just explore, play, figure out what the world is like.”
  • “We know each other so well that it makes for a really effective combination,” Erik says. “He’s always trying to reinject some playfulness into my serious work. It lets us do things that neither of us could do.”
  • ...2 more annotations...
  • play is fundamental to science
  • When I ask him later why he chooses to teach the way he does, he answers simply, “I think this is a cool way of working, and more people should work this way. Sadly, not everyone does, so I try to pass it on.”
Kate Pok

Modeling | University Writing Center - 46 views

writingcenter.tamu.edu/...modeling

shared by Kate Pok on 13 Nov 11 - No Cached
  • When you come across an example of student writing that is particularly well-written, you can share it with other students. However, avoid using negative examples, as most students will hesitate to give permission if they know you plan to use student writing to exemplify poor writing–and not telling them of your intent would be unfair. Furthermore, students will learn as much from positive as from negative analysis. No piece of writing, your own included, is so perfect that constructive criticism cannot be aimed at it. It’s best to ask all students to sign a release form at the beginning of the semester granting permission to use their work for teaching purposes. Note that if you wish to quote their work in an article on teaching, you’ll need specific permission.
  • It’s not enough simply to show models. Students need to work with models and discuss them to be able to transfer their abstract understanding of the model’s features into their own writing. While you can lecture on the qualities you endorse or admire, it is far more effective to engage students actively in evaluation and analysis through class discussion and peer response groups.
  • If you do decide to use a student’s paper as a model, you should have him or her sign a Student Contract.
pjt111 taylor

Taking Yourself Seriously: Processes of Research and Engagement - 9 views

cct.wikispaces.umb.edu/TYS4

research thinking writing tools group process graduate education

shared by pjt111 taylor on 18 Sep 11 - No Cached
  • pjt111 taylor on 18 Sep 11
     
    Taking Yourself Seriously: Processes of Research and Engagement is the working title of a book by Peter Taylor and Jeremy Szteiter that assembles the tools and processes from research and writing courses taught in the Graduate Program in Critical and Creative Thinking. The most up to date version of the book can be viewed at http://cct.wikispaces.umb.edu/TYS (and associated links, including a link to a full pdf of the book). "For your research and writing to progress well, your questions and ideas need to be in alignment with your aspirations, your ability to take or influence action, and your relationships with other people. Shorten these items to head, heart, hands, and human connections. Your efforts to bring these 4H's into alignment is what we mean when we invite you to take yourself seriously." Some comments from former students looking back on the influence of the research courses out of which this book has arisen: Jane, a healthcare professional and story-teller: I learned is to 'hold my ideas loosely', which means accepting my own idea as a valid one but always leaving the space open to take in the counterarguments. I learned to give myself permission to be circular and come back to previous steps or thoughts, and I actually became more comfortable doing so. I was able to get engaged in a project that I was able to actually use in work, which was extremely satisfying. The whole process encouraged me, and I felt very empowered as a change agent, which could be an exhilarating feeling.
Heidi Ames

Today's Meet - 125 views

todaysmeet.com

shared by Heidi Ames on 22 May 10 - Cached
Stacy Olson liked it
    • Melissa Cameron
      Melissa Cameron on 31 Jul 10
       
      I'm going to try this with a couple of my classes next week. I promise to let you know how it goes!
    • Ginger Lewman
      Ginger Lewman on 05 Sep 10
       
      We'll be using this on our snowdays. Kids and teachers will meet in scheduled classes and continue to work using this as one of our tools.
    • Betsy Barnhart
      Betsy Barnhart on 15 Mar 11
       
      could also be used if you are sick and have a sub... maybe questions could be answered from home
    • John Marr
      John Marr on 04 Aug 11
       
      This is great for PD or extra help. I am going to try it out.
    • Oktavian Mantiri
      Oktavian Mantiri on 12 Oct 11
       
      Will definitely try this... especially with my extesion classes
    • Ann Lusch
      Ann Lusch on 05 Dec 11
       
      I once held a department meeting when I was out of the building using this. I have also used it while showing a movie to classes; students can comment and get questions answered right away.
    • Brad Klitzke
      Brad Klitzke on 06 Dec 11
       
      I've used it during a video in class. Kids are able to pose questions to each other, provide comments, state their opinions and express themself. Worked great.
    • Brad Klitzke
      Brad Klitzke on 06 Dec 11
       
      I have also used this at a conference so that our group could backchat during a key presenter
    • Ed Webb
      Ed Webb on 25 Apr 12
       
      Plan to use it for discussion during class movie showing, for which I have in the past used Meebo rooms (no longer available) or piratepad: http://the-ed-rush.blogspot.com/2008/11/talking-through-movie.html This looks like it might work very well.
    • Ann Lusch
      Ann Lusch on 25 Apr 12
       
      Recently I had 9th graders talking to each other and me while they read a selection from their text. A couple of students did not like it, but most said it was helpful in understanding the material they were reading.
    • Paul Solarz
      Paul Solarz on 01 Sep 12
       
      I use this often during my PBL activities. As students are researching, they post links to websites that are helpful for others and they post their ideas. At the end of the lesson, we look over the list one last time and make our whole-class decision based on our findings. My 5th graders love it and it has made their problem solving much better since it is based on research and collaboration.
  • Darren H on 17 May 11
     
    Instant chat room (with Twitter integration), for class "discussions"
  • ...1 more comment...
  • Jan Wells on 05 Dec 11
     
    4th graders used Today's Meet during Social Studies. They provided details related to a topic's main idea while studying a region of the United States. Worked great!
  • Trevor Cunningham on 08 Sep 12
     
    Quick chat rooms on the fly.
  • Heidi Ames on 08 Sep 12
     
    Kids communicate without talking and see each others words...very cool.
Keith Rowley

Harvard Working Knowledge: Why Leaders Lose Their Way - Bill George - 1 views

www.billgeorge.org/...dge-why-leaders-lose-their-way

leadership meditation work career business

shared by Keith Rowley on 20 Jun 11 - No Cached
  • Leaders who lose their way are not bad people; rather, they lose their moral bearings
  • we all have the capacity for actions we deeply regret unless we stay grounded.
  • Self-reflection: a path to leadership development
  • ...16 more annotations...
  • narcissistic wounds from childhood.
    • Keith Rowley
      Keith Rowley on 20 Jun 11
       
      Their "crucibles." Or, as Eckhard Tolle calls it, "pain bodies".
  • What's the purpose of my leadership?
  • Why do I want to lead?
  • Often they reject the honest critic who speaks truth to power.
  • these problems are neither their fault nor their responsibility. Or they look for scapegoats to blame for their problems. Using their power, charisma, and communications skills, they force people to accept these distortions, causing entire organizations to lose touch with reality. At this stage leaders are vulnerable to making big mistakes, such as violating the law or putting their organizations' existence at risk. Their distortions convince them they are doing nothing wrong, or they rationalize that their deviations are acceptable to achieve a greater good.
    • Keith Rowley
      Keith Rowley on 20 Jun 11
       
      George W Bush!
  • Values-centered leadership
  • Leaders can avoid these pitfalls by devoting themselves to personal development that cultivates their inner compass, or True North.
  • reframing their leadership from being heroes to beingservants of the people they lead.
    • Keith Rowley
      Keith Rowley on 20 Jun 11
       
      Values-centerd leaders are "Go-Givers"
  • Leaders can avoid these pitfalls by devoting themselves to personal development that cultivates their inner compass, or True North. This requires reframing their leadership from being heroes to beingservants of the people they lead.
  • discipline
    • Keith Rowley
      Keith Rowley on 20 Jun 11
       
      Meditation is a good discipline to practice.
  • meditation
  • A system to support values-centered leadership The reality is that people cannot stay grounded by themselves. Leaders depend on people closest to them to stay centered. They should seek out people who influence them in profound ways and stay connected to them. Often their spouse or partner knows them best.
  • rue North Groups
    • Keith Rowley
      Keith Rowley on 20 Jun 11
       
      What is this???
  • Spouses and partners can't carry this entire burden though. We need mentors
  • heir choices don't matter, as long as they relieve stress and enable them to think clearly about work and personal issues.
  • Surround yourselves with people who will be honest with you about how you really are and what you are becoming, and then make them promise to not hold back… from telling you the truth."
  • Keith Rowley on 20 Jun 11
     
    Values-centered leadership. Bill George is great!
meghankelly492

Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experie... - 7 views

muse.jhu.edu/224140

world Music

shared by meghankelly492 on 22 Jul 19 - No Cached
  • n contrast to others who are not as prone to divulge their feelings about their creative process
  • "Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
  • 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
  • ...39 more annotations...
  • 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.
  • 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
  • Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
  • raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
  • 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.
  • 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.
  • I need . . . to become involved, to come into a state where I do something without knowing why I do i
  • This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
  • 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
  • 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
  • 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
  • Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
  • 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."
  • as, as these examples show, dreams can also solve certain problems of the creative process.
  • 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.
  • 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.
  • Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
  • 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.
  • 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.
  • Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
  • Furthermore, for some composers the musical influence can emerge from the development of computer technology.
  • 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.
  • 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.
  • After all, the creative process is an elusive cultural activity with no recipes for making it happen.
  • 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
  • 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.
  • 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.
  • After all, the quality of mystery is a common theme in nearly every composer's accoun
  • Failing this, musical creativity remains a predictable academic exercise
  • 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
  • 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.
  • Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
  • n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
  • 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
  • By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
  • which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
  • . 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.
  • 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
  • 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."
Martin Leicht

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

shared by Martin Leicht on 11 Jan 21 - No Cached
  • Routine is a great deadener of attention.
  • When you follow the same routines at home, folding the laundry or doing the dishes, your mind goes on automatic pilot.
  • same generic suite of teaching activities: listen to a lecture, take notes, ask some questions, talk in groups.
  • ...17 more annotations...
  • Be astonished.
  • Pay attention.
  • 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.
  • 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.
  • Find an everyday object that connects to your discipline, or a photograph or image that accompanies an article or book in your field.
  • Close — and I mean really close — reading.
  • in which practitioners slowly read the sacred scriptures of Judaism aloud to one another, pausing and discussing and questioning at every turn.
  • Tell about it.
  • asked what they had learned from the experience, and especially what they had noticed about the text that they hadn’t perceived before
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      Metacognition exercise of sorts?
  • Engagement with objects.
  • pointed out anomalies and inconsistencies, and wondered
  • What? For the first step, students spend time just observing the object and taking notes.
  • So what? Students write down questions based on their observations and share them with one another.
  • Now what? The final stage shifts into more whole-class and teacher-centered discussion
  • Attention through assessments.
  • 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.
  • 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.
  • Martin Leicht on 11 Jan 21
     
    Could some or all of this work online to build engagement? 1) close reading 2) engage with objects 3) attention through assessments
Tamara Connors

Digitally Speaking / Social Bookmarking and Annotating - 58 views

digitallyspeaking.pbworks.com/ial-Bookmarking-and-Annotating

diigo web-2.0 wiki list resource

shared by Tamara Connors on 13 Oct 09 - Cached
  • Diigo's "group forums" are threaded, allowing users to start new strands or to reply to strands started by others.
  • powerful learning depends on the quality of the conversation that develops around the content being studied together. 
  • This handout--including a description of each role and a group sign-up sheet---can be used with student social bookmarking efforts: Handout_SocialBookmarkingRoles.pdf
  • ...5 more annotations...
  • Captain Cannonball should find four or five key points in a shared reading to highlight and craft initial questions for other readers to consider
  • hallenging the thinking of peers in the conversation.  Directly responding to comments made by others, the Provocateur works to remind everyone that there are two sides to every story.    
  • for connections.  Middle Men
  • question statements made and conclusions drawn throughout a shared reading.
  • dentify important "takeaways" that a group can learn from
  • Todd Finley on 19 Oct 09
     
    Fred, What an incredible resource. It has changed my thinking about collaborative annotation technologies. Thank you! -tbf Todd Finley http://bit.ly/Hfs8N
  • Jason Welker on 28 Oct 09
     
    The driving force behind the Web 2.0 revolution is a spirit of intellectual philanthropy and collective intelligence that is made possible by new technologies for communication, collaboration and information management.  One of the best examples of collective intelligence in action are the wide range of social bookmarking applications that have been embraced in recent years.
meghankelly492

(PDF) A Systematic Review of Treatments for Music Performance Anxiety - 2 views

www.researchgate.net/..._for_Music_Performance_Anxiety

world Music

shared by meghankelly492 on 15 Sep 19 - No Cached
  • Four other studies (three of which are dissertations) assessed behavioral treatments forMPA on music students. Grishman (1989) and Mansberger (1988) used standard musclerelaxation techniques, Wardle (1969) compared insight/relaxation and systematic desensi-tisation techniques, and Deen (1999) used awareness and breathing techniques
  • A systematic review of all available treatment studies for music performance anxiety was undertaken.
  • reported that 24% of musicians frequently suffered stage fright, defined in this study as themost severe form of MPA, 13% experienced acute anxiety and 17% experienceddepression.
  • ...24 more annotations...
  • 59% of musicians in symphony orchestras reported performance anxiety severe enough toimpair their professional and/or personal functioning.
  • A recent study indicated that MPA is not limited to orchestralmusicians, showing that opera chorus artists are also prone to high levels of performanceanxiety
  • However, since not allperformers suffer the same degree of MPA, or indeed report the same levels of occupationalstress, individual differences in a range of psychological characteristics are likely to accountfor variations in the degree to which musicians experience symptoms
  • A large number of treatment modalities (e.g., behavioral, cognitive, pharmacological andcomplementary) has been developed for music performance anxiety (MPA)
  • However, areview of this literature indicates that the field is still in its infancy with respect to theconceptual and theoretical formulations of the nature of MPA and its empiricalinvestigation.
  • Anxiety may be triggered by conscious,rational concerns or by cues that trigger, unconsciously, earlier anxiety producingexperiences or somatic sensations.
  • These findings suggest that multi-modal interventions are needed toaddress the multiple difficulties experienced by test anxious individuals.
  • with some focusing on behavioral change, some on cognitivechange, others on reduction of physiological symptoms through the use of pharmacotherapy,and some on idiosyncratic formulations
  • For drug studies, the keywords were beta-blocker [Beta blockers block the effect ofadrenaline (the hormone norepinephrine) on the body’s beta receptors. This slows downthe nerve impulses that travel through the heart. As a result, the resting heart rate is lower,the heart does not have to work as hard and requires less blood and oxygen
  • Brodsky (1996) and Nube´(1991) were most useful.
  • The interventionsassessed included systematic desensitization, progressive muscle relaxation, awareness andbreathing and behavioural rehearsal
  • In summary, behavioral treatments do appear to be at least minimally effective in thetreatment of MPA, although the heterogeneity of the treatment approaches employedmakes it difficult to isolate consistent evidence for the superiority of any one type ofbehavioral intervention
  • Two studies (see Tables II and IV) assessed the therapeutic effect of cognitive techniquesalone on MPA.
  • A dissertation by Patston (1996) reported a comparison of cognitive (e.g.positive self-talk, etc.) and physiological strategies in the treatment of MPA. No significantimprovements on vocal and visual manifestations of performance anxiety were found foreither treatment or control groups. However, the sample consisted of only 17 operastudents who were not specifically selected on the basis of their MPA severity, and theintervention was conducted by the author, a singer and teacher, who had no training inpsychology.
  • Three studies (see Table III) assessed the therapeutic effect of cognitive-behavioralstrategies on MPA. Harris (1987), Roland (1993), and Kendrick et al. (1982) all reportedthat standard CBT techniques were effective in the treatment of MPA in studentsspecifically selected for study because of the severity of their MPA.
  • Harris (1987) and Roland(1993) reported that CBT led to reductions in state anxiety as measured by the STAI,although Kendrick et al. (1982) failed to find a significant difference between treatment andcontrol groups on this measure.
  • The evidence for improvements in MPA following CBT is quite consistent, althoughfurther studies with larger samples are needed to confirm this evidence.
  • Beta-blockers have become increasingly popular among performers in recent years. Forexample, Lockwood (1989), in a survey of 2,122 orchestral musicians, found that 27% usedpropranolol to manage their anxiety prior to a performance; 19% of this group used thedrug on a daily basis.
  • Nube´ (1991) identified nine studies examining the effects of various beta-blockers(Atenolol, Metopolol, Nadolol, Oxprenolol, Propranolol, Pindolol) on MPA.
  • The findings regarding the effects of beta blockers on otheroutcome measures were less conclusive.
  • A rigorous definition of MPA is needed to advance treatment. However, defining MPA as asocial anxiety (social phobia) using criteria set out in DSM-IV-TR (APA, 2000) as theinclusion criteria may be too restrictive, particularly if the musician presenting for treatmentexperiences MPA as a focal anxiety (ie does not meet other criteria for social anxiety).
  • Few ofthe intervention studies reviewed acknowledged that performers need a certain amount ofarousal or anxiety to maximise their performance.
  • None of the studies could be pooled in a meta-analysis primarily because too fewprovided sufficient data to calculate effect sizes, use of diverse subject groups andtreatments, duration and intensity of treatment, and use of disparate outcome measures
  • In conclusion, the literature on treatment approaches for MPA is fragmented, incon-sistent, and methodologically weak. These limitations make it difficult to reach any firmconclusions about the effectiveness of the various treatment approaches reviewed. Forsignificant progress to be made, future research will require a clear definition of MPA,consistency and strength in methodology, and the development of robust and appropriateoutcome measures.
Thieme Hennis

"Booksprints" - fast track to rigorous open educational resources | Education4site - 32 views

www.education4site.org/...ous-open-educational-resources

methodologies oer oer-initiative books resources education mathematics open-education news

shared by Thieme Hennis on 12 Oct 12 - No Cached
  • Thieme Hennis on 12 Oct 12
     
    "The Finnish group used a methodology called "Booksprint" which was developed to produce manuals for Free/Libre Open Source Software (FLOSS). The method has already been used to produce over 40 FLOSS manuals. Booksprints involve a large number of individuals with various relevant backgrounds working collaboratively, either remotely or locally, to produce published books, usually within 2-5 days. The method requires intensive pre-planning culminating in an "unconference" at which the text is written, edited and prepared for publication. Participants make extensive use of open source methodologies and tools to facilitate sharing, versioning, and tracking, ex. using GitHub."
anonymous

Taylor & Francis Online :: Supervision and scholarly writing: writing to learn-learning... - 0 views

www.tandfonline.com/...14623940500300491

shared by anonymous on 12 Nov 12 - No Cached
  • students’ difficulties with the academic genre should be considered to be the norm, rather than the exception.
    • anonymous
      anonymous on 12 Nov 12
       
      Step away from problematising writing and toward it being normal to seek help
  • mechanical errors r
  • errors in the microstructure of writing
  • ...77 more annotations...
  • inconsistencies in writin
  • macrostructure of writing
  • quality and clarity of purpose
  • substantive general writing errors
  • publication, authorship, training and fairness
  • plagiarism
  • formal writing courses and reading lists, writing activities, and peer writing groups
  • Ideally, the supervisor provides a writing role mode
  • fallacious to assume that supervisors are necessarily scholarly writers
    • anonymous
      anonymous on 12 Nov 12
       
      relying on spvrs to be writing mentors does not always work, may have own issues with writing/lack of confidence
  • apprenticeship model can be ineffective
  • a passive role in improving their writing
  • tudents and supervisors need to master a range of writing task
  • benefit of naming what will be attended to and framing its context accrues through the process of planning, action and reflection
  • implicit contractual relationship between my students and me
  • supervisor
  • provide feedback
  • conceptu
  • methodological
  • I conceived postgraduate students’ writing as similar to that of an academic co‐author.
    • anonymous
      anonymous on 12 Nov 12
       
      assumed they were more developed as writers than they actually were
  • initially corrected all errors
  • ttle emphasis to these errors in subsequent interactions
  • explored whether these were careless errors or whether the students had difficulty with particular aspects of writin
  • students assumed some responsibility for proofreading
  • cholarly writing in a thesis involves much more than a set of discrete writing tasks
  • heightened awareness of individual differences in students as writers
  • dependent writer
  • ‘writer’s block’ that could be overcome by breaking writing down into subtasks
  • copious notes
  • detailed note‐taking limited her interaction
  • brief summary of the key points on my written response to her drafts
  • action plan
  • writing block initially posed a major ethical dilemma for me because the ethical guidelines of authorship restrict the writing that should be undertaken by a superviso
  • not writing per se that underpinned Denise’s writing block but a lack of knowledge about the content and organization of a particular writing task.
    • anonymous
      anonymous on 12 Nov 12
       
      Writers block can come from lack of knowledge/confidence in the writing process, rather than lack of subject knowledge
  • confident writer
  • published during his doctoral studies
  • nadvertently engaged in unethical writing behaviour by including me as a co‐author without my permission
  • difficulties with all aspects of the macrostructur
  • epeat sections of writing from earlier chapters
  • replace repeated text with concise summaries or use cross‐referencing
  • tendency to rush through corrections, which often resulted in many issues identified on a previous draft remaining unresolved
  • writing was often submitted and returned electronically using the ‘comments’ and ‘track changes’ tools in Microsoft Word.
    • anonymous
      anonymous on 12 Nov 12
       
      use of technology to produce tracked drafts/version control
  • resistant writer
  • acknowledged herself to be a poor write
  • writing supp
  • oral and written feedback
  • email guidance, sessions where writing was modeled and her writing scaffolded, and handouts on writing style.
  • specialist assistance
  • r lack of commitment to improving the quality of subsequent drafts
  • argumentative stance towards writing feedback
  • my colleague and I decided that we were no longer prepared to supervise Rita.
  • imited writing progress
  • , Rita had failed to adequately demonstrate her writing capability as a doctoral candidat
  • sporadic writer
  • repeatedly failed to meet negotiated deadlines
  • supervisor, it was difficult to maintain interest in and respond to Sherry’s work because of the time lag between each piece of writing
  • enlisted an experienced supervisor to act as my mentor
  • forewarned
  • Sherry’s approach to writing was likely to result in a lengthy completion time and she needed to accept the responsibility for managing her writing tasks.
  • emotional excitement of writing up a thesis and the ensuing motivation
  • lacked
  • This trail of documentation
  • importance of
  • highlighted student‐centred writing issues
  • dentified broader issues that also needed to be accommodated in supervision
  • confidence in writing does not necessarily equate with capability.
  • uture directions
  • upport students
  • ncouraging them to participate in activities designed to support scholarly writing,
  • community of support for each othe
    • anonymous
      anonymous on 12 Nov 12
       
      rationale for peer support groups
  • Technology
  • virtual community of student writers
  • Ethical writing
  • cant attention in postgraduate training to ethical practices in writing
  • explore the ethical standards that are in operation in our local academic community.
  • underpinned by a performance‐orientation
  • ssues of concern related to students’ scholarly writing were identified.
  • eper understanding of the breadth of issues related to the supervision of postgraduate writing
Jeff Andersen

Overtime increase won't skip higher ed | Education Dive - 9 views

www.educationdive.com/...419431

pay and benefits higher ed

shared by Jeff Andersen on 21 May 16 - No Cached
  • Jeff Andersen on 21 May 16
     
    University groups previously decried "a time of limited and sometimes shrinking budgets for higher education," and called on the Labor Department to lower the threshold and adjust for regional and sector differences. Institutions have pushed back against the significant financial burden associated with raising salaries to meet the threshold or paying overtime for additional hours worked. Though faculty members are still exempt, the status of postdocs with light teaching loads is still in question, and many support staffers are eligible for the increase.
Justin Lamoureux

Projects: A better way to work in classroom groups - 130 views

blog.wikispaces.com/...comment-page-1

wiki wikis wikispaces web2.0 collaboration

shared by Justin Lamoureux on 08 Sep 11 - No Cached
  • Justin Lamoureux on 08 Sep 11
     
    Learn about the Projects feature introduced by Wikispaces.
taconi12

shapes and their description - Resources - TES - 1 views

www.tes.co.uk/...addtofavourite

math shapes blackline

shared by taconi12 on 14 Feb 12 - No Cached
  • taconi12 on 14 Feb 12
     
    This resource is good to help learners understand the properties of different shapes and to use the appropriate vocabulary to describe them. It can be a very good activity if learners work in small groups or in pairs to discuss their ideas.
Steven Engravalle

Educational Technology and Mobile Learning: The 13 MUST Know Professional Development W... - 51 views

www.educatorstechnology.com/...13-must-know-professional.html

resources

shared by Steven Engravalle on 04 Sep 12 - No Cached
  • Steven Engravalle on 04 Sep 12
     
    Professional Development is a life-long  learning process that  involves different activities including individual progress, continuing education, inservice education, peer collaboration, study groups, and peer coaching or mentoring. The importance of professional development lays in the fact that it is closely related to the overall quality of education and students achievements. Teachers who stop learning and suffice themselves with the curriculum content soon turn into hard working students only a step above their actual students.
BalancEd Tech

Grading Group Work Effectively - Blog - SociologySource.com - 37 views

sociologysource.squarespace.com/...ng-group-work-effectively.html

Assessment Collaboration

shared by BalancEd Tech on 18 Dec 11 - No Cached
Joshua Welch liked it
    • BalancEd Tech
      BalancEd Tech on 03 Jan 12
       
      Add in:1) jigsaw parts of project and make parts interdependent2) if using a wiki, check the history to see who contributed what3) figure out ways to help them help each other constructively http://sociologysource.squarespace.com/storage/materials/SelfGroupAssessment.doc https://balancedtech.wikispaces.com/Teamwork+Rubric
  • BalancEd Tech on 03 Jan 12
     
    Add in: 1) jigsaw parts of project and make parts interdependent 2) if using a wiki, check the history to see who contributed what 3) figure out ways to help them help each other constructively http://sociologysource.squarespace.com/storage/materials/SelfGroupAssessment.doc https://balancedtech.wikispaces.com/Teamwork+Rubric
Christopher Lee

Why I Like Prezi - 0 views

blog.pamelafox.org/...why-i-like-prezi.html

prezi powerpoint ppt presentation edtech tools

shared by Christopher Lee on 25 Jul 12 - No Cached
  • Christopher Lee on 25 Jul 12
     
    Why I Like Prezi In my life, I have given a *lot* of presentations. In high school, they were presentations on group projects. In university, they were presentations on research projects. At Google, they're presentations on how to use our APIs. When I first started giving presentations, I used Powerpoint, like everyone else. But I kept thinking there must be a better way, and I experimented with other options - flash interfaces, interactive Javascript apps. Then I discovered Prezi, and it has become my presentation tool of choice. Prezi is an online tool for creating presentations - but it's not just a Powerpoint clone, like the Zoho or Google offering. When you first create a Prezi, you're greeted with a blank canvas and a small toolbox. You can write text, insert images, and draw arrows. You can draw frames (visible or hidden) around bits of content, and then you can define a path from one frame to the next frame. That path is your presentation. It's like being able to draw your thoughts on a whiteboard, and then instructing a camera where to go and what to zoom into. It's a simple idea, but I love it. Here's why: It forces me to "shape" my presentation. A slide deck is always linear in form, with no obvious structure of ideas inside of it. Each of my Prezis has a structure, and each structure is different. The structure is visual, but it supports a conceptual structure. One structure might be 3 main ideas, with rows of ideas for each one. Another might be 1 main idea, with a circular branching of subideas. Having a structure helps me to have more of a point to my presentations, and to realize the core ideas of them. It makes it easy to go from brainstorming stage to presentation stage, all in the same tool. I can write a bunch of thoughts, insert some images, and easily move them around, cluster them, re-order them, etc. I can figure out the structure of my presentation by looking at what I have laid out, and seeing how they fit together. Some people do this
Stephen Bright

http://www.open.ac.uk/personalpages/mike.sharples/Reports/Innovating_Pedagogy_report_Ju... - 26 views

www.open.ac.uk/..._Pedagogy_report_July_2012.pdf

innovation OU Open University

shared by Stephen Bright on 24 Jul 12 - No Cached
  • Stephen Bright on 24 Jul 12
     
    Innovating Pedagogy 2012. First report of an OU working group looking at exploring new forms of teaching, learning and assessment, to guide educators and policy makers
cindee_p

Teacher Tech | Alice Keeler - 46 views

www.alicekeeler.com/teachertech

AliceKeeler google mail_merge google_forms

shared by cindee_p on 23 Apr 14 - No Cached
  • cindee_p on 23 Apr 14
     
    Emailing Large Groups of Students in 14 steps...mail merge in Google Sheets...work around to Google's new limit on emails. Large=900+
Maureen Greenbaum

The Future of College? - The Atlantic - 29 views

www.theatlantic.com/...375071

future college education pedagogy

shared by Maureen Greenbaum on 16 Aug 14 - No Cached
  • proprietary online platform developed to apply pedagogical practices that have been studied and vetted by one of the world’s foremost psychologists, a former Harvard dean named Stephen M. Kosslyn, who joined Minerva in 2012.
  • inductive reasoning
  • Minerva class extended no refuge for the timid, nor privilege for the garrulous. Within seconds, every student had to provide an answer, and Bonabeau displayed our choices so that we could be called upon to defend them.
  • ...45 more annotations...
  • subjecting us to pop quizzes, cold calls, and pedagogical tactics that during an in-the-flesh seminar would have taken precious minutes of class time to arrange.
  • felt decidedly unlike a normal classroom. For one thing, it was exhausting: a continuous period of forced engagement, with no relief in the form of time when my attention could flag
  • One educational psychologist, Ludy Benjamin, likens lectures to Velveeta cheese—something lots of people consume but no one considers either delicious or nourishing.)
  • because I had to answer a quiz question or articulate a position. I was forced, in effect, to learn
  • adically remake one of the most sclerotic sectors of the U.S. economy, one so shielded from the need for improvement that its biggest innovation in the past 30 years has been to double its costs and hire more administrators at higher salaries.
  • past half millennium, the technology of learning has hardly budge
  • fellow edu-nauts
  • Lectures are banned
  • attending class on Apple laptops
  • Lectures, Kosslyn says, are cost-effective but pedagogically unsound. “A great way to teach, but a terrible way to learn.”
  • Minerva boast is that it will strip the university experience down to the aspects that are shown to contribute directly to student learning. Lectures, gone. Tenure, gone. Gothic architecture, football, ivy crawling up the walls—gone, gone, gone.
  • “Your cash cow is the lecture, and the lecture is over,” he told a gathering of deans. “The lecture model ... will be obliterated.”
  • One imagines tumbleweeds rolling through abandoned quads and wrecking balls smashing through the windows of classrooms left empty by students who have plugged into new online platforms.
  • when you have a noncurated academic experience, you effectively don’t get educated.
  • Liberal-arts education is about developing the intellectual capacity of the individual, and learning to be a productive member of society. And you cannot do that without a curriculum.”
  • “The freshman year [as taught at traditional schools] should not exist,” Nelson says, suggesting that MOOCs can teach the basics. “Do your freshman year at home.”) Instead, Minerva’s first-year classes are designed to inculcate what Nelson calls “habits of mind” and “foundational concepts,” which are the basis for all sound systematic thought. In a science class, for example, students should develop a deep understanding of the need for controlled experiments. In a humanities class, they need to learn the classical techniques of rhetoric and develop basic persuasive skills. The curriculum then builds from that foundation.
  • What, he asks, does it mean to be educated?
  • methods will be tested against scientifically determined best practices
  • Subsidies, Nelson says, encourage universities to enroll even students who aren’t likely to thrive, and to raise tuition, since federal money is pegged to costs.
  • We have numerous sound, reproducible experiments that tell us how people learn, and what teachers can do to improve learning.” Some of the studies are ancient, by the standards of scientific research—and yet their lessons are almost wholly ignored.
  • memory of material is enhanced by “deep” cognitive tasks
  • he found the man’s view of education, in a word, faith-based
  • ask a student to explain a concept she has been studying, the very act of articulating it seems to lodge it in her memory. Forcing students to guess the answer to a problem, and to discuss their answers in small groups, seems to make them understand the problem better—even if they guess wrong.
  • e traditional concept of “cognitive styles”—visual versus aural learners, those who learn by doing versus those who learn by studying—is muddled and wrong.
  • pedagogical best practices Kosslyn has identified have been programmed into the Minerva platform so that they are easy for professors to apply. They are not only easy, in fact, but also compulsory, and professors will be trained intensively in how to use the platform.
  • Professors are able to sort students instantly, and by many metrics, for small-group work—
  • a pop quiz at the beginning of a class and (if the students are warned in advance) another one at a random moment later in the class greatly increases the durability of what is learned.
  • he could have alerted colleagues to best practices, but they most likely would have ignored them. “The classroom time is theirs, and it is sacrosanct,
  • Lectures, Kosslyn says, are pedagogically unsound,
  • I couldn’t wait for Minerva’s wrecking ball to demolish the ivory tower.
  • The MOOCs will eventually make lectures obsolete.”
  • Minerva’s model, Nelson says, will flourish in part because it will exploit free online content, rather than trying to compete with it, as traditional universities do.
  • The MOOCs will eventually make lectures obsolete.”
  • certain functions of universities have simply become less relevant as information has become more ubiquitous
  • Minerva challenges the field to return to first principles.
  • MOOCs will continue to get better, until eventually no one will pay Duke or Johns Hopkins for the possibility of a good lecture, when Coursera offers a reliably great one, with hundreds of thousands of five-star ratings, for free.
  • It took deep concentration,” he said. “It’s not some lecture class where you can just click ‘record’ on your tape.”
  • part of the process of education happens not just through good pedagogy but by having students in places where they see the scholars working and plying their trades.”
  • “hydraulic metaphor” of education—the idea that the main task of education is to increase the flow of knowledge into the student—an “old fallacy.”
  • I remembered what I was like as a teenager headed off to college, so ignorant of what college was and what it could be, and so reliant on the college itself to provide what I’d need in order to get a good education.
  • it is designed to convey not just information, as most MOOCs seem to, but whole mental tool kits that help students become morethoughtful citizens.
  • for all the high-minded talk of liberal education— of lighting fires and raising thoughtful citizens—is really just a credential, or an entry point to an old-boys network that gets you your first job and your first lunch with the machers at your alumni club.
  • Its seminar platform will challenge professors to stop thinking they’re using technology just because they lecture with PowerPoint.
  • professors and students increasingly separated geographically, mediated through technology that alters the nature of the student-teacher relationship
  • The idea that college will in two decades look exactly as it does today increasingly sounds like the forlorn, fingers-crossed hope of a higher-education dinosaur that retirement comes before extinction.
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