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Martin Burrett

WHATSTHISW?RD - 3 views

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    A useful English and spelling site for finding missing letters in words. Enter the letters you know and question marks for those you don't. A great resource for making word games. http://ictmagic.wikispaces.com/English
Chris Betcher

The Kids Open Dictionary Builder - 2 views

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    The purpose of this project is to create a free, open simple dictionary for students to use. This dictionary will ultimately be published in a variety of formats and for multiple platforms. To add to this project, find a word you'd like to write a definition for or click "Instant Karma" for a random word. Please consult the style guidelines for editorial information.
Cara Whitehead

Math Vocabulary | Articles - 138 views

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    From addition words and elementary math to geometry vocabulary and every type of number word in between, students can find the right list right here with all the math definitions they need to be successful in math.
Nigel Robinson

Vocabulary.com - Learn Words - English Dictionary - 12 views

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    Separated into 3 levels of difficulty, these free interactive vocabulary puzzle and activity sessions use Latin and Greek "roots and cells" to help decode words. 7 links to current exercises include: Fill-in-the-Blanks, Definition Match, Synonym & Antonym Encounters, Crosswords, Word Finds, True/False and Word Stories. See our suggestions on How to use Vocabulary.com!
atressler3

Guideline on Some Questions and Answers about Grammar - 36 views

  • Grammar names the types of words and word groups that make up sentences not only in English but in any language
  • sentence structure
  • conventions and style of language.
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  • apply knowledge of language structure, language conventions (e.g., spelling and punctuation)"
  • language use, patterns, and dialects
  • Students benefit much more from learning a few grammar keys thoroughly than from trying to remember many terms and rules.
  • Experiment with different approaches
  • show students how to apply it not only to their writing but also to their reading and to their other language arts activities.
  • If they know how to find the main verb and the subject, they have a better chance of figuring out a difficult sentenc
  • Traditional drill and practice will be the most meaningful to students when they are anchored in the context of writing assignments or the study of literary models
  • apply it to authentic texts.
  • Try using texts of different kinds, such as newspapers and the students' own writing, as sources for grammar examples and exercises.
  • entence combining: students start with simple exercises in inserting phrases and combining sentences and progress towards exercises in embedding one clause in another.
  • practice using certain subordinate constructions that enrich sentences.
  • All native speakers of a language have more grammar in their heads than any grammar book
  • If a word can be made plural or possessive, or if it fits in the sentence "The _______ went there," it is a noun. If a word can be made past, or can take an -ing ending, it is a verb
  • whole sentence or a fragment
  • verb phrase
  • subject
  • pronoun f
  • Students can circle the sentence subjects in a published paragraph, observe this pattern at work, and then apply it to their own writing.  
  • Most sentences start with information that is already familiar to the reader, such as a pronoun or a subject noun that was mentioned earlier.
  • end focus.
Martin Burrett

Whizz Words - 114 views

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    A good spelling game where players find words from a collection of letters. http://ictmagic.wikispaces.com/English
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    That was fun! It reminds me of Scrabble, Yahtzee, and Boggle.
Has Slone

Always Write: Cobett's "7 Elements of a Differentiated Writing Lesson" Resources - 10 views

    • Has Slone
       
      This is a neat way to start a writing class with the creating plot ideas....
  • One of the goals I ask teachers to set after my training is to find new ways to push students to analyze and evaluate as they learn to write.
  • As part of my teacher workshop on the writing process, we investigate multiple uses of student samples. One of my favorite techniques involves having student compare and contrast finished pieces of writing. During both pre-writing and and revision, this push for deeper student thinking both educates and inspires your students.
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  • The handout has student writers analyze two fifth graders' published writing with a compare and contrast Venn diagram.
  • Revision is hard, and most teachers recognize it as an area of deficiency; the truth is, a lot of really great writing teachers I know still freely admit that revision is where they struggle the most.
  • revision shouldn't be the first of the seven elements to work on
  • When students like what they've written in rough draft form, they're ready to move to revision. My other six elements aim at helping students increase their pre-writing time so they both like and see more potential in their rough drafts
  • I believe in the power of collaboration and study teams,
  • Professional development research clearly cites the study team model as the most effective way to have learners not only understand new ideas but also implement them enough times so they become regular tools in a teacher's classroom.
  • Below, find three examples created by study teams during past workshops. I use them as models/exemplars when I set the study teams off to work.
  • My students learn to appreciate the act of writing, and they see it as a valuable life-skill.
  • In a perfect world, following my workshop,
  • follow-up tools.
  • I also use variations of these Post-its during my Critical Thinking Using the Writing Traits Workshop.
  • By far, the best success I've ever had while teaching revision was the one I experienced with the revision Post-its I created for my students
  • During my teacher workshop on the writing process, we practice with tools like the Revision Sprint (at right), which I designed to push students to use analysis and evaluation skills as they looked at their own drafts
  • I used to throw my kids into writing response groups way too fast. They weren't ready to provide critical thought for one another
  • The most important trick learned was this: be a writer too. During my first five years of teaching, I had assigned a lot of writing but never once had I written something I intended to show my students.
  • I have the following interactive plot element generator (which can be replicated with three coffee cans and index cards) to help my students feel in control of their options:
  • If you want to hear my take on graphic organizers in detail, you're going to have to hire me to come to present to you. If you can't do that, then I'll throw you a challenge that was thrown once at me, and completing the challenge helped me become a smarter designer of graphic organizers. The challenge came in two parts: 1) learn how to use tables and text boxes in Microsoft Word; 2) for practice, design a graphic organizer that would help students be successfully with the following trait-based skills:
  • "It was the best of times, it was the worst of times, etc," which is an interesting structure that students can borrow from to write about other topics, be they fiction or non-fiction.
  • Asking students to create daily journals from the perspective of other animals or even inanimate objects is a great way to borrow this book's idea.
  • it challenges students to analyze the author's word choice & voice skills: specifically his use of verbs, subtle alliteration, and dialogue.
  • Mentor Text Resource Page here at my website, because this topic has become such a big piece of learning to me. It deserved its own webpage.
  • Here are seven skills I can easily list for the organization trait. Organization is: 1) using a strong lead or hook, 2) using a variety of transition words correctly, 3) paragraphing correctly, 4) pacing the writing, 5) sequencing events/ideas logically, 6) concluding the writing in a satisfying way, 7) titling the writing interestingly and so that the title stands for the whole idea. Over the years, I have developed or found and adapted mini-lessons that have students practice these skills during my "Organization Month."
  • Now, let's talk differentiation:
  • The problem with focusing students on a product--instead of the writing process--is that the majority of the instructional time is spent teaching students to adhere to a formula.
  • the goal of writing instruction absolutely should be the helping students practice the three Bloom's levels above apply: analyze, evaluate, and create.
  • Click here to access the PowerPoint I use during the goal-setting portion of my workshop.
  • Improving one's ability to teach writing to all students is a long-term professional development goal; sticking with it requires diligence, and it requires having a more specific goal than "I want to improve writing
  • "Trying to get better at all seven elements at once doesn't work;
  • strive to make my workshops more about "make and take,
  • Robert Marzano's research convinced me years ago of the importance of having learners set personal goals as they learn to take responsibility for their own learning.
Martin Burrett

Anagram Finder - 49 views

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    A simple site which finds anagrams. Just enter a word to search for a suitable anagram. Useful for clues and spelling practice. http://ictmagic.wikispaces.com/English
Martin Burrett

Wordslide - 91 views

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    A good MFL spelling game. Find as many French, German, Spanish or English words as you can using the 6 letters you are given. Sign in to track progress or press the 'visit' button to just play the games. http://ictmagic.wikispaces.com/Languages%2C+Culture+%26+International+Projects
meghankelly492

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

  • 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
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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.
  • 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."
taconi12

Fractions- Ideas for Teaching, Resources for Lesson Plans, and Activities for Unit Plan... - 3 views

  • raction Hunt Posted by:lismac #130700 Please Signin We walked around the school in small groups armed with cameras and looked for fractions occuring in our school. Each child had to find one scene to capture with the camera. Another group stayed in the classroom and created their fractions with classroom materials. Example- 10 pencils. 9 were yellow and one was red. Then the small groups would come to our computer and insert their picture. Each child then inserted text boxes to type in the fractions. Example- 9/10 of the pencils are yellow. 1/10 of the pencils are red. 9/10 + 1/10= 10/10 They could choose the fonts and colors and such... they used word art to add their names. They loved it! We also do one using multiplication.
  • Fraction Hunt Posted by:lismac #130700 Please Signin We walked around the school in small groups armed with cameras and looked for fractions occuring in our school. Each child had to find one scene to capture with the camera. Another group stayed in the classroom and created their fractions with classroom materials. Example- 10 pencils. 9 were yellow and one was red. Then the small groups would come to our computer and insert their picture. Each child then inserted text boxes to type in the fractions. Example- 9/10 of the pencils are yellow. 1/10 of the pencils are red. 9/10 + 1/10= 10/10 They could choose the fonts and colors and such... they used word art to add their names. They loved it! We also do one using multiplication.
  • One activity that went over pretty well with my class was putting fractions in order. After completing a lesson on comparing fractions, each student was given a fraction on a 3x5 card and asked to tape it to their chest. Then they were instructed to line up in order from greatest to least. After they had completed the task, after much deliberation, I informed them of the correct order. They did pretty well considering there were fifteen students.
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  • Another thing I did was draw fractions number lines (about seven inches long) on a piece of paper, one under another with enough space between lines so my students could label the points. The first line was not divided. The points were labeled 0 and 1. The second line was divided into halves. The students labeled the points on the line 0/2, 1/2, and 2/2. The third line was divided into thirds. The students labeled the points 0/3, 1/3, 2/3, 3/3. You probably get the idea. The remaining lines were divided into fourths, fifths, sixths, eighths, tenths, and twelfths, and the points were labeled. (It is very...
  • I created an interactive fraction number line from 0 to 2 on my wall. I have about 40 fraction cards with different fractions and I have students take turns putting the cards on the number line. They get the chance to see that some of the fractions are equivelent to others.
  • Well, you are not alone. Fractions lessons sometimes need repeating over and over until they understand the CONCEPTS. Try giving them a mnemonic device to help them remember what to do. My kids decided to use GCF as Greatest Calories n Fat so that's why you REDUCE!! This just helped them to know when to use the GCF but it still needs lots of practice. Also, do a lot of hands-on activities that show equivalency in fractions. Make fraction strips using construction paper, and the kids can show all the equivalent fractions by matching up the strips. Or try the pizza fraction pieces that you can buy. I believe that it just takes lots of fun practice as well as drills on the procedures. Take your time and don't rush through it or you'll be sorry to see that they won't remember any of it by Christmas!!
  • Make up index cards before hand. Group them in 3's (.25 on one card, 1/4 on another, 25% on the third) make up however many sets of three you need to give a card to each of the students in your class. Once the cards have been shuffled, pass one to each student. Have them find their 'family' WITHOUT MAKING A SOUND. When .20, 1/5 and 20% find each other they have to put their cards on a large number line in the front of the class. It's a great way to get them all involved, and gets them up and around the classroom.
  • I also have my student play Fraction Tic Tac Toe, on a 4 x 4 grid filled with halves, fourths, and eighths. They have to make a whole with 3 fractions in a row. They love it!!! I'm not sure where the gamesheet come from, but I am sure you can make your own.
Carol Ansel

The Daring Librarian: Wikipedia is not wicked! - The Answer Sheet - The Washington Post - 70 views

  • Teaching Wikipedia in 5 Easy Steps: *Use it as background information *Use it for technology terms *Use it for current pop cultural literacy *Use it for the Keywords *Use it for the REFERENCES at the bottom of the page!
  • 4 ways to use Wikipedia (hint: never cite it) Teachers: Please stop prohibiting the use of Wikipedia 20 Little Known Ways to Use Wikipedia Study: Wikipedia as accurate as Encyclopedia Britannica Schiff, Stacy. “Know it all: Can Wikipedia conquer expertise?” The New Yorker, February 26, 2006 And: Yes students, there’s a world beyond Wikipedia **Several years ago, Nature magazine did a comparison of material available on Wikipedia and Brittanica and concluded that Brittanica was somewhat, but not overwhelmingly, more accurate than Wikipedia. Brittanica lodged a complaint, and here, you can see what it complained about as well as Nature’s response. Nature compared articles from both organizations on various topics and sent them to experts to review. Per article, the averages were: 2.92 mistakes per article for Britannica and 3.86 for Wikipedia. -0- Follow The Answer Sheet every day by bookmarking http://www.washingtonpost.com/blogs/answer-sheet. And for admissions advice, college news and links to campus papers, please check out our Higher Education page. Bookmark it! var entrycat = ' ' By Valerie Strauss  |  05:00 AM ET, 09/07/2011 .connect_widget .connect_widget_text .connect_widget_connected_text a {display:block;} #center {overflow:visible;} /*.override-width iframe {width:274px !important;}*/ Tumblr Reddit Stumbleupon Digg Delicious LinkedIn http://platform.twitter.com/widgets/tweet_button.html#_=1315504289567&count=horizontal&counturl=http%3A%2F%2Fwww.washingtonpost.com%2Fblogs%2Fanswer-sheet%2Fpost%2F
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    Excellent perspective on "The 'W' Word" - use it wisely for what it is - high school and college kids shouldn't be citing any general knowledge encyclopedias for serious research - but that doesn't mean there aren't some excellent uses for it.
Michele Brown

TeachTec's Tools for Schools - 18 views

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    Some very interesting Microsoft applications that might be suitable for schools. It includes Beginner Developer, Chemistry Add-in for Word, Education Labs for Maths test creation, Microsoft Robotics and others. Hat tip to Skipz
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    A great place to find tech tools to use with MS Office programs. Find and download alll of Microsoft's free tools for teachers and students.  Updated 3.18.2012 Microsoft Partners in Learning helps educators connect, collaborate, create and share. TeachTec is a Microsoft Partners in Learning resource that helps educators find relevant and effective ways to use technology to inspire teaching and engage students. Together we have consolidated the latest and most popular teacher and student resources that Microsoft provides to all schools, districts and education organizations around the world.
Erin DeBell

Direct Object Pronouns - 0 views

    • Erin DeBell
       
      I identify the Direct Object by finding the "main" verb of the sentence, the action verb.  In the highlighted sentence to the right, what is the main (or only) verb? HIT. To identify the D.O., ask yourself WHO or WHAT is being hit in this sentence? The ball.  Your Direct Object is THE BALL. What is the action verb in the next sentence? READS.  Ask yourself the question... Who or what is getting read? The BOOK.  So the book is your D.O.   It's as easy as that.  If you can identify the main/action verb, you can identify the D.O.
  • Example 1
  • bought
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    • Erin DeBell
       
      What is the action verb in the first sentence? BOUGHT. What got bought in the sentence? FLOWERS. FLOWERS is your D.O.
  • When the pronoun replaces the name of the direct object, use the following pronouns:
  • me (me) te (you-familiar) lo, la (him, her, it, you-formal) nos (us) os (you-all-familiar) los, las (them, you-all-formal)
    • Erin DeBell
       
      PLACEMENT.  Important.  Where do you put the pronoun once you figure out what it is?
  • Look at how Spanish and English are different. "Lo tengo" and "La tengo" BOTH mean "I have it."
  • direct translation doesn't work so well:
  • La como.
  • This is completely incorrect!
  • Learn to translate groups of words, rather than individual words. The first step is to learn to view two Spanish words as a single phrase.
  • Just as no one has ever learned to ride a bicycle by reading about it, neither will you learn to use direct object pronouns simply by reading this lesson. The key to success, as always, is to practice, practice, practice.
    • Erin DeBell
       
      Do you feel like you understand Direct Objects?  Are you frustrated?  If so, how much have you practiced?  How many sample exercises have you done? If you read and take notes on a good explanation and then do some exercises, you will feel much more confident with the topic. 
    • Erin DeBell
       
      Try this simple, extremely helpful exercise: http://www.studyspanish.com/practice/dopro1.htm
Michele Brown

Behold | - 4 views

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    About Behold BeholdTM is a search engine for high-quality Flickr images. It aims to answer your queries based on what is inside the images -- at the pixel level. It offers a completely new way to search for images, using techniques of computer vision. It is different to standard image search engines, such as Flickr or Google, because those search through images using only image tags and filenames. Behold looks for high quality images, so you don't have to sift through hundreds of poorly taken pictures to find a good one. Behold uses both aesthetic and technical quality indicators to find some of the best images available online. Behold draws computational power from Amazon Elastic Compute Cloud (EC2) to handle large volumes of images. Features Behold is capable of recognising a number of visual concepts in pictures. You can ask Behold to return images that look like one of these concepts. This new type of search can be flexibly combined with regular text-based search. For example you can ask Behold to return images tagged with the word 'london' that look like pictures of buildings (try it!). You can also filter text-based image search results based on what the images actually look like. Both of these features are demonstrated in these videos. With a newly introduced feature, Behold goes one step further and automatically suggests visual filters after analysing the words in your query. It shows you what your search results would look like if you apply one of these filters, so you save time on finding the right one.
  •  
    Search High Quality Flickr Images.
Erin DeBell

SPAN 103N W01 S111: Foro de lenguaje y cultura - Semana 9 - El embarazo - Due Sunday, 7/17 - 7 views

    • Erin DeBell
       
      Suggestions: Use past tense (preterite) more often to talk about things that happened in the past. The verbs you recognized are good examples.  At this point, though, not only should you recognize words, but phrases and TENSES/CONCEPTS, as well.  These are the grammar examples you will need to share on your chart.  Did you see any reflexive verbs?  Commands?  Preterite?  If so, share the example AND the English equivalent (translation).
    • Erin DeBell
       
      Also, for your chart you might end up being short on Country-Specific resources.  When looking for things to share, think about sharing info from a particular country.  It is too late for this post, but since your resource is from California, perhaps you could find some info on the Hispanic population in California.  Where are they from?  Then pick one of those countries of origin and find some info about it for us.  Bingo!  Country-specific example for your chart.
    • Erin DeBell
       
      Since this forum is over, you can post this info on the "country-specific catch-up forum" that I will make available immediately.
    • Erin DeBell
       
      I sense a lot of stress about the forum requirements, so I am going to provide group feedback this way.  Make sure to click on each "sticky note" to get my feedback on the post.  This will help you complete your chart as best as possible.
    • Erin DeBell
       
      HIGHLIGHTS: You will see a lot of highlights on this page.   Pink/red highlights indicate a mistake is present.  I have not highlighted ALL mistakes, just some that you should be able to fix with what you know at this point. GREEN means GOOD!  I have highlighted many phrases that indicate good/correct grammar usage.  Sometimes I highlight in green things that I really like :-)  Green means GO!!!
    • Erin DeBell
       
      YELLOW highlights are for important things - read them!
    • Erin DeBell
       
      FOR THOSE OF YOU WHO ARE WORRIED ABOUT BEING SHORT ON COUNTRY-SPECIFIC REFERENCES, I WILL SHARE IDEAS ON HOW TO INCLUDE THOSE AND PROVIDE A SEPARATE "Country-Specific Catch-Up Forum" where you can explore individual countries a bit further.
  • siertas
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  • Vi la pagina
  • Me encanta
  • unico
  • Lo unico que puedes hacer es revisar y leer tus viejos forums y buscar ejemplos que
  • usastes.
  • Me pongo
  • nervioso
  • Completado
    • Erin DeBell
       
      If you want to say "I completed," you should use the preterite.  Verb = COMPLETAR.  Yo completé.
  • están encontrando
  • mucho las
    • Erin DeBell
       
      muchas
  • encontre
  • promueve
  • parecer
  • matres
  • olvido
    • Erin DeBell
       
      This post is very interesting.  The quote included is informative and summarizes the findings of the source Gabriela consulted.  This information is very useful for all of us.  The content is excellent, but I would like to see more linguistic information.  For example, did you pick up any new words from reading this article?  If so, you should list them (WITH English translations for the benefit of classmates).   Also, to obtain country-specific resources, you could have looked up premature births in Spanish-speaking countries and focused on one in particular, perhaps sharing information or a resource from that country.  Feel free to do this and post on the "make-up forum" available soon.
  • Yo necesito leer mis viejos forums
  • Yo escribo el charto pronto
  • unico problema
  • ayudan
  • yo vi que usaron el preterite(pasado tenso) como "se logro-was accomplished".
  • usted sito
  • son
  • son embarazado
  • Encuentré
  • en español: http://www.youtube.com/watch?v=AXmHnpBgEqw.
  • muchísimas ejemplos
  • los verbos reflexivos, empieza immediatemente en diapositiva 2: “se usa para identificar afecctiones serias o mortales antes que lo síntomas aparezcan. Se puede empezar el tratamiento antes que la salud del bebé se perjudique por estas afecciones.”
  • Objeto Directo ejemplo, de diapositiva 4: “...el tratamiento puede salvarle o evitarle problemas....”
  • Objeto Indirecto ejemplo, de diapositiva 16: “...si no le practicaron pruebas preliminares de la audición a su bebé al nacer, asegúrarse de que le practiquen estas pruebas.”
  • Y Objecto Doble en diapositiva 22: “...y al recién nacido se les da de alta antes que el bebé....”
  • Ejemplos de vocabulario nuevo
  • Ahora estoy curiosa como se prueban los recién nacidos in otros países. Encuentro un sitio de Bolivia
  • No la encuentro la misma que Bolivia
  • la situación en Venezuela
  • me dijo
  • Hablé con mis vecinos, quienes son de El Salvador
  • Tuve que buscar
  • Completado
  • Completado
  • Completado
  • Completado las
  • decidí esperar
  • yo no realizo que “verb use” fue el verbos yo uso en “my post.”
  • haci
  • y haci vino
  • el nacio vajo
  • Escuchado
  • nombre de la operación
Martin Burrett

Two Contrasting Views of Educational Technology by @nikpeachey - 32 views

  •  
    I'd like to share a couple of videos with you that I have used recently in the courses I teach. I find these videos particularly interesting because they show such contrasting approaches to learning and in particular - for want of a better word - e-learning.
Marc Patton

What is a 21st century teacher? | SmartBlogs SmartBlogs - 2 views

  •  
    People toss around terms in education and attach the words "21st century" to appear cutting edge or on the front end of trending ideas. As a teacher in the 21st century, I find it amazing to see some of the things that are so-called 21st century and yet are no different from ideas from the 20th or even the 19th century. With that in mind, I reflected on what it takes to be a teacher in the 21st century and what such a teacher looks like.
Brianna Crowley

Sarah Kay: If I should have a daughter ... | Video on TED.com - 4 views

  •  
    Sarah Kay speaks about her journey in becoming a spoken-word poet. She discusses how poetry can help others find their voice--especially students who don't feel that they have one. Additionally, she performs two of her own originals to a standing ovation. 
Daryl Bambic

Be the Change. Listen. Follow-up » Edurati Review - 42 views

  • 1. Be the change. Leaders of professional development seem to forget that they’re actually teaching, and that part of teaching is modeling the activity you hope to see adopted. A session devoted to equipping teachers to implement more collaborative learning that is presented via “death by PowerPoint” is an oxymoron, a term originating from a Greek word appropriately meaning “pointedly foolish.” As one teacher recently expressed it, “Why does the worst teaching often happen in sessions on how to improve teaching?” Why, indeed? Modeling is a powerful teaching technique. In addition to communicating that the suggested new approach promotes learning, demonstration taps into some of the brain’s natural learning systems: This may be because demonstration actually encourages the brain to engage. Specialized neurons known as mirror neurons make practicing “in the head” possible…When a teacher repeatedly performs a sequence of steps, her students’ mirror neurons may enable their own preliminary practice of the same steps. In other words, as a teacher demonstrates a skill, students mentally rehearse it.1
  • Though we’ve been invited to lead professional development, we do not have all the answers. Professional development involves merging new research findings with current personnel—i.e., bringing ideas and people together. One way I’ve tried to do more of this recently is to ask teachers if any of them have tried something similar to a new approach I’ve explained. If any have, I invite them to share their experience. This invites elaboration, a critical cognitive process for constructing understanding. If the teacher’s experience was positive, we discuss why the approach was successful. If the teacher’s experience was frustrating, we often find together the reason for it and develop a plan for structuring it better the next time. This give-and-take values everyone, respects the experience present in the session, and allows the leader to be a colleague rather than an aloof expert.
  • 2. Listen. I have a tendency to get preoccupied with my preparation and forget that I’ll actually have people in the professional development session. Not just people but colleagues!
  • ...1 more annotation...
  • 3. Follow up. I’ve written previously about the importance of coaching and the characteristics of an effective coach. A one-time information flood is ineffective, no matter how engaging the session’s leader may be. Teachers need support as they begin to implement new ideas, methods, and approaches. Note that support, not judgement, is needed. Showing up with an evaluation form is a certain way to kill any benefit professional development might yield. Teachers are learners, and we need the time and space to try, to reflect, to try again, to get helpful feedback, and to truly master implementation. We need the opportunity to learn. Coaching provides this opportunity, along with the encouragement and feedback necessary for success.
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