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anonymous

Why Schools Must Move Beyond One-to-One Computing | November Learning - 139 views

novemberlearning.com/...ve-beyond-one-to-one-computing

shared by anonymous on 04 Apr 13 - No Cached
  • I’m concerned that most one-to-one implementation strategies are based on the new tool as the focus of the program. Unless we break out of this limited vision that one-to-one computing is about the device, we are doomed to waste our resources.
    • Michael Stocks
      Michael Stocks on 03 Mar 14
       
      I don't think this idea applies to just 1 to 1 but many other school implementations.
    • DON PASSENANT
      DON PASSENANT on 18 Jul 14
       
      It is not the devices but the inability to create and implement standards that lead to 21st century skills.  Too much buying stuff without expert advice and guidance.
  • Then, teachers are instructed to go! But go where?
    • anonymous
      anonymous on 13 Jul 15
       
      VISION first! You have the device. You know how to access some cool interactive tools. But now what? This is the key!!
  • I believe every student must have 24-7 access to the internet.
  • ...19 more annotations...
  • it is a simplistic and short- sighted phrase that suggests if every student had a device and if every teacher were trained to use these devices, then student learning would rise automatically.
  • Adding a digital device to the classroom without a fundamental change in the culture of teaching and learning will not lead to significant improvement.
  • Let’s drop the phrase “one-to-one” and refer instead to “one-to- world.”
  • The planning considerations now evolve from questions about technical capacity to a vision of limitless opportunities for learning.
  • As soon as you shift from “one- to-one” to “one-to-world,” it changes the focus of staff development from technical training to understanding how to design assignments that are more empowering—and engage students in a learning community with 24-hour support
  • Perhaps the weakest area of the typical one-to-one computing plan is the complete absence of leadership development for the administrative team
  • Craft a clear vision of connecting all students to the world’s learning resources.
  • Model the actions and behaviors they wish to see in their schools.
  • Support the design of an ongoing and embedded staff development program that focuses on pedagogy as much as technology.
  • Move in to the role of systems analyst to ensure that digital literacy is aligned with standards.
  • Ensure that technology is seen not as another initiative, but as integral to curriculum.
  • support risk- taking teachers
  • creating cohorts of teachers across disciplines and grades who are working on innovative concepts
  • Mathtrain.TV.
  • how much responsibility of learning can we shift to our students
  • How can we build capacity for all of our teachers to share best practices with colleagues in their school and around the world?
  • How can we engage parents in new ways?
  • How can we give students authentic work from around the world to prepare each of them to expand their personal boundaries of what they can accomplish?
  • publishing their work to a global audience.
Jeff Andersen

Distance Learning: How Accessible are Online Educational Tools | American Foundation fo... - 5 views

www.afb.org/...distance-learning-how

accessibility online tools

shared by Jeff Andersen on 29 Mar 20 - No Cached
  • Jeff Andersen on 29 Mar 20
     
    More and more schools, colleges and universities are using online educational tools that students are required to use to obtain course syllabi, access lectures and associated material, participate in class discussions, read course material, and receive grades and feedback from instructors. These popular tools, such as Blackboard, can frequently pose significant barriers to students with vision loss because they do not work well, if at all, with computer programs commonly used by students who are blind or visually impaired to access content displayed on the computer screen. For example, screen reading software reads the contents of the screen aloud. Screen magnification software enlarges text and graphics displayed on the computer screen in a customized way.
Lisa C. Hurst

Inside the School Silicon Valley Thinks Will Save Education | WIRED - 10 views

www.wired.com/altschool

shared by Lisa C. Hurst on 05 May 15 - No Cached
  • Lisa C. Hurst on 05 May 15
     
    "AUTHOR: ISSIE LAPOWSKY. ISSIE LAPOWSKY DATE OF PUBLICATION: 05.04.15. 05.04.15 TIME OF PUBLICATION: 7:00 AM. 7:00 AM INSIDE THE SCHOOL SILICON VALLEY THINKS WILL SAVE EDUCATION Click to Open Overlay Gallery Students in the youngest class at the Fort Mason AltSchool help their teacher, Jennifer Aguilar, compile a list of what they know and what they want to know about butterflies. CHRISTIE HEMM KLOK/WIRED SO YOU'RE A parent, thinking about sending your 7-year-old to this rogue startup of a school you heard about from your friend's neighbor's sister. It's prospective parent information day, and you make the trek to San Francisco's South of Market neighborhood. You walk up to the second floor of the school, file into a glass-walled conference room overlooking a classroom, and take a seat alongside dozens of other parents who, like you, feel that public schools-with their endless bubble-filled tests, 38-kid classrooms, and antiquated approach to learning-just aren't cutting it. At the same time, you're thinking: this school is kind of weird. On one side of the glass is a cheery little scene, with two teachers leading two different middle school lessons on opposite ends of the room. But on the other side is something altogether unusual: an airy and open office with vaulted ceilings, sunlight streaming onto low-slung couches, and rows of hoodie-wearing employees typing away on their computers while munching on free snacks from the kitchen. And while you can't quite be sure, you think that might be a robot on wheels roaming about. Then there's the guy who's standing at the front of the conference room, the school's founder. Dressed in the San Francisco standard issue t-shirt and jeans, he's unlike any school administrator you've ever met. But the more he talks about how this school uses technology to enhance and individualize education, the more you start to like what he has to say. And so, if you are truly fed up with the school stat
Jennie Snyder

Why schools must move beyond 'one-to-one computing' | eSchool News - 114 views

www.eschoolnews.com/...2

computing 1:1

shared by Jennie Snyder on 13 Feb 13 - No Cached
Sean McHugh liked it
  • Adding a digital device to the classroom without a fundamental change in the culture of teaching and learning will not lead to significant improvement.
  • “one-to-world.”
  • The planning considerations now evolve from questions about technical capacity to a vision of limitless opportunities for learning.
  • ...5 more annotations...
  • As soon as you shift from “one-to-one” to “one-to-world,” it changes the focus of staff development from technical training to understanding how to design assignments that are more empowering—and engage students in a learning community with 24-hour support.
  • learning how to manage the transition from a learning ecology where paper is the dominant technology for storing and retrieving information, to a world that is all digital, all the time.
  • Leaders must be given the training to: Craft a clear vision of connecting all students to the world’s learning resources. Model the actions and behaviors they wish to see in their schools. Support the design of an ongoing and embedded staff development program that focuses on pedagogy as much as technology. Move in to the role of systems analyst to ensure that digital literacy is aligned with standards. Ensure that technology is seen not as another initiative, but as integral to curriculum.
  • In a one-to-world approach, the critical question is not, “What technology should we buy?” The more important questions revolve around the design of the culture of teaching and learning.
  • t’s essential to craft a vision that giving every student a digital device must lead to achievements beyond what we can accomplish with paper.
  • Jennie Snyder on 13 Feb 13
     
    Thoughtful article by ed-tech consultant, Alan November. 
Jennie Snyder

Why schools must move beyond 'one-to-one computing' | eSchool News - 42 views

www.eschoolnews.com/...ve-beyond-one-to-one-computing

computing schools

shared by Jennie Snyder on 13 Feb 13 - No Cached
  • “Horrible, horrible, horrible implementation from every program I visited,” he said. “All of them were about the stuff, with a total lack of vision.” His research convinced him not to move forward with one-to-one computing.
  • “Yes. Unfortunately, too often I concur.”
  • Unless we break out of this limited vision that one-to-one computing is about the device, we are doomed to waste our resources.
  • ...1 more annotation...
  • they are nothing more than “shiny new spaceships.”
Greta Oppe

A Vision for 21st Century Learning - 112 views

www.youtube.com/watch

education technology students web2.0 youtube learning culture collaboration

shared by Greta Oppe on 27 Mar 11 - Cached
  • Greta Oppe on 27 Mar 11
     
    TED@Palm Springs presentation on game-based learning; creation of "immersive learning environments." Meyers, A. (2009). A Vision for 21st Century Learning [Video]. Retrieved from http://www.youtube.com/watch?v=Mirxkzkxuf4
  • Ms. Nimz on 31 Mar 11
     
    I disliked this video. Is my classroom extraordinary? The rest of the classrooms in the U.S. have unmoving, silent children stuck in desks all day? The students don't talk to each other? They don't collaborate to solve problems? They don't read? They don't write in order to analyze and express opinions? They don't use math manipulatives, do science experiments, build, draw, and do projects? They don't laugh together, digress, and then get back on track? Because that's what we do. It doesn't strike me as a response to the Industrial Revolution as much as a response to students' curiosity and to their future needs. "If we get it right, kids won't even know they're learning something." So, we're doing it wrong if the kids are actually aware that they're learning? Better they should be metaphorically anesthetized by the computer experience? We don't want them inoculated against feeling the discomfort of struggle. Every respected neuroscientist on the planet says struggle is necessary to wire neurons together, which is the physical manifestation of learning. The simulation of the village looks very cool. I love computers. But if all their learning about ancient Rome is based on this simulation, where are the primary sources? Will students encounter any? Or is their experience of the village based on someone else's interpretation of primary sources? If so, then someone else gets to decide what is important to include in the Roman village. They get to choose and interpret the facts that are used to create the virtual ancient Roman experience. That goes against best practice teaching of the social sciences.
Kris Cody

The Reading Brain in the Digital Age: The Science of Paper versus Screens: Scientific A... - 103 views

www.scientificamerican.com/article.cfm

education reading research ebooks epub books

shared by Kris Cody on 10 May 13 - No Cached
  • prevented them from zooming out to see a neighborhood, state or country
    • Monica Williams-Mitchell
      Monica Williams-Mitchell on 10 May 13
       
      This explains, in real terms, why I've had so much struggle with online reading! Very interesting article.
  • Because of these preferences—and because getting away from multipurpose screens improves concentration—people consistently say that when they really want to dive into a text, they read it on paper
    • Kris Cody
      Kris Cody on 11 May 13
       
      This is backed up by a recent article: Faris, Michael J., and Stuart A. Selber. "E-Book Issues In Composition: A Partial Assessment And Perspective For Teachers." Composition Forum 24.(2011): ERIC. Web. 31 Mar. 2013.
  • Surveys and consumer reports also suggest that the sensory experiences typically associated with reading—especially tactile experiences—matter to people more than one might assume.
  • ...14 more annotations...
  • When reading a paper book, one can feel the paper and ink and smooth or fold a page with one's fingers; the pages make a distinctive sound when turned; and underlining or highlighting a sentence with ink permanently alters the paper's chemistry.
  • discernible size, shape and weight.
  • Although many old and recent studies conclude that people understand what they read on paper more thoroughly than what they read on screens, the differences are often small. Some experiments, however, suggest that researchers should look not just at immediate reading comprehension, but also at long-term memory.
  • When taking the quiz, volunteers who had read study material on a monitor relied much more on remembering than on knowing, whereas students who read on paper depended equally on remembering and knowing.
  • E-ink is easy on the eyes because it reflects ambient light just like a paper book, but computer screens, smartphones and tablets like the iPad shine light directly into people's faces.
  • the American Optometric Association officially recognizes computer vision syndrome.
  • People who took the test on a computer scored lower and reported higher levels of stress and tiredness than people who completed it on paper.
  • Although people in both groups performed equally well on the READ test, those who had to scroll through the continuous text did not do as well on the attention and working-memory tests.
  • Subconsciously, many people may think of reading on a computer or tablet as a less serious affair than reading on paper. Based on a detailed 2005 survey of 113 people in northern California, Ziming Liu of San Jose State University concluded that people reading on screens take a lot of shortcuts—they spend more time browsing, scanning and hunting for keywords compared with people reading on paper, and are more likely to read a document once, and only once.
  • When reading on screens, people seem less inclined to engage in what psychologists call metacognitive learning regulation—strategies such as setting specific goals, rereading difficult sections and checking how much one has understood along the way
  • Perhaps she and her peers will grow up without the subtle bias against screens that seems to lurk in the minds of older generations.
  • They think of using an e-book, not owning an e-book,"
  • Participants in her studies say that when they really like an electronic book, they go out and get the paper version.
  • When it comes to intensively reading long pieces of plain text, paper and ink may still have the advantage. But text is not the only way to read.
  • Monica Williams-Mitchell on 10 May 13
     
    it is difficult to see any one passage in the context of the entire text.
  • Kris Cody on 11 May 13
     
    it is difficult to see any one passage in the context of the entire text.
Roland Gesthuizen

Robert Scoble slams Microsoft's lack of vision - 1 views

www.theage.com.au/...ert-scoble-20130807-2rgch.html

Microsoft vision innovation trend future creativity

shared by Roland Gesthuizen on 12 Aug 13 - No Cached
  • He said the company suffered from an ingrained "consensus culture" built to "serve" the desktop PC. Because of it, Microsoft had not been able to catch up to a world in which smartphones, tablets and wearable devices were now the main ways of using computers.
  • Roland Gesthuizen on 12 Aug 13
     
    "Tech giant Microsoft has a leadership and cultural problem that is preventing it from being as innovative as Apple and Google, according to former Microsoft evangelist Robert Scoble.  "
Michele Brown

Behold | - 4 views

behold.cc

creativecommons flickr search photos

shared by Michele Brown on 04 Dec 08 - Cached
Shannon Smith liked it
  • Shannon Smith on 04 Dec 08
     
    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.
  • Michele Brown on 15 Aug 13
     
    Search High Quality Flickr Images.
Sean Nash

Avoiding "Unmitigated Disasters" - nashworld - 41 views

nashworld.edublogs.org/...avoiding-unmitigated-disasters

1:1 edtech education failure mission one-to-one PD planning professional development schools strategy technology vision

shared by Sean Nash on 01 Dec 13 - No Cached
  • Sean Nash on 01 Dec 13
     
    "After stumbling upon the article, "Switch to e-books was 'an unmitigated disaster,' says school principal," in my feed this past week, it occurred to me that there are increasingly predictable patterns surrounding stories of failed "innovation" in digital learning initiatives. Schools have been assigning computers to each child for some time now. And still, we continue to see stories like this in the media. In short: we can do better than this."
Rafael Morales_Gamboa

Embracing Differentiation and Reclaiming Audacity: An Interview with James Hilton | EDU... - 17 views

er.educause.edu/...an-interview-with-james-hilton

education xxi century personalization innovation disruption

shared by Rafael Morales_Gamboa on 21 Oct 15 - No Cached
  • We're going to see growing pressure on higher education to offer increasingly differentiated paths to education
  • the demographic bubble supporting growth—and a disproportionate investment—in higher education has moved on to health care and to end-of-life issues. That bubble is not likely to come back to higher education
  • the tensions around cost are not going to go away in the next five years
  • ...3 more annotations...
  • The demand for more evidence-based demonstration that the methods of teaching and learning are working will continue to intensify
  • What is that vision now, in the 21st century? For me, it's the notion that education can be tailored and customized for every single individual
  • The danger is that we will concentrate exclusively on finding ways to refine the current system and we will lose the opportunity to reimagine higher education for this century, this economy, and this technology. We will miss the opportunity to redefine education for a world in which access to information, networks, and computation is ubiquitous
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."
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