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Marianne Hart

The Creativity Crisis - Newsweek - 48 views

www.newsweek.com/...the-creativity-crisis.html

shared by Marianne Hart on 13 Jul 10 - Cached
  • there is one crucial difference between IQ and CQ scores. With intelligence, there is a phenomenon called the Flynn effect—each generation, scores go up about 10 points. Enriched environments are making kids smarter. With creativity, a reverse trend has just been identified and is being reported for the first time here: American creativity scores are falling.
  • “Creativity can be taught,”
  • it’s left to the luck of the draw who becomes creative: there’s no concerted effort to nurture the creativity of all children
    • Brian C. Smith
      Brian C. Smith on 26 Jul 10
       
      Students are labeled as "creative" if they display a knack for art or music, and sometimes in writing, however, they are rarely recognized as creative in math or science where a lot of creativity is not only needed, but excellent for learning within those very two disciplines.
    • Bill Genereux
      Bill Genereux on 23 Aug 10
       
      This is precisely why creativity education is important. It is needed everywhere, not just in the arts. Those teaching outside of arts education need to start recognizing the importance of creative thinking as well.
  • ...23 more annotations...
  • When faculty of a major Chinese university asked Plucker to identify trends in American education, he described our focus on standardized curriculum, rote memorization, and nationalized testing. “After my answer was translated, they just started laughing out loud,” Plucker says. “They said, ‘You’re racing toward our old model. But we’re racing toward your model, as fast as we can.’ ”
  • The argument that we can’t teach creativity because kids already have too much to learn is a false trade-off. Creativity isn’t about freedom from concrete facts. Rather, fact-finding and deep research are vital stages in the creative process.
  • When you try to solve a problem, you begin by concentrating on obvious facts and familiar solutions, to see if the answer lies there. This is a mostly left-brain stage of attack. If the answer doesn’t come, the right and left hemispheres of the brain activate together. Neural networks on the right side scan remote memories that could be vaguely relevant. A wide range of distant information that is normally tuned out becomes available to the left hemisphere, which searches for unseen patterns, alternative meanings, and high-level abstractions. Having glimpsed such a connection, the left brain must quickly lock in on it before it escapes. The attention system must radically reverse gears, going from defocused attention to extremely focused attention. In a flash, the brain pulls together these disparate shreds of thought and binds them into a new single idea that enters consciousness. This is the “aha!” moment of insight, often followed by a spark of pleasure as the brain recognizes the novelty of what it’s come up with. Now the brain must evaluate the idea it just generated. Is it worth pursuing? Creativity requires constant shifting, blender pulses of both divergent thinking and convergent thinking, to combine new information with old and forgotten ideas. Highly creative people are very good at marshaling their brains into bilateral mode, and the more creative they are, the more they dual-activate.
  • those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better
    • Ed Webb
      Ed Webb on 23 Jul 10
       
      Surely, "more quickly"?
  • Creativity has always been prized in American society, but it’s never really been understood. While our creativity scores decline unchecked, the current national strategy for creativity consists of little more than praying for a Greek muse to drop by our houses. The problems we face now, and in the future, simply demand that we do more than just hope for inspiration to strike. Fortunately, the science can help: we know the steps to lead that elusive muse right to our doors.
    • Brian C. Smith
      Brian C. Smith on 26 Jul 10
       
      Likely because it was out of necessity and the hardships of life. Not that we don't have hardships and necessities, but innovation has solved a lot of problems and automation has made skills and tasks easy.
  • What’s common about successful programs is they alternate maximum divergent thinking with bouts of intense convergent thinking, through several stages. Real improvement doesn’t happen in a weekend workshop. But when applied to the everyday process of work or school, brain function improves.
    • Brian C. Smith
      Brian C. Smith on 26 Jul 10
       
      Everyday process of work or school... over time, consistent and non-prescriptive.
  • kids demonstrated the very definition of creativity: alternating between divergent and convergent thinking, they arrived at original and useful ideas. And they’d unwittingly mastered Ohio’s required fifth-grade curriculum—from understanding sound waves to per-unit cost calculations to the art of persuasive writing. “You never see our kids saying, ‘I’ll never use this so I don’t need to learn it,’ ” says school administrator Maryann Wolowiec. “Instead, kids ask, ‘Do we have to leave school now?’ ” Two weeks ago, when the school received its results on the state’s achievement test, principal Traci Buckner was moved to tears. The raw scores indicate that, in its first year, the school has already become one of the top three schools in Akron, despite having open enrollment by lottery and 42 percent of its students living in poverty.
  • project-based learning
  • highly creative adults frequently grew up with hardship. Hardship by itself doesn’t lead to creativity, but it does force kids to become more flexible—and flexibility helps with creativity.
  • When creative children have a supportive teacher—someone tolerant of unconventional answers, occasional disruptions, or detours of curiosity—they tend to excel. When they don’t, they tend to underperform and drop out of high school or don’t finish college at high rates. They’re quitting because they’re discouraged and bored, not because they’re dark, depressed, anxious, or neurotic. It’s a myth that creative people have these traits. (Those traits actually shut down creativity; they make people less open to experience and less interested in novelty.) Rather, creative people, for the most part, exhibit active moods and positive affect. They’re not particularly happy—contentment is a kind of complacency creative people rarely have. But they’re engaged, motivated, and open to the world.
  • solutions emerge from a healthy marketplace of ideas, sustained by a populace constantly contributing original ideas and receptive to the ideas of others
  • The age-old belief that the arts have a special claim to creativity is unfounded.
  • When scholars gave creativity tasks to both engineering majors and music majors, their scores laid down on an identical spectrum, with the same high averages and standard deviations. Inside their brains, the same thing was happening—ideas were being generated and evaluated on the fly.
  • The lore of pop psychology is that creativity occurs on the right side of the brain. But we now know that if you tried to be creative using only the right side of your brain, it’d be like living with ideas perpetually at the tip of your tongue, just beyond reach
  • those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better. A lifetime of consistent habits gradually changes the neurological pattern.
  • The home-game version of this means no longer encouraging kids to spring straight ahead to the right answer
  • The new view is that creativity is part of normal brain function.
  • “As a child, I never had an identity as a ‘creative person,’ ” Schwarzrock recalls. “But now that I know, it helps explain a lot of what I felt and went through.”
  • In China there has been widespread education reform to extinguish the drill-and-kill teaching style. Instead, Chinese schools are also adopting a problem-based learning approach.
  • fact-finding
  • problem-finding
  • Next, idea-finding
  • there is one crucial difference between IQ and CQ scores. With intelligence, there is a phenomenon called the Flynn effect—each generation, scores go up about 10 points. Enriched environments are making kids smarter. With creativity, a reverse trend has just been identified and is being reported for the first time here: American creativity scores are falling.
  • Christian Howd on 13 Jul 10
     
    For the first time, research shows that American creativity is declining. What went wrong-and how we can fix it.
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."
Misha Miller

Using Groups Effectively: 10 Principles » Edurati Review - 50 views

eduratireview.com/...oups-effectively-10-principles

collaboration groups pedagogy

shared by Misha Miller on 20 May 13 - No Cached
  • Misha Miller on 20 May 13
     
    "Conversation is key . Sawyer succinctly explains this principle: "Conversation leads to flow, and flow leads to creativity." When having students work in groups, consider what will spark rich conversation. The original researcher on flow, Mihaly Csikszentmihalyi, found that rich conversation precedes and ignites flow more than any other activity.1 Tasks that require (or force) interaction lead to richer collaborative conceptualization. Set a clear but open-ended goal . Groups produce the richest ideas when they have a goal that will focus their interaction but also has fluid enough boundaries to allow for creativity. This is a challenge we often overlook. As teachers, we often have an idea of what a group's final product should look like (or sound like, or…). If we put students into groups to produce a predetermined outcome, we prevent creative thinking from finding an entry point. Try not announcing time limits. As teachers we often use a time limit as a "motivator" that we hope will keep group work focused. In reality, this may be a major detractor from quality group work. Deadlines, according to Sawyer, tend to impede flow and produce lower quality results. Groups produce their best work in low-pressure situations. Without a need to "keep one eye on the clock," the group's focus can be fully given to the task. Do not appoint a group "leader." In research studies, supervisors, or group leaders, tend to subvert flow unless they participate as an equal, listening and allowing the group's thoughts and decisions to guide the interaction. Keep it small. Groups with the minimum number of members that are needed to accomplish a task are more efficient and effective. Consider weaving together individual and group work. For additive tasks-tasks in whicha group is expectedtoproduce a list, adding one idea to another-research suggests that better results develop
Sharin Tebo

Creative Educator - Build Thinking Skills with Informational Text Projects - 38 views

creativeeducator.tech4learning.com/...th_Informational_Text_Projects

MakingThinkingVisible MTV Engagement creativity commoncore thinking skills projects texts literature

shared by Sharin Tebo on 20 Nov 14 - No Cached
  • This informational text piece lends itself to having students create an associative letter project versus a traditional report. In an associative letter project, students are assigned a letter that they must use to find words representing the text they’ve just read. For example, “R is for the Montgomery Bus Boycott” might lead a student to choose words like race, rights, or Rosa as the focus of a variety of paragraphs that describe the Montgomery Bus Boycott.
    • Sharin Tebo
      Sharin Tebo on 20 Nov 14
       
      I like this associative activity!
  • By providing students with meaningful, thought-provoking experiences, you can turn informational text study into an exercise in creative and critical thinking!
  • Informational text isn’t going to bring about the death of creativity; rather, creativity depends upon what we ask students to do with the text once they’ve read it. If we ask students to read a non-fiction passage then fill out a worksheet about the passage, we are missing a chance to provide our students with an opportunity to create imaginative, artistic end products demonstrating critical thinking skills hard at work.
  • ...1 more annotation...
  • Grades 6-8 Exemplar Informational Text: Freedom Walkers, the Story of the Montgomery Bus Boycott, by Russell Freedman Creative Thinking Approach: Associative Letter Project In Freedom Walkers,
serausch

Interactive Learning and Reading Activities for Students in Grades PreK-12 | Scholastic... - 26 views

www.scholastic.com/...student-activities

Interactive Reading

shared by serausch on 06 Sep 16 - No Cached
  • Story StartersGrades: PreK–K, 1–2, 3–5, 6–8This interactive tool creates quick writing prompts to help young students delve into creative writing.
  • Immigration: Stories of Yesterday and TodayGrades: PreK–K, 1–2, 3–5, 6–8Take a tour of Ellis Island, explore an interactive immigration timeline, and meet young immigrants in this online activity!
  • Science ExplorationsGrades: 3–5, 6–8, 9–12With the help of audio, text, photos, and video, students thoroughly explore six science topics, from the Galapagos Islands to giant squid.Read more >
  • qmbneddo on 06 Sep 16
     
    The Science Explorations link doesn't work.
D. S. Koelling

The Creativity Killer: Group Discussions - David Sherwin - Life - The Atlantic - 76 views

www.theatlantic.com/...237531

education creativity

shared by D. S. Koelling on 19 Apr 11 - No Cached
  • Yes, group activity can provide the impetus for better framing of problems, which can lead to original solutions. But creativity is the "end result of many forms of intelligence coming together, and intelligence born out of collaboration and out of networks," to quote one of my co-workers, Robert Fabricant. When we collaborate with different kinds of thinkers, sometimes from different cultures and backgrounds, we individually struggle with ingrained behaviors that reduce our likelihood of manifesting creativity.
  • Instead of holding an hour-long meeting with a facilitator at the whiteboard, pen poised to capture ideas called out, what would happen if every person in the room were provided five minutes to generate ideas individually?
  • When we lose track of time in group discussion, we are often crafting an enjoyable group experience at the cost of surfacing everyone's unique perspectives and voices. We risk filling the time with consensus, rather than exploring divergent, multi-disciplinary viewpoints. It is in the friction between these views that we explore new patterns of thought.
  • ...2 more annotations...
  • this kind of teamwork requires knowing when not to work in teams. This sounds obvious, but we constantly struggle with the belief that we must be inclusive to succeed. When to diverge and when to converge: that is the question.
  • A useful tool to combat open-ended group dialogue is "timeboxing," the use of short, structured sprints to reach stated goals for individuals or teams.
  • D. S. Koelling on 19 Apr 11
     
    A case for rethinking how we generate ideas.
Sergei Polovin

Control Alt Achieve: 7 Super Screencasting Activities for School - 24 views

www.controlaltachieve.com/...screencasting-activities.html

screencasting

shared by Sergei Polovin on 14 Mar 19 - No Cached
  • Sergei Polovin on 14 Mar 19
     
    In this blog post we are going to take a look at seven creative activities that can be done with screencasting. Although these activities can likely be done with many of the common screencasting tools available, for the demonstrations I have included here I will be using the free Screencastify Chrome web extension.
Mr. Stanley

Teaching Document Design, Not Formatting Requirements - ProfHacker - The Chronicle of H... - 69 views

chronicle.com/...29041

design teaching formatting document education publishing

shared by Mr. Stanley on 03 Dec 10 - No Cached
    • LuAnne Holder
      LuAnne Holder on 03 Dec 10
       
      This would be a great activity for introductions.
  • One of my colleagues asks her students to sketch their names using a typeface that conveys something about themselves
  • One thing I do is bring in the style manuals from different local companies and show students how each company expects different things
  • ...11 more annotations...
  • Students in all disciplines are more than capable of producing and analyzing visual work in amazingly rich and complex ways.
  • many faculty members continue to specify detailed formatting requirements for student writing.
  • Your paper must be double-spaced, 12 point Times New Roman, with one-inch margins.
  • Such draconian formatting requirements stifle students’ creativity and cut off any critical thinking about what should be a crucial part of any writing-intensive classroom, namely visual design.
  • Teaching Document Design, Not Formatting Requirements
  • well-meaning and thoughtful teachers establish hard and fast formatting rules that may make their lives easier, but do a disservice to their students.
  • By making these requirements, we are telling them not to think critically—or even at all—about the visual layout of their documents.
  • We are telling them we value conformity over creativity, practicality over originality, our needs over theirs.
  • It all starts with students recognizing that design is a part of what they do when they write.
  • the rules we give our students should be negotiable, and in order for them to be negotiable, we need to talk to our students about those rules, why they exist, what the consequences of breaking or following them are, and so on.
  • Your paper should be readable and take into consideration the needs of your audience.  Most importantly, though, you should have fun and be creative with your design.
  • Mr. Stanley on 05 Dec 10
     
    Teachers need to allow their students more room to creatively use visual design, and at the same time, teach students to be aware. Forcing students to follow exact formatting requirements is counterproductive.
Michele Brown

P2PU | Get CC Savvy - 39 views

p2pu.org/...d-creative-commons-are-friends

copyright creative commons

shared by Michele Brown on 23 May 13 - No Cached
  • Michele Brown on 23 May 13
     
    Copyright and Creative Commons are friends.  Understand the connection between CC and copyright law.  Work through the tasks and challenges with short videos and activities.
Gloria Maristany

Motivating the Child with Attention Deficit Disorder - 3 views

www.ldonline.org/19975

Disorder motivating attention deficit

shared by Gloria Maristany on 15 Jul 11 - No Cached
  • live very much in the present. Therefore, long-term goals and rewards (e.g., grades and report cards) are often ineffective motivators.
    • Gloria Maristany
      Gloria Maristany on 15 Jul 11
       
      Reason for immediate rewards/consequences.
  • basically two time frames — now and not now.
  • This Now/Not Now worldview causes great frustration for the child, his teachers, and his parents, and must be seriously considered when designing activities and approaches for motivating the child with ADD.
  • ...7 more annotations...
  • respond more positively to a curriculum that allows him choices and options. He will also be more likely to participate actively in tasks when there is a degree of creativity and novelty
  • the presentation should be creative, colorful, multimodal, and enjoyable.
  • pervasive and complex disorder that impacts nearly all of the child's activities and interactions.
  • The child's impulsivity ("Ready, fire, aim!") can present serious safety concerns; his distractibility makes it extraordinarily difficult for him to understand and follow instructions; his memory difficulties make even rote learning troublesome; his executive processing problems (ability to plan and prioritize) present great challenges when he attempts to plan simple daily activities; his organizational deficiencies cause him tremendous problems with homework, household tasks, and long-term projects.
  • two most important words when dealing with these special children: "support" and "challenge."
  • The adult should continually challenge the child by presenting him with activities designed to improve his behavior and his learning, while simultaneously providing him with the support that he requires to meet these goals. Support without challenge is meaningless. Challenge without support is equally ineffective.
  • Among the specific teaching strategies that may foster the child's motivation are:
  • Gloria Maristany on 15 Jul 11
     
    Good description of the limitations they have and how it affects them in school.
Peter Beens

12 Expert Twitter Tips for the Classroom: Social Networking Classroom Activities That E... - 5 views

suite101.com/...tips-for-the-classroom-a139534

twitter socialmedia activities

shared by Peter Beens on 05 Jun 12 - No Cached
  • Peter Beens on 05 Jun 12
     
    A dozen activities are presented for using an online education technology tool to engage students in classroom activities to develop a better understanding of concepts.
C CC

Resource: Swivel Heads Illusion Activity | UKEdChat.com - Supporting the #UKEdChat Educ... - 1 views

ukedchat.com/...swivel-heads-illusion-activity

art illusion writing swivel resource

shared by C CC on 15 Mar 14 - No Cached
  • C CC on 15 Mar 14
     
    A great creativity activity using great 3d characters
Deborah Baillesderr

Needle Arts Mentoring Program - The National NeedleArts Association - 16 views

www.tnna.org/NAMPHome

Needle Arts Mentoring Program knitting crochet cross_stitch needlepoint

shared by Deborah Baillesderr on 10 Jul 14 - No Cached
  • Deborah Baillesderr on 10 Jul 14
     
    I'm starting a lunchtime knitting/crochet club for my students this year and came along this wonderful program to help with the cost. This program donates supplies for mentors who would like to start a program to teach needle arts. Here are some of the benefits from learning a needle art: For Youths: Develops focus and concentration Encourages following a process Builds self-esteem Improves math and reading skills Enhances critical thinking and problem solving Offers a vehicle for stress release and anger management Encourages creativity through portable alternative activity Provides healthy interpersonal relationships with adults Ensures tangible accomplishments with immediate results Learns a practical, useful and fun activity Enhances hand/eye coordination, small motor skills, tactile energy, communication skills, self discipline and attention to detail
Martin Burrett

Practical Problem-Solving - 19 views

ukedchat.com/...practical-problem-solving

problem solving

shared by Martin Burrett on 13 Sep 18 - No Cached
  • Martin Burrett on 13 Sep 18
     
    "Business and the media are constantly screaming that problem solving skills and creative thinking are the keys to innovation and success (and the beat the robots trying to take your job), yet many teachers feel that the skills and opportunities to develop them are often an add-on, an after thought, or taught in isolation during special activities, like a STEM week. Even these activities have a particular expected method which the pupils must 'discover', rather than completely new and unique solutions. How can we develop the skills to help our pupils think of the unexpected?"
Quynh Vu Do

What YouTube and Hollywood Divas Can Teach You About Active Learning | EdSurge News - 10 views

www.edsurge.com/...each-you-about-active-learning

educational technology youtube videos E-Learning soft-skills

shared by Quynh Vu Do on 03 Nov 18 - No Cached
  • Quynh Vu Do on 03 Nov 18
     
    "Some of the most dynamic thinkers and doers in education today are pioneers in active learning. Their pedagogy promotes the four Cs that the National Education Association (NEA) deems necessary "for success in college, career, and citizenship in the 21st century": critical thinking, creativity, communication, and collaboration."
Marc Patton

PIZZAZ, Creative Writing & Storytelling, Opp-Beckman - 3 views

pages.uoregon.edu/...pizzaz.html

ESL Teacher_Resources Language_Arts Teaching_Ideas

shared by Marc Patton on 27 Jun 12 - No Cached
  • Marc Patton on 27 Jun 12
     
    Simple creative writing and oral storytelling activities with printable handouts for: Poetry | Fiction | Bag of Tricks.
anonymous

5 Critical Mistakes Schools Make With iPads (And How To Correct Them) - From Tom on Edu... - 166 views

edtechteacher.org/...rect-them-from-tom-on-edudemic

iPad teaching education list edutech PD teachertraining EdTechTeacher

shared by anonymous on 03 Dec 12 - No Cached
  • technology needs to be — above everything else — in the service of learning. Administrators who fail to articulate the connection between iPads and learning often hamper their iPad initiative.
    • anonymous
      anonymous on 05 Dec 12
       
      Why Ipads
  • put the iPads in the hands of teachers who understand that active learners learn best
  • Focusing on iPad-versus.-laptop comparisons stifles the ability to see how the iPad facilitates student-centered learning
  • ...3 more annotations...
  • Simply handing a teacher an iPad in advance won’t serve to address these challenges when the school year starts
  • Teachers need instruction on how to incorporate the devices into the learning process, which is quite different than trying out a few apps
  • School administrators should be explaining to their constituents that the iPad supports essential skill areas — complex communication, new media literacy, creativity, and self-directed learning. Instead of focusing on the convenience of ebooks, they should instead be emphasizing the incredibly immersive and active learning environment the iPad engenders and the unprecedented opportunities to develop personalized, student-centered learning. They should highlight some of the beneficial consumption, curation, and creativity activities the iPad facilitates — as well as the student empowerment it inspires.
  • Roland Gesthuizen on 03 Dec 12
     
    "While we've witnessed many effective approaches to incorporating iPads successfully in the classroom, we're struck by the common mistakes many schools are making with iPads, mistakes that are in some cases crippling the success of these initiatives. We're sharing these common challenges with you, so your school doesn't have to make them. "
  • anonymous on 05 Dec 12
     
    "While we've witnessed many effective approaches to incorporating iPads successfully in the classroom, we're struck by the common mistakes many schools are making with iPads, mistakes that are in some cases crippling the success of these initiatives. We're sharing these common challenges with you, so your school doesn't have to make them. "
Ian Woods

AJET 26(3) Drexler (2010) - The networked student model for construction of personal le... - 77 views

www.ascilite.org.au/...drexler.html

shared by Ian Woods on 26 Sep 10 - Cached
  • Web application(networked studentcomponent) Tool usedin test case Student activitylevel of structure Social bookmarking (RSS) Delicioushttp://delicious.com/ Set up the account Subscribe to each others accounts Bookmark and read 10 reliable websites that reflect the content of chosen topic Add and read at least 3 additional sites each week. News and blog alert (RSS) Google Alerthttp://www.google.com/alerts Create a Google Alert of keywords associated with selected topic Read news and blogs on that topic that are delivered via email daily Subscribe to appropriate blogs in reader News and blog reader (RSS) Google Readerhttp://reader.google.com Search for blogs devoted to chosen topic Subscribe to blogs to keep track of updates Personal blog (RSS) Bloggerhttp://www.blogger.com Create a personal blog Post a personal reflection each day of the content found and experiences related to the use of personal learning environment Students subscribe to each others blogs in reader Internet search (information management, contacts, and synchronous communication) Google Scholarhttp://scholar.google.com/ Conduct searches in Google Scholar and library databases for scholarly works. Bookmark appropriate sites Consider making contact with expert for video conference Podcasts (RSS) iTunesUhttp://www.apple.com/itunes/whatson/itunesu.html Search iTunesU for podcasts related to topic Subscribe to at least 2 podcasts if possible Video conferencing (contacts and synchronous communication) Skypehttp://www.skype.com Identify at least one subject matter expert to invite to Skype with the class. Content gathering/ digital notebook Evernotehttp://evernote.com/ Set up account Use Evernote to take notes on all content collected via other tools Content synthesis Wikispaceshttp://www.wikispaces.com Post final project on personal page of class wiki The process and tools are overwhelming to students if presented all at once. As with any instructional design, the teacher determines the pace at which the students best assimilate each new learning tool. For this particular project, a new tool was introduced each day over two weeks. Once the construction process was complete, there were a number of personal web page aggregators that could have been selected to bring everything together in one place. Options at the time included iGoogle, PageFlakes, NetVibes, and Symbaloo. These sites offer a means to compile or pull together content from a variety of web applications. A web widget or gadget is a bit of code that is executed within the personal web page to pull up external content from other sites. The students in this case designed the personal web page using the gadgets needed in the format that best met their learning goals. Figure 3 is an instructor example of a personal webpage that includes the reader, email, personal blog, note taking program, and social bookmarks on one page. The personal learning environment can take the place of a traditional textbook, though does not preclude the student from using a textbook or accessing one or more numerous open source texts that may be available for the research topic. The goal is to access content from many sources to effectively meet the learning objectives. The next challenge is to determine whether those objectives have been met. Figure 3: Personal web page compiles learning tools
  • Table 2: Personal learning environment toolset Web application (networked student component) Tool used in test case Student activity level of structure Social bookmarking (RSS) Delicious http://delicious.com/ Set up the account Subscribe to each others accounts Bookmark and read 10 reliable websites that reflect the content of chosen topic Add and read at least 3 additional sites each week. News and blog alert (RSS) Google Alert http://www.google.com/alerts Create a Google Alert of keywords associated with selected topic Read news and blogs on that topic that are delivered via email daily Subscribe to appropriate blogs in reader News and blog reader (RSS) Google Reader http://reader.google.com Search for blogs devoted to chosen topic Subscribe to blogs to keep track of updates Personal blog (RSS) Blogger http://www.blogger.com Create a personal blog Post a personal reflection each day of the content found and experiences related to the use of personal learning environment Students subscribe to each others blogs in reader Internet search (information management, contacts, and synchronous communication) Google Scholar http://scholar.google.com/ Conduct searches in Google Scholar and library databases for scholarly works. Bookmark appropriate sites Consider making contact with expert for video conference Podcasts (RSS) iTunesU http://www.apple.com/itunes/ whatson/itunesu.html Search iTunesU for podcasts related to topic Subscribe to at least 2 podcasts if possible Video conferencing (contacts and synchronous communication) Skype http://www.skype.com Identify at least one subject matter expert to invite to Skype with the class. Content gathering/ digital notebook Evernote http://evernote.com/ Set up account Use Evernote to take notes on all content collected via other tools Content synthesis Wikispaces http://www.wikispaces.com Post final project on personal page of class wiki The process and tools are overwhelming to students if presented all at once. As with any instructional design, the teacher determines the pace at which the students best assimilate each new learning tool. For this particular project, a new tool was introduced each day over two weeks. Once the construction process was complete, there were a number of personal web page aggregators that could have been selected to bring everything together in one place. Options at the time included iGoogle, PageFlakes, NetVibes, and Symbaloo. These sites offer a means to compile or pull together content from a variety of web applications. A web widget or gadget is a bit of code that is executed within the personal web page to pull up external content from other sites. The students in this case designed the personal web page using the gadgets needed in the format that best met their learning goals. Figure 3 is an instructor example of a personal webpage that includes the reader, email, personal blog, note taking program, and social bookmarks on one page.
  • The personal learning environment can take the place of a traditional textbook, though does not preclude the student from using a textbook or accessing one or more numerous open source texts that may be available for the research topic. The goal is to access content from many sources to effectively meet the learning objectives. The next challenge is to determine whether those objectives have been met.
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  • AssessmentThere were four components of the assessment process for this test case of the Networked Student Model: (1) Ongoing performance assessment in the form of weekly assignments to facilitate the construction and maintenance of the personal learning environment, (2) rubric-based assessment of the personal learning environment at the end of the project, (3) written essay, and (4) multimedia synthesis of topic content. Points were earned for meeting the following requirements: Identify ten reliable resources and post to social bookmarking account. At least three new resources should be added each week. Subscribe and respond to at least 3 new blogs each week. Follow these blogs and news alerts using the reader. Subscribe to and listen to at least two podcasts (if available). Respectfully contact and request a video conference from a subject matter expert recognised in the field. Maintain daily notes and highlight resources as needed in digital notebook. Post at least a one-paragraph reflection in personal blog each day. At the end of the project, the personal learning environment was assessed with a rubric that encompassed each of the items listed above. The student's ability to synthesise the research was further evaluated with a reflective essay. Writing shapes thinking (Langer & Applebee, 1987), and the essay requirement was one more avenue through which the students demonstrated higher order learning. The personal blog provided an opportunity for regular reflection during the course of the project. The essay was the culmination of the reflections along with a thoughtful synthesis of the learning experience. Students were instructed to articulate what was learned about the selected topic and why others should care or be concerned. The essay provided an overview of everything learned about the contemporary issue. It was well organised, detailed, and long enough to serve as a resource for others who wished to learn from the work. As part of a final exam, the students were required to access the final projects of their classmates and reflect on what they learned from this exposure. The purpose of this activity was to give the students an additional opportunity to share and learn from each other. Creativity is considered a key 21st century skill (Partnership for 21st Century Skills, 2009). A number of emerging web applications support the academic creative process. Students in this project used web tools to combine text, video, audio, and photographs to teach the research topics to others. The final multimedia project was posted or embedded on the student's personal wiki page. Analysis and assessment of student work was facilitated by the very technologies in use by the students. In order to follow their progress, the teacher simply subscribed to student social bookmarking accounts, readers, and blogs. Clicking through daily contributions was relatively quick and efficient.
  • Carole Redline on 27 Sep 10
     
    Scholarly and important but also practical. Scroll down for an incredible chart of ideas that challenges older students to take charge of their own learning.
rkl05754

Education Week: Doublethink: The Creativity-Testing Conflict - 46 views

www.edweek.org/...36zhao_ep.h31.html

yong zhao

shared by rkl05754 on 20 Jul 12 - No Cached
  • n his book Finnish Lessons: What Can the World Learn From Educational Change in Finland?
  • Pasi Sahlberg i
  • "The central aim of Finnish education is the development of each child as a thinking, active, creative person, not the attainment of higher test scores, and the primary strategy of Finnish education is cooperation, not competition."
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  • Standardized testing rewards the ability to find the "correct answer" and thus discourages creativity, which is about asking questions and challenging the status quo.
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