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Thieme Hennis

» Blog Archive Learning happens everywhere - 35 views

www.saffroninteractive.com/learning-happens-everywhere

TinCan api learning education assessment accreditation recognition

shared by Thieme Hennis on 29 Jan 13 - No Cached
  • Using TinCan, you’re able to store almost any experience of a learner, opening doors for analysing, researching and reporting accurately based on hard data. Its beauty is that TinCan is neither bound to a particular industry nor a particular domain; it can be used wherever we’d like to record the experiences of a learner like Sam, whether he’s on an internal social networking site, attending conferences or so on. Imagine the value of the information within the mine of data to be analysed!
  • Thieme Hennis on 29 Jan 13
     
    very simple explanation of the TinCan API "{ "actor": "Sam", "verb": "played", "object": "guitar" }"
anonymous

Week 2: The Quality of Massive Open Online Courses by Stephen Downes | MOOC Quality Pro... - 38 views

mooc.efquel.org/line-courses-by-stephen-downes

shared by anonymous on 15 May 13 - No Cached
    • anonymous
      anonymous on 15 May 13
       
      This is a big point
  • People perceive what they are looking for, and often only what they are looking for, and our well-intentioned attempts to guide their cognition could just as easily lead to participants missing the information most important to them.
  • Similarly, we did not attempt to define how participants should interact with each other, but instead focused on supporting an environment that would be responsive to whatever means they chose for themselves.
  • ...8 more annotations...
  • they would instead reflect the perspective or world view of some organizer telling them what their objectives should be, what they should learn, what counts as success.
  • Participants, for example, could experience the course as a series of lectures, and some did, but many skipped the experience. Others treated the course as project-based, creating artifacts and tangible products. Others viewed the course as conversation and community, focused on interaction with other participants.
  • We were, for example, criticized for offering lectures, because it did not follow good constructivist pedagogy; our response was that connectivism is not constructivism,
  • and that it was up to those who preferred to learn through constructivist methods to do so, but not appropriate that they would require that all other participants learn in the same way.
    • anonymous
      anonymous on 15 May 13
       
      How true this is!
  • Openness also applies to the content of the course, and here the idea is that we want to encourage participants not only to share content they received from the course with each other (and outside the course), but also to bring into the course content they obtained from elsewhere.
  • Learning requires perception, not only of the thing, but also of its opposite.
  • In a connectivist course, for example, lurkers are seen as playing as equally important and valuable role as active participants
Liz Dodds

Our Courts - Homepage - 6 views

www.ourcourts.org

civics government middle_school writing

shared by Liz Dodds on 02 Sep 09 - Cached
  • Kimberly LaPrairie on 02 Sep 09
     
    A free computer game for teenagers created with the help of former Supreme Court Justice Sandra Day O'Connor has made its online debut. "Supreme Decision," the first of several planned web-based games, went online in August as part of a project called Our Courts. In it, students can play a Supreme Court law clerk helping a justice with a tie-breaking vote over a First Amendment case. Backed by the Sandra Day O'Connor College of Law at Arizona State University and Georgetown University, the Our Courts project is designed to teach middle school students about the Constitution and the courts. O'Connor, the first woman to serve on the Supreme Court, has said more people can name an "American Idol" judge than the three branches of government. Besides teaching about civics, she hopes the Our Courts project will help students learn how to analyze problems and develop arguments. In "Supreme Decision," students play a law clerk and must help fictional Justice Irene Waters write the majority opinion on whether a school can ban students from wearing music band T-shirts. Another game, called "Do I Have a Right," will be released soon. In that game, students will play the director of a constitutional law firm who must decide which amendment resolves a problem posed by a client.
Sharin Tebo

Creative Educator - The Power of Play - 44 views

creativeeducator.tech4learning.com/...Power_of_Play

play creativity

shared by Sharin Tebo on 16 Jun 14 - No Cached
  • These characteristics are often found in classroom environments that lean toward student-centered and inquiry-based learning.
  • I have seen that as children spend more time in school they lose some or all of their natural comfort with learning through spontaneous, playful exploration.
Siri Anderson

Owl Together by Rose Abernathy - 11 views

rose11.itch.io/owl-together

online learning Biology GlobalWarming game-based-learning multiplayer

shared by Siri Anderson on 12 Jun 19 - No Cached
  • Siri Anderson on 12 Jun 19
     
    Multiplayer online game posing the spotted and barred owls against one another in territory acquisition as a means to teach about biospheres and global warming. Brilliant idea. I don't have anyone to play with so not sure how it works.
Clint Heitz

Flipping the Classroom: A revolutionary approach to learning presents some pros and con... - 73 views

www.slj.com/...ng-presents-some-pros-and-cons

flipping flipped classroom flipped_classroom

shared by Clint Heitz on 09 May 13 - No Cached
    • Clint Heitz
      Clint Heitz on 09 May 13
       
      Why not create multiple types of videos? YouTube allows "choose your own path" videos that can let you alter the video based on the responses during viewing.
    • Clint Heitz
      Clint Heitz on 09 May 13
       
      Great way to provide equitable access opportunities
  • Teachers need to figure out what they want to get out of a flipped classroom, says Marine City High’s Ming. “What’s the purpose of doing it? Is it because you’re looking for more time in your curriculum to do hands-on activities?” An AP government teacher told Ming the best part of teaching his class was holding class discussions. The flipped classroom helped him get through the material with time to spare for conversation.
  • ...9 more annotations...
    • Clint Heitz
      Clint Heitz on 09 May 13
       
      The purpose is always the key. Don't try to implement this "just because" or excessively. It is a great tool, but not always the right one.
  • Watching videos also means more sitting in front of devices. The American Academy of Pediatrics recommends kids limit “screen time” to two hours a day because too much exposure has been linked to obesity, irregular sleep, behavioral problems, violence, and less time for play.
    • Clint Heitz
      Clint Heitz on 09 May 13
       
      Why not flip it with podcasts that students can listen to while walking, driving, etc.
  • Students need to feel as though their teachers are guiding them to the best materials, not merely giving them a list of videos to watch, says Valenza
  • “Teachers should keep posing the ‘why,’” says Bob Schuetz, the technology director at Palatine High School in Illinois. “Why am I doing this? Why is it beneficial to students?”
  • “The teacher walks around and helps everyone. It’s not a get-out-of-jail-free card for teachers not to teach.” It’s also not a way for kids to get out of doing anything at home. “Flipping what the kid does means they do the work ahead of time, come to class, and debrief,” explains Michelle Luhtala (aka the
  • “The end goal is personalized education. The flipped classroom is just a means to that end.” Students can use the videos to learn at their own pace—any time or place, says Roberts. “These students can replay their teacher’s explanation of a new concept as many times as they need to without fear of holding up the rest of the class.”
  • a librarian at Bullis School in Potomac, MD, gives students videos, Web pages, and screenshots about the nuts and bolts of the library, which frees up more time to devote to their research projects.
  • ure, some kids will ignore the video. “The same kids who don’t currently do their homework will not watch the lecture,” says McCammon. “But as you start making your class more engaging, kids who don’t usually do their homework will start doing it because they want to participate in the class.” Kids write questions down while they’re watching the video, and then the first 10 minutes of class is for discussion of what they’ve seen.
Jess Hazlewood

"Where's the Writer" TETYC March 2014 - 43 views

DIIGO_FILE_HOME/1dj8a/b5ju

shared by Jess Hazlewood on 03 Sep 14 - No Cached
  • “Responders Are Taught, Not Born”
  • We contend that student writers will see greater value in peer response if they develop tools that allow them to participate more actively in the feedback process. With teaching suggestions like those above, writers can learn how to re-flect on their experiences with peer response. They can also learn to identify their needs as writers and how to ask questions that will solicit the feedback they need.
  • We like to limit each mock session to no more than seven minutes of back and forth between respondent and writer.
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  • class suggests that the writer’s question
  • This becomes a teachable moment. When the respondent asks for assistance from the class, this break in the session becomes an opportunity for the class to assist the writer and the respondent. The writer appears stuck, not knowing what to ask. And the respondent appears perplexed, too.
  • we follow Carl Anderson’s suggestion to teach students how to ask questions about their writing through role-playing.
  • dynamic list that students freely update throughout the semester on the class classro
  • organize the questions within categories such as tone, content, evidence-based support, style, and logistics
  • The end result is a robust list of questions for writers to ask of their respondents.
  • in-class discussion about effective and less effective questions for writers
  • raft three to five questions they have about the assignment to ask of their peers as they prepare to write or revise their assignment. When appropriate, we can direct our students to the course text, where there are
  • : pointing, summarizing, and reflecting
  • Students’ comments often point to their struggle to position themselves in peer response.
  • “What would it take for you to be in-vested as writers in peer response?” Students’ typical responses include the following:>“I need to know what to ask.” >“I don’t know what to ask about my writing, except for things like punctua-tion and grammar.”>“Does the person reading my work really know what the assignment is? Bet-ter than I do?”>“I’m not really sure if I’m supposed to talk or ask questions when someone is giving me feedback about my work, so I don’t really do anything. They write stuff on my paper. Sometimes I read it if I can, but I don’t really know what to do with it.”
  • it is important to offer activities to ensure that both respondents and writers are able to articulate a clear purpose of what they are trying to accomplish. These activities, guided by the pedagogies used to prepare writing center consultants
  • devote more attention to the respondent than to the writer, we may unwit-tingly be encouraging writers to be bystanders, rather than active participants, in the response process.
  • , “Feedback: What Works for You and How Do You Get It?”
  • highlight the value of both giving and getting feedback:In 56 pages near the end of this book, we’ve explained all the good methods we know for getting feedback from classmates on your writing. . . . The ability to give responses to your classmates’ writing and to get their responses to your own writing may be the most important thing you learn from this book. (B
  • we question whether textbooks provide emergent writers with enough tools or explicit models to engage actively in peer response conversations.
  • While such questions are helpful to emerging writers, who depend on modeling, they lack explanation about what makes them “helpful” questions. As a result, emerging writers may perceive them as a prescriptive set of questions that must be answered (or worse, a set of questions to be “given over” to a respondent), rather than what they are intended to be: questions that could advance the writer’s thoughts and agenda.
  • this information is limited to the instructor’s manual
  • llustrates the difference be-tween vague and helpful questions, pointing out that helpful questions
  • You will need to train students to ask good questions, which will help reviewers target their attention.Questions like “How can I make this draft better?” “What grade do you think this will get?” and “What did you think?” are not helpful, as they are vague and don’t reflect anything about the writer’s own thoughts. Questions like “Am I getting off topic in the introduction when I talk about walking my sister to the corner on her first day of school?” or “Does my tone on page 3 seem harsh? I’m trying to be fair to the people who disagree with the decision I’m describing” help readers understand the writer’s purpose and will set up good conversations. (Harrington 14, emphasis added
  • uestions” when soliciting feedback (like the advice we found in many textbooks), she also provides explicit examples for doing so
  • he most explicit advice for writers about ask-ing questions and, in effect, setting up good conversations is buried in an instruc-tor’s manual for The Allyn & Bacon Guide to Writing. In thi
  • “Getting Response” chapter later in the book, they will benefit from the textbook authors’ instructions that they should in fact use questions that will help them solicit their feedback
  • dependent on what parts of the textbook they choose to read
  • point writers to a specific set of questions that they should ask of their respondents. Such instructions take a notable step toward shifting the locus of control from the respondent to helping writers engage their peers in conversation.
  • there is no mention that writers might use them for purposes of soliciting feedback.
  • we see an opportunity for modeling that is not fully realized.
  • we argue that Faigley offers respondents specific examples that empower them to actively engage the process and give feedback. We contend that emergent writers need a similar level of instruction if they are to be agents in response.
  • textbook authors offer few examples for how to get specific feedback
  • Peter Elbow and Pat Belanoff ’s first edition of A Community of Writers published in 1995, in which eleven “Sharing and Responding” techniques, d
  • we worked to understand how textbooks highlight the writer’s role in peer response.
  • We wanted to know what books tell writers about asking questions
  • lthough we do not discount the importance of teaching respondents how to give feedback, we argue that writers must also be taught how to request the feedback they desire.
  • Jess Hazlewood on 03 Sep 14
     
    Writer's role in soliciting feedback during peer edit. Suggestions for modeling and training.
Thieme Hennis

Educade | Find, create and share lesson plans and teaching tools to empower your classroom - 3 views

educade.org

project-based learning diy platform technology education teaching tools

shared by Thieme Hennis on 26 Feb 14 - No Cached
  • Thieme Hennis on 26 Feb 14
     
    DIY Lesson plans and materials for K12 and above. Very cool platform. Example project: USE MAKEY MAKEY TO DESIGN A VIDEOGAME CONTROLLER Students design and make controllers with clay, Play-Doh, bananas, or whatever they desire and link their controller through circuits to their laptop with this innovative circuit board kit. GRADE LEVEL: 4-9 Created by Agustin Molfino Curriculum Writer PLATFORM TYPE LIKE SHARE
Mr. Eason

Susan Linn: About That App Gap: Children, Technology and the Digital Divide - 53 views

www.huffingtonpost.com/...pp-gap-and-kids_b_1560784.html

technology digital divide children

shared by Mr. Eason on 19 Jul 12 - No Cached
  • children from low-income families spend more time handling technology -- across platforms -- than their wealthier counterparts, and across class, kids mainly use their "handling skills" for entertainment. They play games, watch videos, and visit social networking sites.
  • there's scant evidence that anyone but the companies who make, sell, and advertise on these new technologies benefit from the time young children spend with them, there's plenty of reason to be worried about it.
  • studies showing that the bells and whistles of electronic books actually detract from reading comprehension.
  • ...4 more annotations...
  • I'm worried that screen-based reading, with omnipresent hyperlinks, interferes with comprehension and memory, and that heavy Internet use appears to encourage distractedness and discourage deep thinking, empathy, and emotion.
  • fast-paced video games trigger dopamine squirts in our brains -- kind of like cocaine.
  • here's what worries me most: We're turning to the companies that profit from these technologies to help parents manage their kids' relationship with screens. While it's great that the Federal Communications Commission is launching a campaign to promote digital literacy, the fact that companies like Best Buy and Microsoft are funding it make it unlikely that weaning kids from their products will be a priority.
  • the skills they will always need to thrive -- deep thinking, the ability to differentiate fact from hype, creativity, self-regulation, empathy, and self-reflection -- aren't learned in front of screens. They are learned through face-to-face communication, hands-on exploration of the world, opportunities for thoughtful reflection, and dreams.
Tracy Tuten

Tech Learning TL Advisor Blog and Ed Tech Ticker Blogs from TL Blog Staff - TechLearnin... - 60 views

www.techlearning.com/31582

learning storytelling publishing sme

shared by Tracy Tuten on 20 Aug 10 - Cached
  • Mixbook (or Mixbook for Educators) is a photo-based creation platform that offers hundreds of layouts and backgrounds to choose from along with customizable frames and text to make your book beautiful. Just pick a layout, drag-and-drop your photos into the photo slots, and edit to your heart's content.
  • Though the site's examples suggest using the books to gather wedding, travel, and baby albums, this program can absolutely used to create stories around historic photographs and artifacts, original art, to produce a class yearbook, to share an oral or personal history or journey, to tell the story of a field trip.  Mixbook for Educators now offers a secure collaborative environment for sharing their ebooks, as well as discounts on printed products, should you choose to print.  (A similar option is Scrapblog.)
  • Storybird, a collaborative storybook building space designed for ages 3-13, inspires young writers to create text around the work of professional artists and the collection of art is growing. Two (or more) people create a Storybird in a round robin fashion by writing their own text and inserting pictures. They then have the option of sharing their Storybird privately or publicly on the network. The final product can be printed (soon), watched on screen, played with like a toy, or shared through a worldwide library. Storybird is also a simple publishing platform for writers and artists that allows them to experiment, publish their stories, and connect with their fans.
  • ...4 more annotations...
  • Myth and Legend Creator 2 shares a collection of traditional stories from England and around the world to hear and read. The site offers historical context for each story, story time lines and maps, ideas for use of the story in the classroom, and student work inspired by the story.  The Story Creator--with its libraries of backgrounds, characters, props, text bubbles, sound and video recording tools, and options to upload--provides students easy opportunities to create their own versions of traditional stories.
  • The Historic Tale Construction Kit is similar in that it helps students construct stories around a theme, in this case stories set in the middle ages with movable, scalable beasts, folks, braves, buildings. and old-style text.
  • Tikatok is a platform devoted to kid book publishing at a variety of levels.  Children have the option of exploring a collection of interactive story templates called StorySparks prompts, personalizing an existing book with their own names in Books2Go, with their own names, or starting from scratch in Create Your Own Book. Tikatok’s Classroom Program allows teachers to share lesson plans, view and edit students' work online, encourage collaboration, and track writing progress.
  • Big Universe is both an online library and a publishing and sharing community for grades K through 8.  Using Big Universe Author, students may create, research, and collaborate on books using a library of more than 7000 images and interactive tools.
  • Tracy Tuten on 20 Aug 10
     
    Digital publishing tools for creating story books
Deborah Baillesderr

Reframing Failure as Iteration Allows Students to Thrive | Edutopia - 51 views

www.edutopia.org/based-learning-iteration-video

iteration failure edutopia

shared by Deborah Baillesderr on 16 Feb 14 - No Cached
  • Deborah Baillesderr on 16 Feb 14
     
    Love this idea!
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