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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
trisha_poole

QUT | Journal of Learning Design - 4 views

www.jld.qut.edu.au

journal phd articles research learningdesign elearning education

shared by trisha_poole on 03 Aug 11 - Cached
  • trisha_poole on 03 Aug 11
     
    Designing active and authentic learning experiences The Journal of Learning Designis an educational journal which moves beyond a focus on technological applications in educational settings, to encourage more critical analysis of approaches to the design of learning environments and the extent to which they result in enhanced learning outcomes for learners. Traditional, didactic, delivery-focussed models of teaching in higher education are still common, whether in the lecture theatre or in the online environment. The Journal of Learning Designaims to raise awareness beyond such transmission models of education, to the design of more active, collaborative, authentic and engaging learning experiences. The Journal of Learning Designaims to provide a forum for critical debate and professional exchange about models, theoretical positioning and best practice in learning design.
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?"
Ryan Evans

10 Best Practices for Implementing Gamification - 15 views

www.td.org/...-for-implementing-gamification

gamification best practices

shared by Ryan Evans on 28 Jul 18 - No Cached
  • make sure you know what constitutes success.
  • Only use gamification as a learning solution when it makes sense and resonates with learners. 
  • Explain why the learners are earning points, who they are trying to save, why they are searching for a treasure. Remember, gamification works well when it is within a context—create a reason why learners should interact with the content you have created.
  • ...7 more annotations...
  • Retrieval practice requires learners to recall information rather than simply re-read or re-listen to it.
  • The learners should be able to directly link their actions and activities to a score so they know what they need to do to be successful.
  • Keep leaderboards small
  • Use levels and badges appropriately
  • Let the learner know how many levels they are going to need to complete before the learning is over.
  • Badges, on the other hand, are good for showing non-linear progress. Badges can be tied to either terminal or enabling objectives. Also, if possible provide a place where learners can “show off” badges to leverage the social effectiveness of gamification. 
  • Bonus: monitor learner progress
Marc Patton

FCAT Reading Grade 4 Practice - 1 views

fcit.usf.edu/default.htm

Language_Arts Teaching_Ideas Teacher_Resources

shared by Marc Patton on 10 Oct 12 - Cached
  • Marc Patton on 10 Oct 12
     
    This web site is designed to help teachers and their students prepare for the Fourth Grade Reading Florida Comprehensive Assessment Test (FCAT). It includes resources for teachers as well as practice activities and tests for students. Many of the materials are also available in a print-friendly format.
Mr. Stanley

Department of Psychology :: Principles of Learning :: University of Memphis - 62 views

www.psyc.memphis.edu/...lp3.shtml

testing education retention recall teaching

shared by Mr. Stanley on 22 Jan 11 - No Cached
  • The single most important variable in promoting long-term retention and transfer is "practice at retrieval"
  • -learners generate responses, with minimal retrieval cues, repeatedly, over time.
  • without relying on external memory aids.
  • ...16 more annotations...
  • practice at retrieval has been shown to be more effective than merely spending more time studying the material without actively engaging in memory retrieval.
  • By doing so repeatedly, especially in varied contexts, the learner strengthens access to this information,
  • given minimal cues
  • two different effects. One is the "testing effect," in which intervening tests improves learning of concepts that are retrieved from memory
  • when intervening tests are spaced, two tests were more effective than a single test in improving long-term retention of material.
  • Compared to a cued-recall or recognition intervening test, a free-recall test produced better performance on a final test, regardless of the format of the final test.
  • Educational Applications
  • Align lectures, assignments and tests, so that important information will have to be remembered at different times
  • Have students retrieve this information in multiple ways by either varying the questions or context in which it is assessed:
  • During lectures, ask students questions to elicit responses that reflect understanding of previously introduced course material.
  • This serves the dual purpose of probing students' knowledge, so that misconceptions can be directly and immediately addressed in the lecture.
  • On homework assignments, have students retrieve key information from lectures and readings.
  • Chapter summaries, for instance, may include study questions that ask students to recall major points or conclusions to be drawn from the reading.
  • Encourage group studying in which students actively discuss course topics
  • test questions offer another opportunity for "practice at retrieval,"
  • Ideally tests should be cumulative and test items should probe for understanding of the material.
taconi12

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

www.proteacher.org/...208_Fractions.html

math fractions reference lessonplans games

shared by taconi12 on 10 Mar 12 - Cached
  • raction Hunt Posted by:lismac #130700 Please Signin We walked around the school in small groups armed with cameras and looked for fractions occuring in our school. Each child had to find one scene to capture with the camera. Another group stayed in the classroom and created their fractions with classroom materials. Example- 10 pencils. 9 were yellow and one was red. Then the small groups would come to our computer and insert their picture. Each child then inserted text boxes to type in the fractions. Example- 9/10 of the pencils are yellow. 1/10 of the pencils are red. 9/10 + 1/10= 10/10 They could choose the fonts and colors and such... they used word art to add their names. They loved it! We also do one using multiplication.
  • Fraction Hunt Posted by:lismac #130700 Please Signin We walked around the school in small groups armed with cameras and looked for fractions occuring in our school. Each child had to find one scene to capture with the camera. Another group stayed in the classroom and created their fractions with classroom materials. Example- 10 pencils. 9 were yellow and one was red. Then the small groups would come to our computer and insert their picture. Each child then inserted text boxes to type in the fractions. Example- 9/10 of the pencils are yellow. 1/10 of the pencils are red. 9/10 + 1/10= 10/10 They could choose the fonts and colors and such... they used word art to add their names. They loved it! We also do one using multiplication.
  • One activity that went over pretty well with my class was putting fractions in order. After completing a lesson on comparing fractions, each student was given a fraction on a 3x5 card and asked to tape it to their chest. Then they were instructed to line up in order from greatest to least. After they had completed the task, after much deliberation, I informed them of the correct order. They did pretty well considering there were fifteen students.
  • ...5 more annotations...
  • Another thing I did was draw fractions number lines (about seven inches long) on a piece of paper, one under another with enough space between lines so my students could label the points. The first line was not divided. The points were labeled 0 and 1. The second line was divided into halves. The students labeled the points on the line 0/2, 1/2, and 2/2. The third line was divided into thirds. The students labeled the points 0/3, 1/3, 2/3, 3/3. You probably get the idea. The remaining lines were divided into fourths, fifths, sixths, eighths, tenths, and twelfths, and the points were labeled. (It is very...
  • I created an interactive fraction number line from 0 to 2 on my wall. I have about 40 fraction cards with different fractions and I have students take turns putting the cards on the number line. They get the chance to see that some of the fractions are equivelent to others.
  • Well, you are not alone. Fractions lessons sometimes need repeating over and over until they understand the CONCEPTS. Try giving them a mnemonic device to help them remember what to do. My kids decided to use GCF as Greatest Calories n Fat so that's why you REDUCE!! This just helped them to know when to use the GCF but it still needs lots of practice. Also, do a lot of hands-on activities that show equivalency in fractions. Make fraction strips using construction paper, and the kids can show all the equivalent fractions by matching up the strips. Or try the pizza fraction pieces that you can buy. I believe that it just takes lots of fun practice as well as drills on the procedures. Take your time and don't rush through it or you'll be sorry to see that they won't remember any of it by Christmas!!
  • Make up index cards before hand. Group them in 3's (.25 on one card, 1/4 on another, 25% on the third) make up however many sets of three you need to give a card to each of the students in your class. Once the cards have been shuffled, pass one to each student. Have them find their 'family' WITHOUT MAKING A SOUND. When .20, 1/5 and 20% find each other they have to put their cards on a large number line in the front of the class. It's a great way to get them all involved, and gets them up and around the classroom.
  • I also have my student play Fraction Tic Tac Toe, on a 4 x 4 grid filled with halves, fourths, and eighths. They have to make a whole with 3 fractions in a row. They love it!!! I'm not sure where the gamesheet come from, but I am sure you can make your own.
Maureen Greenbaum

L3D Philosophy - 36 views

l3d.cs.colorado.edu/philosophy.html

technology Education

shared by Maureen Greenbaum on 17 Jun 13 - Cached
  • uture is not out there to be "discovered": It has to be invented and designed.
  • Learning is a process of knowledge construction, not of knowledge recording or absorption. Learning is knowledge-dependent; people use their existing knowledge to construct new knowledge. Learning is highly tuned to the situation in which it takes place. Learning needs to account for distributed cognition requiring knowledge in the head to combined with knowledge in the world. Learning is affected as much by motivational issues as by cognitive issues.
  • previous notions of a divided lifetime-education followed by work-are no longer tenable.
  • ...18 more annotations...
  • Professional activity has become so knowledge-intensive and fluid in content that learning has become an integral and inseparable part of "adult" work activities.
  • require educational tools and environments whose primary aim is to help cultivate the desire to learn and create, and not to simply communicate subject matter divorced from meaningful and personalized activity.
  • current uses of technology in education: it is used as an add-on to existing practices rather than a catalyst for fundamentally rethinking what education should be about in the next century
  • information technologies have been used to mechanize old ways of doing business‹rather than fundamentally rethinking the underlying work processes and promoting new ways to create artifacts and knowledge.
  • important challenge is that the ?ld basic skillsº such as reading, writing, and arithmetic, once acquired, were relevant for the duration of a human life; modern ?asic skillsº (tied to rapidly changing technologies) will change over time.
  • We need computational environments to support "new" frameworks for education such as lifelong learning, integration of working and learning, learning on demand, authentic problems, self-directed learning, information contextualized to the task at hand, (intrinsic) motivation, collaborative learning, and organizational learning.
  • Instructionist approaches are not changed by the fact that information is disseminated by an intelligent tutoring system.
  • Lifelong learning is a continuous engagement in acquiring and applying knowledge and skills in the context of authentic, self-directed problems.
  • ubstantial empirical evidence that the chief impediments to learning are not cognitive. It is not that students cannot learn; it is that they are not well motivated to learn.
  • Most of what any individual "knows" today is not in her or his head, but is out in the world (e.g., in other human heads or embedded in media).
  • technology should provide ways to "say the 'right' thing at the 'right' time in the 'right' way
  • challenge of whether we can create learning environments in which learners work hard, not because they have to, but because they want to. We need to alter the perception that serious learning has to be unpleasant rather than personally meaningful, empowering, engaging, and even fun.
  • making information relevant to the task at hand, providing challenges matched to current skills, creating communities (among peers, over the net), and providing access to real practitioners and experts.
  • What "basic skills" are required in a world in which occupational knowledge and skills become obsolete in years rather than decades?
  • reduce the gap between school and workplace learning
  • How can schools (which currently rely on closed-book exams, the solving of given problems, and so forth) be changed so that learners are prepared to function in environments requiring collaboration, creativity, problem framing, and distributed cognition?
  • problem solving in the real world includes problem framing calls into question the practice of asking students to solve mostly given problems.
  • teachers should see themselves not as truth-tellers and oracles, but as coaches, facilitators, learners, and mentors engaging with learners
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."
Roland Gesthuizen

Hacktivities - 11 views

hivenyc.org/hacktivityGrid.html

technology icebreaker hacking

shared by Roland Gesthuizen on 30 Mar 13 - No Cached
  • An icebreaker is an activity that gets the blood pumping, forms connections between learners, and introduces a topic. There are thousands of different ways to introduce a topic and get learners interacting with each other.
  • A Diving In activity is one that gives pointed instruction to participants on tools or procedures.
  • A Hands on Hacking activity is a practical activity that allows learners to delve deeper into the essential questions of your session
  • Roland Gesthuizen on 30 Mar 13
     
    "This page lists all the Icebreaker, Diving In and Hands on Hacking Hacktivities found in the various Hacktivity Kits."
maureen greenbaum

BetaKit » Is Adaptive Learning the Future of Education? - 2 views

betakit.com/...arning-the-future-of-education

shared by maureen greenbaum on 21 May 12 - No Cached
  • adaptive learning will adjust every question based on a student’s previous answer.
  • Knewton is working on having educational content tagged so it can be placed into a “Knowledge Graph.” This system determines what concepts need to be learned before a student can move on to others, and how they all fit together.
  • The company recently parterned with Pearson to tag every textbook under their imprint work with the Knewton Knowledge Graph.
  • ...7 more annotations...
  • ata mining and take various inputs, like test question results, activity on the system, what links students clicked, etc. to make a prediction of the next best piece of content for a student to learn.
  • The technology seems to be working. After a pilot project at Arizona State University with 5,000 remedial math students, pass rates improved from 66 percent to 75 percent, with half the class finishing four weeks early
  • “The professors are much better prepared for a single class so that they can give much more individualized instruction,” Lui said. “The practical effectiveness of this means that teachers are now able to use their time more efficiently to hone in on the things that are most troublesome or useful for different groups of students. You’re not teaching to the mean or bottom quartile.”
  • Analyzing and collecting big data is really what Junyo is about, enabling everyone in the education sector to make the learning experience more personal.
  • The students also have their own dashboard to see recommended content.
  • Teachers don’t have the time to do detailed reporting of a student’s progress and even if they did, they wouldn’t be able to provide one on one tutoring for every single student at different stages of learning.
  • students are learning more outside the classroom than in the classroom, and educators are finally starting to acknowledge that.
  • maureen greenbaum on 21 May 12
     
    "The professors are much better prepared for a single class so that they can give much more individualized instruction," Lui said. "The practical effectiveness of this means that teachers are now able to use their time more efficiently to hone in on the things that are most troublesome or useful for different groups of students. You're not teaching to the mean or bottom quartile."
Debra Why

Education Week Teacher: Redefining Instruction With Technology: Five Essential Steps - 95 views

www.edweek.org/...tln_magiera1.html

education technology ipads

shared by Debra Why on 18 Jul 12 - No Cached
  • This was the wrong approach: To truly change how my classroom worked, I needed a technology-based redefinition of my practice.
  • Break down to rebuild.
  • By setting aside my pre-conceived notions of how my classroom "should" look, sound, and feel, I was able to transform my practice from the ground up.
  • ...9 more annotations...
  • I also asked myself the question: "What can I do with these devices that would be impossible to do without them?" In other words, I was hoping to create new teaching methods rather than just replacing old ones.
  • I redesigned my classroom practice around the goals, with iPads as the infrastructure.
  • Redefine with a goal in mind
  • Get more app for your money.
  • student-creation apps
  • Embrace failure
  • By creating a safe, open environment and by being clear that this endeavor is as foreign to you as it is to them, you encourage risk taking—and greater achievements.
  • Enjoy the results, reflect towards the future. A
  • I saw students become active agents in their own learning—because they now had choices about the methods that worked best for them. Kids who’d professed to hate school were now eager to engage in the classroom. One student wrote in her daily reflection, "[iPads] make me want to come to school every day because I know that Ms. Magiera has a lesson just for me."
  • Debra Why on 18 Jul 12
     
    Info on how to rethink how to use iPads to the best utilization
anonymous

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

www.tandfonline.com/...14623940500300491

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

Challenging students by @ncjbrown - 19 views

ukedchat.com/...allenging-students-by-ncjbrown

challenge students

shared by Martin Burrett on 27 Dec 15 - No Cached
  • Martin Burrett on 27 Dec 15
     
    As far as my work as a teacher and teacher trainer is concerned, I believe in challenging students and having high expectations of everyone in the classroom. This is coupled with appropriate support and guidance, which is then differentiated to meet pupils' and students' needs. To support my learners I provide relevant and specific praise and feedback, engaging and interesting tasks and activities, sound guidelines and instructions, solid question and answer sessions and clear, practical examples or modelling.
Margaret Moore-Taylor

SchoolNotes 2.0 - 102 views

new.schoolnotes.com

teachers communication website

shared by Margaret Moore-Taylor on 18 Aug 12 - Cached
  • Margaret Moore-Taylor on 18 Aug 12
     
    "Post assignments, announcements, and links to important resources Notify parents and students each time you update your classroom page Create an online calendar of class events and activities Use our free storage to upload documents and add images to your page(s) Access practical tips and other resources from EducationWorld.com Use our handy tools to create flashcards and other learning materials"
Kelly Boushell

Scholastic Teacher ~ Daily Starters - 130 views

www.scholastic.com/...teacher

resources language arts math

shared by Kelly Boushell on 26 Jan 12 - No Cached
  • Kelly Boushell on 26 Jan 12
     
    Scholastic posts "daily starters" for review and practice in language arts and math skills. Teachers can select grade levels and even reveal answers. New skills and activities are posted every day!
Michele Brown

Freerice.com - 2 views

freerice.com/category

game vocabulary education geography math chemistry freerice spanish

shared by Michele Brown on 05 Jun 12 - No Cached
  • Michele Brown on 05 Jun 12
     
    Covers a variety of subjects.  Practice questions and activities.  For each correct answer 10 grains of rice are donated through the World Food Programs.
Thieme Hennis

About | The Open Master's Program - 21 views

www.openmasters.org/about

self-directed learning self-organization education p2p

shared by Thieme Hennis on 10 Sep 13 - No Cached
  • Thieme Hennis on 10 Sep 13
     
    "Learning- even "self-directed learning"- is an inherently social activity. The Open Master's is a global community of small groups for self-directed learners, offering each other the structure, accountability, relationships, and sense of forward direction that are often hard to find outside formal programs and institutions. These groups are using and building on an open source framework of shared practices to help us: Master the art of social, self-directed learning Be more intentional about our learning journeys Take bolder risks in our journeys of becoming Discover and share our unique gifts Ensure that our short-term learning goals feed into our longer-term vision for transformation for ourselves and the world We invite any existing community, organization, or even groups of friends or colleagues to use the Open Master's framework to make their own learning process more intentional.  You can do that simply by: Mapping out a personal plan or curriculum, including a clear statement of purpose and some intentions for your own learning journey, and sharing them on a personal website or blog Bringing the rhythm of semesters back into your life, including regular opportunities for evaluation and reflection Developing deeper relationships with study buddies, mentors, and advisers Starting an Open Master's group with a clear commitment to study together, support each other, and share your work Offering a presentation or organizing a study group on a topic that interests you Maintaining a portfolio of learning projects (including professional work) you've completed and reviewed with peers and mentors We also invite you to link up with the broader global community of Open Master's groups by joining regional or global events to spotlight members, mix with members across groups, and cross-pollinate ideas or strategies that are working in different contexts."
Deborah Baillesderr

Quia - Class Page - SPEECHERSCLASS1 - 19 views

www.quia.com/...speechersclass.html

articulation speech speech therapy games extra_practice

shared by Deborah Baillesderr on 07 May 14 - Cached
  • Deborah Baillesderr on 07 May 14
     
    Click on a game and play it orally for speech practice. Many Java games will have four activities--flashcards, matching, concentration, and word search--involved! 
Tracy Watanabe

Harvard ALPS - 73 views

learnweb.harvard.edu/...index.cfm

PD professional development

shared by Tracy Watanabe on 25 Oct 10 - Cached
  • Tracy Watanabe on 25 Oct 10
     
    Harvard education online classes, professional development, and resources ALPS = Active Learning Practice for Schools
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