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Laura Doto

Final Report: Friendship | DIGITAL YOUTH RESEARCH - 1 views

  • Social relations—not simply physical space—structure the social worlds of youth.
    • Laura Doto
       
      A critical conclusion to be realized that can inform our assumptions as educators.
  • When teens are involved in friendship-driven practices, online and offline are not separate worlds—they are simply different settings in which to gather with friends and peers
  • these dynamics reinforce existing friendship patterns as well as constitute new kinds of social arrangements.
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  • Homophily describes the likelihood that people connect to others who share their interests and identity.
  • One survey of Israeli teens suggests that those who develop friendships online tend toward less homogenous connections than teens who do not build such connections
  • Teens frequently use social media as additional channels of communication to get to know classmates and turn acquaintances into friendships.
  • Some teens—especially marginalized and ostracized ones—often relish the opportunity to find connections beyond their schools. Teens who are driven by specific interests that may not be supported by their schools, such as those described in the Creative Production and Gaming chapters, often build relationships with others online through shared practice.
  • there are plenty of teens who relish the opportunity to make new connections through social media, this practice is heavily stigmatized
  • the public myths about online “predators” do not reflect the actual realities of sexual solicitation and risky online behavior (Wolak et al. 2008). Not only do unfounded fears limit teenagers unnecessarily, they also obscure preventable problematic behavior
  • As she described her typical session on Photobucket, it became clear that a shared understanding of friendship and romance was being constructed by her and other Photobucket users:
  • The fact that they draw from all of these sources suggests that youth’s friendship maintenance is in tune with a discourse of love and friendship that is being widely displayed and (re)circulated.
  • “It’s like have you noticed that you may have someone in your Top 8 but you’re not in theirs and you kinda think to yourself that you’re not as important to that person as they are to you . . . and oh, to be in the coveted number-one spot!”
  • Taking someone off your Top 8 is your new passive-aggressive power play when someone pisses you off.
  • Top Friends are persistent, publicly displayed, and easily alterable. This makes it difficult for teens to avoid the issue or make excuses such as “I forgot.” When pressured to include someone, teens often oblige or attempt to ward off this interaction by listing those who list them
  • Other teens avoid this struggle by listing only bands or family members. While teens may get jealous if other peers are listed, family members are exempt from the comparative urge.
  • to avoid social drama with her friends:
  • The Top Friends feature is a good example of how structural aspects of software can force articulations that do not map well to how offline social behavior works.
  • teens have developed a variety of social norms to govern what is and is not appropriate
  • The problem with explicit ranking, however, is that it creates or accentuates hierarchies where they did not exist offline, or were deliberately and strategically ambiguous, thus forcing a new set of social-status negotiations. The give-and-take over these forms of social ranking is an example of how social norms are being negotiated in tandem with the adoption of new technologies, and how peers give ongoing feedback to one another as part of these struggles to develop new cultural standards.
  • While teen dramas are only one component of friendship, they are often made extremely visible by social media. The persistent and networked qualities of social media alter the ways that these dramas play out in teen life. For this reason, it is important to pay special attention to the role that social media play in the negotiation of teen status.
  • primarily a continuation of broader dramas.
  • social media amplify dramas because they extend social worlds beyond the school.
  • Gossip and rumors have played a role in teen struggles for status and attention since well before social media entered the scene
  • social media certainly alter the efficiency and potential scale of interactions. Because of this, there is greater potential for gossip to spread much further and at a faster pace, making social media a culprit in teen drama. While teen gossip predates the Internet, some teens blame the technologies for their roles in making gossip easier and more viral
  • That’s what happened with me and my friends. We got into a lot of drama with it and I was like, anyone can write anything. It can be fact, fiction. Most people, what they read they believe. Even if it’s not true (C.J. Pascoe, Living Digital).
  • finds the News Feed useful “because it helps you to see who’s keeping track of who and who’s talking to who.” She enjoys knowing when two people break up so that she knows why someone is upset or when she should reach out to offer support. Knowing this information also prevents awkward conversations that might reference the new ex. While she loves the ability to keep up with the lives of her peers, she also realizes that this means that “everybody knows your business.”
  • Some teens find the News Feed annoying or irrelevant. Gadil, an Indian 16-year-old from Los Angeles, thinks that it is impersonal while others think it is downright creepy. For Tara, a Vietnamese 16-year-old from Michigan, the News Feed takes what was public and makes it more public: “Facebook’s already public. I think it makes it way too like stalker-ish.” Her 18-year-old sister, Lila, concurs and points out that it gets “rumors going faster.” Kat, a white 14-year-old from Salem, Massachusetts, uses Facebook’s privacy settings to hide stories from the News Feed for the sake of appearances.
  • While gossip is fairly universal among teens, the rumors that are spread can be quite hurtful. Some of this escalates to the level of bullying. We are unable to assess whether or not bullying is on the rise because of social media. Other scholars have found that most teens do not experience Internet-driven harassment (Wolak, Mitchell, and Finkelhor 2007). Those who do may not fit the traditional profile of those who experience school-based bullying (Ybarra, Diener-West, and Leaf 2007), but harassment, both mediated and unmediated, is linked to a myriad of psychosocial issues that includes substance use and school problems (Hinduja and Patchin 2008; Ybarra et al. 2007).
  • Measuring “cyberbullying” or Internet harassment is difficult, in part because both scholars and teens struggle to define it. The teens we interviewed spoke regularly of “drama” or “gossip” or “rumors,” but few used the language of “bullying” or “harassment” unless we introduced these terms. When Sasha, a white 16-year-old from Michigan, was asked specifically about whether or not rumors were bullying, she said: I don’t know, people at school, they don’t realize when they are bullying a lot of the time nowadays because it’s not so much physical anymore. It’s more like you think you’re joking around with someone in school but it’s really hurting them. Like you think it’s a funny inside joke between you two, but it’s really hurtful to them, and you can’t realize it anymore. Sasha, like many of the teens we interviewed, saw rumors as hurtful, but she was not sure if they were bullying. Some teens saw bullying as being about physical harm; others saw it as premeditated, intentionally malicious, and sustained in nature. While all acknowledged that it could take place online, the teens we interviewed thought that most bullying took place offline, even if they talked about how drama was happening online.
  • it did not matter whether it was online or offline; the result was still the same. In handling this, she did not get offline, but she did switch schools and friend groups.
  • Technology provides more channels through which youth can potentially bully one another. That said, most teens we interviewed who discussed being bullied did not focus on the use of technology and did not believe that technology is a significant factor in bullying.
  • They did, though, see rumors, drama, and gossip as pervasive. The distinction may be more connected with language and conception than with practice. Bianca, a white 16-year-old from Michigan, sees drama as being fueled by her peers’ desire to get attention and have something to talk about. She thinks the reason that people create drama is boredom. While drama can be hurtful, many teens see it simply as a part of everyday social life.
  • Although some drama may start out of boredom or entertainment, it is situated in a context where negotiating social relations and school hierarchies is part of everyday life. Teens are dealing daily with sociability and related tensions.
  • Tara thinks that it emerges because some teens do not know how to best negotiate their feelings and the feelings of others.
  • Teens can use the ability to publicly validate one another on social network sites to reaffirm a friendship.
  • So, while drama is common, teens actually spend much more time and effort trying to preserve harmony, reassure friends, and reaffirm relationships. This spirit of reciprocity is common across a wide range of peer-based learning environments we have observed.
  • From this perspective, commenting is not as much about being nice as it is about relying on reciprocity for self-gain
  • That makes them feel like they’re popular, that they’re getting comments all the time by different people, even people that they don’t know. So it makes them feel popular in a way (Rural and Urban Youth).
  • Gossip, drama, bullying, and posing are unavoidable side effects of teens’ everyday negotiations over friendship and peer status. What takes place in this realm resembles much of what took place even before the Internet, but certain features of social media alter the dynamics around these processes. The public, persistent, searchable, and spreadable nature of mediated information affects the way rumors flow and how dramas play out. The explicitness surrounding the display of relationships and online communication can heighten the social stakes and intensity of status negotiation. The scale of this varies, but those who experience mediated harassment are certainly scarred by the process. Further, the ethic of reciprocity embedded in networked publics supports the development of friendships and shared norms, but it also plays into pressures toward conformity and participation in local, school-based peer networks. While there is a dark side to what takes place, teens still relish the friendship opportunities that social media provide.
  • While social warfare and drama do exist, the value of social media rests in their ability to strengthen connections. Teens leverage social media for a variety of practices that are familiar elements of teen life: gossiping, flirting, joking around, and hanging out. Although the underlying practices are quite familiar, the networked, public nature of online communication does inflect these practices in new ways.
  • Adults’ efforts to regulate youth access to MySpace are the latest example of how adults are working to hold on to authority over teen socialization in the face of a gradual erosion of parental influence during the teen years.
  • learning how to manage the unique affordances of networked sociality can help teens navigate future collegiate and professional spheres where mediated interactions are assumed.
  • articulating those friendships online means that they become subject to public scrutiny in new ways;
  • This makes lessons about social life (both the failures and successes) more consequential and persistent
  • make these dynamics visible in a more persistent and accessible public arena.
  • co-constructing new sets of social norms together with their peers and the efforts of technology developers. The dynamics of social reciprocity and negotiations over popularity and status are all being supported by participation in publics of the networked variety as formative influences in teen life. While we see no indication that social media are changing the fundamental nature of these friendship practices, we do see differences in the intensity of engagement among peers, and conversely, in the relative alienation of parents and teachers from these social worlds.
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    MacArthur Foundation Study - Friendship chapter
deb loftsgard

Gold Standard PBL: Essential Project Design Elements | Blog | Project Based Learning | BIE - 76 views

  • Sustained
    • deb loftsgard
       
      Level 3  research using I can statements as the funnel toward the driving question
  • students ask questions,
    • deb loftsgard
       
      Creation of Need to Know questions - level 2 knowledge
  • Authenticity
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  • solve problems like those faced by people in the world outside of school (
  • eal-world processes, tasks and tools, and performance standards,
  • address a need in their school or community
  • own concerns, interests, cultures,
  • Student Voice & Choice
  • Students can have input and (some) control over many aspects of a project, from the questions they generate, to the resources they will use to find answers to their questions, to the tasks and roles they will take on as team members, to the products they will create
  • Reflection
  • We do not learn from experience. We learn from reflecting on experience.
  • Critique & Revision
  • ddition to peers and teachers, outside adults and experts can also contribute to the critique process, bringing an authentic, real-world point of view.
  • product” can be a tangible thing, or it can be a presentation of a solution to a problem or answer to a driving question.
  • resent or display their work to an audience beyond the classroom, the performance bar raises, since no one wants to look bad in public
  • aking student work public is an effective way to communicate with parents, community members, and the wider world about what PBL is and what it does for students.
  • people need to be able to think critically and solve problems,
jodi tompkins

PBL Academy - 76 views

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    Problem based learning academy
Nigel Coutts

The purposes of our pedagogy - The Learner's Way - 36 views

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    The debate over the most effective method of instruction continues as ever and where one stands on the topic is largely influenced by the purposes one attaches to education. Analysing a series of research articles reveals the nature of the debate between advocates of direct instruction compared to those who support a problem based learning methodology.
anonymous

Resources | Project Based Learning | BIE - 19 views

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    We have assembled a wide array of PBL-related resources created by BIE and collected from fellow PBL travelers. The resources are organized into three broad categories: things to read, to watch, or to interact with. If you would like to take a Do-It-Yourself (DIY) approach to learning about PBL, then check out the recommend resources for teachers, coaches, principals, and district leaders. The featured resources have a note on "How Can You Use It?" We also suggest starting your DIY experience by purchasing one of BIE's books.
Gregory Louie

Students tap into technology - Pittsburgh Tribune-Review - 1 views

  • use their laptops to read "Don Quixote" and Dante's "Divine Comedy" on the Internet
  • Technology is the wave of the future
  • a computer program
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  • "Most jobs require computers," noted Brittnee Stephen, 16, as she assembled a slideshow on her HP Mini laptop. "It's good that we're learning it now."
    • Ed Webb
       
      The technology is still very visible, if students are talking in terms of 'computers' rather than the skills involved. We don't talk about 'paper' but writing, critical reading etc. Yet here the platform itself is emphasized. Early days, I guess.
  • has just begun incorporating technology
    • Ed Webb
       
      Uh, no. They have been using 'technology' forever, in the form of, say, books.
  • students seem far more interested in learning via interactive technology than they had been with a chalkboard and an overhead projector
    • Ed Webb
       
      Well, the problem here is that some of that can be ascribed to novelty. Once every class uses 'interactive technology' (yuk) then how much difference will there be? The tools are great. All tools can be useful. But focus on the pedagogy, people!
    • Scott Merrick
       
      I'm for focusing on understanding. I love the word "pedagogy" because most lay people don't really know what it entails--theory (which can be anything institutional or community deems effective or correct), practice (which, as we know, can be summed up with the phrase "mileage will vary"), and some third thing which if I could come up with it I'd have the magic 3 elements in an effective argument. I think effective tools used effectively by effective teachers (there! 3 uses of one adjective!) will remain effective as long as they are used to promote understanding. No argument here, Ed, just sayin'...
    • Ed Webb
       
      Perhaps the magic third thing would be 'attitude' or 'state of mind'? Alternatively, perhaps another of those non-transparent terms, 'praxis'. The point I was trying to make, of course, was that it ain't what you use, it's the way that you use it.
  • "I think the kids that have turned school off because it's boring to them will come here and see something familiar,"
    • Ed Webb
       
      Boring and familiar seem to me to be closely related, not opposites. I suspect that often when students say their learning environment is 'boring' they mean 'challenging'.
  • Educational technology does not come cheaply
    • Ed Webb
       
      The cost of books is astronomical!
  • "Learning is changing,"
    • Ed Webb
       
      Was it EVER the case that we could "just deliver a lecture and expect all the kids to get it"?
    • Gregory Louie
       
      Computer technology in my classroom has revolutionized my teaching of biology. Instead of static images on a printed page, or talk and chalk, my students can manipulate 3-D images of DNA, RNA and proteins. These have even been embedded in a research-based learning progression that leads the students to a robust understanding of the foundational elements of molecular literacy. 1. Atoms and molecules are constantly in motion. (A visualization is not possible on a 2-3 printed page.) 2. All atoms and molecules have a 3-D structure that determines how they interact with other particles. 3. Charges and other intermolecular forces play a role in atomic and molecular interactions. My students can see these for themselves, change the number of particles in a box, or the distribution of charge on a large particle or the temperature of the box and other thought experiments which they can follow in real-time. There is no way, I could do that without the computer!
Bob Calder

http://www.ams.org/notices/201010/rtx101001303p.pdf - 2 views

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    Why general problem solving isn't good for teaching math. Explicit study of SOLVED problems is demonstrably better.
Allison Curran

HCESC Tech - PBLE ("pebble") - 5 views

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    PBLE - a collection of suggested starter problems to assist in effective planning for problem based learning. Sorted by standards
meghankelly492

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

  • n contrast to others who are not as prone to divulge their feelings about their creative process
  • "Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
  • The testimonies of the composers concerned bear on questions about (a) the role of the conscious and the unconscious in music creativity, (b) how the compositional process gets started, and (c) how the compositional process moves forward
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  • It is hoped that the themes that emerge by setting twentieth and twenty-first century professional composers' accounts of certain compositional experiences or phases of their creative processes against one another will provide a philosophical framework for teaching composition.
  • Furthermore, the knowledge of how professional composers compose offers the potential of finding the missing link in music education; that is, the writing of music by students within the school curriculum
  • Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
  • raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
  • It is hoped that the direct access to these composers' thoughts about the subjective experience of composing Western art music in the second half of the twentieth and the beginning of the twenty-first century may also promote the image of a fragmented culture whose ghettoization in music education is a serious impediment to the development of a comprehensive aesthetic education.
  • n other words, there is a striking unanimity among composers that the role of the unconscious is vital in order to start and/or to complete a work to their own satisfaction.
  • I need . . . to become involved, to come into a state where I do something without knowing why I do i
  • This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
  • Nonetheless, these self-observations about the complementary roles of the unconscious and conscious aspects of musical creativity do not cover the wide range of claims in psychological research on creativity
  • I strongly believe that, if we cannot explain this process, then we must acknowledge it as a mystery.25 Mysteries are not solved by encouraging us not to declare them to be mysteries
  • When Ligeti was commissioned to write a companion piece for Brahms' Horn Trio, he declared, "When the sound of an instrument or a group of instruments or the human voice finds an echo in me, in the musical idea within me, then I can sit down and compose. [O]therwise I canno
  • Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
  • ome composers need to have something for it to react against.38 Xenakis, however, asserted that "all truly creative people escape this foolish side of work, the exaltation of sentiments. They are to be discarded like the fat surrounding meat before it is cooked."
  • as, as these examples show, dreams can also solve certain problems of the creative process.
  • In other words, to compose does not mean to merely carry out an initial idea. The composer reserves the right to change his or her mind after the conception of an idea.
  • n sum, self-imposed restrictions or "boundary conditions"55 seem to provide composers with a kind of pretext to choose from an otherwise chaotic multitude of compositional possibilities that, however, gradually disappears and gets absorbed into the process of composition which is characterized by the composers' aesthetic perceptions and choices.
  • Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
  • Thereby the past is seen as being comprised by a static system of rules and techniques that needs to be innovated and emancipated during the composers' search for their own musical identity.
  • I strongly suggest that we play down basics like who influenced whom, and instead study the way the influence is transformed; in other words: how the artist made it his own.
  • Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
  • Furthermore, for some composers the musical influence can emerge from the development of computer technology.
  • In sum, the compositional process proceeds in a kind of personal and social tension. In many cases, composers are faced with the tensive conflict between staying with tradition and breaking new ground at each step in the process. Thus, one might conclude that the creative process springs from a systematic viewpoint determined by a number of choices in which certain beliefs, ideas, and influences—by no means isolated from the rest of the composer's life—play a dominant role in the search for new possibilities of expression.
  • If a general educational approach is to emerge from the alloy of composers' experiences of their music creativity, it rests on the realization that the creative process involves a diversity of idiosyncratic conscious and unconscious traits.
  • After all, the creative process is an elusive cultural activity with no recipes for making it happen.
  • n this light, the common thread of composers' idiosyncratic concerns and practices that captures the overall aura of their music creativity pertains to (a) the intangibility of the unconscious throughout the compositional process,68 (b) the development of musical individuality,69 and (c) the desire to transgress existing rules and codes, due to their personal and social conflict between tradition and innovation.70
  • In turn, by making student composers in different classroom settings grasp the essence of influential professional composers' creative concerns, even if they do not intend to become professional composers, we can help them immerse in learning experiences that respect the mysteries of their intuitions, liberate their own practices of critical thinking in music, and dare to create innovative music that expresses against-the-prevailing-grain musical beliefs and ideas.
  • Therefore, it is critical that the music teacher be seen as the facilitator of students' compositional processes helping students explore and continuously discover their own creative personalities and, thus, empowering their personal involvement with music. Any creative work needs individual attention and encouragement for each vision and personal experience are different.
  • After all, the quality of mystery is a common theme in nearly every composer's accoun
  • Failing this, musical creativity remains a predictable academic exercise
  • Music teachers need to possess the generosity to refuse to deny student composers the freedom to reflect their own insights back to them and, in turn, influence the teachers' musical reality
  • Indeed, it is important that music teachers try to establish students gradually as original, independent personalities who try to internalize sounds and, thus, unite themselves with their environment in a continuous creative process.
  • Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
  • n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
  • While music creativity has been a component of music education research for decades, some of the themes arising from professional composers' experiences of their creativity, such as the significance of the unconscious, the apprehension towards discovering ones' own musical language, or the personal and social tension between tradition and innovation, among others, have not been adequately recognized in the literature of music education
  • By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
  • which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
  • . On the other hand, only few music educators appear to draw their composer students' attention to the importance of the personal and social conflict between staying within a tradition or code, even if it is the Western popular music tradition, and breaking new ground at each step in the creative process and, possibly, shaping new traditions or codes.
  • Culture is a precious human undertaking, and the host of musics, arts, languages, religions, myths, and rituals that comprise it need to be carefully transmitted to the young and transformed in the process."85
  • Nevertheless, further research is needed in which women's voices can be heard that may offer an emancipatory perspective for the instruction of composition in education which will "challenge the political domination of men."
anonymous

Problem Based Learning: Making Science Relevant to Students - 5 views

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    Example PBL Units for science; mostly cell biology
Judy Robison

Shout! Explore. Connect. Act. - 64 views

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    Shout, will help teachers integrate project-based learning to develop students' problem-solving skills by having them team up with their peers around the globe to solve real-world challenges.
Robert Alford

Home - public - Global Challenge Award - 5 views

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    Global Challenge Award's mission is "to provide high school students worldwide, the tools and confidence to solve global problems together" We do this by providing students with "authentic project-based learning experience" working in small global teams to solve climate change issues.
Amy Burns

Project/Problem Based Learning - 32 views

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    Resources and references for PBL
Eric Arbetter

Thinking Like Breathing | Thoughtful Learning: Curriculum for 21st Century Skills, Inqu... - 3 views

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    The author shows how critical thinking and creative thinking go hand-in-hand.  Great infographics.
anonymous

Project Based Learning | BIE - 65 views

shared by anonymous on 02 Dec 10 - Cached
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    In Project Based Learning (PBL), students go through an extended process of inquiry in response to a complex question, problem, or challenge. Rigorous projects help students learn key academic content and practice 21st Century Skills (such as collaboration, communication & critical thinking). 
Sharin Tebo

Creative Educator - Connecting Curricula for Deeper Understanding - 34 views

  • Most schools will say that they want students to have an understanding of their world as a whole, but they seldom look at topics with an interdisciplinary focus. Why? It is easy to find reasons why this disjointed approach to learning happens: · Some argue that there is so much content and so many skills to be learned  in each discipline that they don’t have time to integrate subjects. · Others say that the each discipline has a body of knowledge and skills that  should stand on its own and not be muddied by the intrusion of other disciplines. · Secondary educators say that there is insufficient common planning time  to combine their efforts to teach an interdisciplinary course. · Still others say that the whole system is geared toward separate subjects  and to break out of this would require a monumental effort. · Others are guided by “the tests,” which are presented by separate disciplines.
  • The ultimate goal for the study of any subject is to develop a deeper understanding of its content and skills so that students can engage in higher-level thinking and higher- level application of its principles. When students dig deeper and understand content across several disciplines, they will be better equipped to engage in substantive discussion and application of the topic. They will also be better able to see relationships across disciplines.
  • They organize students into interdisciplinary teams and coordinate lessons so that what happens in math, science, language arts, and social studies all tie to a common theme. Many times these teachers team-teach during larger blocks of time. Advocates of this more holistic approach to curriculum argue that it helps students:
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  • Of course, digging deeper doesn’t fit well in the time frame that most schools use. It takes time to link content across several disciplines, and it may be difficult to squeeze a learning activity into a 40-minute period. To change the method of learning will mean changing more than the curricula. The school structure, including the schedule and methodology will also need to change.
  • To prepare our students for an integrated world, we need to break out of the separate-discipline mentality and develop more holistic and problem/project-based approaches. Many have tried to do this, and it isn’t easy.
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    STEM and STEAM--challenge to aim for more integration cross-disciplines.
Clint Heitz

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

    • Clint Heitz
       
      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
       
      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.
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    • Clint Heitz
       
      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
       
      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.
Dana Huff

Student Expectations Seen as Causing Grade Disputes - NYTimes.com - 0 views

    • Dana Huff
       
      I have seen this in high school, too. I think students have learned that A is doing going to be the default grade but the exceptional grade, but I have to admit C is not my defaut grade either, but a low grade.
  • “Instead of getting an A, they make an A,” he said. “Similarly, if they make a lesser grade, it is not the teacher’s fault. Attributing the outcome of a failure to someone else is a common problem.”
    • Dana Huff
       
      External locus of control seems to be attained later and later. I have many times explained this distinction to students. They see grades as something that results from how much a teacher likes them or luck more than how much effort they put in or how well they've written.
  • if students developed a genuine interest in their field, grades would take a back seat, and holistic and intrinsically motivated learning could take place.
    • Dana Huff
       
      Sadly, I wonder how realistic this is, based on what I've seen. I wish I taught in a school with no grades. They come between the student and learning.
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