Skip to main content

Home/ Diigo In Education/ Group items tagged writing books

Rss Feed Group items tagged

Filter: All | Bookmarks | Topics Simple Middle
Christine Schlitt

Lesson Plans: Name & Word Wall Activities, Building Blocks (Kindergarten, Building Blocks) - 32 views

teachers.net/...2466.html

lesson plans kiundergarten kindergarten lesson lessons alphabet plans name word wall teaching

shared by Christine Schlitt on 05 Sep 11 - No Cached
  • Word Walls and The Name Game Each day we have one person who is our helper and we focus onher name. When everyone has had a turn, we start another round.I find it easiest to go in alphabetical order by first names. I write the students names on sentence strips, using one colorfor boys, and another for girls.First round: We reveal one name each day, beginning with a cheer:?Gimme a B (B), Gimme an i (i), Gimme an l (l), Gimme another l(l), Gimme a y (y). What?s that spell? (Billy). One more time!(Billy). Then I ask if anyone ?notices? anything about Billy?s name andwe look for letters in common with other names, or count lettersand look for other names with the same number of letters. Thenwe take a good look at the student, discussing colors ofclothing, so each child can draw a picture of the helper. Iwrite the helper?s name on the board and encourage everyone totry to write that person?s name and then draw a picture of thehelper. The helper gets to take home the pictures drawn byothers, his is put up on the bulletin board with the name cardI?ve made. 2nd Round: The self-portraits are put into a class book and thename cards are transferred to an alphabet word wall. Each day weread the alphabet and names, then take the helper?s name off tocheer and ?notice? letters about this name and others. We formthe helper?s name in magnetic letters, scramble them up and taketurns putting them in the right order. 3rd Round: When we read the alphabet, we say the sounds inaddition to the letters and names. This time we cheer, writethe letters in the helper?s name on the board and then count howmany of those letters are in the names on the word wall. Thenwe talk about which letter has the most, least, etc. We havealso added another name cheer: ?Bryan, Bryan, that?s his name.It starts with B, it ends with n, hooray, Bryan! We stillscramble the name with magnetic letters. At some point we begin to add sight words to the names on thewall, usually starting with go and we. In December, or after wecome back from Christmas, we take the names off the word walland put them in a pocket chart for the kids to use duringcenters. We continue to add sight words the rest of the year,reading the alphabet, and saying the sounds and words each day. Here are additional name ideas; some I?ve tried, some I haven?t.*Count the syllables.*Write the names like a rainbow.*Name poems from the website Korky?s Kool rhyme machine (http://www.literacyhour.co.uk/learning_activities/rhyme/rhyme.html)*Think of words that begin the same as the name.*Make up tongue twisters.*Fill out an interview sheet.*Mystery person (hangman type game where you draw blanks for theletters and the kids guess letters until they know the name.* Use the letters in the name and look for smaller words. *Cut up name puzzles to keep in a literacy center.*Change the initial consonant and play with the word (Sue, Bue,Lue, etc.).*Another name cheer: No matter what I do or say,My name will always be the same,It starts with_____It ends with ____Now count to 3 and say my name,1,2,3,_______.
    • Christine Schlitt
      Christine Schlitt on 05 Sep 11
       
      Name Game Ideas for Kindergarten
  • Christine Schlitt on 05 Sep 11
     
    "Word Walls and The Name Game Each day we have one person who is our helper and we focus on her name. When everyone has had a turn, we start another round. I find it easiest to go in alphabetical order by first names. I write the students names on sentence strips, using one color for boys, and another for girls. First round: We reveal one name each day, beginning with a cheer: ?Gimme a B (B), Gimme an i (i), Gimme an l (l), Gimme another l (l), Gimme a y (y). What?s that spell? (Billy). One more time! (Billy). Then I ask if anyone ?notices? anything about Billy?s name and we look for letters in common with other names, or count letters and look for other names with the same number of letters. Then we take a good look at the student, discussing colors of clothing, so each child can draw a picture of the helper. I write the helper?s name on the board and encourage everyone to try to write that person?s name and then draw a picture of the helper. The helper gets to take home the pictures drawn by others, his is put up on the bulletin board with the name card I?ve made. 2nd Round: The self-portraits are put into a class book and the name cards are transferred to an alphabet word wall. Each day we read the alphabet and names, then take the helper?s name off to cheer and ?notice? letters about this name and others. We form the helper?s name in magnetic letters, scramble them up and take turns putting them in the right order. 3rd Round: When we read the alphabet, we say the sounds in addition to the letters and names. This time we cheer, write the letters in the helper?s name on the board and then count how many of those letters are in the names on the word wall. Then we talk about which letter has the most, least, etc. We"
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.
  • ...33 more annotations...
  • 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.
D. S. Koelling

5 Myths About the 'Information Age' - The Chronicle Review - The Chronicle of Higher Ed... - 0 views

chronicle.com/...127105

education myths information age books

shared by D. S. Koelling on 20 Apr 11 - No Cached
  • 1. "The book is dead." Wrong: More books are produced in print each year than in the previous year. One million new titles will appear worldwide in 2011. In one day in Britain—"Super Thursday," last October 1—800 new works were published.
  • 2. "We have entered the information age." This announcement is usually intoned solemnly, as if information did not exist in other ages. But every age is an age of information, each in its own way and according to the media available at the time.
  • 3. "All information is now available online." The absurdity of this claim is obvious to anyone who has ever done research in archives. Only a tiny fraction of archival material has ever been read, much less digitized. Most judicial decisions and legislation, both state and federal, have never appeared on the Web. The vast output of regulations and reports by public bodies remains largely inaccessible to the citizens it affects. Google estimates that 129,864,880 different books exist in the world, and it claims to have digitized 15 million of them—or about 12 percent.
  • ...7 more annotations...
  • 4. "Libraries are obsolete." Everywhere in the country librarians report that they have never had so many patrons. At Harvard, our reading rooms are full. The 85 branch libraries of the New York Public Library system are crammed with people.
  • 5. "The future is digital." True enough, but misleading. In 10, 20, or 50 years, the information environment will be overwhelmingly digital, but the prevalence of electronic communication does not mean that printed material will cease to be important. Research in the relatively new discipline of book history has demonstrated that new modes of communication do not displace old ones, at least not in the short run.
  • I mention these misconceptions because I think they stand in the way of understanding shifts in the information environment. They make the changes appear too dramatic. They present things ahistorically and in sharp contrasts—before and after, either/or, black and white. A more nuanced view would reject the common notion that old books and e-books occupy opposite and antagonistic extremes on a technological spectrum. Old books and e-books should be thought of as allies, not enemies.
  • Last year the sale of e-books (digitized texts designed for hand-held readers) doubled, accounting for 10 percent of sales in the trade-book market. This year they are expected to reach 15 or even 20 percent. But there are indications that the sale of printed books has increased at the same time.
  • Many of us worry about a decline in deep, reflective, cover-to-cover reading. We deplore the shift to blogs, snippets, and tweets. In the case of research, we might concede that word searches have advantages, but we refuse to believe that they can lead to the kind of understanding that comes with the continuous study of an entire book. Is it true, however, that deep reading has declined, or even that it always prevailed?
  • Writing looks as bad as reading to those who see nothing but decline in the advent of the Internet. As one lament puts it: Books used to be written for the general reader; now they are written by the general reader. The Internet certainly has stimulated self-publishing, but why should that be deplored? Many writers with important things to say had not been able to break into print, and anyone who finds little value in their work can ignore it.
  • One could cite other examples of how the new technology is reinforcing old modes of communication rather than undermining them. I don't mean to minimize the difficulties faced by authors, publishers, and readers, but I believe that some historically informed reflection could dispel the misconceptions that prevent us from making the most of "the information age"—if we must call it that.
Roland Gesthuizen

What Is a Book? The Definition Continues to Blur: Tech News and Analysis « - 45 views

gigaom.com/...e-definition-continues-to-blur

eBook publishing book journalism magazine Amazon

shared by Roland Gesthuizen on 22 Apr 11 - No Cached
  • a whole series of ongoing attempts to reimagine the entire industry of writing and selling books. If you’re an author, it’s a time of incredible chaos, but also incredible opportunity.
  • a market where Amazon is already publishing what it calls “Singles,” or short book-length publications that virtually anyone can produce.
  • author Barry Eisler, after publishing a number of books through the traditional route, said recently he’s going to start self-publishing, because he will have more control over the process and will keep more of the revenue.
  • Roland Gesthuizen on 22 Apr 11
     
    "It used to be so easy to define what a book was: a collection of printed pages bound inside a cover (hard or soft) that you could place on a shelf in your library, or in a store. Now, there are e-books, and blogs that turn into books, and long pieces of journalism that are somewhere between magazine articles and short books"
  • Roland Gesthuizen on 22 Apr 11
     
    Good article that notes the increase of self-publication with eBooks that can be purchased from Amazon
Kate Pok

Writing in College - 1. Some crucial differences between high school and college writing - 55 views

writing-program.uchicago.edu/...high_school_v_college.htm

teaching writing essay

shared by Kate Pok on 08 Feb 11 - Cached
  • you will be asked to analyze the reading, to make a worthwhile claim about it that is not obvious (state a thesis means almost the same thing), to support your claim with good reasons, all in four or five pages that are organized to present an argument .
  • They expect to see a claim that would encourage them to say, "That's interesting. I'd like to know more."
  • They expect to see evidence, reasons for your claim, evidence that would encourage them to agree with your claim, or at least to think it plausible.
  • ...8 more annotations...
  • They expect to see that you've thought about limits and objections to your claim.
  • This kind of argument is less like disagreeable wrangling, more like an amiable and lively conversation with someone whom you respect and who respects you; someone who is interested in what you have to say, but will not agree with your claims just because you state them; someone who wants to hear your reasons for believing your claims and also wants to hear answers to their questions.
  • We also know that whatever it is we think, it is never the entire truth. Our conclusions are partial, incomplete, and always subject to challenge. So we write in a way that allows others to test our reasoning: we present our best thinking as a series of claims, reasons, and responses to imagined challenges, so that readers can see not only what we think, but whether they ought to agree.
  • And that's all an argument is--not wrangling, but a serious and focused conversation among people who are intensely interested in getting to the bottom of things cooperatively.
  • So your first step in writing an assigned paper occurs well before you begin writing: You must know what your instructor expects.
  • Start by looking carefully at the words of the assignment.
  • When most of your instructors ask what the point of your paper is, they have in mind something different. By "point" or "claim" (the words are virtually synonymous with thesis), they will more often mean the most important sentence that you wrote in your essay, a sentence that appears on the page, in black in white; words that you can point to, underline, send on a postcard; a sentence that sums up the most important thing you want to say as a result of your reading, thinking, research, and writing. In that sense, you might state the point of your paper as "Well, I want to show/prove/claim/argue/demonstrate (any of those words will serve to introduce the point) that "Though Falstaff seems to play the role of Hal's father, he is, in fact, acting more like a younger brother who . . . ."" If you include in your paper what appears after I want to prove that, then that's the point of your paper, its main claim that the rest of your paper supports.
  • A good point or claim typically has several key characteristics: it says something significant about what you have read, something that helps you and your readers understand it better; it says something that is not obvious, something that your reader didn't already know; it is at least mildly contestable, something that no one would agree with just by reading it; it asserts something that you can plausibly support in five pages, not something that would require a book.
  • Kate Pok on 22 Nov 11
     
    great guide to college writing- print out and give out to students.
pjt111 taylor

Taking Yourself Seriously: Processes of Research and Engagement - 9 views

cct.wikispaces.umb.edu/TYS4

research thinking writing tools group process graduate education

shared by pjt111 taylor on 18 Sep 11 - No Cached
  • pjt111 taylor on 18 Sep 11
     
    Taking Yourself Seriously: Processes of Research and Engagement is the working title of a book by Peter Taylor and Jeremy Szteiter that assembles the tools and processes from research and writing courses taught in the Graduate Program in Critical and Creative Thinking. The most up to date version of the book can be viewed at http://cct.wikispaces.umb.edu/TYS (and associated links, including a link to a full pdf of the book). "For your research and writing to progress well, your questions and ideas need to be in alignment with your aspirations, your ability to take or influence action, and your relationships with other people. Shorten these items to head, heart, hands, and human connections. Your efforts to bring these 4H's into alignment is what we mean when we invite you to take yourself seriously." Some comments from former students looking back on the influence of the research courses out of which this book has arisen: Jane, a healthcare professional and story-teller: I learned is to 'hold my ideas loosely', which means accepting my own idea as a valid one but always leaving the space open to take in the counterarguments. I learned to give myself permission to be circular and come back to previous steps or thoughts, and I actually became more comfortable doing so. I was able to get engaged in a project that I was able to actually use in work, which was extremely satisfying. The whole process encouraged me, and I felt very empowered as a change agent, which could be an exhilarating feeling.
Margaret FalerSweany

Educational Leadership:Writing: A Core Skill:Teach Critical Thinking to Teach Writing - 48 views

www.ascd.org/...Thinking-to-Teach-Writing.aspx

critical thinking writing skill

shared by Margaret FalerSweany on 16 Apr 14 - No Cached
  • critical thinking doesn't come easily for anyone
  • writing does not necessarily teach critical thinkin
  • the best way to help students learn critical thinking may be to actually teach it
  • ...1 more annotation...
  • although writing and thinking may be linked, students don't learn to think just by learning to write; rather, to learn to write, they need to learn to think.
  • deniseahlquist on 16 Apr 14
     
    An excellent article on the challenges we all face in become better at thinking critically and writing well. I have found that most students do better presenting arguments in written form when they have engaged in in-depth discussion, as then questioning and peer responses can prompt deeper thinking and make real the need to both cite and explain evidence. The Shared Inquiry method used in Great Books programs provides a focus on open, interpretive questions that require students to make an defend claims about the meaning of complex texts. The model lessons suggest a sequence of activities that supports multiple close readings, collaborative discussions, and writing throughout the process.
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
Nigel Coutts

Reflecting on report writing time - How might we maximise the value? - The Learner's Way - 10 views

thelearnersway.net/...ow-might-we-maximise-the-value

report writing education learning assessment feedback

shared by Nigel Coutts on 13 Oct 19 - No Cached
  • Nigel Coutts on 13 Oct 19
     
    For schools in Australia and many parts of the world, we are heading towards the end of another school term and year. That means report writing season. For the next few weeks, teachers across the country will be huddled in front of computer screens, writing reflections on the progress their learners have made. Mark books will be opened, assessments consulted, work samples will be reviewed. All so that in the first week of the long Summer vacation students can sit and read their report and make plans for how they will enhance their learning in the coming year.
Maggie Tsai

The Classroom » Using Diigo for Organizing the Web for your Class - 13 views

theclassroom.ca/...anizing-the-web-for-your-class

diigo education review

shared by Maggie Tsai on 05 Aug 07 - Cached
  • Using Diigo for Organizing the Web for your Class 31 07 2007 A good friend of mine, Randy Lyseng, has been telling people of the tremendous power and educational value that can be gained from social bookmarking in the classroom. His personal favourite is Diigo. My preference is a social bookmarking tool called http://diigo.com. With diigo, you can highlight, add stick notes and make your comments private or public. (Randy Lyseng, Lyseng Tech: Social Bookmarking, November 2006) After listening to Randy praise Diigo at every opportunity, I finally started playing with the site (and corresponding program, more on that in a bit) this summer (I know Randy - I’m slow to catch on…)As I started to play with the system, my mind started reeling with all the possibilities. First off, like any other social bookmarking tool, Diigo allows you to put all your favorites/bookmarks in one “central” location. Students can access them from ANY computer in the world (talk about the new WWW: whatever, whenever, where ever). They just open up your Diigo page, and there are all the links. But that’s just the tip of the iceberg. Diigo’s power lies in it’s group annotations. That’s right, people can now write in the margins of webpages. You can highlight passages of interest, write notes, and even write a blog entry directly from another webpage, quoting passages right from the original text. Sounds great - but to do all that it must be complicated right? Nope. To use these advanced features all you need to do is run the Diigo software. This can either be done using a bookmarklet or by downloading and installing the Diigo toolbar. While both have basically the same features, the toobar is less finicky, and allows you to use contextual menus to access features quickly. I also find the toolbar’s highlighting and sticky notes to be easier to read. Ok fine… I can leave notes on webpages - so what? Here’s an example. I’m thinking about having my 7B’s record radio plays. I’ve looked them up online and found many scripts from all the old classics available. However many also contain the old endorsements from tobacco and other companies. So I go to a play that I’d like to my students to record and highlight the old commercial. If they’re using diigo when they access this page they’ll see the same text highlighted in pink, and when they mouse over the highlighted text they’ll get a hidden message from me - “I’d like you to write a new advertisement for this section. What other advertisement do you think we could write for here? Write an ad for a virtue or trait that you think is important. For example - “Here’s a news flash for every person in Canada. It’s about a sensational, new kind of personality that will make you the envy of all those around you. It’s call trustworthiness. Why with just a pinch of this great product….” They now have a writing assignment to go along with the recording of the radio play. Adding assignments is just one possibility. You can ask questions about the site, or have students carry on conversations about the text. Perhaps about the validity of some information. These notes can be made private (for your eyes only), public, or for a select group of people. You could use the same webpage for multiple classes, and have a different set of sticky notes for each one! Diigo will also create a separate webpage for each group you create, helping you organize your bookmarks/notes further! This technology is useful for any class, but I think is a must have for any group trying to organize something along the lines of the 1 to 1 project. I’m hoping to convince all the core teachers to set up a group page for their classes, and organize their book marks there! I’ve already started one for my 7B Language Arts Class! One of the first questions I was asked when I started looking at this site, and more importantly at the bookmarklets and toolbar was is it secure? Will it bring spyware onto our systems? How about stability? I’ve currently been running the Diigo bookmarklet and toolbar on 3 different browsers, Explorer, Firefox, and Safari (sorry, there’s no Safari toolbar yet), across 4 different computers and 2 different platforms with no problems. I’ve also run every virus and spyware scan I can think of, everything checks out clean. I’ve also done an extensive internet check, and can’t find any major problems reported by anyone else. To my mind it’s an absolutely fantastic tool for use in the classroom. Thanks Diigo! And thanks Randy for pointing me in the right direction!
Stan Golanka

Reading and the Web - Texts Without Context - NYTimes.com - 49 views

www.nytimes.com/...21mash.html

shared by Stan Golanka on 08 Feb 11 - Cached
  • It’s also a question, as Mr. Lanier, 49, astutely points out in his new book, “You Are Not a Gadget,” of how online collectivism, social networking and popular software designs are changing the way people think and process information, a question of what becomes of originality and imagination in a world that prizes “metaness” and regards the mash-up as “more important than the sources who were mashed.”
    • Stan Golanka
      Stan Golanka on 08 Feb 11
       
      Core discussion topic? From this, I see a few discussion issues: 1. Do we prize "mash-ups" more than original work? Who is "we" in this? 2. If the answer to #1 is "yes," then the next question is: is this good or bad? 3. Finally, if the answer is "bad" to #2, what place do "mash-ups" have, and how do we help our students see the value in original work?
  • Web 2.0 is creating a “digital forest of mediocrity” and substituting ill-informed speculation for genuine expertise;
    • Stan Golanka
      Stan Golanka on 08 Feb 11
       
      How do teachers help students rise above this "digital forest of mediocrity"?
  • Mr. Johnson added that the book’s migration to the digital realm will turn the solitary act of reading — “a direct exchange between author and reader” — into something far more social and suggested that as online chatter about books grows, “the unity of the book will disperse into a multitude of pages and paragraphs vying for Google’s attention.”
    • Stan Golanka
      Stan Golanka on 08 Feb 11
       
      If Johnson's predictions are true, is this necessarily bad? How much of this concern is "nostalgia"? What would be lost from an academic p.o.v, and what migh be gained?
  • ...5 more annotations...
  • Instead of reading an entire news article, watching an entire television show or listening to an entire speech, growing numbers of people are happy to jump to the summary, the video clip, the sound bite — never mind if context and nuance are lost in the process; never mind if it’s our emotions, more than our sense of reason, that are engaged; never mind if statements haven’t been properly vetted and sourced.
    • Stan Golanka
      Stan Golanka on 08 Feb 11
       
      Should teachers "fight" this, or embrace it? Can summaries/sound bites ever be appropriate for academic discussions?
  • And online research enables scholars to power-search for nuggets of information that might support their theses, saving them the time of wading through stacks of material that might prove marginal but that might have also prompted them to reconsider or refine their original thinking.
  • Digital insiders like Mr. Lanier and Paulina Borsook, the author of the book “Cyberselfish,” have noted the easily distracted, adolescent quality of much of cyberculture. Ms. Borsook describes tech-heads as having “an angry adolescent view of all authority as the Pig Parent,” writing that even older digerati want to think of themselves as “having an Inner Bike Messenger.”
    • Stan Golanka
      Stan Golanka on 08 Feb 11
       
      Can teachers moderate this attitude? Does our (adults) use/non-use of technology help breed this attitude?
  • authors “will increasingly tailor their work to a milieu that the writer Caleb Crain describes as ‘groupiness,’ where people read mainly ‘for the sake of a feeling of belonging’ rather than for personal enlightenment or amusement. As social concerns override literary ones, writers seem fated to eschew virtuosity and experimentation in favor of a bland but immediately accessible style.
    • Stan Golanka
      Stan Golanka on 08 Feb 11
       
      Does this ring true to educators? Are social concerns and literary conerns opposites? How does web publishing affect "literary" publishing, as opposed to "non-literary" publishing?
  • However impossible it is to think of “Jon & Kate Plus Eight” or “Jersey Shore” as art, reality shows have taken over wide swaths of television,
Brian Peoples

Book In An Hour: A Classroom Strategy « Not All Who Wonder Are Lost - 8 views

allwhowonder.wordpress.com/...n-an-hour-a-classroom-strategy

resources classroom strategy

shared by Brian Peoples on 06 Aug 11 - Cached
  • « Thoughts on Collaboration and Developing Higher Level Questioning Skills Twittering with a Purpose: A Starter (or Restarter) Guide » Book In An Hour: A Classroom Strategy April 30, 2009 by Ellsbeth This past winter I had the opportunity to attend a workshop with Organization of American Historians distinguished lecturer, Dr. Lendol Calder.   This is the first place where I came across the strategy called Book In An Hour.  Since then I’ve tried to find additional internet resources on this strategy, but they appear to be few and far between.  I know other people would find it useful, so I decided to write up the strategy and post it here on the blog.  If you know of additional resources or ways to adapt this strategy, I would enjoy hearing from you. What: The Book In An Hour strategy is a jigsaw activity for chapter books.  While the strategy can take more than an hour depending on the reading and presentation method you choose. Why: While many teachers view this activity as a time saver, I view it as a way to expose students to more literary and historical materials than I might have been able to do otherwise.  There are many books that I would love my students to read, but I know that being able to do so is not always my reality.  This st
  • y gives me an avenue to expose them to additional literature and other important historical works without taking much time away from the other aspects of my courses.  It also provides opportunities for differentiation.  This strategy can be adapted to introduce a book that students will be reading in-depth.  Instead of j
  • ng to divide students up into groups or jigsaw with individual students.  If you are using groups, I recommend making them heterogeneous or creating them in a way that subtly facilitates differentiation.  I also encourage you to give each student in the grou
  • Brian Peoples on 06 Aug 11
     
    suggested on #sschat
Dorothy Minor

commonplace book - definition and examples of commonplace books - 23 views

grammar.about.com/...commonplacebookterm.htm

writing ideas reflection

shared by Dorothy Minor on 23 Dec 13 - No Cached
  • Dorothy Minor on 23 Dec 13
     
    Commonplace books offer students a place to collect ideas, reflections, observations, and anything related to reading and writing.
  • Dorothy Minor on 23 Dec 13
     
    Having students keep a commonplace book on their reading assignments will help them think about readings and reflect upon the ideas.
Martin Burrett

Imagine Forest - 30 views

ukedchat.com/...imagine-forest

writing creative writing story stories ebooks books publishing online publishing write

shared by Martin Burrett on 24 May 18 - No Cached
  • Martin Burrett on 24 May 18
     
    "A superb platform for creating online books. Add pictures from the bank of images or from your computer. Browse the extensive library of books created by the community."
Kate Tabor

Ten rules for writing fiction | Books | guardian.co.uk - 42 views

www.guardian.co.uk/...s-for-writing-fiction-part-one

writing ten rules

shared by Kate Tabor on 20 Feb 10 - Cached
  • Kate Tabor on 20 Feb 10
     
    Writers give advice - re: writing fiction - part 1
Martin Burrett

Story Jumper - 79 views

www.storyjumper.com

writing digital story telling publishing story stories books ebooks

shared by Martin Burrett on 17 Feb 10 - Cached
angela rees liked it
  • Ms GKat on 17 Feb 10
     
    StoryJumper: create your own children's book.
  • Tracy Tuten on 16 Jun 10
     
    This looks like an amazing tool for online writing and collaboration. 
  • Martin Burrett on 15 Mar 12
     
    This is a fabulous site for creating free ebooks by uploading photos from your computer, or by using the well stocked gallery of props scenes and characters provided by the site. Just drag and drop your items into place. Books can be private or shared using a url link. A free signing is required. You can also have your ebooks made into real books for a fee. http://ictmagic.wikispaces.com/English
Martin Burrett

Book: Vocabulary Ninja: Mastering Vocabulary by @MrJenningsA via @BloomsburyEd - 9 views

ukedchat.com/...vocabulary-ninja

book review vocabulary

shared by Martin Burrett on 23 May 19 - No Cached
  • Martin Burrett on 23 May 19
     
    "Building a rich vocabulary, across the curriculum, is one of the main aims for most teachers. Not only does a rich vocabulary help to create strong writing skills, but also can help with improving access to all areas of the curriculum. In his book, Andrew Jennings explains why vocabulary should be a focus in your classroom, providing resources and inspiration to help optimise vocabulary learning. Resources include a focus on SPaG facts, key vocab words that support various popular primary topics, an etymology section to inspire pupils, and looking at various grammatical features that can help build a repertoire of rich vocabulary. Throughout, the book provides other resources that can be copied for classroom use, or be used to take home to help build vocabulary skills away from the school setting."
Tracy Tuten

Reading and the Web - Texts Without Context - NYTimes.com - 18 views

www.nytimes.com/...21mash.html

Humument literature mashup culture NYTimes education reading

shared by Tracy Tuten on 23 Mar 10 - Cached
  • Tracy Tuten on 23 Mar 10
     
    This article describes a new book, Reality Hunger, which is essentially a mashup of quotes from other sources. The article discusses how are culture of short-form writing and reading is changing literature and reading. The book reminds me of elements of a Humument, which also took the work of another and then augmented that work into a new story and art form.
Martin Burrett

My Storybook - 43 views

ukedchat.com/...my-storybook

books ebook stories story

shared by Martin Burrett on 25 Sep 16 - No Cached
  • Martin Burrett on 25 Sep 16
     
    An intuitive online book creator - write, draw, add images and share. The site has a bank of backgrounds to choose from and a range of tools to draw items into the books.
C CC

UKEd Mag: February - Issue 02 | UKEdChat.com - Supporting the #UKEdChat Education Commu... - 5 views

ukedchat.com/...uked-mag-february-issue-02

ukedchat education philosophy magazine edtech homework pedagogy ukedmag

shared by C CC on 08 Feb 14 - No Cached
  • C CC on 08 Feb 14
     
    Tom Bigglestone, who explores the benefits of Philosophy for Children (P4C). Chris Healey, who write about homework in the digital Age. John Pearce, advocates that teachers pledge a pedagogical oath. James Abela gives us a global perspective, writing about his experience in Thailand. Andy Knill waves the flag for the SOLO Taxonomy. UKEdChat Exclusive feature asked teachers what jobs they do if quit the profession. Martin Burrett tells of various highlights observed at BETT this year. Sharon Jones debates how debating can benefit pupils. David Moody shares some Stickmen without Arms! Tina Watson explains how she supports pupils to fill the blank pages. Leon Cych gives tips on how to produce professional video and audio with pupils. We review the book "The Philosophy Shop", edited by Peter Worley.
1 - 20 of 110 Next › Last »
Showing 20▼ items per page