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Andrew Williamson

Macworld Forums [Powered by Invision Power Board] - 0 views

www.macworld.com.au/...index.php

shared by Andrew Williamson on 15 Jan 09 - Cached
    • Andrew Williamson
      Andrew Williamson on 15 Jan 09
       
      Worth a look at for school. Sounds promising
  • For Australians wanting to try the Flip, I might point out Price USA -- www.priceusa.com.au. This is a mob in Mildura that work with an agent in the US and will order anything you can get in the US but can't get here. Go to their site, enter the URLs and details of the products you want, and they'll send you a quotation to confirm. Have used them in the past and prices (shipping and exchange rate) were quite reasonable; I can't make any guarantees, but it should be easy to land a Flip in Australia for well under $200.I think the reason Australian companies aren't importing this device is that it would cannibalise much of the low end of the video camera market. The most comparable device here -- a waterproof model from (can't remember off hand) is priced at $699.
Javier E

Taking the Information Plunge With Tinderbox | Mac.AppStorm - 146 views

mac.appstorm.net/...ormation-plunge-with-tinderbox

information understanding structure app software writing

shared by Javier E on 18 May 11 - No Cached
  • Tinderbox “the tool for notes.”
  • The power of Tinderbox comes from its ability to display those notes in a number of different and helpful ways, and its array of mechanisms for manipulating those notes.
  • Tinderbox is a toolbox full of tools that let you play with information. DevonThink Pro is a better tool for research, particularly when linked with Devon Agent, OmniOutliner is a better outliner, Scrivener is a better writing tool, and Omnigraffle does a better job of drawing. All of these tools are great, but while they overlap some, they don’t cover everything Tinderbox does.
  • ...4 more annotations...
  • For many years, I have walked into large, complex businesses and attempted to identify what was going on and how it could be done better. My job was part Qualitative Research, part Quantitative Research, and part Political Analysis. Qualitative Research has a number of tools for analyzing interviews and playing with the data, teasing meaning out of diverse viewpoints. I used these tools effectively, but I wish I’d had Tinderbox earlier in my career because it would have made this job easier. Tinderbox is a far more useful tool for ‘right-brained’ qualitative analysis than most of the other tools I’ve worked with, but even that sells it short.
  • Very few people I’ve seen truly understand its character as a tool box for manipulating and exploring information.
  • I have been using TB for just over a year and it has become my second top application after Scrivener. (I also use DEVONThink Pro) I have planned a trilogy of novels on it, and a detailed timeline for the first novel. I’m currently editing the first novel, which is to come out in Feb 2112, and I have set up my Scrivener screen so that the timeline occupies the lower third of my screen (though the Apps can be viewed together in other ways).
  • As for the trilogy, the plan is a work in progress using map view. But the power to manipulate the characters, events and relationships, and run what-ifs, has far exceeded my expectations.
D Murray

Ralph Tyler's Little Book - 43 views

www.coedu.usf.edu/...tyler.htm

shared by D Murray on 08 Sep 11 - No Cached
  • The belief at the time was that schools should require strong discipline and that "children should not talk to one another; all communication should be between the teacher and the class (Tyler, 1975)."
  • War I, as it soon would be called, would have a dramatic effect on education
  • Following the introduction of the Army's intelligence test, a "Testing Movement" in education, became established and spread throughout the United States
  • ...14 more annotations...
  • He saw testing and "the holes in testing for memorization"
  • as a problem to study for life
  • The most important and comprehensive curriculum experiment ever carried on in the United States..."
  • This methodology engages the student in a number of projects. The projects he defined as "a purposeful activity carried to completion in a natural setting
  • most famous work was his "little" book Basic Principles of Curriculum and Instruction
  • What educational purposes should the school seek to attain? How can learning experiences be selected which are likely to be useful in attaining these objectives? How can learning experiences be organized for effective instruction? How can the effectiveness of learning experiences be evaluated?
  • The fifth and final section describes "How a school or College staff may work on curriculum building."
  • do not have clearly defined purposes
  • 1. Establish broad goals or objectives.2. Classify the goals or objectives.3. Define objectives in behavioral terms.4. Find situations in which achievement if objectives can be shown.5. Develop or select measurement techniques.6. Collect performance data.7. Compare performance data with behaviorally stated objectives.
  • education as "an active process
  • It involves the active efforts of the learner himself."
  • The first of these was through direct instruction
  • Tyler's greatest gift to the field of education was the development of an objectives-based evaluation model.
  • "the father of behavioral objectives.
psaunders

www.AllAboutGermany.NET | Moving to Germany | Visiting Germany | Living and W... - 19 views

www.allaboutgermany.net/...gentrification-berlin

shared by psaunders on 03 Apr 11 - No Cached
    • psaunders
      psaunders on 03 Apr 11
       
      Wouldn't it be better to start with this anecdote. It's got real impact. As it is, it's buried too far down and there's too much tame scene setting to start with. 
  • There’s a sort of proletarian parochialism to be found in Berlin
  • the parochial attitude of many western Berliners towards eastern Berlin
  • ...6 more annotations...
  • I’ve been to parties and social gatherings there many times where one set of people stay at one end of the room and another -- the newcomers -- at the other end.
  • Gentrification in Berlin has now started to make itself felt in staunchly working class and immigrant Neukoelln
  • A video has recently appeared on YouTube about the phenomena of gentrification in Neukoelln
  • t that time I also had the pleasure of viewing a tiny, squalid, almost windowless one roomed apartment that had just become free for letting in Neukoelln. It had until very recently been previously occupied by a mentally disturbed alcoholic whom the police had found dead drunk on the street a few blocks further down. When the police entered his apartment they found a large collection of knives, hammers, baseball bats, knuckle-dusters, axes and other weapons scattered around the flat. When I visited the now empty apartment, these items were all still laid out on the kitchen table awaiting their removal by the police. Apparently the apartment had also by necessity just been fumigated. Needless to say, I declined to take up a rental contract with the agent for that particular property.
  • can understand some of the points he makes about the superficiality of the hipsters with their “Starbucks standards and expectations” and how they just want to party for a few years before moving on again somewhere else. But I don’t entirely agree with his point of view. Berlin needs newcomers, it needs new creativity and new enterprise. It can’t afford to stagnate and just remain a working class city in a city with little for the working class to do anymore. I find this hostility towards “Aerzte, Architekten und Anwaelte” rather parochial and narrow-minded. Why be against these people? Because they are doing well for themselves? What are they supposed to do? Sweep the streets or draw Stuetze (unemployment benefit)?
  • funny rant, critical of the newcomers and their standardized Latte Macchiato attitudes.  The video was also featured on Dutch TV recently.
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.
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