if real reform is to occur on the ground, hard, complex questions must be asked and answered
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Metta - Storytelling + Polling In One Compact Format. - 57 views
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Easy to use tool for creating flipped classroom lessons. Use the built-in search tool to find videos, images, or social media posts, put them into a timeline, add text and/or polls, and share. Free account has very limited media storage, but not an issue if you only use embedded media. Paid service has educator discount and is only $2.50/month.
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'We Are Creating Walmarts of Higher Education' - Timothy Pratt - The Atlantic - 59 views
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Examines how universities are changing, including lowering expectations, getting rid of programs, and considering the pressure that graduation rates will be used to judge institutions. An interesting connection to global ed reform and the various pressures in education. A disturbing discount of humanities and their import.
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Ecoballot announces half-price "social media" sale on e-voting subscriptions for schools. - 10 views
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For a limited time only, you can get a 50% discount on your annual subscription price by following @Ecoballot on twitter and liking them on Facebook.
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Noun Project - Icons for Education - 16 views
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half price discount for royalty-free licenses for NounPro icons, w/ svg & color options built in - and apps to incorporate library into Powerpoint, Photoshop, etc.
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The Cost of Saving Lives in Bangladesh - Ben W. Heineman Jr. - The Atlantic - 13 views
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consumers across the globe looking for cheap prices
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global garment retailers who want the incur the lowest cost--and offer the lowest price--to compete in developed markets but who do not want to be complicit in publicized worker tragedies in developing markets
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$38 dollars per month
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whether Bangladesh has the means to enforce such laws
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International Labor Organization
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Inadequate government is a huge obstacle to change
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only about one percent of Bangladesh garment factories have good standards.
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garment factory owners are willing to allow workers to organize in unions or associations in order to have a voice in health and safety conditions
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"who pays" and "who is accountable"
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Approximately 60 percent of the clothing made there goes to United States or the European Union
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there are several problems
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standards may depend on local law
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buyers may simply cut off the suppliers rather than helping them improve their practices
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global buyers simply leave the country when they conclude that conditions are so bad
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question then becomes whether international buyers are willing to go beyond imposition of standards and supplier cut offs and to pay, in some form, for the undetermined costs
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actually implementing major substantive change
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significant challenge in a weak state like Bangladesh.
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Can a robust consumer movement arise among those shopping for discount clothing in response to the Bangladesh building collapse?
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What are the standards? What is the cost? Who is accountable?
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drawn an analogy between the collapse of the Rana Plaza in the Bangladesh Capital of Dhaka and the 1911 Triangle Shirtwaist factory fire in New York which claimed 146 lives
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Rana Plaza catastrophe represents a more complicated set of fractured global relationships, responsibilities and financial capabilities.
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Book Chat: Why Does College Cost So Much? - NYTimes.com - 0 views
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yeah but then what? you still aren't dealing with the economic motivation for attending college, and the fact that it may not pan out for disadvantaged students. i.e. they get the 4.0 and degree, and still don't have the networks or corporate savvy to get a good job.
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Georgia HOPE scholarship has increased college attendance in Georgia
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erit-based price discounts only help determine which school a student attends.
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Everyone has three objectives for higher education: lower tuition, higher quality, and less government spending on subsidies. The unfortunate truth is that we can have any two of these, but we can’t have all three. If we mandate low tuition, we have to give on one of the other two. Either the government has to increase spending on subsidies, or the quality of the education schools will be able to provide will suffer. There are no easy choices
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iThemes Education Program: Amazing Opportunity for Educators - 121 views
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Themes, creator of tools to help users create awesome websites, has an amazing opportunity for Educators. The good people at ithemes offers an iThemes Education Program designed to assist Educators, Schools and Students to quality web design tools and training.
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Tech Learning TL Advisor Blog and Ed Tech Ticker Blogs from TL Blog Staff - TechLearnin... - 60 views
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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.
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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.)
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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.
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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.
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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.
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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.
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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.
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edtechteacher - 0 views
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while informal writing is an integral part of youth culture, teenagers also overwhelmingly understand the importance of good writing: 86 percent of teens consider formal writing skills essential to future success. While today's "screenagers" may offer but cursory glances at web pages that does not mean they discount the importance of a sustained engagement with a Shakespearean drama.
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in the best-case scenarios, teachers will use these changes to demonstrate to students the power of the written word and the importance of communicating clearly, and teachers will then give students new tools and strategies to improve their command of prose and persuasion.
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Web pages and accompanying multimedia are now integral primary sources for chroniclers and historians of the 21st century.
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MB004/MB004: The Basics of Educational Podcasting: Enhancing the Student Learning Exper... - 5 views
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Although there are numerous professional podcasting software packages currently available ($100 - $1000+), beginning podcasters may want to start with a freeware program. One of the most widely used free podcasting software programs is Audacity (http://audacity.sourceforge.net/), an open source sound recording and editing program with versions available for PC, Mac, and Linux operating systems. For Mac users another free podcasting program is GarageBand, found within the iLife package that comes with all new Mac OS X computers. Although older versions of GarageBand do not have the podcasting function, upgrades to the new, podcasting-ready GarageBand 4.1 are available in the iLife08 package for $90 (educational discounts available; http://www.apple.com/ilife/garageband/). For specific instructions on using GarageBand, an online video tutorial is available from Apple at http://www.apple.com/ilife/garageband/.
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Really Simple Syndication (RSS) feed
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However, if the objective, for example, is to create a database of reusable lecture materials, then synchronizing the slides with the audio portion of the lecture and adding special effects (e.g., sound, video) may be required and will likely take at least as long as the lecture itself.
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For educators, podcasting offers an opportunity to bridge the traditional classroom setting with progressive state-of-the-art technologies. There are several advantages of bringing podcasting into the classroom for lectures and student assignments. First, podcasting is an exciting and novel means for students to take a more active role in their own learning experience. As students realize their podcast assignments may be published online with potentially hundreds of listeners through free podcast directories, their attention to the quality and detail of their assignments may improve. Second, podcasting is adaptable to the students' learning needs. Students can access the material whenever and as often as they would like, thereby reinforcing critical concepts or details they may have missed in the original classroom lecture. Finally, assignments that require students to generate, edit, and publish their own podcasts reinforce critical communication skills such as writing text that will be orally presented online or in a classroom.
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1. Studetns take more active role in learning experience. 2. Adaptable to student's learning needs. 3. Develop communication skills.
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These results clearly show students' perceptions of podcasting in the classroom dramatically improved after using this technology
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Although podcasting was popular amongst most of the students, there was one student who opposed podcasting in the class
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"Where's the Writer" TETYC March 2014 - 43 views
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“Responders Are Taught, Not Born”
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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.
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We like to limit each mock session to no more than seven minutes of back and forth between respondent and writer.
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class suggests that the writer’s question
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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.
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we follow Carl Anderson’s suggestion to teach students how to ask questions about their writing through role-playing.
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dynamic list that students freely update throughout the semester on the class classro
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organize the questions within categories such as tone, content, evidence-based support, style, and logistics
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The end result is a robust list of questions for writers to ask of their respondents.
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in-class discussion about effective and less effective questions for writers
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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
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: pointing, summarizing, and reflecting
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Students’ comments often point to their struggle to position themselves in peer response.
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“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.”
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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
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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.
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, “Feedback: What Works for You and How Do You Get It?”
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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
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we question whether textbooks provide emergent writers with enough tools or explicit models to engage actively in peer response conversations.
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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.
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this information is limited to the instructor’s manual
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llustrates the difference be-tween vague and helpful questions, pointing out that helpful questions
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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
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uestions” when soliciting feedback (like the advice we found in many textbooks), she also provides explicit examples for doing so
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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
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“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
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dependent on what parts of the textbook they choose to read
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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.
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there is no mention that writers might use them for purposes of soliciting feedback.
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we see an opportunity for modeling that is not fully realized.
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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.
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textbook authors offer few examples for how to get specific feedback
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Peter Elbow and Pat Belanoff ’s first edition of A Community of Writers published in 1995, in which eleven “Sharing and Responding” techniques, d
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we worked to understand how textbooks highlight the writer’s role in peer response.
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We wanted to know what books tell writers about asking questions
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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.
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Writer's role in soliciting feedback during peer edit. Suggestions for modeling and training.