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Michele Rosen

eGFI - Dream Up the Future - 4 views

www.egfi-k12.org

shared by Michele Rosen on 28 Jun 12 - Cached
  • Marc Patton on 28 Jun 12
     
    eGFI is proudly brought to you by the American Society for Engineering Education (ASEE). We are committed to promoting and enhancing efforts to improve K-12 STEM and engineering education.
Marc Patton

LearnZillion - 52 views

learnzillion.com

shared by Marc Patton on 20 Apr 15 - No Cached
  • Marc Patton on 20 Apr 15
     
    Join our vibrant community to access thousands of effective, standards-aligned resources.
  • Lisa Stone on 21 Apr 15
     
    Great free resources here!!! I worked with LZ last summer as a member of its Dream Team to write a close reading unit. It was one of the best professional development experiences I've ever had.
Debra Gottsleben

(7) Twitter / Home - 5 views

twitter.com

shared by Debra Gottsleben on 02 Feb 10 - Cached
  • chat    The curse of Melvin Dewey. http://librarianchat.com/forum/index.php?topic=524.0
  • buffyjhamilton    researching and compiling list of American authors whose work reflects "American Dream" theme from 1950 to now.
  • Innovation Is The Enemy RT @nzbookmarks: http://bit.ly/bKhhze #entrepreneur #smb
  • ...1 more annotation...
  • scsdmedia Kathy Kaldenberg Anatomy of a Facebook lynching. http://bit.ly/giuJgZ Followup to CookSource controversy (I didn't know about this)
Kate Tabor

Welcome to NBC Learn- Finishing The Dream: Learning From The Civil Rights Era - 35 views

www.nbclearn.com/finishingthedream

shared by Kate Tabor on 01 Jun 10 - Cached
  • Kate Tabor on 01 Jun 10
     
    60 years of the Civil Rights Movement - teacher resources
andrew torris

educon21 » home - 0 views

educon21.wikispaces.com

shared by andrew torris on 12 Jan 09 - No Cached
  • andrew torris on 12 Jan 09
     
    What is EduCon 2.1? EduCon 2.1 is both a conversation and a conference. And it is not a technology conference. It is an education conference. It is, hopefully, an innovation conference where we can come together, both in person and virtually, to discuss the future of schools. Every session will be an opportunity to discuss and debate ideas -- from the very practical to the big dreams.
Tony Baldasaro

When did teachers start to fear technology? | SeacoastOnline.com - 0 views

www.seacoastonline.com/...20090823-OPINION-908230317

technology teachers fear

shared by Tony Baldasaro on 23 Aug 09 - Cached
  • My students are more involved with technology than ever before. They have taken the lead in mass networking and graphic design
  • They block network programs such as Facebook because of a fear of what might be abused. They block all Web-based e-mail systems that in all reality should help the majority of students. They also reject the use of iPods and cell phones because they believe the use of these new technologies would reduce a student's capacity to learn
    • Tony Baldasaro
      Tony Baldasaro on 23 Aug 09
       
      The opposite is true, these technologies increase a student's capacity to learn.
  • no one is going to stop the use of these technologies.
  • ...3 more annotations...
  • The second thing it published was pornography.
    • Tony Baldasaro
      Tony Baldasaro on 23 Aug 09
       
      I wish this comment wasn't here, it cheapens his argument.
  • Facebook technology should be used in our classrooms to communicate with classrooms around the world to show the concept all students are in the process of attaining their dreams.
  • Today it is the other way around.
  • Tony Baldasaro on 23 Aug 09
     
    Since I've been teaching for more than three decades I remember a time when technology was accepted by all teachers. In fact, I remember a time when my administration gave me my first Apple computer to use. My students were all huddled around me as I investigated new learning tools. The graphics were terrible but it was like magic to my students.
Ed Webb

Photos of mullets, leotards return to haunt online by AP: Yahoo! Tech - 0 views

tech.yahoo.com/...us_tec_childhood_photos_online

online identity photos facebook

shared by Ed Webb on 20 Sep 09 - Cached
  • But some people do care, especially when someone else has uploaded an unflattering photo or video. Los Angeles screenwriter Mike Bender, who runs AwkwardFamilyPhotos.com devoted to such photos from the past, said a woman who shared a family photo later wrote to say that she was drunk when she submitted it and that her family was upset with her. Bender removed the picture immediately, but it was already all over the Internet. What happens online can have a direct effect on someone's real life reputation, Van Der Heide said, yet people posting photos of others aren't giving them a chance to respond or control how they appear. He said unwarranted photos, videos or comments made about you could potentially "assassinate your credibility."
  • Today, Rea is a high school math teacher in St. Louis, having given up her modeling dreams. "It's making fun of myself, letting the world know we've all had embarrassing moments," she said. What if her students saw that photo online? "I think it would be funny," she said. "It's good for my students to know that it's OK to make mistakes."
  • Ed Webb on 20 Sep 09
     
    How responsible should educators be for encouraging students to think about managing their digital identities?
Annette Lamb

Dreams - Poets.org - Poetry, Poems, Bios & More - 0 views

www.poets.org/...16075

shared by Annette Lamb on 23 Jun 09 - Cached
  • Life is a broken-winged bird
    • Annette Lamb
      Annette Lamb on 23 Jun 09
       
      This is really cool!
  • Annette Lamb on 23 Jun 09
     
    A great poem from the early 1900s
anonymous

Thought Experiment: What Sitcom Best Articulates the Dreams of the Digital World's Most... - 29 views

www.richardemiller.com/...periment-what-sitcom-best.html

news review censorship voyeurism we_live_in_public

shared by anonymous on 19 Dec 10 - No Cached
  • anonymous on 19 Dec 10
     
    What shared texts survive in the Web 2.0 world? 
Don Doehla

AVID | Decades of College Dreams - 31 views

www.avid.org

education resources tools avid

shared by Don Doehla on 17 Feb 11 - Cached
  • Don Doehla on 22 Aug 13
     
    AVID, Advancement Via Individual Determination, is a college readiness system for elementary through higher education that is designed to increase schoolwide learning and performance. The AVID College Readiness System (ACRS) accelerates student learning, uses research based methods of effective instruction, provides meaningful and motivational professional learning, and acts as a catalyst for systemic reform and change.
Kate Pok

Collecting, Annotating and Redistributing Student Work using an iPad, GoodReader, Dropb... - 129 views

wanderingacademic.com/dropbox-and-optionally-jotform

teaching

shared by Kate Pok on 09 May 11 - No Cached
    • Kate Pok
      Kate Pok on 07 Nov 11
       
      Google docs and rubrics vs. annotating in iPad- now set comments in iPad...in the rubric, I can quickly mark it up and send it back to students...I would have to do all the markups by hand in iPad. Advantage in iPad of course is that it's portable.
  • Greg Clinton on 09 May 11
     
    iPad workflows for teachers helps you figure out how to get things done with an iPad. Goodreader, Dropbox and Jotform. Not just a review of apps, but a way to use them together.
  • Josh Flores on 10 May 11
     
    This is the dream classroom in my opinion! Less bulk to carry home at night and available everywhere.
Marc Patton

dotEPUB - download any webpage as an e-book - 125 views

dotepub.com

Teaching_Tools Online_Learning_Environments

shared by Marc Patton on 15 May 11 - Cached
Kate Pok liked it
  • Paul McKean on 15 May 11
     
    Really Like This >> dotEPUB -Download any Webpage as an e-book http://bit.ly/lOXUvZ #bookmarklet #ebook #edtech #elearning #tlchat #edchat
  • John Lustig on 21 Mar 12
     
    The suburb of Saffron Park lay on the sunset side of London, as red and ragged as a cloud of sunset. It was built of a bright brick throughout; its sky-line was fantastic, and even its ground plan was wild. It had been the outburst of a speculative builder, faintly tinged with art, who called its architecture sometimes Elizabethan and sometimes Queen Anne, apparently under the impression that the two sovereigns were identical. It was described with some justice as an artistic colony, though it never in any definable way produced any art. But although its pretensions to be an intellectual centre were a little vague, its pretensions to be a pleasant place were quite indisputable. The stranger who looked for the first time at the quaint red houses could only think how very oddly shaped the people must be who could fit in to them. Nor when he met the people was he disappointed in this respect. The place was not only pleasant, but perfect, if once he could regard it not as a deception but rather as a dream. Even if the people were not "artists," the whole was nevertheless artistic. That young man with the long, auburn hair and the impudent face-that young man was not really a poet; but surely he was a poem. That old gentleman with the wild, white beard and the wild, white hat-that venerable humbug was not really a philosopher; but at least he was the cause of philosophy in others. That scientific gentleman with the bald, egg-like head and the bare, bird-like neck had no real right to the airs of science that he assumed. He had not discovered anything new in biology; but what biological creature could he have discovered more singular than himself? Thus, and thus only, the whole place had properly to be regarded; it had to be considered not so much as a workshop for artists, but as a frail but finished work of art. A man who stepped into its social atmosphere felt as if he had stepped into a written comedy.
  • Marc Patton on 10 Sep 12
     
    dotEPUB is software in the cloud that allows you to convert any webpage into an e-book
Justin Medved

The Answer Factory: Demand Media and the Fast, Disposable, and Profitable as Hell Media... - 24 views

www.wired.com/...1

for:dharter for:jutecht for:mdil

shared by Justin Medved on 20 Nov 09 - Cached
  • Pieces are not dreamed up by trained editors nor commissioned based on submitted questions. Instead they are assigned by an algorithm, which mines nearly a terabyte of search data, Internet traffic patterns, and keyword rates to determine what users want to know and how much advertisers will pay to appear next to the answers.
  • To appreciate the impact Demand is poised to have on the Web, imagine a classroom where one kid raises his hand after every question and screams out the answer. He may not be smart or even right, but he makes it difficult to hear anybody else.
  • But what Demand has realized is that the Internet gets only half of the simplest economic formula right: It has the supply part down but ignores demand. Give a million monkeys a million WordPress accounts and you still might never get a seven-point tutorial on how to keep wasps away from a swimming pool. Yet that’s what people want to know.
  • ...3 more annotations...
  • That’s not to say there isn’t any room for humans in Demand’s process. They just aren’t worth very much. First, a crowdsourced team of freelance “title proofers” turn the algorithm’s often awkward or nonsensical phrases into something people will understand: “How to make a church-pew breakfast nook,” for example, becomes “How to make a breakfast nook out of a church pew.” Approved headlines get fed into a password-protected section of Demand’s Web site called Demand Studios, where any Demand freelancer can see what jobs are available. It’s the online equivalent of day laborers waiting in front of Home Depot. Writers can typically select 10 articles at a time; videographers can hoard 40. Nearly every freelancer scrambles to load their assignment queue with titles they can produce quickly and with the least amount of effort — because pay for individual stories is so lousy, only a high-speed, high-volume approach will work. The average writer earns $15 per article for pieces that top out at a few hundred words, and the average filmmaker about $20 per clip, paid weekly via PayPal. Demand also offers revenue sharing on some articles, though it can take months to reach even $15 in such payments. Other freelancers sign up for the chance to copyedit ($2.50 an article), fact-check ($1 an article), approve the quality of a film (25 to 50 cents a video), transcribe ($1 to $2 per video), or offer up their expertise to be quoted or filmed (free). Title proofers get 8 cents a headline. Coming soon: photographers and photo editors. So far, the company has paid out more than $17 million to Demand Studios workers; if the enterprise reaches Rosenblatt’s goal of producing 1 million pieces of content a month, the payouts could easily hit $200 million a year, less than a third of what The New York Times shells out in wages and benefits to produce its roughly 5,000 articles a month.
  • But once it was automated, every algorithm-generated piece of content produced 4.9 times the revenue of the human-created ideas. So Rosenblatt got rid of the editors. Suddenly, profit on each piece was 20 to 25 times what it had been. It turned out that gut instinct and experience were less effective at predicting what readers and viewers wanted — and worse for the company — than a formula.
  • Here is the thing that Rosenblatt has since discovered: Online content is not worth very much. This may be a truism, but Rosenblatt has the hard, mathematical proof. It’s right there in black and white, in the Demand Media database — the lifetime value of every story, algorithmically derived, and very, very small. Most media companies are trying hard to increase those numbers, to boost the value of their online content until it matches the amount of money it costs to produce. But Rosenblatt thinks they have it exactly backward. Instead of trying to raise the market value of online content to match the cost of producing it — perhaps an impossible proposition — the secret is to cut costs until they match the market value.
  • Justin Medved on 20 Nov 09
     
    This is facinating!!!
Matt Renwick

Do Schools Really Need Principals? - Finding Common Ground - Education Week - 50 views

blogs.edweek.org/...ls_really_need_principals.html

schools principals beliefs+practices

shared by Matt Renwick on 01 Dec 14 - No Cached
  • few are prepared for the demands of a system that can't afford free riders
  • few are prepared for the demands of a system that can't afford free riders
  • few are prepared for the demands of a system that can't afford free riders
  • ...3 more annotations...
  • What kind of legacy will you leave behind when you are finished being a principal?
  • principals who don't provide much feedback, don't seem to know a great deal about learning
  • dreams
Matt Renwick

Education Week: Teachers, Don't Forget Joy - 24 views

www.edweek.org/...08wallis.h33.html

action-research

shared by Matt Renwick on 06 Jan 15 - No Cached
  • Joy isn't about a carefree life. It is about a deep-felt sense of wonder, of expectation, of delight, of engagement.
  • consider classrooms where everyone is both teacher and learner
  • dream of places where expertness and smartness grow out of inquiry and talk and wonder
meghankelly492

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

muse.jhu.edu/224140

world Music

shared by meghankelly492 on 22 Jul 19 - No Cached
  • n contrast to others who are not as prone to divulge their feelings about their creative process
  • "Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
  • The testimonies of the composers concerned bear on questions about (a) the role of the conscious and the unconscious in music creativity, (b) how the compositional process gets started, and (c) how the compositional process moves forward
  • ...39 more annotations...
  • It is hoped that the themes that emerge by setting twentieth and twenty-first century professional composers' accounts of certain compositional experiences or phases of their creative processes against one another will provide a philosophical framework for teaching composition.
  • Furthermore, the knowledge of how professional composers compose offers the potential of finding the missing link in music education; that is, the writing of music by students within the school curriculum
  • Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
  • raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
  • It is hoped that the direct access to these composers' thoughts about the subjective experience of composing Western art music in the second half of the twentieth and the beginning of the twenty-first century may also promote the image of a fragmented culture whose ghettoization in music education is a serious impediment to the development of a comprehensive aesthetic education.
  • n other words, there is a striking unanimity among composers that the role of the unconscious is vital in order to start and/or to complete a work to their own satisfaction.
  • I need . . . to become involved, to come into a state where I do something without knowing why I do i
  • This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
  • Nonetheless, these self-observations about the complementary roles of the unconscious and conscious aspects of musical creativity do not cover the wide range of claims in psychological research on creativity
  • I strongly believe that, if we cannot explain this process, then we must acknowledge it as a mystery.25 Mysteries are not solved by encouraging us not to declare them to be mysteries
  • When Ligeti was commissioned to write a companion piece for Brahms' Horn Trio, he declared, "When the sound of an instrument or a group of instruments or the human voice finds an echo in me, in the musical idea within me, then I can sit down and compose. [O]therwise I canno
  • Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
  • ome composers need to have something for it to react against.38 Xenakis, however, asserted that "all truly creative people escape this foolish side of work, the exaltation of sentiments. They are to be discarded like the fat surrounding meat before it is cooked."
  • as, as these examples show, dreams can also solve certain problems of the creative process.
  • In other words, to compose does not mean to merely carry out an initial idea. The composer reserves the right to change his or her mind after the conception of an idea.
  • n sum, self-imposed restrictions or "boundary conditions"55 seem to provide composers with a kind of pretext to choose from an otherwise chaotic multitude of compositional possibilities that, however, gradually disappears and gets absorbed into the process of composition which is characterized by the composers' aesthetic perceptions and choices.
  • Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
  • Thereby the past is seen as being comprised by a static system of rules and techniques that needs to be innovated and emancipated during the composers' search for their own musical identity.
  • I strongly suggest that we play down basics like who influenced whom, and instead study the way the influence is transformed; in other words: how the artist made it his own.
  • Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
  • Furthermore, for some composers the musical influence can emerge from the development of computer technology.
  • In sum, the compositional process proceeds in a kind of personal and social tension. In many cases, composers are faced with the tensive conflict between staying with tradition and breaking new ground at each step in the process. Thus, one might conclude that the creative process springs from a systematic viewpoint determined by a number of choices in which certain beliefs, ideas, and influences—by no means isolated from the rest of the composer's life—play a dominant role in the search for new possibilities of expression.
  • If a general educational approach is to emerge from the alloy of composers' experiences of their music creativity, it rests on the realization that the creative process involves a diversity of idiosyncratic conscious and unconscious traits.
  • After all, the creative process is an elusive cultural activity with no recipes for making it happen.
  • n this light, the common thread of composers' idiosyncratic concerns and practices that captures the overall aura of their music creativity pertains to (a) the intangibility of the unconscious throughout the compositional process,68 (b) the development of musical individuality,69 and (c) the desire to transgress existing rules and codes, due to their personal and social conflict between tradition and innovation.70
  • In turn, by making student composers in different classroom settings grasp the essence of influential professional composers' creative concerns, even if they do not intend to become professional composers, we can help them immerse in learning experiences that respect the mysteries of their intuitions, liberate their own practices of critical thinking in music, and dare to create innovative music that expresses against-the-prevailing-grain musical beliefs and ideas.
  • Therefore, it is critical that the music teacher be seen as the facilitator of students' compositional processes helping students explore and continuously discover their own creative personalities and, thus, empowering their personal involvement with music. Any creative work needs individual attention and encouragement for each vision and personal experience are different.
  • After all, the quality of mystery is a common theme in nearly every composer's accoun
  • Failing this, musical creativity remains a predictable academic exercise
  • Music teachers need to possess the generosity to refuse to deny student composers the freedom to reflect their own insights back to them and, in turn, influence the teachers' musical reality
  • Indeed, it is important that music teachers try to establish students gradually as original, independent personalities who try to internalize sounds and, thus, unite themselves with their environment in a continuous creative process.
  • Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
  • n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
  • While music creativity has been a component of music education research for decades, some of the themes arising from professional composers' experiences of their creativity, such as the significance of the unconscious, the apprehension towards discovering ones' own musical language, or the personal and social tension between tradition and innovation, among others, have not been adequately recognized in the literature of music education
  • By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
  • which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
  • . On the other hand, only few music educators appear to draw their composer students' attention to the importance of the personal and social conflict between staying within a tradition or code, even if it is the Western popular music tradition, and breaking new ground at each step in the creative process and, possibly, shaping new traditions or codes.
  • Culture is a precious human undertaking, and the host of musics, arts, languages, religions, myths, and rituals that comprise it need to be carefully transmitted to the young and transformed in the process."85
  • Nevertheless, further research is needed in which women's voices can be heard that may offer an emancipatory perspective for the instruction of composition in education which will "challenge the political domination of men."
Siri Anderson

Cell Phone Tracking Analysis Shows Where Florida Springbreakers and New Yorkers Fleeing... - 14 views

www.commondreams.org/...springbreakers-and-new-yorkers

ethics_in_the_information_age Coronavirus cellphones global_connections

shared by Siri Anderson on 29 Mar 20 - No Cached
  • Siri Anderson on 29 Mar 20
     
    Useful content for making careers in data of interest to a wide variety of students. Data isn't about math, it is about ethics, social justice, political science, economics, and well-being.
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