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Christopher Lee

Why I Like Prezi - 0 views

blog.pamelafox.org/...why-i-like-prezi.html

prezi powerpoint ppt presentation edtech tools

shared by Christopher Lee on 25 Jul 12 - No Cached
  • Christopher Lee on 25 Jul 12
     
    Why I Like Prezi In my life, I have given a *lot* of presentations. In high school, they were presentations on group projects. In university, they were presentations on research projects. At Google, they're presentations on how to use our APIs. When I first started giving presentations, I used Powerpoint, like everyone else. But I kept thinking there must be a better way, and I experimented with other options - flash interfaces, interactive Javascript apps. Then I discovered Prezi, and it has become my presentation tool of choice. Prezi is an online tool for creating presentations - but it's not just a Powerpoint clone, like the Zoho or Google offering. When you first create a Prezi, you're greeted with a blank canvas and a small toolbox. You can write text, insert images, and draw arrows. You can draw frames (visible or hidden) around bits of content, and then you can define a path from one frame to the next frame. That path is your presentation. It's like being able to draw your thoughts on a whiteboard, and then instructing a camera where to go and what to zoom into. It's a simple idea, but I love it. Here's why: It forces me to "shape" my presentation. A slide deck is always linear in form, with no obvious structure of ideas inside of it. Each of my Prezis has a structure, and each structure is different. The structure is visual, but it supports a conceptual structure. One structure might be 3 main ideas, with rows of ideas for each one. Another might be 1 main idea, with a circular branching of subideas. Having a structure helps me to have more of a point to my presentations, and to realize the core ideas of them. It makes it easy to go from brainstorming stage to presentation stage, all in the same tool. I can write a bunch of thoughts, insert some images, and easily move them around, cluster them, re-order them, etc. I can figure out the structure of my presentation by looking at what I have laid out, and seeing how they fit together. Some people do this
Marianne Hart

The Creativity Crisis - Newsweek - 48 views

www.newsweek.com/...the-creativity-crisis.html

shared by Marianne Hart on 13 Jul 10 - Cached
  • there is one crucial difference between IQ and CQ scores. With intelligence, there is a phenomenon called the Flynn effect—each generation, scores go up about 10 points. Enriched environments are making kids smarter. With creativity, a reverse trend has just been identified and is being reported for the first time here: American creativity scores are falling.
  • “Creativity can be taught,”
  • it’s left to the luck of the draw who becomes creative: there’s no concerted effort to nurture the creativity of all children
    • Brian C. Smith
      Brian C. Smith on 26 Jul 10
       
      Students are labeled as "creative" if they display a knack for art or music, and sometimes in writing, however, they are rarely recognized as creative in math or science where a lot of creativity is not only needed, but excellent for learning within those very two disciplines.
    • Bill Genereux
      Bill Genereux on 23 Aug 10
       
      This is precisely why creativity education is important. It is needed everywhere, not just in the arts. Those teaching outside of arts education need to start recognizing the importance of creative thinking as well.
  • ...23 more annotations...
  • When faculty of a major Chinese university asked Plucker to identify trends in American education, he described our focus on standardized curriculum, rote memorization, and nationalized testing. “After my answer was translated, they just started laughing out loud,” Plucker says. “They said, ‘You’re racing toward our old model. But we’re racing toward your model, as fast as we can.’ ”
  • The argument that we can’t teach creativity because kids already have too much to learn is a false trade-off. Creativity isn’t about freedom from concrete facts. Rather, fact-finding and deep research are vital stages in the creative process.
  • When you try to solve a problem, you begin by concentrating on obvious facts and familiar solutions, to see if the answer lies there. This is a mostly left-brain stage of attack. If the answer doesn’t come, the right and left hemispheres of the brain activate together. Neural networks on the right side scan remote memories that could be vaguely relevant. A wide range of distant information that is normally tuned out becomes available to the left hemisphere, which searches for unseen patterns, alternative meanings, and high-level abstractions. Having glimpsed such a connection, the left brain must quickly lock in on it before it escapes. The attention system must radically reverse gears, going from defocused attention to extremely focused attention. In a flash, the brain pulls together these disparate shreds of thought and binds them into a new single idea that enters consciousness. This is the “aha!” moment of insight, often followed by a spark of pleasure as the brain recognizes the novelty of what it’s come up with. Now the brain must evaluate the idea it just generated. Is it worth pursuing? Creativity requires constant shifting, blender pulses of both divergent thinking and convergent thinking, to combine new information with old and forgotten ideas. Highly creative people are very good at marshaling their brains into bilateral mode, and the more creative they are, the more they dual-activate.
  • those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better
    • Ed Webb
      Ed Webb on 23 Jul 10
       
      Surely, "more quickly"?
  • Creativity has always been prized in American society, but it’s never really been understood. While our creativity scores decline unchecked, the current national strategy for creativity consists of little more than praying for a Greek muse to drop by our houses. The problems we face now, and in the future, simply demand that we do more than just hope for inspiration to strike. Fortunately, the science can help: we know the steps to lead that elusive muse right to our doors.
    • Brian C. Smith
      Brian C. Smith on 26 Jul 10
       
      Likely because it was out of necessity and the hardships of life. Not that we don't have hardships and necessities, but innovation has solved a lot of problems and automation has made skills and tasks easy.
  • What’s common about successful programs is they alternate maximum divergent thinking with bouts of intense convergent thinking, through several stages. Real improvement doesn’t happen in a weekend workshop. But when applied to the everyday process of work or school, brain function improves.
    • Brian C. Smith
      Brian C. Smith on 26 Jul 10
       
      Everyday process of work or school... over time, consistent and non-prescriptive.
  • kids demonstrated the very definition of creativity: alternating between divergent and convergent thinking, they arrived at original and useful ideas. And they’d unwittingly mastered Ohio’s required fifth-grade curriculum—from understanding sound waves to per-unit cost calculations to the art of persuasive writing. “You never see our kids saying, ‘I’ll never use this so I don’t need to learn it,’ ” says school administrator Maryann Wolowiec. “Instead, kids ask, ‘Do we have to leave school now?’ ” Two weeks ago, when the school received its results on the state’s achievement test, principal Traci Buckner was moved to tears. The raw scores indicate that, in its first year, the school has already become one of the top three schools in Akron, despite having open enrollment by lottery and 42 percent of its students living in poverty.
  • project-based learning
  • highly creative adults frequently grew up with hardship. Hardship by itself doesn’t lead to creativity, but it does force kids to become more flexible—and flexibility helps with creativity.
  • When creative children have a supportive teacher—someone tolerant of unconventional answers, occasional disruptions, or detours of curiosity—they tend to excel. When they don’t, they tend to underperform and drop out of high school or don’t finish college at high rates. They’re quitting because they’re discouraged and bored, not because they’re dark, depressed, anxious, or neurotic. It’s a myth that creative people have these traits. (Those traits actually shut down creativity; they make people less open to experience and less interested in novelty.) Rather, creative people, for the most part, exhibit active moods and positive affect. They’re not particularly happy—contentment is a kind of complacency creative people rarely have. But they’re engaged, motivated, and open to the world.
  • solutions emerge from a healthy marketplace of ideas, sustained by a populace constantly contributing original ideas and receptive to the ideas of others
  • The age-old belief that the arts have a special claim to creativity is unfounded.
  • When scholars gave creativity tasks to both engineering majors and music majors, their scores laid down on an identical spectrum, with the same high averages and standard deviations. Inside their brains, the same thing was happening—ideas were being generated and evaluated on the fly.
  • The lore of pop psychology is that creativity occurs on the right side of the brain. But we now know that if you tried to be creative using only the right side of your brain, it’d be like living with ideas perpetually at the tip of your tongue, just beyond reach
  • those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better. A lifetime of consistent habits gradually changes the neurological pattern.
  • The home-game version of this means no longer encouraging kids to spring straight ahead to the right answer
  • The new view is that creativity is part of normal brain function.
  • “As a child, I never had an identity as a ‘creative person,’ ” Schwarzrock recalls. “But now that I know, it helps explain a lot of what I felt and went through.”
  • In China there has been widespread education reform to extinguish the drill-and-kill teaching style. Instead, Chinese schools are also adopting a problem-based learning approach.
  • fact-finding
  • problem-finding
  • Next, idea-finding
  • there is one crucial difference between IQ and CQ scores. With intelligence, there is a phenomenon called the Flynn effect—each generation, scores go up about 10 points. Enriched environments are making kids smarter. With creativity, a reverse trend has just been identified and is being reported for the first time here: American creativity scores are falling.
  • Christian Howd on 13 Jul 10
     
    For the first time, research shows that American creativity is declining. What went wrong-and how we can fix it.
Dallas McPheeters

Erikson's Stages of Development at Learning Theories - 24 views

www.learning-theories.com/ons-stages-of-development.html

shared by Dallas McPheeters on 27 Jul 10 - Cached
  • Erikson’s Stages of Development  Erik Erikson, a German psychoanalyst heavily influenced by Sigmund Freud, explored three aspects of identity: the ego identity (self), personal identity (the personal idiosyncrasies that distinguish a person from another, social/cultural identity (the collection of social roles a person might play). Erikson’s psychosocial theory of development considers the impact of external factors, parents and society on personality development from childhood to adulthood. According to Erikson’s theory, every person must pass through a series of eight interrelated stages over the entire life cycle. Infant (Hope) – Basic Trust vs. Mistrust Toddler (Will) – Autonomy vs. Shame Preschooler (Purpose) – Initiative vs. Guilt School-Age Child (Competence) – Industry vs. Inferiority Adolescent (Fidelity) – Identity vs. Identity Diffusion Young Adult (Love) – Intimacy vs. Isolation Middle-aged Adult (Care) – Generativity vs. Self-absorption Older Adult (Wisdom) – Integrity vs. Despair
    • Dallas McPheeters
      Dallas McPheeters on 27 Jul 10
       
      Good information to consider when lesson planning for different age groups to ensure meeting the needs at all ends of the spectrum.
Kelvin Thompson

Fallacy of Digital Natives - 103 views

www.danpontefract.com/?p=1300

eme5050 digital natives millennials natives immigrants digital immigrants generations developmental stages development stages lifespan learning tapscott prensky

shared by Kelvin Thompson on 21 Oct 11 - No Cached
  • Kelvin Thompson on 21 Oct 11
     
    A robust rebuttal of Prensky, Tapscott, et al's assertions that contemporary generations are more technologically proficient than their predecessors. The counter-argument is that our society has become more technological and individuals are more or less well adapted to this change. The author of this rebuttal (Pontefract) makes a case based upon logic, personal experience, and several recent research studies.
Ed Webb

Please Sir, how do you re-tweet? - Twitter to be taught in UK primary schools - 2 views

uk.techcrunch.com/...e-taught-in-uk-primary-schools

twitter technology literacy education UK socialmedia

shared by Ed Webb on 25 Mar 09 - Cached
  • The British government is proposing that Twitter is to be taught in primary (elementary) schools as part of a wider push to make online communication and social media a permanent part of the UK’s education system. And that’s not all. Kids will be taught blogging, podcasting and how to use Wikipedia alongside Maths, English and Science.
  • Traditional education in areas like phonics, the chronology of history and mental arithmetic remain but modern media and web-based skills and environmental education now feature.
  • The skills that let kids use Internet technologies effectively also work in the real world: being able to evaluate resources critically, communicating well, being careful with strangers and your personal information, conducting yourself in a manner appropriate to your environment. Those things are, and should be, taught in schools. It’s also a good idea to teach kids how to use computers, including web browsers etc, and how those real-world skills translate online.
  • ...8 more annotations...
  • I think teaching kids HOW TO use Wikipedia is a step forward from ordering them NOT TO use it, as they presently do in many North American classrooms.
  • Open Source software is the future and therefore we need to concentrate on the wheels and not the vehicle!
  • Core skills is very important. Anyone and everyone can learn Photoshop & Word Processing at any stage of their life, but if core skills are missed from an early age, then evidence has shown that there has always been less chance that the missing knowledge could be learnt at a later stage in life.
  • Schools shouldn’t be about teaching content, but about learning to learn, getting the kind of critical skills that can be used in all kinds of contexts, and generating motivation for lifelong learning. Finnish schools are rated the best in the world according to the OECD/PISA ratings, and they have totally de-emphasised the role of content in the curriculum. Twitter could indeed help in the process as it helps children to learn to write in a precise, concise style - absolutely nothing wrong with that from a pedagogical point of view. Encouraging children to write is never a bad thing, no matter what the platform.
  • Front end stuff shouldn’t be taught. If anything it should be the back end gubbins that should be taught, databases and coding.
  • So what’s more important, to me at least, is not to know all kinds of useless facts, but to know the general info and to know how to think and how to search for information. In other words, I think children should get lessons in thinking and in information retrieval. Yes, they should still be taught about history, etc. Yes, it’s important they learn stuff that they could need ‘on the spot’ - like calculating skills. However, we can go a little bit easier on drilling the information in - by the time they’re 25, augmented reality will be a fact and not even a luxury.
  • Schools should focus more on teaching kids on how to think creatively so they can create innovative products like twitter rather then teaching on how to use it….
  • Schools should focus more on teaching kids on how to think creatively so they can create innovative products like twitter rather then teaching on how to use it….
  • Ed Webb on 25 Mar 09
     
    The British government is proposing that Twitter is to be taught in primary (elementary) schools as part of a wider push to make online communication and social media a permanent part of the UK's education system. And that's not all. Kids will be taught blogging, podcasting and how to use Wikipedia alongside Maths, English and Science.
Luke Watkinson

Science-class.net - Science Resources for the Middle Grades - 22 views

science-class.net

science.general resources ideas

shared by Luke Watkinson on 15 Jul 12 - Cached
  • Luke Watkinson on 15 Jul 12
     
    15/07/2012 - A well-resourced and comprehensive site, suitable for some of the science taught at upper key stage 2 and beyond (8-11+).
Richard Fanning

A short introduction concerning the implementation of the Horizon system at t... - 4 views

liber-maps.kb.nl/...popla11.htm

Horizon automation ILS

shared by Richard Fanning on 29 Jul 10 - Cached
  • Horizon is a third generation system
  • marketed by Ameritech Library Services, a subsidiary of the Ameritech Corporation, one of the world's largest communication companies
  • new system Horizon was built on the Marquis, Dynix library system, and is being developed by Ameritech Library Service in collaboration with the University of Chicago and Indiana University. It was first introduced in the USA in 1991
  • ...7 more annotations...
  • Horizon is a fully integrated client/server library management system, providing a graphical user interface for the library, and offering the functionality and standards required for an open system, including Web access, Z39.50 standard for information exchange, the TCP/IP communication standard, UNIX and Windows NT for portability. Horizon uses the SQL database management system, available from Sybase or Microsoft.
  • the main hardware is a SUN computer Sparc Server 1000 with a UNIX Solaris 2.5 operating system
  • the centre of any library system is the cataloguing module.
  • Cataloguing and Authority Control contain the bibliographic database used by all Horizon modules
  • project will contain four stages of activity. Three of them include:
  • the preparation of standardised cataloguing rules and their implementation working out subject classification exchange of records among different systems preparation of legal and financial responsibilities collecting money for buying software and technical equipment etc. (we have already received $705,000 from the Mellon Foundation) implementation of system testing of the National Catalogue module schedule preparation for creation of databases users' training
  • Generally speaking, the main points of plan in Nicholas Copernicus University Library have been successfully realised. The progress is visible. Since September 1998 new modules have been implemented and tested. In the opinion of our users they work quite well. Of course, problems arise from time to time, and sometimes they are quite troublesome, but they are solved on a daily basis.
  • Richard Fanning on 29 Jul 10
     
    Horizon library automation system
meghankelly492

Music performance skills: A two-pronged approach - facilitating optimal music performan... - 1 views

journals.sagepub.com/...0305735618765349

anxiety Music

shared by meghankelly492 on 21 Aug 19 - No Cached
  • music performance anxiety (MPA)
  • The concept of “flow”, describing the subjective psychological state in which a person is completely immersed and fully concentrated in an activity which is enjoyable and rewarding, is often associated with optimal functioning
  • Anxiety is generally regarded as having an antithetical relationship with flow
  • ...19 more annotations...
  • The clinical implications of this negative association between MPA and flow suggest that a two-pronged approach focusing on facilitating flow and positive functioning as well as reducing pathological MPA may bring about improvements in the performer’s subjective performing experienc
  • Seligman’s (2011) most recent model of well-being, from the field of positive psychology, understands well-being as comprising five elements: Positive emotion, Engagement, Relationships, Meaning and Achievemen
  • There is a substantial body of Music Performance Anxiety (MPA) research providing evidence that MPA is a debilitating phenomenon (Kenny, 2011) which can affect musicians at any stage of their careers, from highly experienced professional performers (Fishbein, Middlestadt, Ottati, Straus, & Ellis, 1988; Kenny, Driscoll, & Ackerman, 2014) through to child beginners
  • Anxiety is often described as having an antithetical relationship to the experience of flow (Csikszentmihalyi, 1975), and it has been suggested that fostering techniques for facilitating flow may provide a powerful tool for reducing MPA and encouraging optimal performance
  • “when performance anxiety was highest, flow was lowest and vice versa … the presence of one minimises the magnitude of the other” (Fullager et al., 2013, p. 251), and a recent study found evidence of a strong, significant negative association between flow and MPA amongst 200 professional orchestral musicians (Cohen & Bodner, 2018), supporting Kirchner et al.’s (2008) earlier findings with music students
  • Investigations of the efficacy of existing methods for treating MPA indicate that Cognitive Behavioural Therapy based interventions are most effective (for an overview, see Burin & Osorio, 2016).
  • However, evidence suggests that pharmacological methods, particularly beta-blockers, are most commonly used, often in the absence of medical supervision (Cohen & Bodner, 2018; Kenny et al., 2014) and that the subject of MPA is still stigmatised, with many musicians and teachers unwilling to talk openly about it
  • Csikszentmihalyi’s nine dimensions of flow as follows
  • Although there was an increase in flow over time, this was not significant, F(1, 20) = 4.27, p > .05, η2 =.18, and there was no evidence of a significant interaction between group and time, F(1, 20) = 0.56, p > .05, η2 = .03, indicating that the hypothesis that there would be an increase in self-reported levels of flow in the intervention group, was not supported.
  • Figure 4. Judge-rated musical performance quality and signs of performance anxiety in the intervention group.
  • These results support the fourth hypothesis that there would be an increase in judge-rated PQ and a decrease in judge-rated SPA.
  • Results showed evidence of a significant negative association between MPA and flow, and three out of the four study hypotheses were supported: the music performance skills intervention was found to be effective in reducing pre-/post-test MPA in the intervention group compared to the wait-list control group; there were significant improvements in positive and negative affect and state anxiety associated with the performance situation in the intervention group; and there were significant improvements in judge-rated PQ and behavioural signs of performance anxiety. However, there was no significant change in pre-/post-test measures of flow. These findings will now be discussed in more detail.
  • This supports the understanding of MPA as a specific type of anxiety, where the performer suffers from MPA without necessarily being generally anxious or impaired in any other areas of his/her life (Clark & Williamon, 2011; Hoffman & Hanrahan, 2011) and corresponds to Kenny’s (2011) description of the first and most mild of three types of MPA (for full coverage of this issue, see Kenny, 2011).
  • Thus, the absence in improvement in levels of flow in the current study could also be due to the low average hours of daily practice reported
  • The increases in participants’ positive affect and decreases in negative affect after the second simulated performance compared to the first indicate that the intervention was effective in facilitating positive emotion, the first component of Seligman’s (2011) PERMA model of well-being
  • Evidence of improvements in judge-rated performance quality indicate that the intervention was also effective in facilitating the fifth (Achievement) component of the PERMA model.
  • “Ironically, it may be that the last people to receive some benefit from the therapeutic value of music may be the musicians themselves” (Brodsky, 1996, p. 95).
  • Hopefully, such an approach will enable developing musicians to acquire the skills necessary to enjoy satisfying, successful and healthy lives as performing musicians, in which the threat of debilitating MPA and the need to recourse to beta-blockers are a thing of the past.
  • Cohen, S., & Bodner, E. (2019). Music performance skills: A two-pronged approach – facilitating optimal music performance and reducing music performance anxiety. Psychology of Music, 47(4), 521–538. https://doi.org/10.1177/0305735618765349
Sirkku Nikamaa-Linder

CBI: Our education systems are not delivering - while average performance rises gently,... - 0 views

www.cbi.org.uk/...ion-systems-are-not-delivering

CBI report

shared by Sirkku Nikamaa-Linder on 22 Nov 12 - No Cached
  • Spending on education accelerated still further after 1997, rising in real terms by 71% by 2010-11.
  • UK ranks among the highest spending OECD countries measured in terms of percentage of GDP on education.
  • ...16 more annotations...
  • but we are being outperformed by nations which spend less.
  • the challenge lies not in what we spend, but in what we do.
  • explanation for the conveyor belt comes not from money, therefore, but from other incentives that schools face.
  • Schools have become used to governments setting blanket targets,
  • We should not be surprised that these drive behaviour – but not always the behaviour that the Department for Education wants.
  • The percentage of pupils gaining five ‘good’ A*-C GCSEs has increased by 50% over the last decade.
  • this should be an indicator of great success
  • has been questioned by many commentators.
  • When we look at whether the improvement on the GCSE metric is general or specific to those close to the grade boundary, it is clear that this measure is driving what is happening in schools.
  • intensive targeting of resources on pupils just below the C grade and/or an increase in teachers’ expertise in ‘teaching to the test’ has been behind  improvements.
  • Whatever the explanation, it doesn’t inspire confidence that the rise in exam grades for average ability candidates really reflects an increase across all groups in mastery of the subjects studied.
  • Narrowly-defined targets like these, based only on exam results subtly inhibit the overall education of young people.
    • Sirkku Nikamaa-Linder
      Sirkku Nikamaa-Linder on 22 Nov 12
       
      This is why Finland only has one national test....
  • If an acceptable level is reached, failure among a substantial minority is tolerated.
  • At earlier stages in the system, similar testing frameworks focus school accountability on achieving a certain percentage of pupils reaching a defined average, rather than a focus on absolute attainment.
  • it is possible to dramatically reduce attainment gaps in their primary school populations and raise standards on a broader basis than the UK has managed.
Martin Leicht

Distracted Minds: Why You Should Teach Like a Poet - 4 views

www.chronicle.com/...y-you-should-teach-like-a-poet

education higher ed students engagement focus build zoom learning

shared by Martin Leicht on 11 Jan 21 - No Cached
  • Routine is a great deadener of attention.
  • When you follow the same routines at home, folding the laundry or doing the dishes, your mind goes on automatic pilot.
  • same generic suite of teaching activities: listen to a lecture, take notes, ask some questions, talk in groups.
  • ...17 more annotations...
  • Be astonished.
  • Pay attention.
  • Through the creative turns of language they use to describe the world and our experiences, the familiar becomes unfamiliar again, and we discover in the everyday world fresh food for insight and reflection.
  • We want them to pay attention to course content, to be astonished by what they find there, and to report back to us and the world what they have discovered.
  • Find an everyday object that connects to your discipline, or a photograph or image that accompanies an article or book in your field.
  • Close — and I mean really close — reading.
  • in which practitioners slowly read the sacred scriptures of Judaism aloud to one another, pausing and discussing and questioning at every turn.
  • Tell about it.
  • asked what they had learned from the experience, and especially what they had noticed about the text that they hadn’t perceived before
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      Metacognition exercise of sorts?
  • Engagement with objects.
  • pointed out anomalies and inconsistencies, and wondered
  • What? For the first step, students spend time just observing the object and taking notes.
  • So what? Students write down questions based on their observations and share them with one another.
  • Now what? The final stage shifts into more whole-class and teacher-centered discussion
  • Attention through assessments.
  • For 13 consecutive weeks, she asked students to leave the campus and make a visit to the nearby Worcester Art Museum in order to spend time in front of the same work of art.
  • As they learned to train their attention on a work of art, their attention brought them insights. They saw more clearly, developed new ideas, and wrote creatively about what they observed.
  • Martin Leicht on 11 Jan 21
     
    Could some or all of this work online to build engagement? 1) close reading 2) engage with objects 3) attention through assessments
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