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Carol Mortensen

25 Awesome Virtual Learning Experiences Online - Virtual Education Websites | Ace Onlin... - 164 views

www.aceonlineschools.com/al-learning-experiences-online

education learning virtual

shared by Carol Mortensen on 21 Jul 11 - No Cached
  • Just because you’re online doesn’t mean that you can’t experience the world first-hand — or as close to first-hand as possible. Here are websites that feature virtual learning experiences, exposing online visitors to everything from history to geography, astronomy to anatomy, literature to government.
  • Carol Mortensen on 21 Jul 11
     
    Just because you're online doesn't mean that you can't experience the world first-hand - or as close to first-hand as possible. Here are websites that feature virtual learning experiences, exposing online visitors to everything from history to geography, astronomy to anatomy, literature to government.
  • jsummers on 22 Jul 11
     
    Virtual field trips are something I am wanting to explore this year. Thanks for posting this.
Trudy Pretorius

Getting Started - 173 views

www.googlelittrips.com/...Getting_Started.html

literature google web2.0 google earth trips googlelittrips

shared by Trudy Pretorius on 05 Jan 12 - Cached
  • Trudy Pretorius on 06 Feb 14
     
    "So What exactly are Google Lit Trips? The short version is simple. Google Lit Trips are free downloadable files that mark the journeys of characters from famous literature on the surface of Google Earth. At each location along the journey there are placemarks with pop-up windows containing a variety of resources including relevant media, thought provoking discussion starters, and links to supplementary information about "real world" references made in that particular portion of the story. "
Josh Flores

12 Most Common Themes in Literature - Life123 - 121 views

www.life123.com/...mon-themes-in-literature.shtml

tools resources real world common theme

shared by Josh Flores on 06 May 11 - Cached
    • Josh Flores
      Josh Flores on 06 May 11
       
      First, begin with a wall poster stating the difference between Theme, Topic, and Plot
    • Josh Flores
      Josh Flores on 06 May 11
       
      Narrow it down to 3-6 examples of a Theme Poster for a classroom resource.
  • Most Common Themes in Literature
  • ...18 more annotations...
  • What Is a Theme?
  • differs from the plot
  • plot is what the characters do
  • a message
  • theme is the lesson or moral
  • describes an opinion about life, human nature or elements of society
  • Man Struggles Against Nature
  • Man Struggles Against Societal Pressure
  • Crime
  • Does Not Pay
  • Overcoming Adversity
  • The Importance of Family
  • balance
  • Human Beings All Have the Same Needs
  • Death
  • Sacrifices
  • Love is
    • Josh Flores
      Josh Flores on 06 May 11
       
      Love: Use Romeo & Juliet movie poster? http://skyview.vansd.org/bquestad/rjhomepg.jpg
Marc Patton

The Reading & Writing Project - 6 views

readingandwritingproject.com

Teacher_Resources Teaching_Ideas Language_Arts

shared by Marc Patton on 29 Jun 12 - Cached
  • Marc Patton on 29 Jun 12
     
    Visit any school affiliated with the TCRWP and you'll immediately see why the organization is a success. Pull your chair alongside and listen to the children's memoirs and essays, lean-in and listen to their literature circles and read aloud conversations and you'll glimpse why this work has captured the hearts and minds of thousands of educators the world over.
Florence Dujardin

E-learning in India: the role of national culture and strategic implications - 0 views

www.emeraldinsight.com/journals.htm

E-learning multicultural education india culture

shared by Florence Dujardin on 23 Jun 11 - No Cached
  • Florence Dujardin on 23 Jun 11
     
    Purpose - The primary purpose of this research paper is to understand the role of national cultural dimensions on e-learning practices in India. India is considered a major player in the world economy today. US multinationals are significantly increasing their presence in India and understanding cultural preferences will help global companies transition better. Design/methodology/approach - This conceptual paper uses the national cultural dimensions of the global leadership and organizational behavior effectiveness project, which is identified as the most topical theoretical framework on culture. The national cultural scores are used to develop hypotheses for specific cultural dimensions. Examples from the literature are also used to strengthen the proposed hypotheses. Findings - This research proposes that national cultural dimensions of power distance, uncertainty avoidance, in-group collectivism, and future-orientation influence e-learning practices. This study distinguishes between synchronous and asynchronous methods of e-learning and the role of culture on the same. Future research can definitely empirically test the hypotheses proposed. Practical implications - This study provides strategic implications for multinationals with a guide sheet identifying the role of the various cultural dimensions on e-learning. The suggested strategies can be implemented by multinationals in other countries with similar national cultural dimensions also. Originality/value - This research also proposes a theoretical e-learning model identifying the impact of national cultural dimensions on e-learning practices. This research also provides practitioners a strategic implications model that could be implemented for e-learning initiatives in multinationals.
Lisa C. Hurst

Inside the School Silicon Valley Thinks Will Save Education | WIRED - 9 views

www.wired.com/altschool

shared by Lisa C. Hurst on 05 May 15 - No Cached
  • Lisa C. Hurst on 05 May 15
     
    "AUTHOR: ISSIE LAPOWSKY. ISSIE LAPOWSKY DATE OF PUBLICATION: 05.04.15. 05.04.15 TIME OF PUBLICATION: 7:00 AM. 7:00 AM INSIDE THE SCHOOL SILICON VALLEY THINKS WILL SAVE EDUCATION Click to Open Overlay Gallery Students in the youngest class at the Fort Mason AltSchool help their teacher, Jennifer Aguilar, compile a list of what they know and what they want to know about butterflies. CHRISTIE HEMM KLOK/WIRED SO YOU'RE A parent, thinking about sending your 7-year-old to this rogue startup of a school you heard about from your friend's neighbor's sister. It's prospective parent information day, and you make the trek to San Francisco's South of Market neighborhood. You walk up to the second floor of the school, file into a glass-walled conference room overlooking a classroom, and take a seat alongside dozens of other parents who, like you, feel that public schools-with their endless bubble-filled tests, 38-kid classrooms, and antiquated approach to learning-just aren't cutting it. At the same time, you're thinking: this school is kind of weird. On one side of the glass is a cheery little scene, with two teachers leading two different middle school lessons on opposite ends of the room. But on the other side is something altogether unusual: an airy and open office with vaulted ceilings, sunlight streaming onto low-slung couches, and rows of hoodie-wearing employees typing away on their computers while munching on free snacks from the kitchen. And while you can't quite be sure, you think that might be a robot on wheels roaming about. Then there's the guy who's standing at the front of the conference room, the school's founder. Dressed in the San Francisco standard issue t-shirt and jeans, he's unlike any school administrator you've ever met. But the more he talks about how this school uses technology to enhance and individualize education, the more you start to like what he has to say. And so, if you are truly fed up with the school stat
Amy Roediger

Reading Strategies for 'Informational Text' - NYTimes.com - 172 views

learning.blogs.nytimes.com/...ategies-for-informational-text

common core standards CCSS reading teaching education resources

shared by Amy Roediger on 02 Aug 12 - No Cached
Annette Yono liked it
  • Four Corners and Anticipation Guides:Both of these techniques “activate schema” by asking students to react in some way to a series of controversial statements about a topic they are about to study. In Four Corners, students move around the room to show their degree of agreement or disagreement with various statements — about, for instance, the health risks of tanning, or the purpose of college, or dystopian teen literature. An anticipation guide does the same thing, though generally students simply react in writing to a list of statements on a handout. In this warm-up to a lesson on some of the controversies currently raging over school reform, students can use the statements we provide in either of these ways.
  • Gallery Walks:A rich way to build background on a topic at the beginning of a unit (or showcase learning at the end), Gallery Walks for this purpose are usually teacher-created collections of images, articles, maps, quotations, graphs and other written and visual texts that can immerse students in information about a broad subject. Students circulate through the gallery, reading, writing and talking about what they see.
  • Graphic Organizers:
  • ...4 more annotations...
  • Making Text-to-Text/Text-to-Self/Text-to-World connectionsCharting Debatable IssuesListing Facts/Questions/ResponsesIdentifying Cause and EffectSupporting Opinions With FactsTracking The Five W’s and an HIdentifying Multiple Points of ViewIdentifying a Problem and SolutionComparing With a Venn Diagram
  • The One-Pager:Almost any student can find a “way in” with this strategy, which involves reacting to a text by creating one page that shows an illustration, question and quote that sum up some key aspect of what a student learned.
  • “Popcorn Reads”:Invite students to choose significant words, phrases or whole sentences from a text or texts to read aloud in random fashion, without explanation. Though this may sound pointless until you try it, it is an excellent way for students to “hear” some of the high points or themes of a text emerge, and has the added benefit of being an activity any reader can participate in easily.
  • Illustrations:Have students create illustrations for texts they’re reading, either in the margins as they go along, or after they’ve finished. The point of the exercise is not, of course, to create beautiful drawings, but to help them understand and retain the information they learn.
  • Annette Yono on 02 Aug 12
     
    Update | Feb. 2012: We'll be exploring the new Common Core State Standards, and how teaching with The Times can address them, through a series of blog posts. You can find them all here, tagged "the NYT and the CCSS."
  • Amy Roediger on 02 Aug 12
     
    A good list of reading strategies for informational text from the New York Times.
meghankelly492

(PDF) A Systematic Review of Treatments for Music Performance Anxiety - 2 views

www.researchgate.net/..._for_Music_Performance_Anxiety

world Music

shared by meghankelly492 on 15 Sep 19 - No Cached
  • Four other studies (three of which are dissertations) assessed behavioral treatments forMPA on music students. Grishman (1989) and Mansberger (1988) used standard musclerelaxation techniques, Wardle (1969) compared insight/relaxation and systematic desensi-tisation techniques, and Deen (1999) used awareness and breathing techniques
  • A systematic review of all available treatment studies for music performance anxiety was undertaken.
  • reported that 24% of musicians frequently suffered stage fright, defined in this study as themost severe form of MPA, 13% experienced acute anxiety and 17% experienceddepression.
  • ...24 more annotations...
  • 59% of musicians in symphony orchestras reported performance anxiety severe enough toimpair their professional and/or personal functioning.
  • A recent study indicated that MPA is not limited to orchestralmusicians, showing that opera chorus artists are also prone to high levels of performanceanxiety
  • However, since not allperformers suffer the same degree of MPA, or indeed report the same levels of occupationalstress, individual differences in a range of psychological characteristics are likely to accountfor variations in the degree to which musicians experience symptoms
  • A large number of treatment modalities (e.g., behavioral, cognitive, pharmacological andcomplementary) has been developed for music performance anxiety (MPA)
  • However, areview of this literature indicates that the field is still in its infancy with respect to theconceptual and theoretical formulations of the nature of MPA and its empiricalinvestigation.
  • Anxiety may be triggered by conscious,rational concerns or by cues that trigger, unconsciously, earlier anxiety producingexperiences or somatic sensations.
  • These findings suggest that multi-modal interventions are needed toaddress the multiple difficulties experienced by test anxious individuals.
  • with some focusing on behavioral change, some on cognitivechange, others on reduction of physiological symptoms through the use of pharmacotherapy,and some on idiosyncratic formulations
  • For drug studies, the keywords were beta-blocker [Beta blockers block the effect ofadrenaline (the hormone norepinephrine) on the body’s beta receptors. This slows downthe nerve impulses that travel through the heart. As a result, the resting heart rate is lower,the heart does not have to work as hard and requires less blood and oxygen
  • Brodsky (1996) and Nube´(1991) were most useful.
  • The interventionsassessed included systematic desensitization, progressive muscle relaxation, awareness andbreathing and behavioural rehearsal
  • In summary, behavioral treatments do appear to be at least minimally effective in thetreatment of MPA, although the heterogeneity of the treatment approaches employedmakes it difficult to isolate consistent evidence for the superiority of any one type ofbehavioral intervention
  • Two studies (see Tables II and IV) assessed the therapeutic effect of cognitive techniquesalone on MPA.
  • A dissertation by Patston (1996) reported a comparison of cognitive (e.g.positive self-talk, etc.) and physiological strategies in the treatment of MPA. No significantimprovements on vocal and visual manifestations of performance anxiety were found foreither treatment or control groups. However, the sample consisted of only 17 operastudents who were not specifically selected on the basis of their MPA severity, and theintervention was conducted by the author, a singer and teacher, who had no training inpsychology.
  • Three studies (see Table III) assessed the therapeutic effect of cognitive-behavioralstrategies on MPA. Harris (1987), Roland (1993), and Kendrick et al. (1982) all reportedthat standard CBT techniques were effective in the treatment of MPA in studentsspecifically selected for study because of the severity of their MPA.
  • Harris (1987) and Roland(1993) reported that CBT led to reductions in state anxiety as measured by the STAI,although Kendrick et al. (1982) failed to find a significant difference between treatment andcontrol groups on this measure.
  • The evidence for improvements in MPA following CBT is quite consistent, althoughfurther studies with larger samples are needed to confirm this evidence.
  • Beta-blockers have become increasingly popular among performers in recent years. Forexample, Lockwood (1989), in a survey of 2,122 orchestral musicians, found that 27% usedpropranolol to manage their anxiety prior to a performance; 19% of this group used thedrug on a daily basis.
  • Nube´ (1991) identified nine studies examining the effects of various beta-blockers(Atenolol, Metopolol, Nadolol, Oxprenolol, Propranolol, Pindolol) on MPA.
  • The findings regarding the effects of beta blockers on otheroutcome measures were less conclusive.
  • A rigorous definition of MPA is needed to advance treatment. However, defining MPA as asocial anxiety (social phobia) using criteria set out in DSM-IV-TR (APA, 2000) as theinclusion criteria may be too restrictive, particularly if the musician presenting for treatmentexperiences MPA as a focal anxiety (ie does not meet other criteria for social anxiety).
  • Few ofthe intervention studies reviewed acknowledged that performers need a certain amount ofarousal or anxiety to maximise their performance.
  • None of the studies could be pooled in a meta-analysis primarily because too fewprovided sufficient data to calculate effect sizes, use of diverse subject groups andtreatments, duration and intensity of treatment, and use of disparate outcome measures
  • In conclusion, the literature on treatment approaches for MPA is fragmented, incon-sistent, and methodologically weak. These limitations make it difficult to reach any firmconclusions about the effectiveness of the various treatment approaches reviewed. Forsignificant progress to be made, future research will require a clear definition of MPA,consistency and strength in methodology, and the development of robust and appropriateoutcome measures.
Sandra Flowers

The (Coming) Social Media Revolution in the Academy - Daniels and Feagin - Fast Capital... - 6 views

www.uta.edu/...Daniels8_2.html

shared by Sandra Flowers on 04 Jan 12 - No Cached
  • Scholars now completing PhD’s have likely never known a world without the Internet and social media.
  • Ultimately, this technological transformation is going to have major implications on expert knowledge. The Internet increases voices and knowledge available to all. Elitism in the expert knowledge world is declining; the Internet democratizes knowledge building and use. Much more knowledge has become available, and the distinction between experts and ordinary folks, what Gramsci might have called “organic intellectuals,” is declining.
  • Academic bloggers frequently use blogs to keep up with the relevant literature in their field, thereby providing a kind of public note-taking and research-sharing exercise. Academic bloggers also use blogging as a rough draft for ideas they later develop fully for peer-reviewed papers or books.
  • ...5 more annotations...
  • bloggers have embraced Internet technologies in ways that broaden the scope of their research work beyond college walls and in ways reaching beyond old disciplinary silos. This is partly about reaching audiences in disparate geographic locations
  • Academics, like others who use Twitter, have found short updates a useful way to find and maintain connections to others who share their research and other interests
  • For academics that may toil in relative isolation from others who share their immediate interests, the social connection of blogging and microblogging can also provide an opportunity to curate the ideal academic department.  While in another era, scholars may have identified strongly with their PhD-granting university, the college or university, or the academic department in which they are currently employed, the rise of social media allows for a new arrangement of colleagues.
  • Our colleagues in the humanities have embraced digital technologies much more readily than those of us in sociology or the social sciences more generally.  A casual survey of the blogosphere reveals that those in the humanities (and law schools) are much more likely to maintain academic blogs than social scientists.  In terms of scholarship, humanities scholars have been, for more than ten years, innovating ways to combine traditional scholarship with digital technologies.
  • scholars in English have established a searchable online database of the papers of Emily Dickinson and historians have developed a site that offers a 3D digital model showing the urban development of ancient Rome in A.D. 320.
  • Kate Pok on 04 Jan 12
     
    Great article on coming changes in digital scholarship.
Josh Flores

Common Core Curriculum Maps | - 152 views

commoncore.org/...grade_10

common real world resources core curriculum

shared by Josh Flores on 10 May 11 - Cached
    • Josh Flores
      Josh Flores on 10 May 11
       
      Cross Curriculum with Social Studies
  • themes
  • literary forms
  • ...9 more annotations...
  • grasp the relationship between local concerns and universal questions
  • literature from around the world
  • Russian
  • Asian
  • African/Middle Eastern
  • flexibility
  • Latin American
  • select three out of the four
  • historical and cultural context
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."
Cindy Edwards

Electronic Journal for the Integration of Technology in Education - 60 views

ejite.isu.edu/...Stokes.html

learning_styles

shared by Cindy Edwards on 28 Apr 13 - Cached
  • Characters in alphabets began as pictures with meaning (West, 1997).
  • As history repeats itself, we may find that a great deal of information is better presented visually rather than verbally.
  • culture's
  • ...9 more annotations...
  • predominant mode of literacy depends on the technology and mass media it embraces (Sinatra, 1986).
  • Kellner (1998) proposes that multiple literacies are necessary to meet the challenges of today's society, literacies that include print literacy, visual literacy, aural literacy, media literacy, computer literacy, cultural literacy, social literacy, and ecoliteracy.
  • Learning through orderly, sequential, verbal-mathematical, left-hemisphere tasks is a pattern seen frequently in education (West, 1997). Those whose thought processes are predominantly in the right-hemisphere where visual-spatial and nonverbal cognition activities rule frequently may have difficulty capitalizing on a learning style that is not compatible with their abilities.
  • If visual literacy is regarded as a language, then there is a need to know how to communicate using this language, which includes being alert to visual messages and critically reading or viewing images as the language of the messages.
  • Technology, particularly the graphical user interface of the World Wide Web, requires skills for reading and writing visually in order to derive meaning from what is being communicated.
  • Because visual literacy precedes verbal literacy in human development,
  • learning evolves from the concrete to the abstract; visual symbols are nonverbal representations that precede verbal symbols (Sinatra, 1986).
  • West (1997) conveys an innovative mathematics approach whereby students “do” mathematics rather than “watch” mathematics. The technique emphasizes learning through interactive graphics without words. “The words go into an idea only after the idea has already settled in our mind”(West, p.
  • The literature suggests that using visual elements in teaching and learning yields positive results.
Roland Gesthuizen

UK Study: Parents, Not Teachers, Key to Education | Education News - 79 views

www.educationnews.org/...-not-teachers-key-to-education

study parenting education homeschooling homework research

shared by Roland Gesthuizen on 28 Mar 12 - No Cached
  • Children are influenced by everything around them, the way their parents act, what their parents say and do, and increasingly as they spend more time ‘with’ celebrity figures how these role models act.
  • Roland Gesthuizen on 28 Mar 12
     
    A study by the Royal Economic Society, to be presented this week, finds that parental effect on test results is five times that of teachers' influence. This comes in the wake of warnings by Sir Michael Wilshaw last week that teachers were unable to properly do their own jobs because parents were expecting them to cover their own parenting skill shortfalls and to become surrogate family for the students.
  • Mark Gleeson on 29 Mar 12
     
    It all happens well before school comes into the equation. If a child grows up in a literature rich, engaging environment with adults that spend quality time giving opportunities for great learning experiences in the world, the worst teachers still can't decoy that child's enthusiasm for learning. He can always learn at home. But if the child grows up neglected, not nurtured with rich learning experiences ( and I'm not talking about helicopter parents spending every waking moment ramming study down their throats - just quality conversation and hands on experiences )l doesn't get read to or taken out to shop, teachers are fighting an uphill battle with a disengaged individual. Parents, don't wait for school teachers to teach your kids. Start straight away..
Robert Appino

gladwell dot com - something borrowed - 86 views

www.gladwell.com/...2004_11_25_a_borrowed.html

gladwell copyright CoETaIL CoETaIL2 ssischool

shared by Robert Appino on 12 Feb 12 - Cached
  • Under copyright law, what matters is not that you copied someone else's work. What matters is what you copied, and how much you copied. Intellectual-property doctrine isn't a straightforward application of the ethical principle "Thou shalt not steal." At its core is the notion that there are certain situations where you can steal. The protections of copyright, for instance, are time-limited; once something passes into the public domain, anyone can copy it without restriction.
    • Robert Appino
      Robert Appino on 12 Feb 12
       
      This is the key to copyright according to Gladwell.
  • initial monopoly on your creation because we want to provide economic incentives for people to invent things like cancer drugs. But everyone gets to steal your breast-cancer cure—after a decent interval—because it is also in society's interest to let as many people as possible copy your invention; only then can others learn from it, and build on it, and come up with better and cheaper alternatives. This balance between the protecting and the limiting of intellectual property
  • Constitution: "Congress shall have the power to promote the Progress of Science and useful Arts, by securing for limited"—note that specification, limited—"Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries."
  • ...7 more annotations...
  • In ordinary language, to call a copyright a "property" right is a bit misleading, for the property of copyright is an odd kind of property. . . . I understand what I am taking when I take the picnic table you put in your backyard. I am taking a thing, the picnic table, and after I take it, you don't have it. But what am I taking when I take the good idea you had to put a picnic table in the backyard—by, for example, going to Sears, buying a table, and putting it in my backyard? What is the thing that I am taking then? The point is not just about the thingness of picnic tables versus ideas, though that is an important difference. The point instead is that in the ordinary case—indeed, in practically every case except for a narrow range of exceptions—ideas released to the world are free. I don't take anything from you when I copy the way you dress—though I might seem weird if I do it every day. . . . Instead, as Thomas Jefferson said (and this is especially true when I copy the way someone dresses), "He who receives an idea from me, receives instruction himself without lessening mine; as he who lights his taper at mine, receives light without darkening me."
  • arguments that Lessig has with the hard-core proponents of intellectual property are almost all arguments about where and when the line should be drawn between the right to copy and the right to protection from copying, not whether a line should be drawn.
  • when it comes to literature, we have somehow decided that copying is never acceptable.
  • A successful music executive has to understand the distinction between borrowing that is transformative and borrowing that is merely derivative, and that distinction, I realized, was what was missing from the discussion of Bryony Lavery's borrowings.
  • problem with plagiarism. It is not merely extremist. It has also become disconnected from the broader question of what does and does not inhibit creativity.
  • But the truth is that Lavery has every right to create an affair for Agnetha, because Agnetha is not Dorothy Lewis. She is a fictional character, drawn from Lewis's life but endowed with a completely imaginary set of circumstances and actions.
  • dred and seventy-five rather ordinary words could bring the walls tumbling down.
Steve Ransom

The Most Important Lesson Schools Can Teach Kids About Reading: It's Fun - Jeffrey Wilh... - 42 views

www.theatlantic.com/...281295

reading literacy pleasure affect

shared by Steve Ransom on 15 Nov 13 - No Cached
  • pleasure is not incidental to reading—it’s essential
  • experience the pleasure of entering a story world
  • The pleasure of play is what readers experience when they become lost in a book
  • ...5 more annotations...
  • not privilege intellectual pleasures, the characteristic province of school
  • You can sort of help yourself change in that way, and when you really admire a character in a book who’s really brave and stuff, you kind of can idolize them and become more like them. So it’s not really learning about yourself, it’s learning about what you could be.
  • teachers of reading and literature need to make pleasure more central to our practice. 
  • Our data also convinced us of the importance of choice
  • Students should have regular opportunities to behave the way adult readers do and choose their own reading.
  • Steve Ransom on 15 Nov 13
     
    Suggests that when we over-emphasize the intellectual pleasures of reading, we kill the needed joy of reading in many students.
Brianna Crowley

Academy of Achievement Main Menu - 3 views

www.achievement.org/...index.html

biography inspiration history literature authors resources

shared by Brianna Crowley on 26 May 09 - Cached
  • Barbara Moose on 26 May 09
     
    videos, podcasts, etc. of people from around the world who have made various achievements
  • Brianna Crowley on 02 Apr 13
     
    This website has interviews for nearly any influential person, author, writer, or history-maker that you would ever want to share with students! Video clips are downloadable for embedding in presentations. Fantastic resource!
sha towers

Doctoral degrees: The disposable academic | The Economist - 27 views

www.economist.com/17723223

phd academia university education doctoral degrees

shared by sha towers on 31 Dec 10 - No Cached
  • There is an oversupply of PhDs. Although a doctorate is designed as training for a job in academia, the number of PhD positions is unrelated to the number of job openings. Meanwhile, business leaders complain about shortages of high-level skills, suggesting PhDs are not teaching the right things. The fiercest critics compare research doctorates to Ponzi or pyramid schemes.
  • A graduate assistant at Yale might earn $20,000 a year for nine months of teaching. The average pay of full professors in America was $109,000 in 2009
  • America produced more than 100,000 doctoral degrees between 2005 and 2009. In the same period there were just 16,000 new professorships.
  • ...12 more annotations...
  • PhD students and contract staff known as “postdocs”, described by one student as “the ugly underbelly of academia”, do much of the research these days.
  • In some areas five years as a postdoc is now a prerequisite for landing a secure full-time job.
  • About one-third of Austria’s PhD graduates take jobs unrelated to their degrees. In Germany 13% of all PhD graduates end up in lowly occupations. In the Netherlands the proportion is 21%.
  • In America only 57% of doctoral students will have a PhD ten years after their first date of enrolment. In the humanities, where most students pay for their own PhDs, the figure is 49%.
  • in 1966 only 23% of science and engineering PhDs in America were awarded to students born outside the country. By 2006 that proportion had increased to 48%. Foreign students tend to tolerate poorer working conditions, and the supply of cheap, brilliant, foreign labour also keeps wages down.
  • The earnings premium for a PhD is 26%. But the premium for a master’s degree, which can be accomplished in as little as one year, is almost as high, at 23%
  • PhDs in maths and computing, social sciences and languages earn no more than those with master’s degrees
  • the skills learned in the course of a PhD can be readily acquired through much shorter courses.
  • In one study of British PhD graduates, about a third admitted that they were doing their doctorate partly to go on being a student, or put off job hunting.
  • The more bright students stay at universities, the better it is for academics. Postgraduate students bring in grants and beef up their supervisors’ publication records.
  • Writing lab reports, giving academic presentations and conducting six-month literature reviews can be surprisingly unhelpful in a world where technical knowledge has to be assimilated quickly and presented simply to a wide audience.
  • Many of those who embark on a PhD are the smartest in their class and will have been the best at everything they have done. They will have amassed awards and prizes. As this year’s new crop of graduate students bounce into their research, few will be willing to accept that the system they are entering could be designed for the benefit of others, that even hard work and brilliance may well not be enough to succeed, and that they would be better off doing something else.
  • sha towers on 13 Apr 11
     
    article from the Economist "The Disposable Academic: Why doing a PhD is often a waste of time
Ruth Howard

About | Edge - 0 views

edge.org/about-us

bestpractices professionaldevelopment all_teachers edge news resources

shared by Ruth Howard on 19 Jun 11 - No Cached
  • Edge is different from the Algonquin Roundtable or Bloomsbury Group, but it offers the same quality of intellectual adventure. Closer resemblances are the early seventeenth-century Invisible College, a precursor to the Royal Society. Its members consisted of scientists such as Robert Boyle, John Wallis, and Robert Hooke. The Society's common theme was to acquire knowledge through experimental investigation. Another inspiration is The Lunar Society of Birmingham, an informal club of the leading cultural figures of the new industrial age — James Watt, Erasmus Darwin, Josiah Wedgewood, Joseph Priestly, and Benjamin Franklin. The online salon at Edge.org is a living document of millions of words charting the Edge conversation over the past fifteen years wherever it has gone. It is available, gratis, to the general public.
  • Edge.org offers "open-minded, free ranging, intellectually playful ... an unadorned pleasure in curiosity, a collective expression of wonder at the living and inanimate world ... an ongoing and thrilling colloquium." 
  • encourages people who can take the materials of the culture in the arts, literature, and science and put them together in their own way. We live in a mass-produced culture where many people, even many established cultural arbiters limit themselves to secondhand ideas, thoughts, and opinions. Edge.org consists of individuals who create their own reality and do not accept an ersatz, appropriated reality. The Edge community consists of peole who are out there doing it rather than talking about and analyzing the people who are doing it.
  • Ruth Howard on 19 Jun 11
     
    If you love TED this is possibly more rivetting!
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